Video and Short Story about Tour Guides

Posted in Nigel Beale Reviews, etc. on July 2nd, 2009

I know it’s Moscow, but this video of Gilbert Becaud’s Natalie,


recalled a very short story I wrote several years ago, which I here recall from a previous post:

Inside Prague by Nigel Beale

A PR executive in his forties goes to Prague with his 18 year old daughter to finalize a real estate transaction. Whilst there he takes a "Kafka" walking tour of the old city. He shows up at the allotted time and, to his surprise, finds himself alone with a beautiful young guide. They start walking. He feels everything felt on a first date. She talks about Kafka’s early life, pointing to the house at Karpfensgasse and Maiselgasse where he is said to have been born, mentioning that his mother died when he was very young.

This the executive knows to be untrue. Julie Lowy died in 1934, ten years after her Franz’s death.

They walk through narrow side streets together and stop at a small church. No one is near. It is quiet. His watery legs float in air that is skin temperature, unsure of where they end and it begins. She stares into his eyes and starts talking about herself. Her studies at Charles University, her childhood in the surrounding countryside, the corruption of local police and her desire to leave the country.

She says she has her own apartment. He observes her lips.

Why is she sharing these personal stories?

After a time they move on. She points out various buildings, architectural features, a fish. Given her error, the man isn’t sure he can believe anything she says.

They return to the Old Town Square where the tour began, to stand facing each other, closer perhaps than propriety warranted. She gazes again into his eyes and asks if he has anymore questions. He knows what he wants to say. He doesn’t want her to leave, but only shakes his head. She turns and slowly walks away. He watches her shapely back, her lithe movement. There is a black hole filled with friction inside him. Bleeding, he makes his way back to the restaurant where his daughter awaits.

Copyright Nigel Beale 2006

***

Here are a few apt quotes from Franz Kafka:

"Love is like a knife with which we explore ourselves."

"The clocks are not in unison; the inner one runs crazily on at a devilish or demonic or in any case inhuman pace, the outer one limps along at its usual speed. What else can happen but that the worlds split apart, and they do split apart, or at least clash in a fearful manner"

"I think we ought to read only the kind of books that wound and stab us…We need the books that affect us like a disaster, that grieve us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone, like a suicide. A book must be the axe for the frozen sea inside us."

"If I felt in love, I would be in a world in which I could not live."


 

Andy Goldsworthy’s Anti-efficiencies

Posted in On Art on July 2nd, 2009
Picked up a copy of Midsummer Snowballs by Andy Goldsworthy in F/NF condition several days ago at my favourite used book haunt. Here’s a look at some of his work:


Four or five years ago I visited Goldsworthy’s Storm King Wall. I smile just thinking about its wonderful inefficiencies. Its anti-efficiencies. Reminds me of Gaudi in this respect.

 


 

Rainer Maria Rilke’s Seven ‘Phallic’ Poems

Posted in On Poetry on July 1st, 2009
I’m reading Christopher Hitchens’s Letters to a Young Contrarian. In it he mentions Rilke’s Seven ‘Phallic’ Poems which ‘openingly announce that fucking is its own justification.’ Here they are:
 
The Seven Phallic Poems
I
The rose-gatherer grasps suddenly
The full bud of his vitality,
And, at fright at the difference,
The gentle garden within her shrinks.
 
II
Summer, which you so suddenly are, you’re
Drawing my seed up into an abrupt tree.
(Inner spaciousness, feel in yourself the lee
Of night in which it is mature.)
Now to the firmament it rose and grew,
A mirror-image resembling a tree.
O fell it, that, having turned unerringly
In your womb, it knows the counter-haven anew,
In which it really towers and really races.
Daring landscape, such as an inner-seer
Beholds in a crystal ball. That innerness here
In which the being-outside of stars chases.
There dawns death which shines outside like night.
And there, joined with all futures,
Are all who once were, the finite,
Crowds crowded round crowds for sure,
As the angel intends it outright.
 
