tag:blogger.com,1999:blog-84940247843246809392024-02-25T02:53:21.626-08:00The Goalie's AnxietyScott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.comBlogger413125tag:blogger.com,1999:blog-8494024784324680939.post-2330648032556046042012-11-24T12:13:00.003-08:002012-11-29T15:41:52.566-08:00A NEW BLOG SITE<br />
<span style="font-size: large;">Because my Picassa/Blogspot limit for storing photos has been reached, I have begun Part Two of The Goalie's Anxiety </span><a href="http://thegoaliesanxiety.wordpress.com/" target="_blank"><b><span style="color: blue; font-size: x-large;">HERE</span></b></a><span style="font-size: large;">.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com0tag:blogger.com,1999:blog-8494024784324680939.post-51017444852163164772012-11-22T08:36:00.000-08:002012-11-29T15:41:31.194-08:00Home Again<span style="font-size: large;"><br /></span>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">11
November 2012<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">I went into the LDS Third Ward in Farmington, New Mexico. I
could not tuck “my long hair up under a cap” as did poet and environmental
activist Gary Snyder when he ventured into Farmington’s Maverick Bar. I had no
earring to leave in the car. I didn’t drink “double shots of bourbon backed
with beer” (although my traveling bag held a flask of lowland single-malt in
case of emergency). Unlike Snyder, I had an escort, an old friend who explained
where I was from. Instead of “We don’t smoke Marijuana in Muskokie,” the
organist played “For the Beauty of the Earth.” There was no dancing. Otherwise
my experience was exactly like Snyder’s.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Snyder was in the Four-Corners area to protest the rape of Black
Mesa, holy to Hopis and Navajos, black with coal. The corporations prevailed and
the coal was strip-mined and slurried away with precious desert water and the
air of these high, wild, open spaces was so thoroughly fouled that on Thursday,
driving from Cortez to Shiprock, the dramatic volcanic core that lent the town
its name stood veiled, smudged, moodily distant.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">I was in the Four-Corners area to revisit my past, John’s
past.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Nearly four decades since I last attended church in my
hometown, more than a decade since I left the Mormon Church, twenty years since
I began my fraternal meditations after John’s death, a week after Barack Obama
was elected to a second term, I went into the LDS Third Ward in Farmington, New
Mexico.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">A billboard in southwestern Colorado had shouted at me as I
drove past: SAVE GOD AND AMERICA. It proclaimed that OBAMA HATES BOTH. And it
concluded that I should VOTE ROMNEY.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Utah County, where I live, had just given Mitt Romney 90% of
its votes. San Juan County, New Mexico, where Farmington is located, awarded
63% of its votes to Romney (contrasting with Albuquerque’s Bernalillo and Santa
Fe Counties, which went 56% and 73% for Obama respectively). With the exception
of New Jersey’s Mercer County (Obama 68%), I’ve spent my life among
conservatives.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Farmington’s citizens are conservatives of an isolated sort.
It is 182 miles to Albuquerque. 208 to Santa Fe. 419 to Phoenix. 377 to Denver
(the route my family took that fateful December). 425 to Salt Lake City (from
where Brigham Young sent his son Brigham Young Jr. to colonize Kirtland, New
Mexico, a little farming town just west of Farmington). West Texas, origin of
many of the town’s oil-field specialists and workers, is about 500 miles
distant. At the confluence of the La Plata, the Animas, and the San Juan
rivers, Farmington’s Anglo culture is shoehorned between Latino New Mexico and
the Navajo Reservation.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">I haven’t been politically conservative since I left
Farmington. Or did the shift occur when I came home from my German mission? Or
perhaps as I changed my major at BYU from pre-med to German literature and
philosophy? Or when I headed east for graduate work at Princeton?<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">In any case, I went into the LDS Third Ward in Farmington,
New Mexico with my long, grey hair pulled back into a ponytail just days after
every voting member of this congregation (was there, perhaps, a single
dissenter? two of them?) had voted for their fellow Mormon conservative, and
had done so after fasting and praying for him, sure, or at least hopeful, that
he would save the Constitution and the Country from Socialism or worse! I live
with a partner to whom I’m not married. There’s that problematic flask of
whiskey. I had coffee Saturday at Andrea Kristina’s Bookstore and Kafé in downtown
Farmington. I swear like the roughneck I once was. I’m allergic to authority. I
would gladly be gay if I had those inclinations.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Today I wish I could tuck my hair under a cap.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">I pull open the door and gesture to a grey-haired couple to
enter.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Thank you, they both say.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">When I did this in the old days, people said thank you young
man, I reply.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">You’re not young any longer, the man says.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Doug introduces me to them as the son of my father.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Your dad was our Bishop when we lived here before, the man
says.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">We’re greeted by the current Bishop’s two councilors, men in
dark suits and white shirts and ties and with firm handshakes and sincere
smiles that make me think they will not throw me out if they discover I’m an
environmentalist. Two young, male missionaries shake my hand, assess me avidly.
My hair suggests I might be available for conversion.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">We find seats in the back row next to our old friend Craig.
He’s the only man in the building not wearing a tie. I get too hot, he says.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Tyra plays opening chords on the organ and I join the congregation,
maybe 150 white people, in singing a hymn about the earth’s beauty. Although I
no longer believe there’s a god to thank for that, I am thankful for the earth
and smile when I realize I still remember many of the words. It feels good to
sing again, to “join the congregation.” And they are not all white, as I
supposed – a young Native American, 12 or 13, sits with the deacons in front of
the sacrament table.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">A vigorous young woman rises to give the invocation (women
were not allowed to pray in sacrament meeting when I was young). Heads bow all
around me and I find my own head slightly bowed as well. I watch the woman as
she invokes “Our Dear Heavenly Father,” her eyes screwed shut, focused intently
on what she is saying. She thanks the Lord for the Veterans “who we honor on this
Veterans’ Day.” She slips into a well-worn groove to ask that God “bless the
leaders of our Church and the . . . and the leaders . . . and the leaders of
our Nation.”<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Although the election is still very much with her, in the
end, bless her heart, she fights through the disappointment (and anger?) and
completes the blessing.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">While a Master Sergeant in splendid uniform speaks
extemporaneously and emotionally about how his duty in Viet Nam stripped him of
religious beliefs, faith he regained slowly when he found and joined the
Mormons, I think about the flat plaque on my father’s grave halfway out the
Aztec Highway. Paid for by the Veterans Administration, placed in a noisy
corner below a busy highway in a sterile cemetery designed without gravestones
to make grass cutting easier, it says BOB WALTER ABBOTT / 1ST LT US ARMY /
WORLD WAR II / 1925—1977. That’s it. No mention of loving father and husband. Of
fine teacher and good principal and compassionate Bishop. His epitaph is
elsewhere, I tell myself, in our “Books of Remembrance,” in our collections of
photographs, in these pages.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">John’s gravestone stands in a more inviting spot, atop a
hill in American Fork, Utah. Fraternal hands are carved into bright grey
granite – and into these meditations.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">A woman sitting in front of us rubs her teenaged son’s back,
a gesture repeated in other pews. A husband stretches an arm around his wife’s
back. Families snuggle together while a speaker drones comfortably on about a
new, inspired curriculum for youth classes (“There will be no more ‘stand and
deliver’ but interaction and shared responsibility”). I try to imagine John in
this warm setting, a 61-year-old arm around his husband’s shoulder, happy to
have rejoined the congregation that sent him on his mission to Italy.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">I can’t picture it. Not in my lifetime.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">On Friday, <i>The
Atlantic</i> published an analysis of racist tweets shortly after President
Obama was declared the winner of a second term. After Alabama, Mississippi, and
Georgia, the good citizens of Utah were the fourth worst offenders.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">We sing “Count Your Blessings,” one of Dad’s favorites, and
I cheerfully join in the bass line that marches eighth notes (“count your many
blessings”) across the syncopated soprano line (“count —— your blessings”).<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Sacrament meeting over, I follow Doug across the gym into a
large classroom. People still greet him as “Bishop,” formal in their hierarchy,
grateful for his service. The room fills with men and women, maybe 60 of us,
almost everyone holding a set of scriptures. Christ’s visit to the Americas
after his resurrection as told in <i>The</i>
<i>Book of Mormon</i> will be the text for
today’s class. Doug is a born teacher, as erudite as he is sensitive to the
problem of too much erudition in this diverse and provincial group. <o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Provincial. That’s the word that best describes my sense for
the town I drove into on Thursday. I was without sophistication when I left for
college in 1967 and thus, logically, must have come from an unsophisticated
town. Farmington is nearly twice the size it was then, approaching 50,000
inhabitants, and it now has a two-year college. Still, over the years, thinking
about Doug as a hometown lawyer, I have always thought that he was stuck in a
backwater.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Cosmopolitan. That’s the word that best describes the new
sense I have for Doug after the mental explosion provoked by poking around in
his downtown law office. It’s an insight I might well have expected had my
thought not coalesced around an inevitably false and self-serving image. In
high school we frequented the school library in tandem and as college roommates
I was jealous of Doug’s passion for Shelley and Keats. I knew he had spent two
years speaking Quechua and Spanish in Bolivia. He had been a U.S. Marine for
four years and had won two blackbelts in karate. But until the explosion
occasioned by seeing Doug’s books I had him pegged as a small-town lawyer who
had reverted to the provinces. While I, in contrast, . . .<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">The rooms of Doug’s law office contain, of course, those
leather-bound books in glass-fronted cases meant to lend a sense of prosperity
and sagacity to their owners. There are shelves and shelves of law books, various
tools of the trade. The rest of the books, however, testify to intellectual
curiosity of the best sort. Most of them have obviously been read (excluding a
pristine copy of Heidegger’s <i>Being and
Time</i>). There is a long shelf of books about Navajo language and culture.
Several shelves of military history. Books about knots. Dozens of books about
knots! Innumerable field guides to birds and animals. Entire bookcases devoted
to philosophy and theology. A dozen translations of the <i>Bible</i>. Mormon books sprinkle the shelves, including twenty-two
volumes of the <i>Journal of Discourses</i>,
balanced by Meister Eckhart and St. John of the Cross and Thomas Merton and
Martin Buber and Bertrand Russell’s <i>Why I
Am Not a Christian</i>. There is lots of poetry. Shakespeare in abundance.
Dictionaries galore: Spanish, Spanish/English, Spanish/English Legal
Dictionary, Spoken Spanish, Navajo/English, French/English, Latin Verbs, a
reverse dictionary, a poet’s dictionary, a usage dictionary, <i>Bible</i> dictionaries, a bibliophile’s
dictionary, literary terms, the <i>Oxford
English Dictionary</i>, law dictionaries, dictionaries of quotations,
crossword-puzzle dictionaries, dictionaries of etymology, and a whole raft of
thesauruses. Armed with such books, Doug has written three dissertations: one for
a Doctorate of Juridical Science in Taxation at the Washington School of Law,
and two for Doctorates in Theology and Ministry at the Faith Christian
University.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Tyra says I’ll do anything for a certificate, Doug told me.
Look at my card:<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-size: large;"><b><span style="font-family: "Times New Roman";">F.
