My son Marco is in the soon-to-be-released indy film, The Strange Eyes of Dr. Myes. It pleases me excessively to see him in the trailer…
My son Marco is in the soon-to-be-released indy film, The Strange Eyes of Dr. Myes. It pleases me excessively to see him in the trailer…
“All art is or was modern in its time, daring and new, demonstrating a constant change in seeing and feeling. If revival had been a perpetual virtue, we still would live in caves and earth pits. In art, tradition is to create, not to revive.” – Josef Albers, Design, 1946 (quoted in The Arts at Black Mountain College, Mary Emma Harris, 107).
My last gasp of summer reading that I squeezed in came from my interest in Black Mountain College – ostensibly a quasi precursor to the college where I graduated high school from (North Carolina School of the Arts – they have a high school for the arts within the University). But I didn’t know of that confluence until nearly the end of my reading. What I did know was that Black Mountain College was a really interesting and influential place. Lasting twenty-four years with a total of around thirteen hundred students (1933-1957) in the mountains of North Carolina, an experiment in education was lived out. A spirited, innovative, creative, floundering, democratic ideal of what a meaningful education alive in the world might look like.
Albers felt that “only dynamic possession is fertile–materially as well as spiritually.” He distinguished between the usual possessiveness or industriousness of the student who mindlessly accumulates and memorizes facts and theories to be regurgitated on an exam to please the teacher and the “dynamic possession” of the student for whom experience and action is an integral part of the learning process (15).
Albers, one of the founders of Black Mountain College had been a teacher at the Bauhaus. Fleeing Germany and its fascist government, the ideals of democracy, particularly the expansion of community interests flourishing through hands-on education and art, in both the form and function of aesthetics and creative expression, were some of the very progressive and fascinating experimental ideas in the Black Mountain College education.
“What is the nature of an experimental action? It is simply an action the outcome of which is not foreseen. – John Cage, Silence, 1961 (quoted, 107).
My interest was peaked by the truly impressive array of artists and thinkers that took part in the experiment. Besides, Alders, some of the notable participants (to me) were Cage, Buckminster Fuller, Allen Ginsburg, Willem De Kooning, Charles Oslon, Robert Creeley, Anaïs Nin, William Carlos Williams, Merce Cunningham, as well as the artist whose work I have included here….it just goes on and on…amazing. Anni Albers, Josef’s wife, brought her extraordinary weaving and textile skills to the college, which I mention not only because they are beautiful but also because the artificial separation between “craft” and “art” was consciously ignored at Black Mountain College. Art for art’s sake is wonderful, but art in form and function is also a worthy pursuit requiring a finger to remain on the pulse of the mundane in a way that Art needn’t, necessarily. And we need art in both the profane and sacred realms…a teacup can transport just as well as a tempest, after all.
The visionary aspects of Black Mountain were holistic, ambitious in their creative freedom, and obviously difficult to maintain – how does one administrate an institution that stands for anti-administration and anti-institutional ideals? Not easily, and not for very long, apparently. But that is hardly the point. The point is that people try – they try over and over again, and the creative results are extraordinary, the human inspiration invigorating. Everything is cyclical, but to have the nerve and verve to let the cycle run is a testament to the spirit of life.
Today, it seems to me, so much emphasis is put on the material concept of “success.” “Failure” is anathema to our culture – but it is truly the “failures” that make life flourish. That’s where all the beauty and all meaningful success is fomented. That is one thing Bucky Fuller’s genius proved, with his “magical world of his mathematical models” (151), he was, after all, the self-proclaimed most successful failure ever! And any school that strove to recognize that is pretty great, and successful, in my book.
Undaunted, [by the failure of his geometric dome due to cost cutting inadequate materials] Fuller explained that failure is a part of experimentation and that “you succeed when you stop failing” (151).
I would only add that success, and learning, depend upon it.
*All photographs (except for the Reed drawing) are out of another very fine book, Black Mountain College: Experiments in Art edited by Vincent Katz, in which four long essays accompany copious images of the art produced and inspired by Black Mountain College.
