Art. Word. Thought.
A Girl Goes Into the Forest
by Peg Alford Pursell
Dzanc, 200pp., $16.95
In the dream I was sitting with my mother in a restaurant lobby, waiting to be seated for dinner. The hostess came over, asked me my name, which I confirmed, then told me to follow her — I had a phone call. At the hostessing station, I took the black phone with the cord and on the other end of the line was my sister’s voice: tremulous, distraught. [Read more…]
Now, Now, Louison, by Jean Frémon
New Directions Publishing, 112 pps. $13.95
There once was a little girl named Louise. Sweet, endangered, watchful and tragic, this little girl, who in her permeable nomenclature was also referred to as Lousion, bore the embryonic shadow of the son and heir that her father desired. Louise and her mother, Louison and her father, a baleful diet of scissors and stones, a garden overgrown with weeds. Here is where the myth begins. [Read more…]
The Emissary, by Yoko Tawada
Translated by Margaret Mitsutani
New Directions Publishing, 128 pps. $14.95
I have seen the future and it’s murder — Leonard Cohen, “The Future”
Stop me if you’ve heard this one before. Death walks into a bar, wielding a scythe, which he intends to use in shaving God’s face. Death, in his wanderings, has been hearing rumors about the wooly burning bush that covers God’s face like topographical phenomena, and he has made it his self-directed duty and obligation to give God a clean shave. The thing is, Death doesn’t find God in the bar, so he begins using his scythe on all the people he encounters in the bar, and then continues his bloody shave-fest out in the real world, as he continues searching for God’s hairy, burning beast of a face. In the end, Death is a misguided barber, and God an absentee with bigtime street cred. To dance the razor’s edge between vaudeville and nightmare requires a certain sense of marvel and precision, a certain joie de vivre to keep one company while suspended over an abyss, and this is the sensibility that Yoko Tawada exacts with finesse and fluency in her satirical timebomb, The Emissary. [Read more…]
The Natashas, by Yelena Moskovich,
Dzanc Books. 232 pp. $16.95.
You enter a dark, deserted warehouse on the waterfront. One that smells of cats and kerosene, and whose walls are covered with dusty calendars from bygone eras. Or perhaps you find yourself in the balmy catacombs of an arterial sanctuary. Or, fill-in-the-blank, and create a setting that corresponds with your own resonant sense of dislocation, the flickering rose-light of omen and mystery. Simply, you are there, delegate to enigma, compelled to explore, to scratch an existential itch, which began with a crumb floating in a pool of cirrus: “In the boxshaped windowless room, all the girls are named Natasha.” A simple description and declaration, what could be the textual fade-in to a Samuel Beckett cryptogram, and it is this cinematic “teaser” which has drawn your inner-Philip Marlowe into a Maya Deren filmscape where a sign warns: The dream you are dreaming may not be your own. Welcome to the lucidly baffling world of Yelena Moskovich. [Read more…]
Her Body and Other Parties
by Carmen Maria Machado
Graywolf Press, 264 pp., $16.00
My body is a haunted
house that I am lost in.
There are no doors but there are knives
and a hundred windows.
–Jacui Germain
Imagine, now, an episode of Black Mirror, in which the female-body-as-haunted-house is the prime subject, a corporeal metaphor undergoing a cinematic vivisection. A symphonic series of camera angles, close-ups, rapid cuts and fade-outs commingle with bones-in-the-attic narrative and feminist bloodletting, Camille Paglia channeling Shirley Jackson, and we, the viewers, are riveted to the screen, to the exposed interior of a haunted house that seems never-ending in its shadowed corridors and passageways. The episode closes with an appropriately unsettling final scene, a cryptic air that slows time and promises an emotional hangover. You stare at the silent blackened void of the screen, waiting for music to play, for credits to roll, for something to happen. Finally, words appear in white block letters — Written by Carmen Maria Machado. This stirring episode hasn’t yet aired, because it hasn’t been written, but in a parallel realm where I get to play Netflix exec, Machado has been commissioned to contribute her unique and considerable talents to the Black Mirror universe. [Read more…]
Killing Commendatore
by Haruki Murakami
Knopf, 704 pp., $19.49
“But at three o’ clock in the morning, a forgotten package has the same tragic importance as a death sentence, and the cure doesn’t work — and in a real dark night of the soul it is always three o’ clock in the morning, day after day. At that hour the tendency is to refuse to face things as long as possible by retreating into an infantile dream — but one is continually startled out of this by various contacts with the world. One meets these occasions as quickly and carelessly as possible and retires once more back into the dream, hoping that things will adjust themselves by some great material or spiritual bonanza. But as the withdrawal persists there is less and less chance of the bonanza — one is not waiting for the fade-out of a single sorrow, but rather being an unwilling witness of an execution, the disintegration of one’s own personality.” –Scott Fitzgerald, “The Crack-Up” (1936) [Read more…]
Room to Dream
by David Lynch and Kristine McKenna
Random House, 592 pp., $32.00
All that we see or seem
Is but a dream within a dream.
