Art Review Series

The Disappearing Artist

by David Gibbs

Andrea Rosen Gallery’s Katy Moran exhibition attempts, conceptually, to eliminate Moran from the work. Society at large, terrain, and the objects that have filled the subject matter of still-life are some of the ways she forces the idea of the individual out from its own abstraction, despite the Abstract Expressionist’s influence. In a time when self-independence is of the highest priority, when the self dominates subject matter most, Moran attempts to break from this mass desire for individualism by striving to express a altered model of the self that is obscured, and therefore cutting free of this post-war trend.

No signatures, no paintings have a name, few canvases are finished only using paint. Mostly they are collages of materials undisguised, giving complexities to the non-self items (a tree, geometric forms) painted so loosely they almost, and at times do, loose that common quality that aides us in their identification. Overall, there is nothing vibrant about the colors, they are earth tones that when mixed by wide brushstrokes or in frenzied layers, only darken.

The self is absorbed into the work as an emigrant is absorbed into a city, which too is utilized. Torn and overlapping layers of collage resemble overused and decaying billboards. Gum-like substances bead near corners and edges on a few pieces, as if the public had participated in the project. This pseudo-invitation is one of the most interesting aspect of the exhibition, that is, the fake public dissolving the individual, or even traditional forms dissolving the individual to the history of art, the centuries old timeline that no one can survive.

Despite the landscape’s accessibility the natural imagery and city-scape-surfaces feel arbitrary, as if these monumental structures could never liberate a constant awareness of the self. The controlled quality of the nearly haphazard strokes suggest the haziness of thinking, of murky images forming from an aged memory, as if Moran were trying to channel a painting she had seen and mostly forgotten, and consequentially directing herself away from the self. The gallery’s statement characterizes her work as “allow[ing] for the slippage of theory in to the intensity, irrationality and violence of letting go,” despite the limitation set by aiming to let go, that is becoming better connected with the unconscious self. The desire to rebel is courageous of Moran, although it feels sometimes forced by this unending problem of ego.

Moreover, the sense of forthright communication obscures as the self and society awkwardly function together. Often divisions are thrust upon the viewer through torn and folded-out collage layers of magazine fragments. Strips of canvas interrupt the underlying paint and a fabric that looks like a dull brown and white static draws the attention away from the rest. The tension between the two seems manageable, and not overwhelming by the modestly sized frames, as if this issue was not as urgent as the brushstrokes imply.

However the understated size, Moran seems to want communication with a variety of people, from those accustomed to street images, to art scholars, and to those preferring the middle or upper class lifestyles, as hinted with the use of a newly varnished wood floor panel as a canvas, while expressing an unresolved imbalance with today’s trends.

This exhibition by Katy Moran can be seen at the Andrea Rosen Gallery, from May 5-June 11, 2011.

SATURDAY POETRY SERIES PRESENTS: JARED RANDALL

STATIONS OF THE CROSS (UNTRANSUBSTANTIATED)
by Jared Randall

I. Jesus is condemned to death

No one suspects our empty stomachs
when shaking hands
over polished oak pews, our smiles
averting dark stains
we hide in skin creases, the body ache
we carry across
our imagined spirits, our thirsty backs
and sealed lips.


II. Jesus carries his Cross

This sanctuary cross is always empty,
a memory without body,
without panting, thirst, hanging head,
blood and sweat. No fingers
stray—too needy a gesture—to touch
his nail-scarred hands.
No slivers sink deep into flesh, sharing
the rough-hewn death.
No wine to drink, nothing blood-thick,
but watered-down Welch’s
chase stale saltines, broken in pieces
to save money. Only
our symbols, our denied sustenance.


III. Jesus falls the first time

When poorly we remember, poorly we live:
our after-church feasts,
spirits still craving a crumb of bread
until by Monday
the symbols have faded, souls thirst
even vinegar,
next communion a month, two,
three months away.


IV. Jesus meets his afflicted mother

No one from church sees us, angry-palmed,
shouting children down;
passing the beggar who will only spend
on alcohol, we know
and tighten a fist; or hungry-eyed, slipping
into video stores,
past dark paneling and plate glass windows
to little rooms in back—
thrilled and dead and rising, peeking
for eternity.


