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Thursday, July 1, 2021

Modern History


MODERN HISTORY

Shakespeare’s plays describe about 155 deaths, less than half onstage, involving 13 suicides, 33 stabbings, seven poisonings, five beheadings, three dismemberments, a host of gruesome ends, including two men baked into a pie and fed to their mother, all told in plots involving jealousy, greed, fighting for power, vanity, dishonesty, cruelty, arrogance, vengefulness, delusion, rage, hypocrisy, and paranoia—the entire range of human iniquity. The Bard is celebrated today as one of the foremost exponents of Renaissance humanism, and we are right to wonder why.

Coming across Martin Luther eating a hearty breakfast of two sausages, five barley loaves, three scrambled eggs, and a pitcher of milk, John Calvin quoted Philippians 3:19, “Their god is their stomach.” Luther responded with Proverbs 13:4, “The diligent soul is amply satisfied,” adding that it was the Doctrine of Justification.

The Spanish conquest of the Americas led to the fusion of cultures and in many ways to the mutual enrichment of disparate peoples. Mixed populations of the Spanish and Portuguese empires adopted the dominant religion of the Europeans—Christianity?—no, soccer.

Gottfried Wilhelm Leibniz, who published his calculus in 1684, claimed that Isaac Newton’s calculus was derivative, based on their exchange of letters and notes. Newton retorted that he started working on his calculus in 1666, that is, it had long been integral to his physics.

James Watt made groundbreaking improvements to the steam engine in 1776, and for the first time, in contrast to the politics of the preceding centuries, the inventor put hot air to good use. He jumpstarted the Industrial Revolution in Great Britain so that the world was changed forever—harnessing cheap, plentiful power, factories output buttons, pins, textiles, and all sorts of products in huge volumes, with the side effect that human beings in assembly lines were transformed into robots in almost the same quantities.

The French Revolutionary calendar divided the year into four seasons of three months each and the months into three weeks of ten days each, which proved to be too revolutionary for the hardworking French. It reduced weekends from four to three per month, inciting Napoleon Bonaparte to execute the calendar by guillotine on January 1, 1806, to the cheers of millions.

Abraham Lincoln, the architect of the abolition of slavery in the U.S., had a difficult relationship with his wife, Mary Todd. Historians agree that he showed himself to be a steadfast man of principle—when he signed the Emancipation Proclamation on January 1, 1863, he did not include his marriage.

The advent of photography coincided with the rise of Impressionism, not only in the visual arts, but in all aspects of Western culture. Claude Debussy, who led this trend in music, displayed the proverbial artistic temperament—he flitted between women, some married, in relationships that were temperamental, dissonant, experimental, unpredictable, emotional, moody, and free-spirited—interestingly, just like his music itself.

When Lenin attacked the Winter Palace at St. Petersburg on October 25, 1917, ousting the Provisional Government of Kerensky, he promised the Russian people, “Peace, Land, and Bread.” What they got was Stalin.

Medical records from 1923 confirm that Adolph Hitler had only one descended testicle. Widely attested, what has not been verified is that he had only half a brain.

In August 1946 the Americans dropped atomic bombs on a wartime enemy for the first and only time in history. Massively destructive blue-white flashes exploded over Hiroshima and Nagasaki, giving unexpected new meaning to the Japanese term Shōwa or the era of “Radiant Japan.”

During the late forties, a struggling American artist refurbishing his New York City apartment spilled yellow paint on a large canvas he had laid out on the floor—liking what he saw, he decided to do it again, this time with red paint. Thus was born the legend of Jackson Pollock, master of Abstract Expressionism.

Mohandas Karamchand Gandhi, hero of Indian independence, switched to wearing a poor man’s clothes and often walked barefoot. He came to be known as “Great Sole.”

Communist China hailed Mao Zhedong as “The Great Helmsman” of what at times appeared to be a sinking ship. History revised his revolutionary slogans—“Great Leap Forward” became “Great Leap Forward into the Pit of Famine,” and “Let a Hundred Flowers Bloom” turned into “Let a Hundred Flowers Bloom and Rot in Jail Afterwards.”

The Cold War saw the success of spy novels like Graham Greene’s Our Man in Havana (1958), Ian Fleming’s The Spy Who Loved Me (1962), and Tom Clancy’s The Hunt for Red October (1984). Ghost writers in the former Soviet Union sought to cash in with knockoffs—Our Hottie in Havana, The Spy Who Loved McDonald’s, The Hunt for Red Borscht—for some reason, they didn’t catch on.


Forging Ahead in Wind and Waves (1974)

Sunday, April 11, 2021

Sententia


“Mercy presupposes an unequal relationship between those who give mercy and those who receive it, because to be merciful is to give what we possess, sometimes in abundance, to our neighbor, so that we ourselves in some way experience deprivation and want.”
 
“written through the hand of Kathy Baron”

Sunday, January 24, 2021

Three Favorite Short Stories


THE THREE FAVORITE SHORT STORIES

The Fly (1922) by Katherine Mansfield
The New Dress (1927) by Virginia Woolf
Gooseberries (1898) by Anton Chekhov
 
 
Woman in a Yellow Dress

Brimming Water by Tu Fu


BRIMMING WATER BY TU FU

Years ago I came across Kenneth Roxroth’s translation of “Brimming Water” by Tu Fu. It is one of my favorites, if not my favorite poem.