D. Moeller</span></b><span style="font-family: "Times New Roman";"><o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">B.S., Th.B., M.S.M., M.A.(C.P.), Th.M.,
Th.D., D.Min., J.D., LL.M., DJ.S<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">Farmington, New Mexico<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">424 W. Broadway<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;"> Holy shit! I said.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;"> And it’s not all academic. Tyra dug
out dozens of film reviews in the local paper, a set of poems published in a
weekly column, and numerous “Guest Commentaries” by “F.Douglas Moeller, a
Farmington attorney and poet” or, alternately, “a Farmington attorney and
writer.”<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;"> This man in front of the adult
Sunday School class in the Farmington Third Ward, this man with the gentle mien
and soft, precise voice, this father of four and advocate in various tribal and
state and regional courts, this collector of knives and guns and canes and
masks, this provincial friend of mine is no provincial.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;"> The part of the <i>Book of Mormon</i> Doug is teaching today raises interesting questions
related to the text – why, for instance, does Jesus quote the King James
translation of Isaiah, or what about the multiple Isaiah’s Biblical scholars
can identify? – but for the most part members of this class want direction for
their lives, succor for their wounded souls, reassurance that they are God’s
children. That’s exactly what they get. Doug asks for any last questions or
comments, then bears his testimony as to the truthfulness of the Gospel.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">While someone prays I remember Snyder’s reference to
“short-haired joy” and think, of the members of this American Church, that “I
could almost love you again.”<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;">12 November 2012<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman";"><span style="font-size: large;"> I spent the
afternoon and night with my sister Carol in Dolores, Colorado. She’s as
beautiful as she always was, excited about the Veterans’ Appreciation Assembly
her fifth-grade students will help with today. </span></span><span style="font-size: large; line-height: 200%;">It’s ten degrees Fahrenheit when I begin my drive up the
canyon toward Telluride – one degree as I drive through the little mining town
of Rico, ten degrees again when I drive into Telluride, busy with preparations
for the ski season. Mose Allison sings from the CD player, a song by Duke
Ellington and Bob Russell whose refrain has always puzzled me: “do nothing till
you hear from me / and you never will.” I listen closely to the story of
separated lovers and of rumors of lost love. He sings of new experiences (“other
arms may hold a thrill”) and yet, paradoxically, professes enduring
faithfulness. “Do nothing till you hear </span><b style="line-height: 200%;"><i>it</i></b><span style="font-size: large; line-height: 200%;"> from me / And you never will.” “It,”
missing in the lines that perplex, would be the statement that he is untrue in
his heart, that he no longer loves her. Love is both complex and perplexing.</span></div>
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<br />
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<br /></div>
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<span style="line-height: 200%;"><span style="font-size: large;"> This is my
song, I think, Gary Snyder’s song.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="line-height: 200%;"><span style="font-size: large;"> In Paonia I
find the little log house we lived in till I was five, then race along the
still ecstatic highway to Green River, and finally, after descending the dangerous
highway snaking down Spanish Fork Canyon, ease down the dark driveway from
which Lyn has shoveled a foot of heavy snow, home again.<o:p></o:p></span></span></div>
</div>
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<br /></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">I Went
into the Maverick Bar<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">by Gary
Snyder<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">I went into the Maverick Bar <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">In Farmington, New Mexico.<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">And drank double shots of bourbon<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
backed with beer.<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">My long hair was tucked up under a cap<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">I’d left the earring in the car.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">Two cowboys did horseplay<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
by the pool tables,<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">A waitress asked us<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
where are you from?<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">a country-and-western band began to
play <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">“We don’t smoke Marijuana in
Muskokie” <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">And with the next song,<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
a couple began to dance.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">They held each other like in High School
dances <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
in the fifties;<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">I recalled when I worked in the woods<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
and the bars of Madras, Oregon. <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">That short-haired joy and roughness—<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
America—your stupidity. <o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">I could almost love you again.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">We left—onto the freeway shoulders—<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
under the tough old stars—<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">In the shadow of bluffs<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
I came back to myself,<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">To the real work, to<o:p></o:p></span></div>
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<span style="color: #3f3f3f; font-family: "Times New Roman";">
“What is to be done.”</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<!--EndFragment-->Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com6tag:blogger.com,1999:blog-8494024784324680939.post-7531437235741807102012-11-19T07:12:00.000-08:002012-11-24T09:39:47.063-08:00A Randy Little Buck + Weather Drama<br />
[. . . just four days after this photo, we woke up to see this buck resting in an oakbrush grove just west of our house. He was still there in the early afternoon and we wondered if he had had a long night in an alfalfa field and was now chewing his cud. By late afternoon he was lying on one side, breathing hard. A little later he jerked his head back and stuck his nose up, antlers dug into the ground. An hour later he died. His body is still warm. His open eye is glazing over. I'll bury him in the morning. We've got no idea what the cause of death is, but we're heavy-hearted here tonight.]<br />
<br />
[ . . . the next morning. an officer from the state wildlife division came this morning and took a close look. there was no gunshot or arrow wound. instead, the deer had swollen feet and bloating and lots of hair loss -- in all likelihood a victim of <span style="background-color: white; font-family: Verdana, Helvetica, Arial, sans-serif; line-height: 16px;">epizootic hemorrhagic disease.</span><span style="background-color: white; line-height: 16px;"><span style="font-family: Times, Times New Roman, serif;"> hope he impregnated some of those does so he'll live on.]</span></span><br />
<span style="background-color: white; line-height: 16px;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEK43Fc8xkTryKmP9epBNusRL0cwC_jHEmyIRpkpH0YXXJckkgAhIgg-79LJ3a1F10slm6Rlr6yZwg3k8hpAylHAjhz2tpm5OZ3H8xo3W8Kkqliu-7ai8BgIgse_VUMHR66WkhRl4E1zI/s1600/IMG_3742.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEK43Fc8xkTryKmP9epBNusRL0cwC_jHEmyIRpkpH0YXXJckkgAhIgg-79LJ3a1F10slm6Rlr6yZwg3k8hpAylHAjhz2tpm5OZ3H8xo3W8Kkqliu-7ai8BgIgse_VUMHR66WkhRl4E1zI/s640/IMG_3742.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the unconvinced doe is just outside the frame</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNHPCwvFdjabZcDJ7ynZw9bnEKnvdtFJ_ZXj1QSeQIKe7fv80Ozo3c3p8ER5T5qbJSBveRDzDFxK3PfosqH2HGal7k-GLfzpVXI-TeCq5V76WDdmbeUt6fr7XU1K4Z-qMOFz8JxjSEfM/s1600/IMG_3759.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNHPCwvFdjabZcDJ7ynZw9bnEKnvdtFJ_ZXj1QSeQIKe7fv80Ozo3c3p8ER5T5qbJSBveRDzDFxK3PfosqH2HGal7k-GLfzpVXI-TeCq5V76WDdmbeUt6fr7XU1K4Z-qMOFz8JxjSEfM/s640/IMG_3759.JPG" width="640" /></a></div>
<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com7tag:blogger.com,1999:blog-8494024784324680939.post-39628746866215551752012-11-14T12:36:00.000-08:002012-11-17T07:11:34.296-08:00JESUS IN SOUTHWEST COLORADO AND NORTHWEST NEW MEXICO<br />
<span style="font-size: large;">The billboard read</span><br />
<br />
<div style="text-align: center;">
<span style="font-size: x-large;">SAVE GOD AND AMERICA</span></div>
<div style="text-align: center;">
<span style="font-size: x-large;">OBAMA HATES BOTH</span></div>
<div style="text-align: center;">
<span style="font-size: x-large;">VOTE ROMNEY</span></div>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: large;">And there were proclamations about Jesus:</span><br />
<span style="font-size: x-large;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSQOtWrTzC0_Kn5eGyw9I3ncFt5dTORkg1sKInOWEe4EFWEoIP-peuZzaBE0vHfwYaUZ6MCXEpYVgQt3GS77wnT5CRcdKqvVQRKv57hBXV1CZqFk5qNHrrbdY611taimHLvGdUp9MKaU/s1600/IMG_3439.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSQOtWrTzC0_Kn5eGyw9I3ncFt5dTORkg1sKInOWEe4EFWEoIP-peuZzaBE0vHfwYaUZ6MCXEpYVgQt3GS77wnT5CRcdKqvVQRKv57hBXV1CZqFk5qNHrrbdY611taimHLvGdUp9MKaU/s640/IMG_3439.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">maybe, but entropy is the law</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkDvtmtOrtX09cIPazjqlCr6h38l8YtKohHzh9wgEaWHZggoRpGkRQYDKAkw18HqCO7WHOKjb3-FYSxLZnpctPJNu0wCWWNAwUtMEpgGZWMXBo9Tz3BDowu7m7lw07_uSeNv8B1AjumI/s1600/IMG_3452.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkDvtmtOrtX09cIPazjqlCr6h38l8YtKohHzh9wgEaWHZggoRpGkRQYDKAkw18HqCO7WHOKjb3-FYSxLZnpctPJNu0wCWWNAwUtMEpgGZWMXBo9Tz3BDowu7m7lw07_uSeNv8B1AjumI/s640/IMG_3452.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">and the adult-video birds (look closely) are watching jesus</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg88Se9CwTjdu6KGTkgZiy8Ievhsaxc5BuF7orwV7JCSmGTDC-BkURS07tFOroFn76lskDhy3zmsp4FqQdE8pWigFlsH3mNlOQ1q38QYZ45Y9i5niw9iClYc588PCCL-z6vmcLwFwrQbEM/s1600/IMG_3598.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg88Se9CwTjdu6KGTkgZiy8Ievhsaxc5BuF7orwV7JCSmGTDC-BkURS07tFOroFn76lskDhy3zmsp4FqQdE8pWigFlsH3mNlOQ1q38QYZ45Y9i5niw9iClYc588PCCL-z6vmcLwFwrQbEM/s640/IMG_3598.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">there was a texas diet called THIN FOR HIM</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Z3kq5HuFI27haHQzbcRjmx7dG0-SdHivuJLQZgmrVh9kAiWSqufN4NFlnVpu6y003F_P6ezjS4AkG-K-HpTYo8LVd_KVW3NCgbaI7hP8Dxeo_3Vl78235JwoipeDJOZyYZAociBGrRA/s1600/IMG_3601.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Z3kq5HuFI27haHQzbcRjmx7dG0-SdHivuJLQZgmrVh9kAiWSqufN4NFlnVpu6y003F_P6ezjS4AkG-K-HpTYo8LVd_KVW3NCgbaI7hP8Dxeo_3Vl78235JwoipeDJOZyYZAociBGrRA/s640/IMG_3601.jpg" width="480" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOaS5FayCirVo7rPZLmfAAUtblhSEY32i5oI4yhrAMTn65OHlCm_yOnL4NInVaZv36AKmym7dwWTQrPNzagwF9wOz5GOV3qs3iO-pT4mNft-90LAg4129E6nFZDfcVxUQm9fBsvleBJC4/s1600/IMG_3603.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOaS5FayCirVo7rPZLmfAAUtblhSEY32i5oI4yhrAMTn65OHlCm_yOnL4NInVaZv36AKmym7dwWTQrPNzagwF9wOz5GOV3qs3iO-pT4mNft-90LAg4129E6nFZDfcVxUQm9fBsvleBJC4/s640/IMG_3603.JPG" width="640" /></a></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr8s29wMCV5flm0MCVDFsJ_brxtCs_WGiIC4IwtmI-CXBTIaxfo3wxA2mbjjywI8DWwWR4YoykncXxV18OXEB_lmvRBQqkhPp3BGNpfnZK3V3YkDr5-xod3YB2znfO7MD2AS4Mr3n1etU/s1600/IMG_3611.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr8s29wMCV5flm0MCVDFsJ_brxtCs_WGiIC4IwtmI-CXBTIaxfo3wxA2mbjjywI8DWwWR4YoykncXxV18OXEB_lmvRBQqkhPp3BGNpfnZK3V3YkDr5-xod3YB2znfO7MD2AS4Mr3n1etU/s640/IMG_3611.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">self-evident indeed (bet the kid is canadian)</td></tr>
</tbody></table>
<br />
<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-57208436102388589272012-11-10T15:28:00.003-08:002012-11-10T15:29:31.555-08:00DoubleVision: Good news from Punctum Books!<br />
<span style="font-size: large;"><a href="http://punctumbooks.com/" target="_blank">Punctum Books</a>, out of Brooklyn, has just agreed to publish American versions of two books published in Belgrade by Zarko Radakovic and myself.</span><br />
<span style="font-size: large;"><br /></span>
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<b><span style="font-size: 20.0pt; line-height: 150%;">VAMPIRES<o:p></o:p></span></b></div>
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<b><span style="font-size: 20.0pt; line-height: 150%;">&<o:p></o:p></span></b></div>
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<b><span style="font-size: 20.0pt; line-height: 150%;">A REASONABLE DICTIONARY<o:p></o:p></span></b></div>
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<span style="font-size: large;">Here's the text that bridges between the two texts that make up the second volume:</span></div>
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<span style="line-height: 150%;"><span style="font-size: small;"> </span><span style="font-size: large;">In
the summer of 1998, Peter Handke, Scott Abbott and I traveled together through
Yugoslavia and Bosnia and Herzegovina. Several months before this trip, I
thought that along the way Scott and I could continue the joint travelogue that
we started in our book <i>Repetitions</i>.
That book resulted from reading Handke’s book Repetitions – and Scott and I
traveling together through the “geography of the novel,” intending to “verify”
just how much the narration in Handke’s book corresponded to the “reality” of
the described “locations.” Now that Scott had become Handke’s translator too,
having translated and published Handke’s <i>A
Journey to the Rivers</i>, I felt it would be worthwhile to go to the geography
of that book – we, Handke’s translators, traveling together with our author.
