Friday, January 23, 2009

A Season in Hell

Seven years ago, at just about this time of the year, I began a translation of Arthur Rimbaud’s A Season in Hell. I intended to give this translation to my friend Jerry Bacasa as a gift for his birthday, some six months away. --Jerry is the inspiration (for lack of a better word) for the character Casper in God Bless the Squirrel Cage.-- As I reached the halfway point in my work, Jerry was murdered. I was never able to give him his gift.

 

I finished the translation shortly thereafter. The work became a kind of therapy. Or, rather, it became a way of focusing on something other than his death. Over the years, the manuscript spent time in various apartments in various cities, tucked away in boxes and folders and filing cabinets. I’d take it out from time to time, scribbling things in the margins, exchanging one word for another. I wrote a brief introductory essay, which, now that I think about it, I composed at the rate of roughly fifty words a year.

 

I worked on it now and then, but I never really knew what to do with the damn thing.

 

But then it occurred to me. The translation was intended to be a gift, and so I was going to make it one. I approached Caroline, the director of The Green Lantern, with the following proposal: I would donate my translation, a designer would donate his or her skills, and a cover artist would donate his or her work. The Green Lantern would print the book, and 100% of the proceeds would be presented to St. Jude Children’s Research Hospital. Caroline accepted the proposal, and A Season in Hell is scheduled to be published in winter 2009.

 

I am currently revising the manuscript one last time. Over the next year or so, I’ll occasionally post excerpts, work through rough patches and, generally, think aloud here. It will be a way to chart my progress and, hopefully, give me a kick in the pants when I need it.

 

And I hope you’ll read along, too. 

Thursday, January 1, 2009

An American Execution at Two With Water

The folks at Two With Water have been kind enough to publish a story of mine on their website. The story is titled "An American Execution." It was the first thing I wrote after moving to San Francisco some six (seven?) years ago. It's only an excerpt (you'll have to wait for the print version to read the whole thing), but check it out when you get a moment. And while you're there, read the other stuff they've got posted, too. You'll like it. 

Thursday, December 18, 2008

Tramp Quarterly

Here is an essay on G.B.t.S.Q. written by Moshe Marvit, author of the mighty Urbesque. It was originally posted on Tramp Quarterly.

The Cliche
by
Moshe Zvi Marvit

The literary cliche was born in 1892 in a comparative anatomy textbook. It was not used in the 20th century outside of this comparative anatomy textbook until it was employed to describe a set of motives in the 28th edition of the Encyclopedia Britannica. It is not surprising that the term has proliferated so widely in just over a century. Nor is it surprising that the first use of the term was in an anatomy textbook, so long as it was comparative. The surprising thing is that the term did not exist before the turn of the 20th century. Well into the modern era, after Kant and Hegel and Marx, after the Civil War, and after Frege had mapped out the foundations of what was called at the time "common-sense philosophy," there was still no way to describe the overflowing concept that is the cliche. Of course, this question of what we had before the cliche has now become a cliche, so it will not be investigated here. Instead, the question will remain throughout: what is the cliche? Though we all fill in the blanks of our lives with its easy colors, and though everyone tries to be original in the matters one holds important, very few have stopped to ask what the benefits and uses are of the cliche.

The cliche is perfect, easily communicable, and marks an end. The perfection of the cliche should not be understood primarily in terms of value, but rather in its denotation of completion, or absence of absence. Though its positive connotation is in part intended, this position flows from its neutral quality of perfection. The cliche is as whole as a literary piece can be. Though the incompleteness and ambiguity of language is constantly bemoaned by analytic philosophers and mature seventeen year-olds, the cliche offers an escape. It offers a rare moment of language serving as an exact coincidence and representation of that which it was intended to describe.