** Title taken from John Cage’s poetic response to the controversy over an exhibition of Rauschenberg’s all white paintings in 1953, (page 230):
No technique (no why)
No white no (and)
After careful consideration, I have come to the conclusion that there is nothing in these paintings that could not be changed, that they can be seen in any light and are not destroyed by the action of shadows.
Hallelujah! the blind can see again; the water’s fine.
John Cage, Printed in Emily Genauer’s column in the New York Herald Tribune, December 27, 1953.
The stream & the poem, & no-sky,
what I write, worn down, in the apt
in the dust. & every piece of paper &
every nub of ink & every key of the type
writer is a bird (8). – Robert Seydel, The Book of Ruth
I spent some of my work hours these past few days assisting (in a very minor capacity) in the hanging of the Robert Seydel show soon to be shown in the Neilson Library at Smith College. Seydel’s The Book of Ruth (2011) was being published at the time of the artist and poet’s unexpected death. It is a beautiful, moving, and poignantly whimsical novel (broadly construed) of Seydel’s alter-ego Ruth. Ruth lives with her brother Sol (or Saul); she is friends with Marcel Duchamp and Joseph Cornell (she is in love with Cornell); she is full of stray thoughts collected into a nest of her rather lovely soul.
I’ve been studying my hat. Men twitch at it, very clearly, or they don’t, in the street. So odd, feathers on a woman’s head. Sometimes I imagine all sorts of things. When i walk *** the pavement tilts up to me, to delineate my way. A sensation then of glory sometimes. A STaR at my forehead. Roussell-vision. Ruth of the tents. Boulevard Queen. But a rabbit more likely (on my path). Hare under hat. Mine’s no longer so lustrous. Does Joseph notice? (116)
I love everything about that passage. Its stark femininity: woman, Queen- that’s Boulevard Queen, thank you very much! rabbit- Ha! yes – more likely…and oh don’t I know a thing or two about lusterless hair?!…Seydel poetically conjures his aunt: a woman, clearly, of profound sensibility, described by her nephew: a man of complex artistry. The confluence is a visual wonder, and a moving narrative of the heart as told by the mind.
The mind runs poorly but is still sweet (66).
The book is beautiful, and the show of Seydel’s work (notebooks, collages, pieces of Book of Ruth) is extraordinary in its comprehension of the power of Seydel’s voice and vision.
Art is fodder for the day I need. Flushing is next to heaven, Joseph: Park Way to the star. I love you. Love my lob-stir art. The green things near the store sprout. Sol shld be sun unto himself. Let me dance, moon to sun, crossing w/ my picture. The rabbits /are/ the stars.
or let’s be as someone sd Americans are
AMATEURS OF THE IMPOSSIBLE. (137)
I was struck by so many of Seydel’s lines, sucked into an eddy of philosophical musings (a weakness of mine, I’ll admit)…just one, which gives this post its title, was on page 66, “The planet is a hummingbird.” Yes, I think to myself, and I can’t help holding the bird’s animated image in my mind while pondering that line, and yes, we flutter and hum, we are at constant motion, looking for something sweet, all a shimmering blue and green, fragile, pulsing planet….we are the planet, we are a hummingbird.
* Robert Seydel: The Eye in Matter exhibition in the Book Arts Gallery of Neilson Library, Smith College, September 2–December 15, 2014.
When Henry Miller’s novel The Tropic of Cancer, appeared in 1935, it was greeted with rather cautious praise, obviously conditioned in some cases by a fear of seeming to enjoy pornography (95).
– George Orwell, from the essay Inside the Whale, in All Art is Propaganda
Ah, Henry Miller. We have something going on….Henry and I…. It began in the spring when I was bemusedly alerted by a shallow online quiz that my literary soulmate was M. Miller himself. Well. What to make of that, I hardly knew. I decided I better at least read his work which I wrote about here and where I blathered on a bit about the literary soulmate bit and Tropic of Cancer.