V. Simon of Cyrene helps Jesus to carry his Cross

Our shaking hands pick forbidden fruit
from outstretched arms.
When she has gone, we wake at night
and hear a crying,
pluck thorns and slivers from flesh
we feel, each quiver.
We would nail our limbs to dogwood…
the hammer too heavy.


VI. Veronica wipes the face of Jesus

A cool hand on our brow traces
the shape of sin,
her hand soft over stretched limbs,
our tired eyes licking
her light, her curve, every touch.
Unheavenly angel,
never—almost—pull back,
my earth-angel.


VII. Jesus falls the second time

Eyes on our backs are not enough.
The shopping aisles white
and bleeding, we turn our faces
to stolen paperbacks
and bottles, red-letter editions
mouthed around glass
openings, fluorescent visions,
lusts we trade in, covers
we open, available confessions
we whisper.


VIII. Jesus meets the women of Jerusalem

All eyes confess the shape of hips,
of necklines worn low,
the inconcealable draw of veils, lace
uncovering skin
whenever electronic eyes meet.
We wonder why girls
lose their eyes—why stars pirouette—
and we wonder.


IX. Jesus falls a third time

Touching, she began to touch, we say—
not our blame here,
having forgotten how thirsty…
How thirsty men drink
from any stream, well, fountain.
The tin cup hanging
from a rusty nail, wooden post,
falls clattering
and if she picks it from the ground
eyes follow
                         legs inside.


X. Jesus is stripped of his clothes

We look away when wives cluster nearby—
no temptations here—
but with their laughter in the kitchen
our eyes unglue the screen,
her curves shaking pom-poms
on football Sunday,
a groove we all imagine swimming,
our voices fallen.


XI. Jesus is nailed to the Cross

Each pounding rhythmic wave takes us
over the crest.
Flesh: the sight, the touch, the hunger,
our angry words
at children asking why to our backs:
why this pounding,
these nails we should not have seen?

(Let the children come…)

What did he do, did we see, pretend—
what does wine mean,
this blood spouting from nails, over wood,
this bread?


XII. Jesus dies on the Cross

Can we turn from her, turn away,
release the fist,
climb a hill outside any known city
loose with gravel,
the pit where children ride their bikes
and teen lovers meet
on nights to empty their hunger,
the thirsty ground
where people dump old appliances.
Do we admit this?
Eli, Eli, lama sabachthani? Must we
pound this nail
and why? Must we kneel in this dust,
say, Yes…my hammer
…see my hammer, hear my rhythms,
Eli, Eli…


XIII. The body of Jesus is taken down from the Cross

When it is over, hunger admitted,
we want more
and to eat, bread and to drink, wine
and frequent sips.
This month. That week. Every Sunday,
Friday to remember
with a body on every cross. Every tomb
empty. Open palms.


XIV. Jesus is laid in the tomb

Still we tear them open, our gaping wounds
from plucked nails,
lower the rags, wrap in white, oil
embalmed limbs.
We chew our bread softer, a weight
on shoulders
we lay down (hungry tomb) and wipe
thinned blood around
the rim, drip to earth. We wait the month,
two months, another
passing. Wait the crackers and juice. Someday
we only hope to drink
the symbols we fear incarnate. We dare
her, body’s hunger.
We dare her
                           to substantiate


(“Stations of the Cross (Untransubstantiated)” was originally published in The Offending Adam, and is reprinted here today with permission from the poet.)


Jared Randall received his BA from Western Michigan University in 2006 and his MFA from the University of Notre Dame in 2009 after spending a decade working in warehouses. His first book of poetry, Apocryphal Road Code, saw print in 2010 from Salt Publishing. His work can be read in Controlled Burn, Crucible, and online at Danse Macabre, Subtle Tea, and The Offending Adam. He is also responsible for the occasional blog post at Montevidayo.com. Connect with him via Facebook or Twitter at his personal blog, Wandering Stiff.

Randall resides in Michigan where urban sprawl cramps old farmhouses. When not writing about tourist attractions, roadside diners, aging factories, the future, the past, and the folk who might frequent them, he makes his living as an adjunct instructor and freelancer. He hopes you’ll keep a wandering eye open for new roads and that you’ll always lend a ride and a hand to fellow travelers.