And we would write another double manuscript. Again we would be One looking
through two different optics. That way – we thought – what was Seen and
Experienced would be enriched. And I again – as I had with <i>Repetitions</i> – made the proposal. We got ready for the trip. And we
set off on the journey. Scott, as always, was efficient. He noted down every
detail “on the ground.” I, as often when traveling with Peter Handke, wrote
down as little as possible and let myself surrender to experiences that I would
later repeat. But this time Repetition became lost in Experience. As soon as
our trip ended, new events followed each other at breakneck speed. So much that
was new. The country continued to break up: a takeover was portended in what
remained of the state; NATO intervention loomed on the horizon and soon came; I
traveled to the US; I moved; my closest friends fell ill; I withdrew inside
myself and fell silent; I left my job. All the new things I experience during
that period before and after the trip with Handke and Scott simply buried the
experiences that were to be the basis of our writing a book together. My
manuscript developed into another story. The connection with Scott’s text took
on new dimensions. I suddenly took Scott’s manuscript as a crucial context in
which the book <i>Vampires</i> arose.
Instead of keeping a distance with regard to my partner’s text, regarding is as
parallel to what I was writing and another way of looking at our joint reality,
I kept going back to my friend’s manuscript. I suddenly experienced the reading
of Scott’s text as a solid part of myself. The danger arose: instead of a
writer, I would remain a reader. Consequently, I had to remove myself from that
reading material. I had to write. But repeating what my traveling companion had
already written seemed impossible to me. Owing to the proximity of my friend’s
text, owing to the intensity of the new experiences. Consequently, I had to
write something new. I started writing the novel <i>Vampires</i>. Today I experience Scott’s writing as an extremely
important environment for my novel. Because if there was anything I wanted in <i>Vampires</i>, it was a description of the
time and space in which we lived in 1998 before the NATO intervention in
Yugoslavia, which made us all suffer so much, which changed us essentially. I
thought, if Scott has already recorded everything so convincingly, shouldn’t it
be up to me to do some storytelling. In my case, there was no longer any
question about a travelogue. All I could do was take what already existed as a
travelogue, Scott’s manuscript, and insert it into my book. That is what I have
done.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="line-height: 150%;"><span style="font-size: large;">***<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="line-height: 150%;"><span style="font-size: large;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">The year Žarko and I traveled up the
Drina River with Peter Handke – between the wars – was a nearly fatal span for
my dear friend. The events of the same year may have saved my life. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">I remember standing next to Žarko in
front of an audience at the university (was it his first visit or his second?).
I had invited him to speak to German-speaking students in my seminar on his
work with Peter Handke. For two hours he had engaged them, delighted them,
questioned them – all in German (which is the language he and I share – we’re
both foreigners when we’re together). Now he was to address an audience that
didn’t understand German. I was to be the interpreter. I was to say “I” and
mean “Žarko.”<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">It was 1992 (the first visit, then).
Žarko’s lecture was so personal, so elegiac (tragic) that I stood transfixed
even as I repeated in English the words my friend spoke in German:<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">Approximately
fifteen years ago I left my country. Back then, in 1978, it called itself the
Socialist Federal Republic of Yugoslavia. In late autumn as I left the Belgrade
train station to travel to what was then the Federal Republic of Germany, I
didn't have the least suspicion that in fifteen years, that is, now, my country
would no longer exist. . . . <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">[He/I
continued] <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">Can I, in the
midst of these tragic events, appear as an “omniscient narrator”? Can I, as an
isolated writer, produce stories? Can I, as a writer in this situation, react
publicly, draw conclusions, show emotions, move about freely, take part in
discussions? Can I write about this brutal present at all?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="line-height: 150%;"><span style="font-size: large;">Years later, Žarko answered those
questions with his novel <i>Vampires</i>.
The answer, of course, is no. He can’t appear as an “omniscient narrator.” He
can’t produce stories. He can’t draw conclusions. The answer, of course, is
also yes. He can, in fact, write about this brutal present. Or better said: He
can write this brutal present. That writing – that tortured, broken, but not
un-dead writing – questions narration. It undermines stories. It deflates
conclusions.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="line-height: 150%;"><span style="font-size: large;"> The
tremendous costs such writing exacted on my dear friend weighed heavy on me as
I tried to write my own text in the context of a country split so brutally that
it now required a Serbian dictionary<i> and</i>
a Croatian dictionary. How could I possibly put what I experienced with Žarko,
in Žarko’s homeland, into sentences? <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 0.5in;">
<span style="line-height: 150%;"><span style="font-size: large;">What I did know was that my own life
was in danger – my emotional life, my future life, my spiritual life (no, not
my spiritual life, I no longer wanted a spiritual life). If I couldn’t somehow
write my way out of the drying cement of my life. . . .</span><span style="font-size: small;"><o:p></o:p></span></span></div>
<!--EndFragment--><br />
<!--EndFragment-->Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-14745862522550932592012-11-06T09:45:00.001-08:002012-11-07T07:41:52.166-08:00Blue for Obama<span style="font-size: large;">Blue asked me to post this and I am pleased to do so.</span><br />
<br />
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<br />
<span style="font-size: large;">Addendum, the morning after: </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Blue is happy to report that his effort on this blog helped boost Utah votes for President Obama from single to double digits.</span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-11657979198338783092012-11-03T10:25:00.004-07:002012-11-03T10:25:32.082-07:00Pretty Morning + Speicheldrüse<br />
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<span style="font-size: large;">I'm sitting in a dentist's chair, lying there, actually, and he's drilling an old filling out of an old cavity in an old tooth.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">OH! he says.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">He directs the assistant to vacuum up the piece of the tooth that has chipped off.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">No harm done, he says. We're putting a cap on it anyway.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Easy for you to say, I think, my mouth full of a suction device, a drill, and plenty of fingers.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">He continues to drill until he hits a nerve or activates a nerve or whatever is the case and I wince. Then again. And a third time. This is painful.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Does it hurt? the dentist asks.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I nod.</span><br />
<span style="font-size: large;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09jcBUTGsBFUDJk0-B4pK8y4AGfU_DE_nL6Pwy3xJ2UQ6Q_5iJ5rwvUE-dNjK6PtHHMGZt2Hi9oTJYz-FkwQQ0fLbARP_bidNYd56NtmFTH7ZKKM3MvMFzlmHJ_h_IG_kPR7jn4ll_XU/s1600/IMG_3310.JPG" imageanchor="1" style="clear: right; display: inline !important; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09jcBUTGsBFUDJk0-B4pK8y4AGfU_DE_nL6Pwy3xJ2UQ6Q_5iJ5rwvUE-dNjK6PtHHMGZt2Hi9oTJYz-FkwQQ0fLbARP_bidNYd56NtmFTH7ZKKM3MvMFzlmHJ_h_IG_kPR7jn4ll_XU/s400/IMG_3310.JPG" width="400" /></a><span style="font-size: large;">He pulls out his huge needle and syringe and plunges it into my jaw muscle. And again.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">He continues to drill.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I wince again. He drills. My mouth fills with spit. The assistant suctions it out. It fills with spit. She suctions. Suddenly a word comes to me, a word I haven't seen or used for 40 years: </span><span style="font-size: large;"><i>Speicheldrüse</i>!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">It's not a curse (although it might well be). It means salivary gland.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"> My mind turns to the end of Thomas Mann's first novel, <i>Buddenbrooks</i> (1901). Thomas Buddenbrooks sits in a dentist's chair while the dentist, named Brecht, tries to pull a bad back tooth. The extraction goes on and on. Buddenbrooks suffers extraordinary pain. Dr. Brecht sweats with exertion. There's a sudden tug and the dentist swears and stands there holding the crown of the tooth in his pliers. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The crown broke off from the roots, he tells Buddenbrooks. That's all we can do today. You'll have to come back tomorrow and I'll cut out the roots.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Thomas Buddenbrooks leaves the office, steps onto the street, turns a full circle and falls dead into a puddle of water.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">That's all for today, my dentist says. My assistant will fit a temporary cap and you'll come back in a week when the permanent cap will be back from the lab.</span><br />
<span style="font-size: large;"><br /></span>
<br />
<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com3tag:blogger.com,1999:blog-8494024784324680939.post-63200390834622399472012-10-31T11:57:00.000-07:002012-11-01T07:11:05.230-07:00The Stillness of the Outhouse: Peter Handke's Versuch über den stillen Ort<br />
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<span style="font-size: large;">Peter Handke's new book just arrived, his fourth in this series of essays (following the essays/Versuche on the jukebox, on tiredness, and on the successful day). I once pointed out to him that in that latter essay he writes about a Van Morrison song called "Coney Island," but misplaces the Irish island to New York. He smiled and didn't seem too concerned.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Like the other essays, this one comes handsomely wrapped in the first page of the manuscript, written in pencil, like all of his work, and exhibiting interesting deletions and additions.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The quiet place of the title is a succession of outhouses, public and private restrooms, and finally a quiet residence between fields north of Paris (Marquemont) where he writes the essay.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Why are the family's little room with a hole that empties directly into the manure pile of the barn below, the cold restrooms of the Tanzenberg seminary, the trainstation toilet where he spends the night after graduating from public school in Klagenfurt, the university restroom in Graz where he washes his hair, the temple outhouse in Japan, restrooms in French cafes, the public toilets on the Portugese coast -- why are these still rooms worthy of an essay? Because they are places where the young Peter Handke experiences versions of himself, where he has an identity separate from family, where there is an "I" different from the "I" determined by others and by their language.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The public places are wide and open as the word "Platz" indicates etymologically (wide, plateau). The places where one can pee and shit are narrow and enclosed, as the word "Ort" points out (pun intended -- the root means point or edge). In short, they are places apart, Ab-ort, away/apart/separate/out.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">It's the dialectic between the two kinds of places that the text investigates. The still outhouse / Abort isn't a utopian place but rather a place that collects and stimulates and supports feelings and thoughts that then enable and even require a return to the group. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There's a scene reminiscent of the short essay in "Once Again For Thucydides" about various head coverings in Skopje in which Handke watches people walking on a path in a park of Cascais, on the Portugese Atlantic, headed to and returning from the public toilets. The "I" that he is, or the other "I" that he is, or the others, he writes, needs such a coming and going. He compares the train of people with people in a church who are going to receive communion and finds communion with them even as or because the communion is enabled by the outhouse where they can be alone.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In the novel "The Great Fall," by the way, the narrator similarly juxtaposes communion in a church and a kind of communion in a pissoir.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There's a very interesting account of the young Peter Handke refusing invitations to travel with his classmates after graduation. Instead he travels by himself from village to town, finally spending a cold night curled around a toilet in the train station. He writes about how that became, in the novel "Repetition," the story of a similar young man traveling across the Yugoslav border to Jesenice and spending his first novel in a niche in the side of the train tunnel between Austria and Yugoslavia.</span><br />
<span style="font-size: large;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQiL-7kmt6zV-d78Hmxj_Bx9vGSFFjNfPmc26ZsrG-A1qgpRDvl89bXlbuWbwo8V7gyuN7t-E5iMZqYq0rblUOtVymXy2FxqPy7A3VibCwxQu-8-p09ltOYKMrQ-PvtHLizOfe82TzG4/s1600/scan0006.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQiL-7kmt6zV-d78Hmxj_Bx9vGSFFjNfPmc26ZsrG-A1qgpRDvl89bXlbuWbwo8V7gyuN7t-E5iMZqYq0rblUOtVymXy2FxqPy7A3VibCwxQu-8-p09ltOYKMrQ-PvtHLizOfe82TzG4/s400/scan0006.jpg" width="400" /></a><span style="font-size: large;">Zarko Radakovic and I followed that character, Filip Kobal, across the border for our book "Repetions." Zarko took a photo of the tunnel.</span><br />
<span style="font-size: large;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: -webkit-auto; text-indent: 0px;">
<i><span style="font-size: large;">. . . </span><span style="font-family: 'Times New Roman'; line-height: 200%;">we sloshed through grey and yellow,
chemically fortified rain to the train station restaurant where Filip Kobal sat
one whole night drinking sweet, flat, east-block Cola. A picture of Tito
figures prominently in the story, but yesterday we couldn’t find it.