For the most part it is a story of bug-ridden rooms in workingmen’s hotels, of fights, drinking bouts, cheap brothels, Russian refugees, cadging, swindling and temporary jobs. And the whole atmosphere of the poor quarters of Paris as a foreigner sees them–the cobbled alleys, the sour reek of refuse, the bistros with their greasy zinc counters[...]the peculiar sweetish smell of the Metro, the cigarettes that come to pieces[...]–it is all there, or at any rate the feeling of it is there.
On the face of it no material could be less promising (96) - George Orwell, Inside the Whale.
Miller and I took some heat for my praise, but then, by pure good fortune I worked with a beautiful poet/artist/activist Cecilia Vicuña this summer and on my first day of work discovered that she had had a small but lovely correspondence with Miller. She adored him, his love and passion for life. I told her the trouble I was having convincing people of his (rather lovely) sincerity, she confirmed, on a personal level, what I had felt reading his book.
Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own orthodoxy. Good novels are written by people who are not frightened. This brings me back to Henry Miller (129).
That, Orwell writes, after a thirty-something page discourse on the history of early 2oth century literature and the effect of politics: fascism, communism, laissez-faire capitalism and many more isms on writers and literature. But, yes– Miller, where were we?- after another of his novels Black Spring, was thrown on my path I started to wonder what was in the water–what was in my water?! Over the course of the summer as I worked archiving collections of books, books about books, and the art of books with Granary Books, as well as Vicuña’s archive and copious notes and writing….I had compiled a long list of artists, poets, and books that I would read when I got some time. Orwell’s All Art is Propaganda was one of those books. He is, by far, one of my favorite essayist, and what a title! Imagine my lack of surprise when after flipping around reading the essays in odd order as to my interest, I came upon a quite long (45 p.) essay all about, yes, my dear soulmate Henry.
The truth is that in 1917 there was nothing that a thinking and sensitive person could do, except to remain human, if possible (136).
Inside the Whale is sweeping, discursive, and at the very heart, brilliantly true. Orwell elucidates on the conditions which make good novels possible, how politics affect writers, directly or obliquely, and how Miller’s insouciance, and refusal to get taken in by the flimsy dictats of nation, class, and persuasion, is so sincerely expressed that one can, if one lets oneself, marvel at his genius (a human scale of genius, but genius can be writ small).
Progress and reaction have both turned out to be swindles. Seemingly there is nothing left but quietism–robbing reality of its terrors by simply submitting to it. Get inside the whale–or rather, admit that you are inside the whale (for you are, of course). Give yourself over to the world-process, stop fighting it; simply accept it, endure it, record it. That seems to be the formula that any sensitive novelist is now likely to adopt. A novel on more positive, “constructive” lines, and not emotionally spurious, is at present very difficult to imagine (138).
Orwell’s essay is fascinating historically, but his concerns and thoughts transport the mere temporal- finding a way to stay human in any time is the challenge. For myself, I’m convinced Miller met that challenge, and had fun doing it, I am convinced he had a good heart, and if that is what makes a soulmate for me – I’ll take it.
*title from: From a mere account of the subject-matter of Tropic of Cancer most people would probably assume it to be no more than a bit of naughty-naughty left over from the ‘twenties (97).
But O the sudden blasts of earth that sweep my breasts
and shake me to the bone!
O Zeus, the seas are heavy, and my unloosened locks
sink me like a stone.
-Ángelos Sikelianós, from Anadyomene, (211) – Modern Greek Poetry, translation and introduction by Kimon Friar
It is a different experience to read a translator’s monograph, rather than a poet’s. Kimon Friar’s book, Modern Greek Poetry is comprised of the work of some thirty poets, but of course, the words come from one man: Friar. He begins his compilation with a very interesting history of Greek poetry and language, or languages- one written one spoken which began the split, but which has never been, Friar explains, so different from each other as the English of Beowulf would be to a modern English reader- despite twice the length of time which separates modern Greek from Classical compared to modern and Old English (13). He then gives a short history of the “schools” of modern Greek poetry and the major poets within.
