. . . evenly knotted barbed wire fences

A couple of weeks ago John Fowles, a former student of mine when I was teaching in the BYU Department of Germanic and Slavic Languages, wrote me from China, where he was on business. “I’ve been reading your ‘non-memoir’ Immortal for Quite Some Time,” he said, “and like it very much.” He had just read another book, The Black Penguin, by Andrew Evans, whom he had known at Oxford, and thought I might find it interesting.

I did.

Andrew Evans grew up in a large Mormon family in Ohio. He was bullied mercilessly in school. He loved geography passionately. He was a foreign-exchange student in France. He served an LDS mission in Ukraine. He was a student at BYU, where the institutional bullying was intense. He studied at Oxford, where he met the man who would eventually become his husband. He was excommunicated by the Mormons, whose community he desired. He approached National Geographic with a proposal to travel from Washington D.C. by a series of busses to Antartica, documenting his journey through social media. They liked the idea and the lively account of the precarious trip forms the narrative backbone of the book.

The Black Penguin was a window for me into the experiences and feelings of a gay Mormon. I had written about my gay brother John, also a Mormon, and had done so as well as I could. But as a straight man, I was an outsider to much of the life he led. Andrew Evans filled some of the gaps.

Evans was remarkably open with his ecclesiastical leaders about his desire for intimacy with men rather than with women. At BYU those leaders were remarkably ready to cure him of those desires: “You can start by lowering your voice. . . . And change the way you walk. Men walk tall and proud, head up, shoulders out. . . . If you start acting like a real man, then you’ll become a real man.” His art major, the Bishop advises, will surround him with homosexuals. Still awkwardly between his desire and his belief in the truth of the Mormon gospel, he becomes a geography major. None of this works, of course, and he has his first sexual experiences with a ballet dancer.

He ends up in a Vice President’s office who threatens to expel him and freeze his transcripts so they won’t transfer. That’s option A. But the kind man has a second option: “First, you will attend reparative therapy. We have a whole team of professionals who have been quite successful in correcting same-sex attraction.” Evans knows students who had agreed to such treatment and who were made to throw up while watching gay porn or who were shocked with electrodes attached to their genitals. Second, he is forbidden to associate with homosexuals. “Finally, you must write down a list of names of each and every homosexual you know on campus.” Evans reflects on the impossibility of this: “One page was not enough—there were hundreds, probably thousands, of gay students at BYU, some closeted and most of them terribly repressed. The vice president had to know that, didn’t he? But no—he didn’t. He thought he could weed us out like cockroaches on the kitchen floor.” It is an impossible choice. Evans agonizes. He is gay. He has friends who are gay. He has almost earned a college degree. He doesn’t want to be a victim or a martyr. “And so I picked up the piece of paper, set it on the desk, and began to write.”

Never, never have I read a sentence like that. It is an absolutely damning admission. Whose names did he write? Whose lives did he put in jeopardy? Whose trust did he betray?

Then my focus changes. Who sits in a seat of power and forces a young man to make a decision like that? An evil man serving an evil system. Goddamn both the man and the system.

There is a scene later in the book when a mostly sympathetic Bishop in England who has called Evans to be the primary chorister is required by Church leaders in Salt Lake to call him in and ask if he is a pedophile and then, again on their command, to release him from the position.

The stories are heartbreaking. The tensions arise because Evans is so intimately connected to the Church, because he loves it and its people, because he is a believer. Other than his relationship with the man he will marry and sweetly call “honey” in the book, he is a Mormon, wants to be a Mormon, practices as a Mormon. And the bastards ask if he is a pedophile and ultimately excommunicate him in a goddamned “court of love.”

Near the end of his harrowing journey, riding a bus across a thousand-mile stretch of the Pampas of Argentina, Evans says

“I saw my own childhood in the landscape—I imagined the awkward school dances, the ticking hours in church pews, and the family expectations to grow up and be as vacant and fertile as the land, framed only by evenly knotted barbed wire fences.”

And I end my account here, grateful for The Black Penguin, with a passage from nineteenth-century barbed wire advertising: “It watches with argus eyes the inside and outside, up, down and lengthwise; it prevents the ‘ins’ from being ‘outs’; and the ‘outs’ from being ‘ins’; watches at day-break, at noontide, at sunset and all night long.”

FullSizeRender

Posted in Uncategorized | Tagged , , , , , , , , , | Leave a comment

Freedom

I was visiting a friend in Salt Lake’s Intermountain LDS Hospital yesterday. Despite his chemotherapy and despite the tubes attached to him, we had a good conversation about poetry and clouds and food and other things. Leaving the hospital, I stepped into 100-degree heat and into a complex situation.