Disappointment. And yet the thought of political change was bracing. Žarko
checked the WC to see if Handke got it right. He did.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-align: -webkit-auto; text-indent: 0px;">
<span style="font-family: 'Times New Roman'; line-height: 200%;"><i><br /></i></span></div>
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><i>We looked for the
mouth of the train tunnel where Filip Kobal spends his first night, unwilling
to leave the border, the threshhold: “The tunnel did not strike me as an insane
idea. I would go in where my train had
just carried me out.” We drove and walked up a dozen blind alleys before a wet
garden path almost accidentally brought us face to face with the tunnel. Standing
in the streaming rain Žarko photographed the heavy stone arch and the black
half circle it creates.</i></span><!--EndFragment-->
<br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span>
<span style="font-size: large;">Finally, Peter's essay awakened memories of my own, some of them related to still places where I was alone, others to actual restrooms.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There was the Thanksgiving in our house in Farmington, New Mexico, the single-storey, 3-bedroom house shared by nine of us. I think I was in high school, but it might have been a Thanksgiving trip back from the first year of college (Peter's essay is meticulous about revealing questions, doubts, ironies -- about undercutting itself in a attempt to be truthful). I left the bustle and noise and walked through the cold wind and spitting snow to drop off the edge of the plateau where the sub-division was built, into a little canyon where I curled up, out of the wind, in an indentation in the sandstone. The solitude overcame me, a splendid food to fit a hunger I had only subconsciously. I was apart, an "I" other than the "I" my family knew and shaped. When I returned to the house I was quieter, happier, more able to again be part of the crowd.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I remember working on a drilling rig outside of Farmington. The driller who had hired me was a quiet man, tough, slow moving, 45 or 50 years old. As we drilled through various geological formations there were times when decisions had to be made. If they were complicated decisions, the driller would shut down the rig, leave the floor, walk across the yard to the outhouse, lock himself inside there for however long it took him to think through the problem, and then return to tell us what to do.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There was an early morning in Farmington, about 5 a.m., when all I could think about was the hotel restroom that was waiting for me about halfway through my delivery route (bundles of the Albuquerque Journal meant for restaurants, paperboys, motels, and the town's one hotel -- what was the name?). I had a bad case of needing to shit, recognized only after having left home at 4 a.m. But the hotel was coming up and I calculated I could make it that far, that long. I drove up the hotel, left the car carrying a stack of papers, slapped them down on the empty front desk, swung open the restroom door just around the corner, and, starting to relax, found that the toilet stalls now had doors equipped with locks opened only with a quarter. I had no quarter with me and I had already begun to relax and so I turned to the urinals arrayed against the wall -- not the urinals that stretch up from the floor, but the kind that jut out from the wall. Because I was taller than 6 feet, and because the urinals were positioned for people shorter than that, I left the hotel unscathed (except psychologically, of course).</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The most fragrent and even sensuous toilet I ever used was the one at the visitor's center of the Glen Canyon Dam. It was a composting toilet, a sign said, with some kind of fine-smelling wood chips below. Best of all was the gentle, warm breeze fingering my naked backside.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Finally, although these stories might proliferate endlessly, I remember the night Sam Rushforth and I drove up Daniels Canyon to ski under a full moon. Skiing rhythmically up the trail, moonshadows dark against the dazzling snow, I felt a familiar distress in my bowels. Off the trail, brushed by fragrent and soft Douglas fir branches, I dropped my pants, exposed my butt to the bitter cold, and shit between my skis. Three or four times I had to repeat the act. Unpleasant as it was, there was also a solitude and beauty to those moments apart, away.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And as I finish reading the Essay, an email from Zarko:</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Unbelievable. Just today I bought Handke's book and began to read. Parallel to your reading. Amazing how familiar it all is to me. I know Peter, I love him.</i></span><br />
<span style="font-size: large;"><i>Yesterday I read your text about Nina Pops, in the translation by Stefan Barmann, and I very much enjoyed your thoughts, and also your rhetoric. I know you, and I love you.</i></span><br />
<span style="font-size: large;"><i>Zarko</i></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-77018082834392557012012-10-27T11:51:00.001-07:002012-11-03T06:39:06.521-07:00Buchstäblich / Literally: New Work by Nina Pops<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg20-dadX5AN444ClUU-l_3bnVRhOdKm4q6KK13cFZnsM8AAIx5h_cdNRCsQkQ4qLYp6_hDRwiUI5kEh_8xQLqI6XPJmEw9xdr0MGtTn4kuWOx1UVAQmc9JAkNsTKpoDqpCOdYHbh9dua0/s1600/Der+Blick.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg20-dadX5AN444ClUU-l_3bnVRhOdKm4q6KK13cFZnsM8AAIx5h_cdNRCsQkQ4qLYp6_hDRwiUI5kEh_8xQLqI6XPJmEw9xdr0MGtTn4kuWOx1UVAQmc9JAkNsTKpoDqpCOdYHbh9dua0/s640/Der+Blick.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pogled / Der Blick / The View</td></tr>
</tbody></table>
<span style="font-size: large;">On November 1, in Cologne, Germany, an exhibition of new work by Serbian/German artist Nina Pops will open. Zarko Radakovic, whose novel <i>Pogled / The View</i> is an inspiration for one of the paintings, will read from his novel. Inspired by the works, I wrote the following:</span><br />
<span style="font-size: large;"></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
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<b><span lang="DE" style="font-family: Arial; font-size: 18.0pt; mso-ansi-language: DE;">Buchstäblich </span></b><b><span style="font-family: Arial; font-size: 18.0pt;">/ Literally<o:p></o:p></span></b></div>
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<span style="font-family: Arial; font-size: 14.0pt;">Recent Work
by Nina Pops<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 2.0in; margin-right: 0in; margin-top: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<i><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Die Griechen
betrachten die Sprache in gewissem weiten Sinne optisch, nämlich vom
Geschriebenen her. . . . Die Sprache ist, d.h. sie steht im Schriftbild des
Wortes, in den Schriftzeichen, in den Buchstaben, grammata. <o:p></o:p></span></i></div>
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<span style="font-family: Arial;">Martin Heidegger, <i>Einf</i></span><i><span lang="DE" style="font-family: Arial;">ührung in die
Metaphysik</span></i><i style="font-size: x-large;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Arial;"> I’m sitting before a large painting, </span><span style="font-family: Arial; mso-bidi-font-family: "Trebuchet MS";">120 x 130 cm, Öl
auf Leinwand, 2009, “Visualisierung des Romans <i>Der Blick</i> von Žarko Radaković.” On my desk are three books
with numbers as titles: <i>18</i>, <i>21</i>, and <i>23</i>, Polychromos Farbstifte auf Papier, 2007-2009.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial; mso-bidi-font-family: "Trebuchet MS";"> The painting of the book and the
books of drawings offend my sensibilities. They disturb expectations heavily
influenced by Lessing’s careful distinction in <i>Laokoon</i> between poetry (which extends in time) and painting (which
extends in space). What to make, then, of a painting of the workings of a
novel? How should I understand drawings that require me to see them on
successive (time!) pages?</span><span style="font-family: Arial;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><i><span style="font-family: Arial;">Der Blick</span></i><span style="font-family: Arial;">
/ <i>Pogled</i> / <i>The View</i> is a novel. “Der Blick” is a painting of Žarko Radaković’s
novel, published in Belgrade in 2002. The novel is dedicated to Radaković’s
daughter Milica and to his late friend Julije Knifer. The painting is dedicated,
<i>de facto</i>, to Radaković, and, of
course, to Nina Pops’ much admired Julije Knifer. Using manuscript pages of
Radaković’s book <i>Knifer</i>, Nina Pops
once created a remarkable book of collages in which her drawings frame and
underline and probe and question and provoke and celebrate the manuscript in
the context of Knifer’s obsessive and remarkably beautiful white-on-black and
black-on-white “meanders” (see some of the pages at www.<i>ninapops.blogspot.de</i>).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">But
back to the distinction between poetry and painting. What does it mean to paint
with a novel in mind? To visualize a novel?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">We’re
familiar with novels that include illustrations of given scenes. My 1902
edition of Owen Wister’s <i>The Virginian</i>,
for instance, is vividly illustrated by Arthur I. Keller (“By his side the girl
walking and cheering him forward” or “When you call me that, smile”).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">Nina
Pops’s painting, however, given its thoughtful and vivid exploration of colors
and relationships between geometric forms, could never be an illustration of Radaković’s
novel about a troubled year in the life of an employee of a media firm who
gazes down over a city from his office on the twentieth floor of a phallic
building.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">Or
could it?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">On
her blog, Pops writes: “Ich dokumentiere in Formen alles, was ich erlebe.” What
has she experienced as a reader of the novel?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">The
painting pictures no vivacious woman leading a horse bearing a wounded man,
that’s for sure. And there’s no tense scene over a table of cards. But there is
sequence—the movement in time “appropriate” to a written text. I can “read” the
painting as three lines of text: from top left to right and then middle left to
right and then from bottom left to right. Or, given how the top line and middle
line merge as they approach the right “margin,” perhaps the “text” of the
painting might be read from left to right and then back to the left and finally
back to the right. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">Does
the blue bracket at the top left represent the first word or first scene or
first character of <i>Der Blick</i>? Is
there, a little less than 1/3 of the way into the novel, reference to a cross,
with additional crosses or perhaps churches appearing twice more in the final
third? Does the novel have a sad ending (dark blues and blacks)? Does it
feature a connection between something soon after the beginning and something
in the second third of the novel, a connection indicated by the dark red finger
that reaches down from the first “line” into the second? Perhaps a character
appears for a second time about this far through the novel, or perhaps a
character enters a bar for a second time, or perhaps a character confronts his
robotic boss a second time.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="font-size: large;"> What does it mean to “document in forms”? If there is a
one-to-one key that would unlock this painting’s secrets, Pops’ visual documentation
might be seen as a kind of sign language, as a simple, if complex, visual
equivalent to the novel. If that’s the case, if that’s all that the painting is
meant to do, this is a work of the same passing interest as the illustrations
of <i>The Virginian</i>. Interesting, but
I’d really prefer the book.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="font-size: large;"> The painting doesn’t feel, however, like an attempt at
equivalence. It strikes me more like a conversation between the forms and
colors of the painting and the forms and sympathies of the written novel,
something like a jazz musician creating her own responses to the chord changes structuring
a given tune. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4bJZ_un_W44sg82RJZJJQySnlzpJCU9VDey1m5It0zyYbsjXvf3PqbOxwsP4Y8waOlH9NmxbPncG6uBp9MLibO12f2AiPxSd8rLkiWIalQjnTQXUr8oKz09OfvXD2p4TyZqx9DJL4-M/s1600/Buch_21_01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4bJZ_un_W44sg82RJZJJQySnlzpJCU9VDey1m5It0zyYbsjXvf3PqbOxwsP4Y8waOlH9NmxbPncG6uBp9MLibO12f2AiPxSd8rLkiWIalQjnTQXUr8oKz09OfvXD2p4TyZqx9DJL4-M/s400/Buch_21_01.jpg" width="257" /></a><span style="font-size: large;"><span style="font-family: Arial;"> Consider a case that moves in the opposite direction,
from painting to poetry. In 1915, Rainer Marie Rilke lived for four months in
the München apartment of his friend Hertha Koenig, to whom he dedicated the fifth
of his <i>Duineser Elegien</i>. Hanging in
the apartment was Picasso’s large “La Famille de Saltimbanques,” a painting
Rilke had recommended that she purchase. The poet was fascinated by the
painting’s acrobats, especially as he remembered the acrobats he had seen rising
and falling on the streets of Paris. The fifth elegy begins with a question
about these acrobats: “Wer aber <i>sind</i>
sie, sag mir, die Fahrenden, diese ein wenig Fl</span><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">üchtigern noch als wir selbst</span><span style="font-family: Arial;">?” The initial answer to the question comes from
Rilke’s idiosyncratic reading of the painting. His eyes traced the outline
around the five standing figures, identifying a capital <b>D</b>, “des Dastehns </span><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">groß</span><span style="font-family: Arial;">er
Anfangsbuchstab.” Who <i>are</i> they then?