Editor’s Note: What is this poem about? Suffering? Longing? Sacrifice? All of the above? What at first glance appears to be a religious poem upon further reflection proves to be deeper, richer, layered with the exceedingly current themes of hunger, desire, poverty, desolation, sex, and sin. People–all over the world and in this poem–are starving. They are stealing to survive. They are giving in to temptation. They are human, with human needs, desires, and flaws. In today’s poem, Randall not only weaves for us a world that is thick with meaning, but does so with moments of finely-crafted language. Moments like “a memory without body,” “When poorly we remember, poorly we live,” and “All eyes confess the shape of hips, / of necklines worn low, / the inconcealable draw of veils, lace / uncovering skin.”

Want to read more by and about Jared Randall?
Wandering Stiff
Subtle Tea
The Offending Adam

Andreas Economakis

Greek camel (photo by Andreas Economakis ©2011)

Camel Man and the Airline From Hell

by Andreas Economakis

Few things in life are worse than bad breath. Ever been trapped in a confined space with someone who has halitosis? I think jabbing a souvlaki stick under a fingernail is less painful. Ever stop going out with somebody or not ask someone out on a date because his or her breath could kill your cat? Do people with bad breath realize they have bad breath? I suppose they don’t, because if they did they would do something about it, kind of like fixing a flat tire for the first time ever while trying to learn how on TreadHunter.com or pulling out a cactus thorn from their big toe. One thing is for sure: it is virtually impossible to tell someone that they have bad breath. It’s akin to offending one’s newborn or insulting a dead granddad or telling someone that a booger is stuck to the tip of their nose. We all just gulp and breathe through our mouths, praying to God and the high seas and the yellow flowerpot to get us through the encounter without turning blue. My Uncle Ric once wrote a poem about this very issue; he mentions leaving pieces of Dentyne gum around his house every time his halitosis-afflicted friend dropped by for a visit. He said it was like dropping “Dentyne hints” and, frankly, it’s not such a bad idea. Unfortunately people with bad breath don’t generally chew gum or candy. If they did, well, there wouldn’t be a problem would there?

Like most people, I always try to put some distance between people with bad breath and myself. But sometimes there’s just no choice or way around it. And so it was that I found myself flying to Greece one day, on that savage Dutch airline whose fiscal belt-tightening has practically given all its passengers gangrene. They may have cheap tickets but they sure make you pay for it in other ways. They pack you in like death row sardnines and their 747’s seem to be the oldest in the world. I arrived at LAX early, hoping to get a choice seat, bulkhead window or aisle, a seat I could stretch out in for the 12 hour first leg of the trip to Amsterdam. No such luck. The lines were huge as per usual and the cops were jittery like angry navy seals. By the time I made it to the check-in counter all that were left were seats between other seats. Damn. Oh well, I decided to drown my sorrow with a ridiculously overpriced beer from the terminal. (Man, they really stick it to you in airports, don’t they? If I wasn’t so traumatized by all the security I would have snuck in a couple of tall boys and a brown paper bag before the flight, like the good old days before 911…).

When I finally arrived at my seat assignment, my heart sank. Seated by the window was perhaps the world’s fattest man. We’re talking Guinness Book of World Records big here. This mountain of a man was sweating buckets just from the exertion of breathing and he was spilling over into my entire seat. When he saw me looking at him like a deer in headlights he kind of sucked his gut in a bit, trying to reduce the hostile takeover. Now he only spilled over into 3/4 of my seat. I stood there, wondering what I should do, when the stewardess walked by and kindly asked me to take my seat. I squeezed into my seat and became instantly slap-glued to the fat man, who started sweating even more profusely, obviously ill at ease with my dilemma. The man’s unease didn’t last for long. Remarkably, he turned his head to the window and fell into a deep, wet sleep. Like a nervous oyster stuck to a huge rock, I looked over to the empty seat on my left and prayed and prayed that it would remain empty. I even prayed for calamity to fall on the occupant’s head – anything, so long as the seat remained empty. That’s bad, and so providence punished me with a cruel trick in the end. A very thin old man approached and indicated that he was the seat’s occupant. I became instantly enthused by the prospect that at least I could spill over into his seat to avoid the perspiring mountain to my right.

