NIGEL BEALE NOTA BENE BOOKS

Musings on the Book, Literature, Poetry, Literary Criticism, Collecting, Media, Life and the Arts, and Audio Interviews from The Biblio File radio program pertaining to same by a writer, broadcaster, bibliophile.
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Archive for July, 2009

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

Video and Short Story about Tour Guides

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 retrieve 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 skips like he’s 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.She has a tiny spot on one of her front teeth that is whiter than the rest. A friend of his wife has something similar. He finds it captivating.

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 are back at the Old Town Square where the tour began, standing, 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 trench inside him, marking lines of internal strife. 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."

July 2nd, 2009 • Posted in On Art

Andy Goldsworthy’s Anti-efficiencies

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:

httpv://www.youtube.com/watch?v=Dq1Sw35mYzc
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.

 


 
July 1st, 2009 • Posted in On Poetry

Rainer Maria Rilke’s Seven ‘Phallic’ Poems

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)

 

 

 

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July 1st, 2009 • Posted in AUDIO Author Interviews

Audio Interview with author Zoe Heller, by Nigel Beale.


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.

Subscribe to Nigel Beale’s Biblio File Podcast here.

Please listen here:

 

 

 

 

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July 1st, 2009 • Posted in Authors and Books

Who put the Magic in Realism?

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.

July 1st, 2009 • Posted in On Sport

Top 10 Goals – FIFA Confederations Cup 2009

httpv://www.youtube.com/watch?v=_wiMCB8MkEQ

Music? Che Guevara - Nathalie Cardone

 
July 1st, 2009 • Posted in Authors and Books, Literary Criticism

No-one advancing the development of Canadian literature?

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."