Beings who <i>stand there</i> like the
letter <b>D</b>. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU2g4Rgqv4ZAMPWd1CSTDaFoDesxBlSS0ac7H3C6vAUH6C6NEgQsKp18oT7i4QFHFXO15ntyKzhb5ePR_VAvyB9KSuHq6Wt-KTjeCqWza4T6hdVajeWAFXYNlTN8IbP-g08awL-MDIjU0/s1600/Buch_21_02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU2g4Rgqv4ZAMPWd1CSTDaFoDesxBlSS0ac7H3C6vAUH6C6NEgQsKp18oT7i4QFHFXO15ntyKzhb5ePR_VAvyB9KSuHq6Wt-KTjeCqWza4T6hdVajeWAFXYNlTN8IbP-g08awL-MDIjU0/s400/Buch_21_02.jpg" width="257" /></a><span style="font-size: large;"><span style="font-family: Arial;"> Rilke translated the standing group of acrobats into a
Buchstabe / letter, a literal / buchst</span><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">äbliches </span><span style="font-family: Arial;">image
that he then transflromed into poetry. He was not attempting to describe the
painting in words. Rather, he “read” and used the painting for purposes of
poetry.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="font-size: large;"> Looking at Nina Pops’ painting through Rilke’s eyes, I
can find angular C’s, a W or two, several T’s and t’s (rather than the crosses
I initially saw), several E’s, and a U. She is, after all, responding to a Buch/book
written with Buchstaben/letters and it’s only to be expected that I find
Buchstaben in the painting. There was a time in the hieroglyphic history of
alphabet letters and in the runic history of Buchstaben scratched into a Buche/beech
that letters were no mere abstractions used for writing but drawings of a door
or a steer’s head or an eye used also to mean a variety of other things whose
words also began with the same sound as “door” or “head.”<o:p></o:p></span></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTD8Sbly0HsrsGKMClPHRJDe5zEcyQfoOip2nL2IySfFNIdiQ2F5lI95-McN9KUDYC20yao2KOojm1BLJ-y_vVidl96TE-oQ4hDEjEO3PSGrSUY4FhCdWwHKiLoSeNt4bGv94eb1V7b5g/s1600/Buch_21_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTD8Sbly0HsrsGKMClPHRJDe5zEcyQfoOip2nL2IySfFNIdiQ2F5lI95-McN9KUDYC20yao2KOojm1BLJ-y_vVidl96TE-oQ4hDEjEO3PSGrSUY4FhCdWwHKiLoSeNt4bGv94eb1V7b5g/s400/Buch_21_03.jpg" width="257" /></a><span style="font-family: Arial;"><span style="font-size: large;"> Perhaps, then, Pops is riffing on the forms of the
letters Radaković uses to write his words. Perhaps any large array of
geometrical forms will include forms that resemble letters. Or perhaps each individual
form is a response to a character, an incident, a scene, a phrase of the novel—in
their formal and chromatic connections laying out patterns of relationship,
doing so in space rather than in time. Perhaps Pops has painted the forms of her
experience with the story rather than the story itself.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">The
relationship between book and painting is heightened by the name of the novel: <i>Pogled</i> / <i>Der Blick</i> / <i>The View</i>.
Paintings should be about views, novels about events and characters. This novel
is about a view. This painting is about events. And it’s on that richly
troubled ground that the two works of art meet so precipitously and so
providentially.</span></span></div>
<br />
<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">I
turn to the three books of drawings, numbers 18, 21, and 23. Why has Nina Pops
drawn these forms in sequence (24.10.2008—22:15, 24.10.2008—23.08,
24.10.2008—23:50, and so on? Because the book requires that? Or has she chosen
the book to make that possible? <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAxWxdD1SznYzLmlcCJvWGsDNEpYKFvU4KhPYs0xb0WXgNRQlbHqm4VB_NeJt03F2rJlRrSQcqjYBG6B-GarjlWLM-A4lVDkJZDgiu7TiLJerkpYS2TLyT3bgjc-ZJK0Qm9T5G31kXrU8/s1600/Buch_21_34.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAxWxdD1SznYzLmlcCJvWGsDNEpYKFvU4KhPYs0xb0WXgNRQlbHqm4VB_NeJt03F2rJlRrSQcqjYBG6B-GarjlWLM-A4lVDkJZDgiu7TiLJerkpYS2TLyT3bgjc-ZJK0Qm9T5G31kXrU8/s400/Buch_21_34.jpg" width="258" /></a><span style="font-family: Arial;"><span style="font-size: large;">The
successive images of the book are experienced by a reader in time, the realm of
poetry rather than painting. The sequence of forms—the noted times of creation as
well as the succession from page to page—tells a story (as do the notations of
time in Radaković’s novel—26.11.1996, 27.11.1996, 28.11.1996 etc.). <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiExFYCOaGZZwG6SrJzvvAwCSShef6J82Ju4ytDh9qcLrIdfFv6hU3SYZPhRX7_s9QM4YM6Xv7QcChozgeLfZzioF5G3CFyR-V8mp40Mrb0QbCce3K44ZMP6jwc-zf1I2PPW3dSabKlXng/s1600/Buch_21_35.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiExFYCOaGZZwG6SrJzvvAwCSShef6J82Ju4ytDh9qcLrIdfFv6hU3SYZPhRX7_s9QM4YM6Xv7QcChozgeLfZzioF5G3CFyR-V8mp40Mrb0QbCce3K44ZMP6jwc-zf1I2PPW3dSabKlXng/s400/Buch_21_35.jpg" width="260" /></a><span style="font-family: Arial;"><span style="font-size: large;">Julije
Knifer’s paintings also tell stories, depicting, as the name “meander” suggests,
a flow from one point to another. As I think of Nina Pops’ forms in that
context, I see a key difference. She seems to be interested in relationships
rather than flow (the flow, in her case, appears as a “reader” of the books moves
from page to page, from form to form). Rather than Knifer’s single black form
on white or white on black, rather than the single image removed from
Malewitsch’s black square only by the inflected flow of the meander, Pops works
with two separate forms, or three or four forms, exploring how they relate with
one other. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLt7f2hlZ8mndpCyYm3OU4ARIWycvjgyxWa_5iAZxFvkPXecdcTMUfrlCvHof_le3r29Njm82wlayL41fP4WgVu-86OdjrtNquFf5VSzd2a3UjRPkT_MbDmikEAtis45HNj17iAbOQxfQ/s1600/Buch_21_36.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLt7f2hlZ8mndpCyYm3OU4ARIWycvjgyxWa_5iAZxFvkPXecdcTMUfrlCvHof_le3r29Njm82wlayL41fP4WgVu-86OdjrtNquFf5VSzd2a3UjRPkT_MbDmikEAtis45HNj17iAbOQxfQ/s400/Buch_21_36.jpg" width="258" /></a><span style="font-family: Arial;"><span style="font-size: large;">What happens when two forms mirror one another? When
one form penetrates another? When one form embraces another, encloses another?
When one form weighs heavy on another? When forms fit one another like
intricate pieces of a puzzle? When one form frames another? When forms separate
on a page? When they return to snuggle with one another? When a black form
meets a grey one, a red form encounters a pink one? When vertical forms are
disturbed by horizontal forms? When a foot enters a mouth?<o:p></o:p></span></span><br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="font-size: large;">When
a foot enters a mouth? The discussion of geometric relationships morphs into a discussion
of human relationships, just as the novel of human relationships was transmuted
into geometric forms.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><span style="font-family: Arial;">Nina
Pops has produced, at least for me, Gestalt psychology of the finest sort.
Buchst</span><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">äblich.</span></span><br />
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"><br /></span></span>
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">[see more of her work <a href="http://ninapops.blogspot.com/" target="_blank">HERE</a>]</span></span><br />
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">[see the actual, as opposed to virtual, work —</span></span><br />
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"><br /></span></span>
<br />
<div style="background-color: white; font-family: Arial, Helvetica, sans-serif; padding: 0px; text-align: left; text-indent: 0px;">
<strong>Kulturebunker, Köln</strong></div>
<div style="background-color: white; font-family: Arial, Helvetica, sans-serif; padding: 0px; text-align: left; text-indent: 0px;">
<strong>01.11.2012 - 11.11.2012</strong><strong></strong></div>
<h1 class="titel" style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 16px; margin: 0.2em 0px 0.2pc; padding: 0px; text-align: left; text-indent: 0px;">
<span style="font-size: small;">Nina Pops Strothotte - "Querschnitt"</span></h1>
<div class="mehr" style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: left; text-indent: 0px;">
<a href="http://www.kulturbunker-muelheim.de/veranstaltungen.php?k=6#892" name="892" style="color: #7e2614; text-decoration: none;">mehr</a></div>
<div id="892" style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: left; text-indent: 0px;">
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<div>
In der Ausstellung "Querschnitt" zeigt die Künstlerin Nina Pops Strothotte Zeichnungen, Bilder und Bücher aus der Serie "Formen", sowie das Bild "Der Blick", Visualisierung des gleichnamiges Buches von Schriftsteller Zarko Radakovic. </div>
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<br /></div>
<div>
Vernissage: 1.11.2012, 18.00 Uhr.<br />
Um 19.00 Uhr liest Schriftsteller Zarko Radakovic aus dem Buch "Der Blick" vor.</div>
<div>
Öffnungszeiten: 2.11.2012 bis 4.11.2012, 14.00 bis 19.00 Uhr, danach nach Vereinbarung unter 0171 7753856</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zBNb5a_x-p1RyhMzrvKL2yzwdwH7S4XLP0uugTsFOHulN57v_CLvhojXOhKhRwTwuSS9dFN421j2fl4-POCSASa4sEBMg19zYdtv0QZ_Y3zLvQUnMGO7nKfQsq-RbVpvQvQi2wmZzOY/s1600/alexalpha.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zBNb5a_x-p1RyhMzrvKL2yzwdwH7S4XLP0uugTsFOHulN57v_CLvhojXOhKhRwTwuSS9dFN421j2fl4-POCSASa4sEBMg19zYdtv0QZ_Y3zLvQUnMGO7nKfQsq-RbVpvQvQi2wmZzOY/s200/alexalpha.jpg" width="158" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex Caldiero, from Or: Book O' Lights</td></tr>
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<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">Scott Abbott</span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">Woodland Hills, Utah</span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: large; text-align: right; text-indent: 0.5in;">20 October 2012</span><span style="font-family: Arial; font-size: large; text-align: right; text-indent: 0.5in;"> </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: large; text-align: right; text-indent: 0.5in;"></span><br />
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<span style="font-family: Arial; font-size: large; text-align: right; text-indent: 0.5in;"><br /></span></div>
<div align="right" class="MsoNormal" style="margin-left: 3.5in; text-align: right; text-indent: .5in;">
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<br />
<div style="text-align: left;">
<span style="font-size: large;">Here the text read by Zarko Radakovic from his novel <i>Der Blick</i> at the opening of the exhibition.</span></div>
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<span class="Apple-style-span" style="font-size: 21px; line-height: 18px;"><b>Sonntag, 8.9.1996</b></span></div>
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<span style="font-size: 16pt;">Bleiernes Wetter. Das Bild erstarrt. Es ist zu wenig klar für echten Frost. Es ist zu wenig unklar, um die Besinnung zu verlieren. Die Ziegel auf dem Fabrikschornstein sind mehr feucht als kalt. Die Zweige im Park sind schwer vom kommenden Regen. Das Bild ist heute eine <i>Frottage</i></span><span style="font-size: 16pt;">, an der das Auge des Betrachters klebt. Denn eine Frottage ist ein Quell von Farben. Sie ist die Plazenta für künftiges Leben. Sie ist der Keim des Sehens. Sie ist die Wahrheit, bevor man in den Schlaf versinkt. Sie ist der Uranfang. Ruhen. Sammeln. Der Augenblick der Verbundenheit mit allen Zeitbestimmungen. Vor allem ein Aufbruch in optische Perspektiven. (Unvergesslich sind die Alleen auf dem Weg ins Gefängnis von Padinska Skela in Serbien: Die Äste verbanden sich in der Ferne tatsächlich zum Tempelbau der Freiheitsschule, ohne die wir uns nicht einmal des Geschmackes von Nahrung, von Wasser, noch des Duftes der Freiheit bewusst wären.) Kein einziger Zug hat heute Farbe. Kein einziges Haus hebt sich farblich vom Himmel ab. Und auch die Baumwipfel in den Parks, in den Höfen, den Avenuen und Straßen verfügen nicht über die betäubende Glut des bevorstehenden Aufschlitzens, mit kirrenden Klingen, über die Brüste, den Penis, das Herz, die Klitoris; sie schnitten in das Weiße der Augen, hinter denen das Bewusstsein, ganz aufgeregt, tanzte, zur Musik der Zeit und mit beschleunigtem Atem. Heute starren die Augen in die Leere, umschattet von den Konturen des Bilduntergrunds. Das Hallengebäude erscheint wie ein gelblicher Streifen. Was ist wohl in seinem Inneren? Ein Mann an einem Tisch, das Hemd offen, verschwitzt, schmutzig, die Augen weit aufgerissen, eine Reflektorlampe auf das Gesicht gerichtet; der Schatten verbirgt seine Augenringe; über der Oberlippe Schweißperlen? Am Fenster des Hauses vor der Halle schwingt ein Vorhang; vor dem Triptychonfenster des Hauses in den Baumwipfeln zwischen Halle und dem Gebäude mit dem Fenster mit dem Vorhang: eine Frau und ein Mann: sie sitzen beim Frühstück; auf dem Platz vor dem Bahnhof manövriert ein riesiger Lastkraftwagen. Wohin führt wohl die Straße zwischen dem Fabrikschornstein und dem Kirchlein unterhalb der größeren Kirche, die, wenn man sich Verbindungslinien mit der Kathedrale, der größeren Kirche und der doppeltgehörnten Kirche denkt, einen <i>Rhombus</i></span><span style="font-size: 16pt;"> beschreibt? Was denkt wohl der Mann, der, seitdem dieser Teil des Textes begonnen wurde zu schreiben, vor der Garage eines fensterlosen Gebäudes am Ende der Straße steht? Wieder zieht ein Zug vorüber. Jetzt sind da kaum bemerkbare Nuancen von Blau in der Farbe der Waggons. Die Aufschrift auf dem Tank ist deutlich zu sehen. Da kommt ein zweites Güterfahrzeug: Es ist ein LKW mit zwei Anhängern: Er fegt durch die enge Straße: Er ist riesig: Gleich wird er einen Baum aus der Allee auf der linken Seite umfahren: Gleich wird er die hervorstehenden Teile der Fassade des Hauses auf der linken Seite schneiden: Gleich wird er auf die breite, viel befahrene Straße kommen, die quer durch die Stadt führt: Mit dem Autobus, der gerade vor einer Haltestelle bremst, wird er nicht zusammenstoßen: Den Mann und die Frau, die vor einem Imbissstand stehen und schweigend Bürek essen, wird er nicht überfahren: Mit dem Zeitungs- und Tabakwarengeschäft am Rande des ersten größeren Platzes wird er nicht kollidieren: Er wird nur die Straßenbahn auf dem zweiten größeren Platz ganz leicht streifen (Die Passanten werden sich umdrehen und „Achtung!