The thin old man slowly sat down, arranged his affairs and reclined in his seat. All was well. Or was it? First thing that hit my nostrils was that all too familiar smell of stale tobacco most smokers have lingering about them. I then noticed the soft pack of Camel Cigarettes in his shirt pocket, kind of like an exterior pacemaker in reverse. Who smokes Camels? The man was obviously terminal. Camel Man then turned his head toward me to say hello. That’s when it happened. First came the long nicotine yellow camel teeth, large like primitive fossils desperately clinging for dear life in deathly grey gums. Camel Man unleashed an unreal nuclear blast of bad breath my way. Halitosis central. My nose hairs shrieked, curled and then dropped dead out of my nose, dusting my shorts. I pressed myself into the wet fat man fearing for my life, like in those cartoons where Daffy Duck becomes paper thin against a wall to avoid a killer car that’s trying to run him over. I became one with wet man. My eyes were watering when I introduced myself to Camel Man, half-gagging. To my horror, he smiled and then fell instantly asleep, head tilted my way, mouth agape, deathly Camel fumes blowing my way like mustard gas. I must have passed out, because I don’t really remember the rest. When I finally got home the next day, my t-shirt was still wet with the fat man’s sweat, white fat-man salt crystals forming wave patterns up and down my shirt. I could still smell Camel breath in my brain. I was a war victim. Would I ever recover? I vowed to never ever take that Dutch airline again.

Two months later, there I was again, a passenger on the same dreaded airline (they sucker punch you in the wallet every time). I had to return quickly to LA for a job and Kyriakos, my travel agent, could only find me a cheap ticket on the cursed airline. I pleaded and pleaded for something else but it was high season and I was out of luck. I would once again have to endure that clog-wearing, holier than thou, why do they all speak fluent English (?), tulip gathering airline. I got to the airport early, fingers and toes crossed. Middle seat again! If there weren’t so many Greek cops with machine guns lounging about (these guys are arguably more relaxed than their American counterparts if all the coffees and cigarettes and jocularity is any indication), I would have leapt up on the ticket counter and done a self-immolating voodoo dance in front of the smiling blonde wooden clog-wearing stewardess. Defeated, I shuffled onto the plane and arrived at my seat assignment.

To my good fortune, the two people on either side of my seat were young, thin, and, I realized upon seating myself, freshly tooth-brushed! Hallelujah! Smiling like a jackass with a fresh bucket of hay, I laughed and settled in for the long ride. The plane took off and just when the “Fasten Seat Belts” sign went off, I tried to recline my seat. Nothing. I pressed the button harder and pushed backwards. Nothing. I jammed and jammed, pushed and pushed harder. Nothing. I looked around for a stewardess for help. By this point everyone in the entire airplane was fully reclined and some had even fallen into a comfortable sleep that would last 12 hours. Desperate, I finally flagged down a stewardess who, after trying what I had tried, apologized. I asked for another seat and she shrugged with a satanic smile. The plane was booked to capacity. “Holy shit,” I thought. She smiled and walked off, leaving me bolt upright, my face millimeters away from the oily bald spot of the man in front of me. Dude was fully reclined and already sawing wood. I could practically smell his dandruff. I swallowed hard. Maybe there is something worse than halitosis after all.

–Andreas Economakis

This piece is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2011, Andreas Economakis. All rights reserved.

For more stories by Andreas Economakis click on the author’s name below.

War, Resistance, and the Birth of the Surveillance State

Reviewed:

To End All Wars: A Story of Loyalty and Rebellion 1914-1918. By Adam Hochschild (New York: Houghton Mifflin Harcourt, 2011).

*

“Neither race had won, nor could win, the War. The War had won, and would go on winning.”

—Edmund Charles Blunden, “The Somme Still Flows,” 1929

*

If the Korean War was America’s Forgotten War, and World War II its Good War, then World War I was its Relief-Pitcher War. Never an official member of the Allies, the United States didn’t even enter the War until April 1917, and its military didn’t participate fully until the War’s final six months, by which time the combatant nations had bled each other white and there was little left to do but deflect Germany’s last, desperate major offensive and hold the line until an armistice was declared between the opponents’ exhausted armies. Consequently, most historical surveys of the War in the West focus on Britain or France, the Allied powers that were in it from beginning to end.