A skinny man wearing only a hospital gown and hospital booties and trailing an oxygen tube was surrounded by three hospital security officers with hand-held radios, a policeman, and four hospital attendants wearing scrubs. They kept their distance from the escapee, who held an unlit cigarette in one hand. He approached an officer and asked if she had a light. No, sir, I don’t have a light, she said. He waved the cigarette in the air, turned and started down the sidewalk, followed, at a respectful distance, by his attendants. The sun beat down on him and his boney knees and his wild white hair and his scantily covered flesh. He turned into a tiny park with three benches. He approached a man sitting on one of them, gestured with his cigarette, and the man offered him a light. He sat down on a bench and satisfied his desire.

I drove away thinking about freedom and desire.

DSC_0222

Posted in Uncategorized | Tagged , , , , | Leave a comment

The Perfect Fence / Intimate Fences

fisherwomancrossingwire00186062

I’ve been thinking about this photo for several years as we have written about the meanings of barbed wire.

Our original title was Intimate Fences, borrowed from a haunting story by Annie Proulx. The story is about an old man who has been trying to escape the decay that comes with aging (he rides an exercycle) who returns to the Wyoming ranch he fled as a young man. He remembers the “intimate” barbed wire fences he constructed to ranch profitably and to protect himself from the alcoholism and overt sexuality of his father and his lascivious girlfriend. No fences remain taut, of course, and fences extract their own costs.

The editors at Texas A&M University Press convinced us to change the title to a phrase from early advertising: The Perfect Fence. As conflicted as barbed wire is — and any fence used in the conquest of the American West and to control animals through pain is deeply conflicted — the fence became ubiquitous throughout the West, including in Colorado, where the photo was taken.

This looks like a good fence, its wires taut and the stile that allows the fisherwoman to cross in good shape. She looks happy, even proud of herself in this moment. Despite her dress, she is out in the hills with a long fishing rod in the company of whomever is holding the camera. By means of the stile she can cross a fence meant to control cattle and horses. By means of her adventuresome spirit she crosses at least some of the gendered fences meant to keep women at home and in town. At least that’s how I see this scene.

We didn’t end up using this photo for our book. But I didn’t want to waste it. And so here it is.

Corrected page proofs sent back yesterday. Publication scheduled for November 1.

IMG_1861

Posted in Uncategorized | Tagged , , , , , , | 2 Comments

Immortal for Quite Some Time — Time Moves On

Yesterday would have been my brother John’s 66th birthday. June 3rd. Since 1991 that date has been a reminder to me, an occasion to reflect again on fraternity and loss. Yesterday passed without a thought.

Today, writing about my friend and co-author Zarko Radakovic for our third book, I wrote the following:

I look across the deck to where Žarko alternately overlooks the valley and writes in his notebook. For years he used Waterman fountain pens. This one is a stylish Caran d’Ache. I buy my pens twelve for $10. Žarko’s gaze jumps from Utah Lake to Mt. Timpanogos to the alfalfa field 200 meters below us. His mind wears seven-league boots. My mind turns to my brother’s apartment after his death. One side of a cardboard box had holes where John had cut out the shapes of his feet to line his work shoes. I framed the cardboard, backed the holes with Miroslav Mandić’s drawings of feathery, grassy, and pebbly feet, traces of his poetic pilgrimage from Yugoslavia to Hölderlin’s grave in Tübingen. I break into Žarko’s reverie and ask if Mandić was part of the group with Era and him in Belgrade?

No, he answers, his pen still poised above his notebook, he was from Novi Sad, part of a group, mostly poets, who worked conceptually. They still see themselves as the origin of conceptualism in Yugoslavia. That’s absurd. We were all in the same boot, a boot that sank, as is well known. In Belgrade we were all visual artists, except for me, although I did that one piece you have seen in my flat: Medex. Typed it with my ancient typewriter. It was for our performance #1, 1971, at the Belgrade International Theater Festival.

            I remember the piece of concrete poetry well, an extended hexagon fashioned by the letters med running horizontally, and, down the center, a vertical line. At the top and from the right side two sharp pointed swarms of “z”s enter or leave what strikes me as a hive.

medex3

            Bees? I ask.

Yes, Žarko answers. I also wrote a poem about insects called “Events in a Dark Chamber.” Era was author of the performance piece called “Medex,” although it was a collective effort. We lived together in a creative commune in apartment number 10 b in Ljube Didića street. Three of us had studied literature together. Miodrag Vuković, one of the greatest Serbian-Montenegrin writers of my generation—he and I wrote some poems together; Nebojša Janković, now a journalist in Canada; and I. Era Milivojević joined us. He was already an artist of note, together with Marina Abramović who went on to stardom in New York. Medex was a Yugoslavian company that produced honey and honey products. Their motto was “good and healthy products” and we used that in the performance. The four of us were bees that produced honey.