“ rufen): Der LKW wird durch eine Pfütze am Rande des Platzes „schießen“ und einen Mann in weißem Anzug und mit weit aufgeschlagener Zeitung bespritzen: Der LKW wird unter dem Viadukt hindurchrasen, der Auspuff wird am Oberteil der Karosserie abbrechen: Das Dach des Anhängers wird sich verbiegen: Er wird sich auf die eine und dann auf die andere Seite verkrümmen: Er wird über ein Schlagloch springen: Er wird sich wie eine Spirale einrollen, sich jählings verbiegen, sich zusammenballen wie eine Bombe, sich der Länge und der Breite nach wie eine Ziehharmonika auseinanderziehen, drei Mal kurz knallen, zum Stillstand kommen, plötzlich, die Hymne des Erstligisten der Stadt ansingen, anstoßen und ein „Glas Bier“ auf ex austrinken. Und dann – dann werden die ersten Sonnenstrahlen durch die Wolken brechen. Über die Stadt wird sich fröhlicher, warmer, heller Dampf legen, in den die Vögel hinein- und aus dem schallendes Gelächter herausfliegen wird. Das Bild wird zu vibrieren beginnen. In allen Töpfen in allen Küchen aller Wohnungen wird das Wasser gleichzeitig zu sieden beginnen. In allen Radiatoren in allen Wohnungen wird man ein Klopfen hören, drei Mal, gleichzeitig. Zugleich wird über allen WC-Schüsseln in allen Wohnungen in der Stadt die Wasserspülung betätigt werden. Die Dauer des Wasserflusses in den WC-Schüsseln in allen WCs aller Wohnungen wird ganz, ganz unterschiedlich lang sein. Auch die Geräusche des Wassers beim Herausfließen aus den Wasserbehältern in den WCs der Wohnungen in der Stadt werden aus unterschiedlichen Tönen bestehen. Es beginnt eine „großartige Vielfalt“. Alles wird aufleben. Die Waggons des Zuges, der dann vorbeifahren wird, werden die Farben des Regenbogens tragen.<o:p></o:p></span></div>
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<span style="font-size: 16pt;">(<i>Deutsch: Helmut Weinberger</i></span><span style="font-size: 16pt;">)</span></div>
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<span style="font-size: 16pt;"><o:p></o:p></span></div>
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<!--EndFragment-->Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-86637273442565613302012-10-26T10:23:00.002-07:002012-10-26T10:23:22.369-07:00Winter Storm<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-7_-F0Ki-mv_baPaSUGaPQykQXQOyXOaRg_mtZq60uvTlkFWffLhhLAqT60UwLpHwO8f-FY_a-93vgP-FlIktORFEPZGnRb_s9mr37CUnjKFeQmqwZdm9x_tDmzMXSqGqkJ8vSetzLk/s1600/IMG_3224.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-7_-F0Ki-mv_baPaSUGaPQykQXQOyXOaRg_mtZq60uvTlkFWffLhhLAqT60UwLpHwO8f-FY_a-93vgP-FlIktORFEPZGnRb_s9mr37CUnjKFeQmqwZdm9x_tDmzMXSqGqkJ8vSetzLk/s640/IMG_3224.JPG" width="640" /></a></div>
<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-76960971181381899952012-10-24T16:09:00.000-07:002012-11-04T13:45:13.931-08:00New Bookshelves: Horizontal and Vertical<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuibYi8thqj_Z5WgQQUr0Dqn56ibTVHmlMV7GpQG6PzclbP_17doJTwNDua-bdZcWyAupekB2tnsHZJdLELuiFAtykxdoC3jbN3-FcSLXl-z1fDyocs_9xs06AvkFEAB6XAABgFW8mF6A/s1600/IMG_3213.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuibYi8thqj_Z5WgQQUr0Dqn56ibTVHmlMV7GpQG6PzclbP_17doJTwNDua-bdZcWyAupekB2tnsHZJdLELuiFAtykxdoC3jbN3-FcSLXl-z1fDyocs_9xs06AvkFEAB6XAABgFW8mF6A/s640/IMG_3213.jpg" width="480" /></a><br />
<span style="font-size: large;">With no remaining space for new books, I bought and assembled a vertical stand, into which I have placed many of the books I'm using for the study of the standing metaphor. A book stand for standing books, in other words.</span><br />
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<span style="font-size: large;">And the horizontal shelves I built out of 2 x 12 douglas fir. </span><br />
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<span style="font-size: large;">Barbed-wire books on the top shelf, along with books by Zarko Radakovic and myself. On the second shelf and part of the third shelf, books by Peter Handke. The rest of the third shelf: books by Charles Bowden, Brian Evenson, and notebooks. The fourth and bottom shelf: books by Richard Ford, Terry Tempest Williams, Michael Ondaadje, W. G. Sebald, Roberto Bolano, Cormac McCarthy, and John Berger.</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">[Bust by Nathan Abbott]</span><br />
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com3tag:blogger.com,1999:blog-8494024784324680939.post-12584994846131873672012-10-23T08:56:00.000-07:002012-10-23T11:47:40.725-07:00Interview with Peter Handke<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;">Shocking revelation by the writer from whom I've</span><span style="font-family: Times, 'Times New Roman', serif; font-size: large;"> desperately</span><span style="font-family: Times, 'Times New Roman', serif; font-size: large;"> tried to keep secret that I ride a mountainbike!</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><strong style="background-color: white; line-height: 22px;">Sie haben sich ein Fahrrad gekauft. / You bought a bicycle?</strong></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b><br style="background-color: white; line-height: 22px;" /></b><span style="background-color: white; line-height: 22px;">Yes, Sir. Nach dem Tun habe ich ein Bedürfnis, aus der Beengung herauszukommen und an Theken herumzustehen. Fernsehen mag ich dann nicht, aber an der Bar zu stehen ist wirklich im Wortsinn eine Lösung. / Yes. Sir. After working, I have the need to come out of isolation and to stand around at bars. I don't like television, but to stand at a bar is really, in the sense of the word, a solution.</span></span><br />
<span style="background-color: white; line-height: 22px;"><span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><strong style="background-color: white; line-height: 22px;">Sie haben zwei erwachsene Töchter, die Ihnen vermutlich nahelegen, endlich das Schreiben von E-Mails zu erlernen. Wann knicken Sie ein? / You have two grown daughters who probably impress on you that you should finally learn to write e-mail messages. When will you buckle under?</strong></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><strong style="background-color: white; line-height: 22px;"><br /></strong><span style="background-color: white; line-height: 22px;">Wenn Sie das Wort einknicken noch mal verwenden, stelle ich Sie hinaus in den Regen. / If you use the word buckle under again, I'll put you out in the rain.</span></span><br />
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><strong style="background-color: white; line-height: 22px;">Was soll auf Ihrem Grabstein stehen? / What will be on your gravestone?</strong></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><strong style="background-color: white; line-height: 22px;"><br /></strong><span style="background-color: white; line-height: 22px;">Mein Grabspruch ist: Bin hinten. / My epitaph is: I'm out back.</span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="background-color: white; line-height: 22px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="background-color: white; line-height: 22px;">The entire interview is here:</span></span><br />
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<a href="http://sz-magazin.sueddeutsche.de/texte/anzeigen/38671/1/1">http://sz-magazin.sueddeutsche.de/texte/anzeigen/38671/1/1</a><br />
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com0tag:blogger.com,1999:blog-8494024784324680939.post-4162858113679976292012-10-22T06:31:00.000-07:002012-10-22T07:27:12.297-07:00Wispy, Rosy, Alien<br />
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-10115276845479358682012-10-21T06:06:00.000-07:002012-10-22T06:28:26.831-07:00Moravska Noc / The Moravian Night<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoLkOjXvnwcugsmwFy1OXIv92CftoPLgNujx0KsP-_XvOlTZlUd6fqRlo1QvcduW36ZTElGa9wPr1vOab2UaFq9FTvrzNtqi7z3Se5K7HNmIvmmwhjNwA7ZP1LIKidgNMBVX2-4kzzmM/s1600/zarkomoravska-noc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoLkOjXvnwcugsmwFy1OXIv92CftoPLgNujx0KsP-_XvOlTZlUd6fqRlo1QvcduW36ZTElGa9wPr1vOab2UaFq9FTvrzNtqi7z3Se5K7HNmIvmmwhjNwA7ZP1LIKidgNMBVX2-4kzzmM/s400/zarkomoravska-noc.jpg" width="287" /></a><br />
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<span style="font-size: large;">SRPSKA KNJIŽEVNA ZADRUGA</span></div>
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<span style="font-size: large;">(The Serbian Literary Cooperative), celebrating its 120th anniversary,</span></div>
<div style="font-family: Helvetica;">
<span style="font-size: large;">has published Zarko Radakovic's translation of Peter Handke's Die moravische Nacht / The Moravian Night.</span></div>
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<span style="font-size: large;">And has done so before there is an American translation available.</span></div>
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<span style="font-size: large;">Congratulations to Zarko, who also has a book with David Albahari, conversations about music, about to appear.</span></div>
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Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com0tag:blogger.com,1999:blog-8494024784324680939.post-68585639428873839662012-10-19T07:24:00.000-07:002012-10-19T07:25:43.058-07:00Mountain Ranges<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlB3ZIjqwP8HrklGzbpZcej7m7gjyO7uJUYdnGWR1EZzyEDNViHsgunMzSeiOozluBDrQYBYylC7OgfcYXX0npfoSCvGg30YWAd80tQ5EEQ1OfJkIvN8GVjQHGG9hStBURj7GZyAfjFxo/s1600/IMG_3142.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlB3ZIjqwP8HrklGzbpZcej7m7gjyO7uJUYdnGWR1EZzyEDNViHsgunMzSeiOozluBDrQYBYylC7OgfcYXX0npfoSCvGg30YWAd80tQ5EEQ1OfJkIvN8GVjQHGG9hStBURj7GZyAfjFxo/s640/IMG_3142.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Santaquin Peak</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">a close look at the meticulous construction</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">the wasps' nest (see photo in earlier post) ripped apart by high winds</td></tr>
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com0tag:blogger.com,1999:blog-8494024784324680939.post-58315783074733942512012-10-18T06:23:00.000-07:002012-10-19T07:42:07.989-07:00Edward Curtis: The Shadow Catcher<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLEg5pzx5HMKnlPC7QcgmSCjz0jSmfjqsg0I9ch_96x-qjLidG67hBXrhVOW9uA7iTg5BRMdzgOxhBpsd8HjHN8E8xWDr0irCLXeXleZM8xCAXQlmGwYXaMrql1Dn9hJoe7aS390oiGM/s1600/curtisNAIndian.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLEg5pzx5HMKnlPC7QcgmSCjz0jSmfjqsg0I9ch_96x-qjLidG67hBXrhVOW9uA7iTg5BRMdzgOxhBpsd8HjHN8E8xWDr0irCLXeXleZM8xCAXQlmGwYXaMrql1Dn9hJoe7aS390oiGM/s400/curtisNAIndian.jpg" width="367" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Expected to sell for more than one million dollars, summer of 2012</td></tr>