— Edgar Allan Poe
For the past forty somewhat years, David Lynch has dreamscaped a long day’s journey into night, taking audiences on a hallucinated tour through the underworld of their own splintered psyche. In a world, or perhaps I should say industry, often bereft of visionary spellcasting, Lynch has been the equivalent of a cinematic shaman, a goofball deviant in bi-polar shades, trafficking in symbols, archetypes, glyphs, images and impressions, fished out from a fathomless substratum. His oeuvre, a steam-punk Frankenstein of interchangeable parts, speaks to the savvy and glee of a mad scientist at play, while his blending of the eternal with American pop has given us a surrealistic soap-opera with an eye toward the numinous. Carl Jung eating apple pie in a diner while riffing on anima with a gum-clacking waitress named Flo; the red-jacketed ghost of James Dean partying on top of a toxic mushroom cloud while Marilyn Monroe lip-syncs “Happy Birthday” in Yiddish; a blue jukebox isolated in the desert where it serves as an altar for a congregation of devout rabbits . . . these could be dispatches from a world of Lynch’s making. [Read more…]
The Sadness of Beautiful Things
by Simon Van Booy
Penguin Books, 208 pp., $16.00
“O Lord, give us each our own death. Grant us
the dying that comes forth from that life in which
we knew love, grappled with meaning, felt need.”
— Rainer Maria Rilke, The Book of Hours
Simon Van Booy is a collector of stories, a distiller of them. He is the ear suctioned to the glass pressed against the door, the man scribbling on the back of matchbooks while seated in a hotel lobby, the sensual rover making his way through the patchwork euphony of voices in a diner. He is, in paraphrasing Anais Nin, a consummate spy in the house of love. Love, in all its splintered fragmentation, in all its rubbed shine, is always at the punchdrunk heart of Van Booy’s work, a dreamworn kernel in the grist of his tender elegies. His latest collection, The Sadness of Beautiful Things, inspired by true stories he was told during his travels, holds the power of love up to the light, in soft focus, while moving through a world of ache, sorrow and longing. [Read more…]
“We didn’t need dialogue. We had faces!”—Norma Desmond, Sunset Boulevard
If I had to choose one face as the truest and most magnetic testament to Miss Desmond’s proud claim, that face would belong to Renee Maria Falconetti in the 1928 classic, The Passion of Joan of Arc. Falconetti, who was a stage actress and comedienne (Joan of Arc was Falconetti’s only major film role, and her final one) delivered what you might call a virtuoso facial performance, unparalleled in its plasticity of range and soul-felt expressiveness. Or in the words of the late film critic, Roger Ebert, “You cannot know the history of silent film unless you know the face of Renee Maria Falconetti.” [Read more…]
The Largesse of the Sea Maiden
Reviewed by John Biscello
The Largesse of the Sea Maiden: Stories
Random House, 224 pp., $27.00
Picture the sibilant music of blood-red sand shifting from one bulbous half of the hourglass to the other. Or black-and-white film footage, bearing a scarred geography of squiggles and motes and hyphens, bleaching a darkened room in a ghostly light. Picture the slow and deliberate turning of calcified pages in a vinyl photo album, which provides evidence of the people you were, the friends you had, the family you loved, and hated and loved again. Any one of these notions, or those of a similar ilk, could serve as the tonal prelude, the lo-fi trailer, to Denis Johnson’s collection of stories, The Largesse of the Sea Maiden, completed just before his death. [Read more…]
“I am me again, exactly as I am not.” — Bernardo Soares, a.k.a. Fernando Pessoa
If the Portugese writer, Fernando Pessoa, would not have existed, he would have created himself, if only to negate and deconstruct the existence of a writer named Fernando Pessoa. As an invisible spokesperson for identity crisis, and forger of multiplicities, Pessoa had up to 136 alter-egos, what he called his “heteronyms,” about which he said, “They are beings with a sort-of-life-of-their-own, with feelings I do not have, and opinions I do not accept. While their writings are not mine, they do also happen to be mine.” These heteronyms existed in a Pessoa-spawned universe in which their lives sometimes overlapped, i.e., the criticism and translation of one-another’s work, and it wasn’t until 1982 that the bible of that universe, The Book of Disquiet, was first published. Originating as a fragmentary series of impressions, speculations, reveries, distillations and dream-speak, Pessoa’s unending work-in-progress was unified into the book he one day hoped it would become…forty-seven years after his death. Which makes a passage like this one all the more achingly poignant: “I sometimes think with sad pleasure that if, one day in a future to which I will not belong, these sentences I write should meet with praise, I will at last have found people who ‘understand’ me, my own people, a real family to be born into and to be loved by. But far from being born into that family, I will have been long dead by then. I will be understood only in effigy, and then affection can no longer compensate the dead person for the lack of love he felt when alive.” [Read more…]
A New Volume Of Uncollected And Unpublished Poems
Reviewed by John Biscello
“Baby . . . I’m a genius but nobody knows it but me.” — Bukowski, Factotum
As a bottom-feeding, hardscrabble Walt Whitman, Bukowski sang of himself, incessantly, with a volcanic chip on his shoulder. He was determined to be heard, recognized, affirmed—Charles Bukowski Wuz Here stamped on Eternity’s forehead. He coerced you to see life as a cruel and dirty joke that he was in on, and often felt himself to be the butt of, and he would play the page like a blowsy stand-up comedian with too much acid in his diet. He was a living room Pulcinella with a beer-gut, a literary W.C. Fields tossing water balloons and Molotov cocktails with sardonic glee. [Read more…]
A Review of Elizabeth Ellen’s Person/a
by John Biscello
I
In the 2004 film, The Libertine, Johnny Depp, playing the Earl of Rochester, delivers an acidic opening monologue, which begins, “Allow me to be frank at the commencement, you will not like me. The gentlemen will be envious and the ladies will be repelled. You will not like me now and you will like me a good deal less as you go on.”