III
We close a circle by means of our gazes,
And in it the tangled tension fuses white.
Already your unwitting command raises
The column in my genital-woodsite.
Granted by you, the image of the god stands
At the gentle crossroads under my clothes;
My whole body is named after him. We both
Matter like a province in his magic lands.
Yet yours is to be grove and heaven around
The Hermean pillar. Yield. Thereby freedom
For the god along with his hounds,
Withrawn from the delightfully ravaged column.
 
IV
You don’t know towers, with your diffidence.
Yet now you’ll become aware
Of a tower in that wonderful rare
Space in you. Hide your countenance.
You’ve erected it unsuspectingly,
By turn and glance and indirection,
And I, blissful one, am allowed entry.
Ah, how in there I am so tight.
Coax me to come forth to the summit:
So as to fling into your soft night,
With the soaring of a womb-dazzling rocket,
More feeling than I am quite.
 
V
How the too ample space has weakened you and me.
Superfluity recollects itself suddenly.
Now wormwood and absinthe trickle through silent
Sieves of kisses of bitter essence.
How much we are - from my body
A new tree raises its abundant crown
And mounts toward you: but what’s it to be
Without the summer which hovers in your womb.
Are you, am I, the one each so greatly delights?
Who can say, while we dwindle. Perhaps a column
Of rapture stands in the chamber room,
Sustains the vault, and more slowly subsides.
 
VI
To what are we near? To death, or that display
Which is not yet? For what would be clay to clay
Had not the god feelingly formed the figure
Which grows between us. But understand for sure:
This is my body which is resurrected.
Now gently deliver it from the burning grave
Into that heaven which in you I crave:
That from it survival be boldly effected.
You young place of ascension deep.
You dark breeze of summery pollen.
When its thousand spirits romp madly all in
You, my stiff corpse again grows soft asleep.
 
VII
How I called you. This is the mute call
Which within me has grown sweet awhile.
Now step after step into you I thrust all
And my semen climbs gladly like a child.
You primal peak of pleasure: suddenly well-nigh
Breathless it leaps to your inner ridge.
O surrender yourself to feeling its pilgrimage;
For you’ll be hurled down when it waves on high.
 
(R.M. Rilke, 1915. Translated by J.B. Leishman)

 

 

 

Audio Interview with author Zoe Heller, by Nigel Beale.

Posted in AUDIO: Author Interviews on July 1st, 2009


This from Contemporary Writers: " Zoe Heller was born in London in 1965 and educated at Oxford University and Columbia University, New York.  She is a journalist who, after writing book reviews for various newspapers, became a feature writer for The Independent.  She wrote a weekly confessional column for the Sunday Times for four years, but now writes for the Daily Telegraph and earned the title ‘Columnist of the Year’ in 2002. She is the author of two novels: Everything You Know (2000), a dark comedy about misanthropic writer Willy Miller, and Notes on a Scandal (2003) which tells the story of an affair between a high school teacher and her student through the eyes of the teacher’s supposed friend, Barbara Covett. It was shortlisted for the 2003 Man Booker Prize for fiction, and was recently released as a feature film, starring Cate Blanchett and Dame Judi Dench."

We met recently in Ottawa to talk, ‘companionably’ about her latest novel The Believers.

Please listen here:

 

 
 
icon for podpress  Standard Podcast: Play Now | Play in Popup | Download

Who put the Magic in Realism?

Posted in Authors and Books on July 1st, 2009

Quoting this from the NYRB’s review of the current Garcia Marquez bio:

García Márquez popularized the style, but he was not its inventor, and One Hundred Years of Solitude would not have been possible without his hav- ing studied, at Carlos Fuentes’s urging, the works of an older generation of Spanish-American writers who were magic realism’s pioneers, among them Alejo Carpentier and Miguel Asturias.[3] It is remarkable that so little influence on his writing is credited to his Latin American precursors. This is partly because García Márquez himself has been reluctant to give them their due. At times he seems to enjoy casting himself as the magician who created a new Spanish-American literature out of thin air.