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<span style="font-size: large;">Timothy Egan's new book, which I've been looking forward to since he was on campus a couple of weeks ago, arrived on Saturday. Egan is a journalist who writes primarily about the American West and especially the Northwest, where he lives. His book about the dust bowl, <i>The Worst Hard Time</i>, won the National Book Award, and <i>Lasso the Wind</i> is a set of lively travel essays. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnVUeetJdaZN-ohLtETClm0JMtbT0yQQnUDii0bjSJh7bevosvFCiBAJ05XoE0OiFG2mPLR5gIe4LyY0Lrk7pfaxxZ6dDUE-bxQmRIlXrkmnboymv_WCtTLYVvduFLIJM5hyphenhyphenZFPNSgGM/s1600/IMG_3129.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnVUeetJdaZN-ohLtETClm0JMtbT0yQQnUDii0bjSJh7bevosvFCiBAJ05XoE0OiFG2mPLR5gIe4LyY0Lrk7pfaxxZ6dDUE-bxQmRIlXrkmnboymv_WCtTLYVvduFLIJM5hyphenhyphenZFPNSgGM/s400/IMG_3129.jpg" width="400" /></a><span style="font-size: large;"><i>Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis</i> tells the story (and Egan is a wonderful storyteller) of one of America's best photographers, a man frantic to document the American Indians, their ways of living, their languages, and their songs before the last of them had assimilated. Thus the "short nights." Funded by J. P. Morgan, the field work went on for several decades, resulting finally in the 20-volume <i>The Indians of North America</i>. As the funding continued, Morgan gradually took control of the copyrite and rights to all the plates and photos, leaving Curtis a poor man.</span><br />
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<span style="font-size: large;">When I was a student at Princeton, Alf Bush, curator of the Western Americana section of the Firestone Library, showed me a set of Curtis plates, dusky prints that felt like windows through which I had unexpected access to remarkable people and ways of life. It was a deeply moving, even sacred experience.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDiQcpobyBA3l010nsa3x7CVJoOsR3FtqhlyziNX5ikznvbBgitkVQgob553kAscw30g5ENjB4aklh1OYKWr_S4AQJNtLgdkP3aFUbL7y-XruVHLREwPbJgW4obo_MWEdqadEXv1Y-38/s1600/curtiscanyondechelly.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDiQcpobyBA3l010nsa3x7CVJoOsR3FtqhlyziNX5ikznvbBgitkVQgob553kAscw30g5ENjB4aklh1OYKWr_S4AQJNtLgdkP3aFUbL7y-XruVHLREwPbJgW4obo_MWEdqadEXv1Y-38/s400/curtiscanyondechelly.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Canyon de Chelly</td></tr>
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<span style="font-size: large;">And the experience of other peoples and people was augmented by beauty. Curtis was a fine, if untrained anthropologist. And he was an artist of rare ability, "catching" extradinary light and surprising forms.</span><br />
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<span style="font-size: large;">Addendum: The New York Times has this series of photos by the Rev. Don Doll, more recent images of Native Americans:</span><br />
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<a href="http://lens.blogs.nytimes.com/2012/10/19/a-photographer-and-prayer/?hp">http://lens.blogs.nytimes.com/2012/10/19/a-photographer-and-prayer/?hp</a><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-28525523500029333852012-10-15T06:16:00.000-07:002012-10-22T20:39:51.962-07:00Orchard/Bum Keepers or Gardners<br />
<span style="font-size: large;">Two events yesterday reminded me of the perils of transporting names from one culture to another (a problem I encountered when I travelled in the former Yugoslavia and discovered that skot meant vermin or cattle in Serbo-Croatian).</span><br />
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<span style="font-size: large;">First, there was Felix <i>Baumgartner</i>, the Austrian <i>"tree-gardner"</i> who broke free-fall records </span><br />
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<h1 class="articleHeadline" itemprop="headline" style="background-color: white; font-family: georgia, 'times new roman', times, serif; font-size: 2.4em; font-weight: normal; line-height: 1.083em; margin: 0px 0px 8px; text-align: left;">
<nyt_headline type=" " version="1.0">24 Miles, 4 Minutes and 834 M.P.H.</nyt_headline></h1>
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<span style="font-size: large;">in the sky above Roswell, New Mexico.</span></div>
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<span style="font-size: large;">Second, there was the San Francisco Giant's starting pitcher in the first game against St. Louis, Madison <i>Bumgarner</i> (a bastardized version—Elis Island shenanigans?—of Baumgartner). A bum-gardner! If you're going to drop the "a" then for sure you'll want to drop the "t" or "d."</span></div>
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<span style="font-size: large;">In today's second game, San Francisco's starting pitcher will be Ryan <i>Vogelsang</i> ("birdsong").</span><br />
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<span style="font-size: large;">Addendum: the final game in Detroit's sweep of the Yankees was won by a pitcher named Scherzer / Joker!</span><br />
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<span style="font-size: large;">Second Addendum: Friday night, St. Louis rookie Trevor Rosenthal / Rose Valley pitched two innings, striking out 4.</span><br />
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<span style="font-size: large;">Third Addendum: game seven German-named pitchers--Lohse, Motte, Afeldt.</span></div>
Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-76881663804913801082012-10-13T09:31:00.000-07:002012-10-13T09:31:37.339-07:00First Snow on the Mountain and Attentive Creatures<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ8ZO13WtAwVHpTkLw28abWs0N-M83Gy7HMWocCJPJld-I27PCaoAxRr8PbDEnLk-bU0kc-09PKNAMCNvWtLDEK8Kr1KYIDfxVGrIr8VJwQIkAiyLbFJ3NEMczgAxcELxvZVBFE9K1Q/s1600/IMG_3095.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJ8ZO13WtAwVHpTkLw28abWs0N-M83Gy7HMWocCJPJld-I27PCaoAxRr8PbDEnLk-bU0kc-09PKNAMCNvWtLDEK8Kr1KYIDfxVGrIr8VJwQIkAiyLbFJ3NEMczgAxcELxvZVBFE9K1Q/s640/IMG_3095.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bela</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A Beauty</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">First Dusting</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Morning Light</td></tr>
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-67432100561842168172012-10-12T08:00:00.001-07:002013-02-09T08:41:08.407-08:00Spaziergang: Above Woodland Hills<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7uybEft6WoJleBigVPaBvT35OjLMmRA_isQysZwIBfPnm1LXFx3DUH91_fvEB46aJXUVEtuHXFT6LqDqHw08I48C9g0vxrg-tPvNjLnWXb7l2y4bNJTeNdqNfKkbw6nlt1rP6AwJZ7GI/s1600/IMG_3029.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7uybEft6WoJleBigVPaBvT35OjLMmRA_isQysZwIBfPnm1LXFx3DUH91_fvEB46aJXUVEtuHXFT6LqDqHw08I48C9g0vxrg-tPvNjLnWXb7l2y4bNJTeNdqNfKkbw6nlt1rP6AwJZ7GI/s640/IMG_3029.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the day begins</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">last leaves on the aspen</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">looking south over Woodland Hills</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">looking east over Woodland Hills</td></tr>
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-3218563187217761542012-10-10T14:22:00.001-07:002012-10-10T14:22:31.728-07:00Simple and Quiet: Stifter's Witiko Rides and Stands<br />
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<span style="font-size: large;">Nerves jangling, uneasy for several days, unable to concentrate on my writing, I turn to the Austrian Adalbert Stifter's 1867 historical novel, rumored to be the most boring book ever written. </span><br />
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<span style="font-size: large;">This should slow me down, I thought, this ought to order my thoughts and give them weight the way good sentences can.</span><br />
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<span style="font-size: large;">An armed young man rides through woods on a fine horse: </span><br />
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<span style="font-size: large;">"Da der Reiter die Schlucht hinaus rit, sah er weder rechts noch links, noch nach der stadt zurück. Es war eine frühe Stunde eines Tages des Spätsommers, der schon gegen den Herbst neigte. Der Tag war heiter, und die Sonne schien warm hernieder. Das Pferd ging durch die Schlucht in langsamem Schritte. Als es über sie hinausgekommen war, ging es wohl schneller, aber immer nur im Tritte. Es ging einen langen Berg hinan, dann eben, dann einen Berg hinab, eine Lehne empor, eine Lehne hinunter, ein Wäldchen hinein, ein Wäldchen hinaus, bis es beinahe Mittag geworden war."</span><br />
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<span style="font-size: large;">It's a passage of motion, of riding and walking through a gorge, up a hill, along a flat section, down the hill, up a slope and down, into a wood and out of a wood until it was almost midday.</span><br />
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<span style="font-size: large;">The rider comes to some houses built on uneven ground:</span><br />
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<span style="font-size: large;">"Die Häuser lagen in Unordnung zerstreut, und der Grund, auf dem sie <i><b>standen</b></i>, war ungleich. Es war hier schon kühler als an der Donau; denn da in Passau viele Obstbäume <i><b>standen</b></i>, ragte hier nur der Waldkirschbaum empor, er <i><b>stand</b></i> vereinzelt, und <i><b>stand</b></i> in einer Gestalt, die in manchen Teilen zerstückt war, und bewies, daß viele harte Stürme in den Wintern an ihm vorübergegangen waren. In sehr schöner Bildung dagegen <i><b>stand</b></i> die Eberesche umher, sie <i><b>stand</b></i> bei vielen Häusern, und mischte das Grün ihres Laubes und das beginnende Rot ihrer Trauben zu dem Grau der Dächer. Die Herberge war ein Steinhaus, <i><b>stand</b></i> auch neben Ebereschen. . . . Auf der Gasse <i><b>standen</b></i> mehrere steinerne Tischen. . . . Hinter den Schoppen <i><b>stand</b></i> Waldwuchs. . . ."</span><br />
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<span style="font-size: large;">The rider stops an an inn, eats, drinks, and gives precise orders for how his horse is to be cared for. The conversation with the innkeeper is precise and courteous. A conversation with another man contrasts the young rider's knowledgeable self-assurance with the man's uncertain braggadicio. The care with which the young man performs each action reminds me of the formality of the hunt and meticulous excoriation of the deer in Gottfried's <i>Tristan</i>.</span><br />
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<span style="font-size: large;">Then the young man rides on, again up a slope and down and into a wood, repeating the motion of the earlier scene:</span><br />
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<span style="font-size: large;">"Er ritt in der Richtung zwischen Morgen und Mitternacht fort. Er ritt wieder eine Lehne hinan, eine Lehne hinab, ein Wäldchen aus, ein Wäldchen ein, der Boden wurde immer unwirtlicher und war endlich mit Wald bedeckt."</span><br />
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<span style="font-size: large;">Riding—standing—riding.</span><br />
<span style="font-size: large;">Motion—rest—motion.</span><br />
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<span style="font-size: large;">What could be more simple? The description moves from verbs of movement to verbs of standing. And then continues the movement.</span><br />
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<span style="font-size: large;">And my mind has slowed down, is more ordered.</span><br />
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<span style="font-size: large;">A few pages later Witiko meet a girl and the verb "to stand" sprouts like weeds:</span><br />
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<span style="font-size: large;">"Sie blieben <i><b>stehen</b></i>, sahen auf ihn hin, und er <i><b>stand</b></i> gleichfalls, und sah auf sie. . . . das andere blieb <i><b>stehen</b></i>. . . . 'Was <i><b>stehst</b></i> du mit deinen Rosen hier da?' 'Ich <i><b>stehe</b></i> hier in meiner Heimat da', antwortete das Mädchen; '<i><b>stehst</b></i> du auch in derselben'?</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">. . . and so on. If the novel continues this way, with this emphasis on standing, it will explain why some people find it boring (they just stand there?) and it will give me an additional source for my study of the standing metaphor.</span><br />
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<span style="font-size: large;"><br /></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com6tag:blogger.com,1999:blog-8494024784324680939.post-911832975455602282012-10-08T07:17:00.002-07:002012-10-08T07:18:51.363-07:00Good light<br />
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com0tag:blogger.com,1999:blog-8494024784324680939.post-2689259883000520152012-10-05T09:54:00.000-07:002012-10-05T09:54:42.552-07:00Habeas Corpus, Gobbets of Gore<br />
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<blockquote style="font-family: Calibri;" type="cite">