The cliche is also supremely communicable, as it means the same thing leaving the speaker's lips as it does entering the listener's ears. There is no gap or possibility for miscommunication within the cliche Of course, the application of the cliche is according to the discretion of the speaker and may be as easily misapplied as any other turn of phrase. If a man inserts himself in the middle of a line and then justifies himself to the lady behind him with the following cliche, "What's good for the goose is good for the gander," then the cliche is perfectly clear. But he is confused. This understanding that the onus lies in the application rather than within the cliche allows one to see that the cliche is as a weapon. One must choose his weapon carefully, knowing full well that it must be appropriate to the situation and that another weapon may be used against it. The cliche can be countered and contradicted by another cliche. This is, in part, a mark of its perfection. Each cliche is a complete system, wherein no internal elements are antithetical. But when two systems come into contact, they often contradict each other on their own terms. The cliche has a remedy to this tension. It switches the focus from commensurability to comparability. To make commensurate is to be original. It is to recognize complexity and immanent difference and yet seek common enough elements for an ordinal understanding. To compare is to reduce bodies to their most commonly known elements and then hold the objects within view. It is an unfair, but highly useful act. Dust jackets require comparisons to Hemingway and Joyce, though these comparisons belie their efforts. To make the whole world commensurable is the near impossible task of being an artist. The artist places the two editions on the same shelf and understands them beside each other. To make the whole world comparable is to be agreeable, it is the action of an individual on a first date. This man is constantly trying to sell.

The closing is said to be a thrill for the salesman, but it is agony for the artist. The closing, or end, is always a cliche. How could it be otherwise? To finish neatly, where all the elements wrap up nicely, is cheap. To end arbitrarily, and thereby imply that life-real life-does not have quaint endings, has been done before and is no more tender. The ending must then be a cliche of the author's own choosing. It is why every instance that a novelist has defined the novel, whether Sterne's Tristam Shandy, Proust's Remembrance, or Joyce's Ulysses, the format has been dually declared epitomized and dead. How can one begin a work of genius when the ending must necessarily be recycled? This question has no answer and suggestions will not be attempted here.

In order to avoid the cliche, there must be a sense for the creative impulse. It is indeed a nice thought to picture the author alone in his study creating a text from nowhere. Or perhaps listening to the melodic tones of a muse. But to imagine creation taking this form is to imagine the quaint artist, the eccentric painter, the reclusive genius. These are all personality traits, but not traits of creation. The creative process begins and ends in the interpretation of the world. The way one approaches the world, postures before it, and makes meaning of situations, is the act of creation. Everything else is filtering, reduction to formats-the forms already in place. The act of creation is in interpreting events as original. It is understanding the differences and similarities of a man on his knees in a church and a man on his knees at a porn shop. The subsequent acts of arrangement and connectives are as acts of taxidermy or quilt-making. That is, they are recycling.

But if creation is in original interpretation then the artist is splintered. And once again, the cliche is whole and perfect. In its perfection, it is easily transferable-a fungible good. When it is offered, it is offered as an answer, with all the qualities of finality and endings that answers carry with them. So once again the cliche sneaks to the end; and the end taints the beginning. The investigation again leads back to the practicality of starting something originally while knowing that it will have to end generically.

The central concern of this question cannot be answered here. But a secondary concern of motivations can be teased to some degree. In particular, the question of motivations for this essay will be answered.

Perhaps this essay begs the question: "Why now?" Why question the cliche, which has become nearly ubiquitous, more than one hundred years after it was first used to describe comparative anatomy and sets of motives? The answer will not satisfy, because it is not a cliche. It will not fully answer, again, because it is not a cliche. The answer arises out of circumstances; it is because a new text has been written that can accurately be described as circumscribing the topics of comparative anatomy and motives. It goes beyond inter-special anatomy and encyclopedic intentionality and explores the anatomy of bodies, cities, and language. Its motors are intentionality and motivation, and its governor (if we can extend the mechanical metaphor now in use) is the cliche. The text is God Bless the Squirrel Cage. It is both a plea and a prayer, the title that is. In the text, the cliche becomes a religious matter, whether devil or god, to a devout atheist. Its name is not to be spoken, but its reach is felt constantly. The text explodes the cliche by overworking it, turning it on its head, and eventually understanding its immense benefits and uses. The work that the text does, that we need it to do, ultimately allows this essay to close thusly: Le fin.