The framed footprints hang in my study:

feet3

But the fact remains that I didn’t think about John yesterday. Is that because the publication of the book I worked on for 25 years is now in the past? Time passes. Memories dim. There are new urgencies. Responsibilities for the living. My son Tom’s birthday is tomorrow. My daughter Maren’s was on June 20th.

I myself, like John, am only immortal for quite some time.

post script:

. . . it was even worse than I thought. I am far enough removed from remembering John’s birthday that I didn’t remember until July 4th, when I wrote it was yesterday, June 3rd. I think I’ll plead the July heat for the “yesterday” slip.

immortal

Posted in Uncategorized | Tagged , , , , , | 2 Comments

Notebooks

I’m writing a biography, of sorts, of Zarko Radakovic. Fragments of biography. Flights of fancy interspersed with passages from my notebooks. Reading through a notebook I filled on a trip to Alsace and Paris (in Paris I met Zarko and Anne and we visited Julije Knifer and then Peter Handke), I found these renderings of a Saint I had never heard of:

IMG_1704

IMG_1706

Posted in Uncategorized | Tagged , , , | 8 Comments

Zarko’s Notebook/My Notebook

The previous two posts featured Alex’s notebook and Peter Handke’s notebook .

Now Zarko’s notebook with spaces left for drawings by Nina Pops:

zbooknina

As I work on my half of our book “We: A Friendship,” I leaf through my own notebooks and find pages like this one, written and sketched while I was in the Orkney Islands looking at stone circles:

IMG_1490

You see better with paper and pen in hand.

Posted in Uncategorized | Tagged , , , | Leave a comment

Peter Handke: Drawings from Notebooks

After posting some pages from Alex’s three new books I found this current exhibition of drawings from Peter Handke’s notebooks at the Galerie Klaus Gerrit Friese in Berlin. Both authors draw and write and write and draw. Neither is a trained artist. Both are superb writers. Both draw as interestingly as they write.

First a photo of the gallery owner, Sophie Semin Handke, and Peter, with drawings along the wall:

peterundsophie

Then several of the drawings:

handke-01-14691.2

handke-02-14698.2

handke-06-14686.2

handke-07-16017.2

Posted in Uncategorized | Tagged , , , , , , | Leave a comment

It rains even on who’s wet: POMS 2005 by Alex Caldiero

IMG_1372

Alex’s new work — newly presented, that is, since these are taken from his notebooks written and drawn in 2005.

Words are no longer “enough like things,” a poem in the first volume complains, and one way to read these beautiful little books is as an attempt to assert the thingness of words.

 

SING THIS BEFORE YOU MAKE UP YOUR MIND

that a dream can still happen is a sign of health both in an

individual and in a world

 

if something happens in a dream it will also some how eventually

lead to the exact place where you fell asleep

 

how else do you explain eye-lids? how else do you explain two-way

doors?

 

words are becoming too much like worlds and not enough like things

 

you cant point to a that because it is the very act of pointing that is useless in denoting a thing

 

because is so hungry for its own reasons it never really finds an

answer

 

even name words flake off the very things they would name

 

nunc, he said. and then kept quiet for as long as it took to say it

again: nunc. this time meaning it a little less.

 

now is one of those that say nothing to nobody and is meaningless

if understood

 

the wordmill spins out of control and no one is the wiser

 

come here, he said. it’s going to get cold, he added. the night wind

is going to freeze every thing in its path, he prophesied. and then

he muttered something else

5 May 05

 

If words are things, they can  insist they are things.

IMG_1600

If words are things, Mr. Magritte, maybe a picture is a pipe.

IMG_1642

If words are things that happen in dreams, colorful brains have eyes.

IMG_1641

If words are things, then words can be visible while invisible.

IMG_1640

If your words are not things, this poet, can help you imagine writing in which a name “ceases to be the ephemeral passing of nonexistence and becomes a concrete ball, a solid mass of existence; language, abandoning the sense, the meaning that is all it wanted to be, tries to become senseless. Everything physical takes precedence: rhythm, weight, mass, shape, and then the paper on which one writes, the trail of the ink, the book. Yes, happily language is a thing: it is a written thing, a bit of bark, a sliver of rock, a fragment of clay in which the reality of the earth continues to exist. (Blanchot, from a review by Gerald Bruns of Leslie Hill’s Maurice Blanchot and Fragmentary Writing: A Change of Epoch in the Notre Dame Philosophical Reviews, 2012.11.08)

Rilke takes us in another direction, lamenting that things are being murdered by words. He fears the certainty of words that so blithely define beginning and end. He likes to hear things, themselves, singing:

Ich fürchte mich so vor der Menschen Wort.
Sie sprechen alles so deutlich aus:
Und dieses heißt Hund und jenes heißt Haus,
und hier ist Beginn und das Ende ist dort.