<span style="font-size: large;"><i>The founders of our nation well understood what Alexander Hamilton called the "fatal evil" of arbitrary confinement. They enshrined the "Great Writ" of habeas corpus — an individual right that preceded even the Bill of Rights — into Article 1, Section 9, of the Constitution. In Federalist No. 84, Hamilton expressed the founders' view that "arbitrary imprisonments" were "the favorite and most formidable instrument of tyranny" and that "confinement of the person, by secretly hurrying him to jail, where his sufferings are unknown or forgotten, is a less public, a less striking, and therefore a more dangerous engine of arbitrary government."</i></span></blockquote>
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<blockquote style="font-family: Calibri;" type="cite">
<span style="font-size: large;"><i>The National Law Journal / </i>10-02-2012</span></blockquote>
<div style="font-family: Calibri;">
<span style="font-size: large;">Yesterday Sam Rushforth sent me a link to an article just published in <i>The National Law Journal</i>, a strong but despairing essay written by his brother Brent and three other lawyers who represent clients currently held at The Guantanamo Base in Cuba.</span></div>
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<a href="http://www.law.com/jsp/nlj/PubArticleNLJ.jsp?id=1202573443123&Guantaacutenamo_Forgotten&slreturn=20120905113553" target="_blank">http://www.law.com/jsp/nlj/PubArticleNLJ.jsp?id=1202573443123&Guantaacutenamo_Forgotten&slreturn=20120905113553 </a></div>
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<span style="font-size: large;">It is an ongoing and despicable chapter in the history of the United States.</span></div>
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<span style="font-size: large;">Last night, not able to sleep, I finished reading Brian Evenson's second science fiction novel in the Dead Space series, <i>Catalyst</i>, following the earlier <i>Martyr</i> (he also has a science fiction novel titled <i>Aliens: No Exit</i>).</span></div>
<div style="font-family: Calibri;">
<span style="font-size: large;"><br /></span></div>
<span style="font-size: large;"><span style="font-family: Calibri;">As with the earlier science fiction books—published under the name of B. K. Evenson rather than Brian Evenson—my expectations (based on Brian's literary fiction) of exquisite form and brilliant sentences and pellucid prose had to be set aside. In return, I was given a page-turning plot involving two brothers—one fairly normal, the other schizophrenic—a Marker like the one in <i>Martyr </i>(an obelisk with the ability to enter minds and press toward Convergence with the help of worshipful Unitologists), and gory battle with awkward but deadly creatures summoned forth out of corpses.</span></span><br />
<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">I read lots of books, mysteries mostly, just for the pleasure of following a good plot. Brian's novel fit that bill perfectly, down to the inevitable but unsuspected horrific ending. But three aspects of this novel grabbed my attention in a more serious way.</span></span><br />
<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">1. The brothers. The obligations and connections of brotherhood. The pains of loss, separation, worry, and fear. My own relationship and non-relationship with my brother John were evoked repeatedly, often painfully.</span></span><br />
<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">2. The horror. Brian knows the human mind. The best parts of the book, at least for me, involve the troubled mind of Istevan, the brother who hears voices and has difficulty distinguishing between what is real and what is real inside his head. He sees patterns others don't and becomes the perfect vessel for The Marker, which organizes and reorganizes his brain in its quest for convergence. There were moments when this book simply frightened the shit out of me, and they were all psychological scenes rather than the scenes of fighting or physical danger.</span></span><br />
<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">3. The extrajudicial torture (that's redundant, isn't it) and rendition of Istevan to a secret prison colony where he is held with other political prisoners without any recourse left me shivering and cursing. It was, of course, our own recent American experience under W. Bush and the dick Cheney. And it continues for 169 prisoners in Cuba. </span></span><br />
<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">Brent Rushforth <i>et al</i> end their article with this statement:</span></span><br />
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<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Calibri;"></span><br />
<blockquote type="cite">
<span style="font-size: large;"><i>A curtain of utter darkness now threatens to fall over most of the 169 Guantánamo detainees, interned indefinitely without charge and without recourse, including our clients. Having reviled the Soviet Union for its gulags, we have, it seems, permanently institutionalized our own at Guantánamo. It is ironic but somehow fitting that we've managed to do this on the southeast coast of Cuba — adjacent to, indeed within, the territory of a despotic regime that we have opposed for several generations but now, sadly, choose to emulate in this disgraceful way.</i></span></blockquote>
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<span style="font-size: large;"><span style="font-family: Calibri;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Calibri;">Finally, in the dark of the early morning, light from the half-moon competing with my reading light, I laughed suddenly and loudly, a good and yet grotesque laugh, a ghastly laugh occasioned by this little poem of a sentence: "The walls were smeared with blood and gobbets of gore scattered the floor."</span></span><br />
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Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com3tag:blogger.com,1999:blog-8494024784324680939.post-16193318533045384472012-09-30T11:45:00.000-07:002012-09-30T11:45:19.329-07:00Spaziergang: Above Woodland Hills<br />
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<br />Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1tag:blogger.com,1999:blog-8494024784324680939.post-32766010187330697002012-09-28T07:04:00.000-07:002012-09-29T07:43:27.642-07:00Phenomenology<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcfrNUolDGeA3zCpEG7B9WZIupSg1FwVtsxqSk9oU89z6rZKW-DJzS1VLolzcp51KoYSR6pgroCuTMlHKSs4ACngPwdEoNbFWqyRU9wDnvjZZydTkcNfdgG_i4U_L__hkQHE__4CCd6k/s1600/IMG_2884.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcfrNUolDGeA3zCpEG7B9WZIupSg1FwVtsxqSk9oU89z6rZKW-DJzS1VLolzcp51KoYSR6pgroCuTMlHKSs4ACngPwdEoNbFWqyRU9wDnvjZZydTkcNfdgG_i4U_L__hkQHE__4CCd6k/s640/IMG_2884.jpg" width="226" /></a><span style="font-size: large;">Not phenomenology in the strict philosophical sense, but certainly under the influence.</span><br />
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<span style="font-size: large;">Four experiences in the last 24 hours, each in its own way, made me think about what and how and why I experience things the way I do.</span><br />
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<span style="font-size: large;">1. Minutes before the sun rose into the notch in the mountains to the east, I looked down at the trail Blue and I were following and saw orange. Neon, chemical orange. Small rocks and compacted places in the dirt were tinged orange, if I looked directly at them. The color disappeared if I broadened my focus. But if I looked closely, the next rock or flat place took on that orange hue. Were my eyes going bad? I wondered. Was it because the sun, which was already shining on the trees above us, was just about to shine on us as well? Whatever the cause, the effect of seeing differently concerned and intrigued me.</span><br />
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<span style="font-size: large;">2. I drove Lyn to the endoscopy clinic for her colonoscopy. I've done endos on my mountainbike and use colons often in my writing and Alex once suggested that my reluctance to have a colonoscopy might be relieved if I asked for a semi-colonoscopy—but still the two words strike me as particularly ugly. The previous day and night had been a nightmare for Lyn—forced liquids and loose bowels preparing for this moment. We got out of the car, entered the building, took the elevator to the third floor, entered the clinic, and I waited while Lyn checked in. A TV hanging from the ceiling in one corner of the room blared—visually blared as well as aurally blared—"The Price is Right!" It was a group of especially obnoxious aliens cavorting (carefully, according to the rules) on the screen, hugging and touching and choosing boxes with money folded into their hands. Rather than succumbing to nausea, I turned to watch the hallway outside the door. A man passed in green scrubs. A heavy man in t-shirt and long shorts (there's a paradox) and sandals lumbered (a good, if overused word) past. A tiny lady with white hair was followed by a young woman in green scrubs. There were others, all of them real—no whiff of alien origen. But every one of them, medical personel as well as patients, was walking awkwardly, even painfully, as if afflicted with with colorectal problems. Person after person. Legs farther apart than usual. A slight forward bend. Heels up, walking on the balls of their feet. I am not making this up. At least I think I wan't making this up.</span><br />
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<span style="font-size: large;">3. Last night, darkness gathered around me except for the reading light shining on D'Arcy McNickle's <i>Wind From An Enemy Sky</i> (Native Americans and barbed wire), my glass half empty, I looked at the long window next to the door and saw a framed still life. It was beautiful, striking, intriguing—haunting in the way surprises sometimes haunt. The drink had something to do with the experience, as did the darkness and light. The delight came with seeing differently, I think. The reflection made me . . . reflective.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp5hkw8ihHwrOAIrJGheID0EBvFfPdRHdTpDg9BUWf5N3HrhKyT5FfNpDI74s8U7Jom9meQW7kvZkybmtTtokxb03ugEvd3V5xyDBOJtqdqgraJY_E2V722nWuJILkcKGCjZ9zEg8HY-k/s1600/IMG_2834.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp5hkw8ihHwrOAIrJGheID0EBvFfPdRHdTpDg9BUWf5N3HrhKyT5FfNpDI74s8U7Jom9meQW7kvZkybmtTtokxb03ugEvd3V5xyDBOJtqdqgraJY_E2V722nWuJILkcKGCjZ9zEg8HY-k/s400/IMG_2834.JPG" width="400" /></a><span style="font-size: large;">4. This morning shortly before 6 I looked out a window to the west and was surprised to see the nearly full moon, red with a bit of haze in the air, poised just above the mountains. I stood and watched it slip behind the horizon—and was happy to have witnessed that. When surprised by something in nature, a red maple leaf, for instance, in a setting of yellows and browns, or in this case the disappearing big fat red moon, I experience pleasure. Why is that?</span><br />
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<span style="font-size: large;"><br /></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com2tag:blogger.com,1999:blog-8494024784324680939.post-55712127904548441472012-09-27T13:45:00.003-07:002012-09-29T07:43:50.150-07:00Wildflowers: Addendum<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieJlgb1ez4E2m0YDAQtAGO6KN7DKKl38vqW7MhtL4hXZBJOm3DyIARKBAMepf1hJ669OQwAYeV4U7wCxFn2LUOU9QCWjunbf6gr-4FheiGeKrF7L0xD_Gm5k9EIrivmMvDHzewXrazaik/s1600/IMG_2867.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieJlgb1ez4E2m0YDAQtAGO6KN7DKKl38vqW7MhtL4hXZBJOm3DyIARKBAMepf1hJ669OQwAYeV4U7wCxFn2LUOU9QCWjunbf6gr-4FheiGeKrF7L0xD_Gm5k9EIrivmMvDHzewXrazaik/s400/IMG_2867.JPG" width="400" /></a></div>
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<span style="font-size: large;">Okay, I said I had made the last wildflowers post. But it wouldn't be right not to include these very latest blooms, now would it? This is an aster, I think, but I'm not sure what species.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6KFrdK9bFQelTHIdXeLyKkUWPBVEJJYeKQ4UW-mPwWTvVbWYLUq3HcgS5Y51nr4OQYSE875zchPDV_1larVEPFZe__yJYmDm4-7v6pYNJrLHF0SjpHIf7GKfXqmLOHudTho3Iq6vrwLg/s1600/IMG_2840.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6KFrdK9bFQelTHIdXeLyKkUWPBVEJJYeKQ4UW-mPwWTvVbWYLUq3HcgS5Y51nr4OQYSE875zchPDV_1larVEPFZe__yJYmDm4-7v6pYNJrLHF0SjpHIf7GKfXqmLOHudTho3Iq6vrwLg/s400/IMG_2840.jpg" width="300" /></a></div>
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<span style="font-size: large;">An old but still functioning barbed-wire fence.</span></div>
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<span style="font-size: large;">It's mine! Don't even think about it.</span></div>
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<span style="font-size: large;"><br /></span>Scott Abbotthttp://www.blogger.com/profile/01782322856303315648noreply@blogger.com1