Scott Esposito encourages us to read Alejo Carpentier.

Top 10 Goals - FIFA Confederations Cup 2009

Posted in On Sport on July 1st, 2009

Music? Che Guevara - Nathalie Cardone

 

No-one advancing the development of Canadian literature?

Posted in Authors and Books, Literary Criticism on July 1st, 2009
A lament via Bookninja from This Magazine about the lack of evaluative book reviewing in this country:
 
…we subsidize CanLit with one hand and then give the CBC more than a billion dollars a year with the other. Why, why, why does the CBC pay people to review Hollywood films that will cost you $13 to see but refuse to tell you whether the $25-$40 books you subsidize are worth your time and money?


Lemon Hound adds this: " The reason Can Lit was so exciting "back in the day" is that people were making bold choices, big bold choices that they believed in, that they promoted and in doing so, created a dynamic literary world"

I’m reading about one of these people. Elaine Kalman Naves’s Robert Weaver (see reviews here, and here). Weaver was for decades, starting in the late 1940s [1948-85], responsible for programming literary content at the CBC. In 1954 he introduced Anthology to the network, ‘a sort of literary magazine of the air.’ It ran for more than 30 years, and goes down as one of the CBC’s most successful radio programs ever. As Kalman Naves puts it:
 
" Through his work at the CBC and Tamarak, Weaver helped jump-start the careers of Alice Munro, Mordecai Richler, Leonard Cohen, Timothy Findlay, Gwendolyn MacEwen, and many, many others. He also sustained the writing life of Brian Moore, Al Purdy, Margaret Laurence, Austin Clarke, Marian Engel, Norman Levine, Alistair MacLeod, and a host of others.

By establishing the CBC Literary Competition, Weaver reached out to a new generation of Canadian writers. The list of winners…Carol Shields, Michael Ondaatje, Bonnie Burnard, Robert Munsch, Frances Itani, Lorna Crozier, Katherine Govier, Shauna Singh Baldwin, Gail Anderson-Dargatz, and Janice Kulyk Keefer are some of the names that leap to mind."

The CBC in its chicken like scramble to attract and appeal to a younger ‘hipper’ audience is sounding more and more like all the other commercial crap on the air; in so doing it is abdicating an important role: nurturer of Canadian literary talent, or as Brian Moore put it in a letter to Weaver, [provider of] "encouragement at that vital stage when such help is - or seems - all important. " I am sure," Moore continues " I am only one of the swelling chorus of writers who are in your debt but, believe me, I have never forgotten those early days."

A 10-pack of Canadian literary trivia

Posted in Authors and Books on June 30th, 2009

From The Big Book of Canadian Trivia by Mark Kearney and Randy Ray (www.triviaguys.com

1. The late Milton Acorn, a native of Charlottetown, and one of Canada’s most renowned poets, was also a skilled carpenter. 

2. Leslie McFarlane of Haileybury, Ontario, wrote the first 20 books in the famous Hardy Boys series under the pen name Franklin W. Dixon. They were among the best-selling boys’ books of their time, but McFarlane received no royalties. 

3. Anne of Green Gables, the story of the little red-haired orphan from Prince Edward Island, written by Lucy Maud Montgomery, was first published in 1908 and is considered the best-selling Canadian book of all time. Though Lucy Maud Montgomery is best known for her Anne of Green Gables books, the prolific author also published some 450 poems and 500 short stories during her illustrious career. 

4. The First Ten Winners of the Governor General’s Literary Award for Fiction are: 

1. 1936: Think of the Earth by Bertram Brooker.
2. 1937: The Dark Weaver by Laura G. Salverson.
3. 1938: Swiss Sonata by Gwethalyn Graham.
4. 1939: The Champlain Road by Franklin Davey McDowell.
5. 1940: Thirty Acres by Ringuet (Philippe Panneton).
6. 1941: Three Came to Ville Marie by Alan Sullivan.
7. 1942: Little Man by G. Herbert Sallans.
8. 1943: The Pied Piper of Dipper by Thomas Raddall.
9. 1944: Earth and High Heaven by Gwethalyn Graham.
10. 1945: Two Solitudes by Hugh MacLennan.
 