I am so frightened by the human word./They pronounce everything so precisely:/And this is called dog and that is called house,/and here is beginning and the end is there.

Mich bangt auch ihr Sinn, ihr Spiel mit dem Spott,
sie wissen alles, was wird und war;
kein Berg ist ihnen mehr wunderbar;
ihr Garten und Gut grenzt grade an Gott.

I also fear their meaning, their play with mockery,/they know everything that was and will be;/no mountain is still amazing to them;/their garden and property borders directly on God.

Ich will immer warnen und wehren: Bleibt fern.
Die Dinge singen hör ich so gern.
Ihr rührt sie an: sie sind starr und stumm.
Ihr bringt mir alle die Dinge um.

I always want to warn and defend: stay away./I so love to hear the things sing./You touch them: they are stiff and silent./You are killing all my things.

Aus: Die frühen Gedichte (Gebet der Mädchen zur Maria)

 

Posted in Uncategorized | Tagged , , , , , | 2 Comments

Resurrection / Auferstehung / Anastasis

Spent the last couple of days working on the metaphor of standing in Dostoevsky’s novel The Idiot. A copy of Hans of Holbein’s painting of the dead Christ hanging in Rogozhin’s apartment  is key to my thinking, raising questions of death and resurrection, of horizontality and verticality in discussions between several characters of the novel.

hans_holbein_body_of_dead_christ

In the painting the horizontal Christ is so absolutely dead that he can’t possibly rise again. I’ll lead into the discussion with two paintings by Bosch done in the 1480’s in which Christ is taking his first and last steps (first steps with the aid of a walker, last steps hindered by sandals with nails in them),

boschchild

boschkreuztragun

Grünewald’s gruesome painting (1512-1516) of Christ on the cross in which the feet are so thoroughly destroyed that he can’t possibly stand again (resurrection in Greek and German means literally “to stand up”),

Isenheim Altarpiece - The Crucifixion (detail) 5

and Holbein’s painting (1520-1522) done after his father took him to see Grünewald’s work. I don’t know Russian but am lucky to have a friend, Gary Browning, who does, and yesterday we worked through nearly 50 places in the novel where my three translations indicated that the standing metaphor was at work, and most specifically where the Russian used the *staj or *stoj root.

IMG_1597

The book project seemed overwhelming to me yesterday – much too much for me to learn about too many works of art and literature in too many languages. Early this morning I dreamed that I although I had a substantial manuscript, there was a critical part lacking. It had something to do with women, and when I looked through the work I found that all references to women had disappeared except for the word “girl” that still appeared in one place but was on the verge of disappearing as well. How could I hold on to that? How had I allowed so much to be lost? In the dream I fell deeper and deeper into despair even as I wrestled with possibilities, impossible choices because it was all falling apart. Then an epiphany: I could add to the manuscript, I could add anything I wanted, I had ideas about women I could add.

And I add this now, from Julia Kristeva’s essay on melancholia and Holbein’s Dead Christ:

Our eyes having been filled with such a vision of the invisible, let us look once more at the people that Holbein has created: heroes of modern times, they stand straitlaced, sober, and upright.  Secretive, too: as real as can be and yet indecipherable.  Not a single impulse betraying jouissance.  No exalted loftiness toward the beyond.  Nothing but the sober difficulty of standing here below.  They simply remain upright around a void that makes them strangely lonesome.  Self confident.  And close.

Posted in Uncategorized | Tagged , , , , , , | 3 Comments

Standing as Metaphor

Working this summer on a book I began thinking about while still teaching at Vanderbilt University in the 1980’s. The first chapter explores the metaphor of standing in Sophocles’ Oedipus the King and in Kafka’s “The Metamorphosis.” What does it meaning to be human? It means to go on 4 legs in the morning, on 2 at noon, and on 3 in the evening. Unfortunately, that heroic uprightness is fraught with impending decay as the name Oedipus / Swollen Foot portends. The Sphinx can’t standing on 2 legs, nor can the vermin Gregor Samsa has become. Gregor’s upright family, however, is both stagnant and violent as Homo erectus.

I’ll offer the topic as an Integrated Studies course this coming fall. And perhaps have a good draft of the book by the end of summer 2018.

aea28a3b-b23c-4eee-ac9f-193880153627

Posted in Uncategorized | Tagged , , , , , | Leave a comment