No cleft can be widened without desire of widening
Sometimes we become hourglasses
And sponges throb to every single drop of ours
-Andréas Embirícos, from Moment of Porphyry (351)
Poetry is a language of darts meant to pierce one’s soul. There were many poems in this book which took my breath away, and many instances, as in the excerpt above where I marveled at the skill of Friar- his use of the word “cleft,” left me in awe. Of course it is entirely possibly that it’s just me, but that’s as it will be, I found the word to be the door into the entire poem, grounding it in the corporal, the consonants’ journey from back of the throat to teeth, sensual and powerful. I don’t read Greek, I have no way of knowing if it is simply a case of a perfect transposing, or if Friar had to truly translate, search his mind to find the word that would transport a reader such as I.
Sleep came and lay between us
like a rival. He took your eyes
and closed them; he took your lips
and swept away your smile and your kiss.
Your pale hair was combed by the tranquil
waters of Lethe that bore your beloved body
away to the world of stars and shadows.
Filters of silence are forcing your sealed lips,
sleep-living voices our ears, and in you veins
I hear the deep rumor of the voyage.
You have emerged from the depths of sleep
with stars and seashells in your hands
and in your eyes the dark coolness
When you open them, I want to be the first to receive
their glance, that I may capture before it fades
the meaning of that world which has kept you away
the night long.
It was through a conversation with fellow blogger and wonderful poet Tom Simard that I was pointed in the direction of this beautiful work of Friars, and I thank him for the recommendation. Of the poet’s represented, I was only familiar with Constantine Caváfis, but there again, I find the translators’s hand a fascinating thing. Friar’s choice of which of Caváfis poems to include was revealing of what pierces his own soul, and then there is Ithaca.
Last year while reading Caváfis I was working as a caregiver, and one of my oldest clients (over 100) loved the poem Ithaca. We bonded over our mutual sentimental attachment to Greece, the work of my father (who died when I was two) was much influenced by the Aegean and she and her late husband had taken a sublime trip to Greece early on (they met and befriended Mark Rothko on the ship over) to see some newly discovered temples…she had a sweet spot in her mind for the memory and with such a long life, the theme of Ithaca moved her deeply. But there were many poems in my book of Caváfis of more, shall we say- passionate verse…I lent her the book and she was a bit bemused by her nobel Platonic Caváfis writing so much about love, or even lust! That, of course, was what I most loved about him, but she wasn’t so much amused by her discomfiture as I was – oh I do miss her. But I digress…Modern Greek Poetry is an ambitious yet focused book….truly lovely lovely lovely. O my heart.
from DE RERUM NATURA
I move my body, and my soul moves,
I put it to sleep, it sleeps.
I love, and my soul loves,
It tastes my body and my blood.
I sniff the air, and my soul sniffs also.
It is I who hunger, it is I who thirsts
In my soul, it is I who suffer.
It is I who wound my fingers
We shall never have enough, O my soul. - George Thémelis (325)
No, we shan’t.
* Title from prologue of Nikos Kazanantzákis’ poem The Saviors of God: Spiritual Exercises. “We come from a dark abyss, we end in a dark abyss, and we call the luminous interval life” (164).
The snowy cold he knows to flee and every human exigency crackles as he plugs it in every outlet works but one: death stays dark.
– Sophokles, Antigonick, translated by Anne Carson illustrated by Bianca Stone.
I was recently move to reread Antigone after a discussion with a lovely man over the eponymous character’s attributes. I love Anne Carson’s translations, so I was thrilled to find her version, Antigonick in my library system. But I had no idea just what a treat it would be. More of an artist’s book than straightforward text with illustrations. The interplay between words, images, pages, and color is magnificent, irreverent, absurd, lovely, and striking.