Friday, July 18, 2008

The Green Lantern at SF Zine Fest

This Saturday and Sunday, I'll be sitting in a chair in front of a table loaded with all sorts of Green Lantern merchandise. The table will be in the SF County Fair Building (formerly the Hall of Flowers), and the building is in the beautiful Golden Gate Park. All around me will be people in other chairs, in front of other tables, loaded with all sorts of other kinds of merchandise (though, most of it will probably be of a bookish, zine-y nature). It's the seventh annual San Francisco Zine Fest and I think it will be a whole lot of fun. The only thing that will make it more fun is if you show up. So please, do so.


Go to www.sfzinefest.com for exact times, directions, a list of those attending and all sorts of other good stuff.


And, if you get lost, just ask someone to point you in the direction of table 157. It'll be a good table. I promise.

Saturday, July 5, 2008

"Fragments" by David Carl

Fragments, the new book by David Carl has just been published by the Green Lantern Press and is available for purchase. Although I am officially the book's editor, when the manuscript was handed to me it was pretty much perfect in every way. My editing duties consisted in little more than a suggestion here and there, and the correcting of a few typos. 

When I finished reading it the first time, I was so excited that my hands were shaking a little as I slid it back into the folder. After working on it closely this past spring, reading it more times than I care to count, I found my hands were still shaking a bit as I began reading the finished product. It's really that good. 

If you'd like a copy, head over to www.press.thegreenlantern.org/catalogue.html. It's also available through SPD Books. There's been some trouble posting it on Amazon, but if you simply must buy it there, keep checking back. It should be there soon.


Thursday, July 3, 2008

G.B.t.S.C. excerpt

The following is the first chapter of God Bless the Squirrel Cage. I hope you like!

Jacob awoke on the deck of a boat. The boat was hitched to a pick-up, moored in an alley. He shifted his head on the rope coiled beneath it and brought his hands to his eyes. Everything under the tarp was blue. He could hear crows through the canvas: for a moment he mistook them for seagulls. He shivered.

            There was the bar, followed by a great stretch of missing time. He could see himself on Peyton’s back porch, though he couldn’t quite picture with whom. He was uncertain as to why he didn’t leave the bar with Casper and the others. They weren’t with him, at least he didn’t think they were. He wasn’t even sure why he left Peyton’s at all: he didn’t remember leaving and he probably could have spent the night. There must have been reasons.

            And the boat. The boat was enormous. It wasn’t a speedboat either, or one of those little two-seaters that hit the river once a year on the Fourth. This was the real thing. There was even a door leading below deck. There was the boat he could see and there was even more of it below deck. He recalled trying to kick the padlock off in the middle of the night. He could feel the bruise forming on his heel.

            He drew himself to the edge and looked down. He was a good fifteen feet from the pavement. He wondered how he made it up there in the first place.

            He pulled himself up with the brass railing and, after a moment’s hesitation, was able to stand on his own. The street was empty. There were no cars and the earliest Mass wouldn’t begin for at least another hour. He tried to breathe and thought of food: a real breakfast with eggs and biscuits and coffee. He could smell it. He doubled over and vomited under the tarp. He rose again and stretched. The sky was dense and grey. There wouldn’t be a dawn: it would look the same come noon. He scrambled down the side of the boat and landed flat on the driveway. It was already late May but the mornings were still cool and he gazed at his breath as it leaked out into the air. He felt removed from the whole thing.

 

When he was eleven years old he began a novel titled Little Bennett Lane. It was to be the first in a series chronicling the adventures of a young British private school student. As he cleared off his desk he resolved to return to the collection of ghost stories he had planned to work on that summer. He’d get to them the minute he made some headway on the book. He began: Little Bennett Lane was eleven years old. All of his mothers friends said he was the handsomest boy they’d ever seen but the girls in class didn’t notice him. He read the sentence aloud with pride. He began a sketch in the margins, paused, and added: Neither did the boys. He stopped to sharpen his pencil. It took him quite some time. He wanted to see how fine he could make the point.