The ego, as a mouthpiece for rebellion, as an exiled priest dispatching its sermon-of-self from a rogue pulpit, creates itself through voice. In the “Letter from the Editor” section of Elizabeth Ellen’s new novel, Person/a, the author states: “… I write this letter to you, dear reader, as both editor and author of this novel, with full awareness and with full admission that if there is a ‘Monster at the End of this Book,’ that monster is I. I am that monster. Let this then serve as an introduction.” [Read more…]
Ernest Hemingway: A Biography by Mary V. Dearborn Reviewed by John Biscello
Can I believe myself as others believe me to be? Here is where these lines become a confession in the presence of my unknown and unknowable to me, unknown and unknowable for myself. Here is where I create the legend wherein I must bury myself. — Miguel de Unamuno.
Perhaps no other 20th century writer has invited more scorn, worship, lampooning, lionization, and soapbox scrutiny than Ernest Hemingway. Or rather the “legend” of Ernest Hemingway. His name became not only synonymous with American literature, and a laconic style of writing, but also with a specific he-man persona that wore its balls on its torn sleeve. [Read more…]
Meridel Le Sueur’s The Girl, written in 1939—the year in which World War II began, the Manhattan Project got underway, and The Wizard of Oz and Gone with the Wind premiered—had to wait nearly forty years before its publication date in 1978. If it hadn’t been for John Crawford, the founder and publisher of West End Press, whose goal was to “print works by American writers neglected by publishers in the ‘mainstream,’” this small masterwork may have remained an unknown treasure collecting dust in Le Sueur’s basement. [Read more…]
Excerpted from Nocturne Variations, a soon-to-be published novel by John Biscello
Joe pushed open the door and a bell sang.
Max followed Joe into Red’s.
The men’s dark hats and trenchcoats were beaded in snow.
Joe took off his hat and waved it profusely, air-drying the moisture that had accumulated on it. He put the hat back on and surveyed the diner.
The place was empty except for two customers.
An old woman, wearing a green hat that fit her head like a woolen conch shell, was seated at a table in the far corner. Arms gelatinously splayed on either side of the table, she was hunched over her bowl as if divining messages from it. When Joe and Max entered, she raised her eyes and stared at them with listless gravity.
At the counter, which was lined with red vinyl stools, sat a rumpled, doughy-looking man with an eyepatch.
Snow in April, Joe piped, as if announcing the title of a hit song. [Read more…]
Was it all a dream—
I mean those old bygone days—
Were they all what they seemed?
All night long I lie awake
listening to autumn rain.
This poem from the Zen monk, Ryokan, could serve as an emblematic preface to Haruki Murakami’s Men Without Women. Claustrophobic poignancy and stringent wistfulness, shot through with quirky humor, characterize the autumn-flavored tone of the seven stories comprising the collection. [Read more…]
Silent Voices at LewAllen Galleries, Santa Fe NM Reviewed by John Biscello
During a recent visit to Santa Fe, I chanced upon the artwork of Linda Stojak. Her show, Silent Voices, was being featured at LewAllen Galleries, and entering the shrine-like atmosphere of the nine-painting exhibition, I immediately felt as if I were holding sacred vigil or bearing witness to metamorphic elegies.
The female subjects comprising Silent Voices seem to exist in a haunted chrysalis state, or embryonic purgatory. Their faces, ashen swabs which are kin to Di Chirico’s faceless enigmas, suggest not only the tragic obliteration of identity but also the potential for rebirth, i.e., a Bardo makeover. [Read more…]
“He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all of possibilities of time.” — Jorge Luis Borges, “The Garden of Forking Paths”
One could imagine Borges, who declared that the basic devices of fantastic literature are four-fold—the work within the work, the contamination of reality by dream, the voyage in time, and the double—as personal timekeeper and Virgil-visioned guide to Paul Auster, who for the past half a century has trafficked in existential loops and slipknots, identity crises and vanishing acts. Auster, whether writing fiction or non-fiction, writing in the first person or third person, has always haunted his own writings, sort of as the negative imprint of a splitting point. [Read more…]
Henry Miller’s The Time of the Assassins
Reviewed by John Biscello
“This time we have him: we know where Arthur Rimbaud, the great Rimbaud, the real Rimbaud, the Rimbaud of Illuminations is. This is not a decadent hoax. We are declaring that we know the real hiding place of the famous missing poet” —La France moderne, Feb 19-March 4, 1891 [Read more…]