The book as a whole, as an object inseparable from the visual and tactile components that it comprises, makes the rash Kreon all the more ridiculous, the sweet Antigone all the more reasonable in her steadfast refusal to be shamed by the capricious laws of a man (or men, writ large). In the collaborative translation, illustration, and design trio of Carson, Stone and Robert Currie, Kreon is shown to be the flibbertigibbit that he is, but to tragic effect. He spews his nouns and verbs, but the black and white words imprison the letter of his laws, shutting his heart to the vitality of wisdom.
Tangled up, and cornered in, when one can not feel and let love be the ruler of the day the results are bloody awful. And for Sophokles, that is quite literal. The body count is high. Oh! the Greek Tragedians – they didn’t fool around! The Chorus sings, “You’re late to learn what’s what aren’t you” And for Kreon it is a painful realization. Yes, he is late, so late. But, it’s never too late for wisdom. Isn’t that why we continue to revisit these tales of woe and tragedy? – to soften our hearts with what is wise and true.
Outside of academia I guess they’re aren’t too many people reading Augustine (particularly for non-religious reasons). But a dear friend of mine and I are the founders and, oftener than not, sole members of a book group in which we are now reading our way, in historical order, through classic poems, plays, histories and autobiographies (we completed the fiction section separately first, which began with Don Quixote). As you can imagine it has been a project spanning many years.
As in Confessions the power of Augustine’s intellect is impressive. And yet, in this first book of City of God, my intellect struggled with what he considered a response (apology) to the citizens of Rome that had just been decimated by the Visogoths. Needless to say it was brutal, and the newly converted Christians felt pretty swindled. After all wasn’t this new Christian God suppose to protect the converted worthy?
For among those whom you see wantonly and brazenly insulting Christ’s servants are very many who would not have escaped that death and disaster if they had not pretended that they too were Christ’s servants (19, I).
The circularity of his logic is surprising. There is no argument that he posits that can’t just as easily serve the Pagan’s and their Gods. No God (or Gods), it would seem, protect people from evil, Augustine argues that that is not the point, no matter what happens, one still has the serenity of God within. Whether or not that is true is outside the scope of my quibble, I only ask, isn’t that the same for a person who believes that Zeus is the father of all gods? Wouldn’t a pagan still have the comfort of their beliefs (if that is all one is to have as a comfort)? Furthermore, wouldn’t God know the truth of a person’s heart – can one trick God so easily by “pretending to be Christ’s servant.”
Death is not be thought of an evil preceded by life which is good; the only thing which makes death evil is what follows (45, XI).
Perhaps his is truly just a faith that is focused on the afterlife…but even there, Hades? Hell? Wouldn’t that be the same place to fear going to? But, then again, what do I know, after all, I spent half my time through this book in state of some confusion: it was presented in Latin on the verso side and English on the recto. I swear, every damn time I turned the page I forgot and was more than halfway into a Latin sentence before saying, huh?
But still, I have to admit that Augustine’s ability to logically dissect any given dilemma is stunning and often, as in his discussion on suicide, or rape, with his conclusion (obvious in this day and age) of a woman’s moral innocence as the victim, leads him to some progressive, for his day, ideas. For Augustine, what is in the heart matters more than any given act.
I do not hear what answer your hearts makes when you question them (83, XXVIII)
But, I apologize, as lovely and stirring as some of his language can be, I am not sure if I want to spend my precious and limited reading hours continuing through the rest of the books, but I suppose I will have to consult the book group (of one). I fear Augustine led many people to states of blind faith, I take umbrage at his disavowal of the woman he loved and their child, and I feel he encouraged a disconnect between body and soul that I find an incomprehensible waste of all that is beautiful here and now. Nevertheless, although I find lacking some of his arguments, I deeply appreciate the depth to which he examines them and examines his own heart, while leaving others to their own.
*Aris and Phillips Classical Text, Augustine De Civitate Dei, edited, introduction, translation and commentary by P.G. Walsh
**photograph taken by Augustus Accardi