            When he heard the Hutters across the street carry their argument from the living room to the sidewalk he swept the shavings aside, ran downstairs, threw open the screen door and stood on the porch. He hid his grin by looking as somber as he could. He’d rarely seen Mrs. Hutter: she was allergic to sunlight. She only appeared on the occasional evening and only for arguments. Even then she would wear a long sleeved dress, a wide brimmed hat and her wraparound shades.

            The next afternoon he read over what he had written. He was so embarrassed that the back of his neck felt wet and warm.

 

When, after three months of stories, Raymond introduced him to his brother they looked and acted so much alike that he found it odd that they were two different people. He felt bad about it at the time, but he wasn’t surprised when, six years later, he got the call that Casper had been killed.

 

The photographs seemed to be leading him somewhere. He found the first, the black and white one of the kid in the highchair, under an ashtray filled with sparkplugs. Another was on the floor below the table strewn with tangled party jewelry. There were three near the knee high stack of Playboys. His palm began to sweat as he bent over to pick them up.

            He was at the flea market with his mother. He wasn’t sure why he was there. He had been going there since he was ten. He went for the first time looking for baseball cards. His mother swore that there would be entire aisles with nothing but baseball cards. Even she seemed a little disappointed when they didn’t find anything. A few years later it was comic books, but all they had were old copies of Archie and Richie Rich. After comic books it was records, but he grew tired of flipping through the stacks of operas and Don Ho albums. By now he knew that the only books were old Reader’s Digests and random volumes of out of date encyclopedias (Mo-N of a fifties New World, the first four volumes of the science series that his mother used to buy every few weeks at the grocery store). He wasn’t sure why he was there and when the old woman shoved him aside to make it to the shoebox full of postcards he wanted nothing more than to sneak outside and have a cigarette on the curb.

            But the photographs kept him moving. There were over a dozen in his hands when he found another on top of the collectible spoon display. It was of a middle-aged man, reclining on a slight hill beneath a tree. He was balding and, although the quality of the picture was not very good, it was possible to make out the glare of the sunlight on his scalp. His ear was cocked to the transistor radio set into the high grass. The look on his face was both serene and calculated. It was as if he knew his picture was being taken yet attempted to seem unaware of it. As if he were trying to appear to be holding back a smile, even though there was nothing to smile about in the first place.

            Jacob looked up when he heard his name. His mother was across the room holding a ceramic lamp. The lamp was in the shape of a cat. She furrowed her brow and mouthed: “yes?” He smiled and gave her the thumbs up before turning back to the picture.

 

There was an old refrigerator on the curb, set aside from the rest of the trash. The door, removed from its hinges, slanted against it at a sharp angle. Jacob wondered if kids actually hid in there when they played bloody murder. And, if they did, if they actually suffocated. Stupid fucks, he thought to himself. He said it out loud.

            “Stupid fuckers.”

 

He was working with Peyton. The cafe was empty and they were both smoking in front of the big window. Peyton pointed to the sky.

            “You see those clouds? Those are cirrus clouds.”

            “Yeah?”

            “That means it’ll rain in a couple of days.”

            “Huh.”

            “I’ve been looking into meteorology a lot lately.”

            “Really?” And then he asked, “why?”

            “It’s weather, you know? It’s one of those things that are going on around us all the time and almost no one knows anything about it. There are tons of things like that.”

            Jacob said, “weather.” It suddenly seemed charged with meaning.

            It was one of his Peyton stories. When he would tell it to friends he’d always end it with, “and then, sure enough, two days later it rained like hell,” but the truth was he didn’t know if it actually did rain or not. Two days later he had forgotten to remember. He just thought the story sounded better that way.

 

The lights were on in the 7-11. From across the street he could see the pop bottles glowing in the coolers. The green cola was luminous. That morning it was brighter than anything he could have imagined. 

God Bless the Squirrel Cage



















My first novel, God Bless the Squirrel Cage, has been published by the mighty Green Lantern Press. 

If you'd like to order a copy, it's easy. Just go to:

www.press.thegreenlantern.org/catalogue.html

If you've already managed to stumble across it, I'd love to hear from you.