BRIMMING WATER by Tu Fu
Original language Chinese
Translated by Kenneth Roxroth

Under my feet the moon
Glides along the river.
Near midnight, a gusty lantern
Shines in the heart of the night.
Along the sandbars flocks
Of white egrets roost,
Each one clenched like a fist.
In the wake of my barge
The fish leap, cut the water,
And dive and splash.

The poem was originally published in One Hundred Poems from the Chinese, translated by Kenneth Roxroth (New York: New Directions Publishing Corporation, 1971), page 34.

It is concisely descriptive, vividly evoking an unusually lucid image of the scene. The reality depicted is almost magical.

The American translation is influenced by Imagism, codified in the early 20th century by Ezra Pound.

Tenets of Pound’s Imagist manifesto:

- Direct treatment of the “thing,” whether subjective or objective
- To use absolutely no word that does not contribute to the presentation
- As regarding rhythm, to compose in sequence of the musical phrase, not in sequence of the metronome

—“A Brief Guide to Imagism” (September 5, 2017) by Academy of American Poets


For years I had sought to locate the poem in original Chinese characters, at one point asking my Chinese friends to help me. No such luck.

Fortunately, I was finally able to obtain the original Chinese text, courtesy of Professor Stephen Owen of Harvard University. The original text and Owen’s translation are published in The Poetry of Du Fu, Stephen Owen, transl., compiled by Ding Xiang Warner and Paul W. Kroll (Boston/Berlin: De Gruyter, 2016), Volume 4, Book 15, page 122.
 


The Poetry of Du Fu is a six-volume series. Free access to the publication in .pdf format is available at this page in the De Gruyter website:


Owen is the first to translate into English the complete poems of Tu Fu.

Owen’s translation of “Brimming Water” is different from Roxroth’s. Owen has said that he intended to make his translation of Tu Fu as readable as possible while at the same time helping a person learning how to read poetic Chinese translate the original.

Owen’s title is different from Roxroth’s. The rest of the poem maintains a strong Imagist character.

HAPHAZARD COMPOSITION by Tu Fu
Original language Chinese
Translated by Stephen Owen

The river moon is just a few feet away from me;
a wind-shaken lamp shines in the night, almost the third watch.
Egrets spending the night on the sand, legs bent under, quiet;
at the boat’s stern a leaping fish makes the sound of splashing. 


Moonlit River

The Midwife Dream by Alicia Ostriker – Analysis and Commentary


THE MIDWIFE DREAM BY ALICE OSTRIKER – ANALYSIS AND COMMENTARY

The poem well illustrates insight executed with brevity. Images and symbols are startlingly juxtaposed.

THE MIDWIFE DREAM by Alicia Ostriker

One of my students invited me to be her midwife
it seemed an easy birth, the girl healthy and strong
I reached in, drew out the head

pulled gently
but the scalp was smooth and cleft
strange I thought but it will be ok

only as I pulled and it emerged
it actually was a penis
brown and veined

pushing through the girl’s stretched labia
strange the dream arrived
so late so far along

in my life

The narrative begins innocuously enough but then swiftly segues into the surreal. It describes a chain of fantastical events so that, appropriately, the vignette unfolds in the setting of a dream.

It is a visually disturbing account because of the sexually explicit imagery—male and female genitalia coincide in the act of giving birth, a juxtaposition denoting that they somehow coincide.

Human genitalia being symbolic motifs, the phallus especially, a symbolic interpretation is apropos here. The lurid apparition points to a growing convergence over time (“the dream arrived / so late so far along / in my life) of female with male power, although more than one interpretation is possible. After all, the poem is pregnant with meaning. Please excuse the wordplay.


“pregnant with meaning

The River of Time


THE RIVER

Yesterday the river was lapping at my feet like an old man tapping out a message about time flowing downward from hills remote as hawks.
Today he rises slowly, a momentous pulse pushing seaward, fed by faraway pistons.
At the waterside where air is fresh as a pear, a sweet mist glides forward like a perfumed wrist.
Islands of floating plants drift, joining into continents, rearranging in serpentine tattoos.
Beneath the surface glittery like so many exploding firecrackers, fish swirl, shadowy limbs of an athlete smoothly cutting back and forth.
Denizens gather at the riverbanks in spoonfuls, sprinkling laughter farther than droplets shot from spinning umbrellas.
Distantly a lizard pokes its head into the sun, jerking left and right, vainly divining a future obscured by brightness.

My body is a slowing clock…

My body is a slowing clock,
My molecules tick to sleep.
God is my watchmaker;
In his pocket I wish to keep.

The day winds to a close,
The night springs awake.
Time, a river, empties
Into an eternal lake.

TIME IS NO MORE

The sun dwells in darkness.
The moon lives in light.
The owl hunts at daytime.
The falcon prowls at night.

The dead dine with the living.
The living dream, awake.
The eternal is not the future.
The river of time is a lake.


Denizens gather at the riverbanks in spoonfuls...

Thursday, December 31, 2020

Time Is No More


TIME IS NO MORE

The sun dwells in darkness.
The moon lives in light.
The owl hunts at daytime.
The falcon prowls at night.

The dead dine with the living.
The living dream, awake.
The eternal is not the future.
The river of time is a lake.


Midnight Sun