For a list of the rest go here.

5. The Fall of a Titan, which won a Governor General’s Award in 1954, was written by Igor Gouzenko, once a cipher clerk for the Soviet Embassy to Canada in Ottawa. He defected in 1945 with 109 documents that detailed Soviet espionage activities in the West, including plans by Joseph Stalin to steal nuclear secrets. It is thought that his defection and the subsequent exposure of these facts was one of the significant events that triggered the Cold War. Gouzenko often appeared on television promoting his books with a hood over his head. 

6. Canadian poet Robert W. Service once appeared in a film with John Wayne and Marlene Dietrich. The film, dated 1942, was The Spoilers. 

7. They Said It:  “Men who are attractive to most women are rarities, in this country at any rate. I think that it is because a man, to be attractive, must be free to give his whole time to it, and the Canadian male is so hounded by taxes and the rigours of our climate, that he is lucky to be alive, without being irresistible as well.”  Robertson Davies

8. Poet and children’s author Dennis Lee once co-wrote songs for the TV program Fraggle Rock. 

9. In the 1950s and 1960s the Coles bookstore chain was the first in Canada to sell the Hula Hoop, the Slinky, and the Mechano set.  Why?  Because one of the founders, Jack Cole, was more of a retailer than a book lover. 

10. Canadian authors Pierre Berton, Hugh Garner, Peter Newman and Mordecai Richler have all written for Maclean’s magazine.
 

Michael Jackson a Poetry Lover?

Posted in On Music on June 30th, 2009

ET online

Not sure if this is the work of some Jackson family-hired spin-doctor cum hagiographer, but here from Carolyn Kellog in the L.A. Times:

 "When news broke in early 2009 of Michael Jackson’s return to Los Angeles, it was not via reports of him being spotted dining at the Ivy or dancing at the hottest new Hollywood club but book-shopping in Santa Monica.
"He was a longtime and valued customer," a store representative of art and architecture bookstore Hennessey + Ingalls said Thursday. "We’ll miss him."
"If Jackson’s bookstore appearance surprised his pop fans, it was nothing new for booksellers. A few years ago, Doug Dutton, proprietor of then-popular Dutton’s Books in Brentwood, was at a dinner with people from Book Soup, Skylight and other area bookstores.

"Someone mentioned that Michael Jackson had been in their store," Dutton said by phone Thursday, "And everybody said he’d shopped in their store too…He loved the poetry section," Dave Dutton said as Dirk chimed in that Ralph Waldo Emerson was Jackson’s favorite. "I think you would find a great deal of the transcendental, all-accepting philosophy in his lyrics."

…I’ll play along for now with this account of how Emerson dealt with death, from Stephen Barnes (Southern Illinois University, Carbondale.

In Canada, comparing books with the best the language has produced is a ‘hopeless task’

Posted in Literary Criticism on June 29th, 2009
So, speaking of Northrop Frye’s refusal to assess degrees of greatness, said George Woodcock in Canadian Literature1971 from The Rejection of Politics (1972). Quoting Frye: " If evaluation is one’s guiding principle, criticisms of Canadian literature would become only a debunking project…"  "But," says Woodcock, "if Frye’s critical conscience and  - I suspect - his personal kindness, debar him from debunking, they also debar him from the kind of idiotic inflation of the claims of Canadian writing which has so often marred what in this country passes for criticism. He does not seek greatness or futility in a work, for these, it seem to him, are irrelevant to the central task of finding what the writer has sought to do and discussing how well he has done it."

In other words, Frye refused to do what John Metcalf has done. Both approaches are worthwhile. One is far less harmful to the critic. If forced to choose, I’d go with the debunkers.