Adam Hochschild’s To End All Wars is no different in this regard: though Hochschild is an American historian, his book concentrates mainly (though not exclusively) on wartime Great Britain. What is somewhat unusual about Hochschild’s book is its primary focus: not the conflict between nations, but rather the conflict within a nation, using Britain’s case as a synecdoche for the conflict between the majority, who were eager to enter the war; and the vocal but disorganized pacifist minority. Britain had probably the healthiest and most outspoken peace movement of any nation involved in the War: some 20,000 men refused military conscription as conscientious objectors (COs); 6,000 of these were imprisoned at some time during the War for their beliefs, an illustrious group that included no fewer than six future members of Parliament, a future cabinet minister, a well-known investigative journalist, a newspaper editor, and at least one member of the Peerage and future recipient of the Nobel Prize in Literature.

As in his earlier books, Hochschild’s greatest strength lies in his vivid and detailed characterization: in the book’s prologue, set in the years beginning with Queen Victoria’s 1897 Diamond Jubilee, continuing through the Second Boer War, and ending with the pre-War struggle for women’s suffrage, we are introduced to most of the dramatis personae; many of these were selected not just for their important historical roles, but also for their charged relationships with one another. We meet, for instance, Sir John French, who is to become the first Commander-in-Chief of the British Expeditionary Force (BEF) in war-torn France, and his sister, the renowned Socialist, suffragette, and peace activist Charlotte Despard. We meet the Pankhurst family: mother Emmeline and eldest daughter Christabel, who began as activists for women’s right to vote, then became ardent War boosters and campaigners; the younger sisters Adela, willingly exiled to Australia by Emmeline for failing to subordinate her pacifist views to her support of women’s rights; and Sylvia, who campaigned against the war in open defiance of her mother, and who became the mistress of Keir Hardie, the Independent Labour Party MP from Glasgow and ardent workers’ advocate and pacifist. We also meet Emily Hobhouse, one-time relief worker in the inhumane British concentration camps set up during the Boer War, who would go on to be the only Briton to travel to Germany during the World War to make peace overtures and negotiate prisoner exchanges; and Emily’s second cousin Stephen Hobhouse, a wealthy young man from a rich and influential family, who, instigated by Emily’s arguments and the writings of Tolstoy, renounced his inheritance and became a Quaker relief worker in London’s slums before being imprisoned as a CO during the War. Other central characters include the mathematician, philosopher, and pacifist Bertrand Russell; the world-famous writers and pro-war propagandists Rudyard Kipling and John Buchan; the former High Commissioner for Southern Africa and Governor of the Cape Colony, Alfred Milner, who would eventually become Secretary of State for War, second only to Prime Minister David Lloyd George himself; and a host of other luminaries and common people, both within Britain and without, who worked tirelessly but fruitlessly to end the War.

Britain was not especially eager to go to War in the five weeks in 1914 between the assassination of Archduke Ferdinand and the outbreak of actual hostilities; most saw it as just a minor Balkan incident, the result of Austria-Hungary’s poor management of its empire. Besides, Germany, whatever the state of its defensive alliances and its warlike intentions, was—as the upper class was well aware—Great Britain’s biggest trading partner, and the Kaiser was a blood relative of the King. And certainly, as Socialist leaders continually reminded the working class, they had no quarrel with their German fellow-workers: the leaders of both countries’ Socialist parties had just held an emergency meeting in Brussels days before the outbreak of war, during which there were many assurances that workers would not fight workers at the behest of their Capitalist overlords. However, when Germany violated  Belgium’s neutrality—indeed, pillaged the country—on the way to invading France, it forced Britain’s hand. Many Britons believed that it was essential to their nation’s honor to fulfill a treaty obligation and defend Belgium; others simply felt that Germany must be prevented from committing any further atrocities. In any case, the Left’s pacifist principles were largely forgotten. In France and Germany, too, few workers resisted the call-up; many were afraid that opposition to the War would result in government repression of Socialist unions and newspapers, and imprisonment of party leaders. Even the German Peace Society, nonsensically fearing a Russian invasion, endorsed the War. Hochschild quotes historian Barbara Tuchman: “The working class went to war willingly, even eagerly, like the middle class, like the upper class, like the species.”

Field Marshal Sir John French was put in charge of the 75,000-strong British Expeditionary Force, and almost immediately began to squander the public’s enthusiastic support of the War. Overconfident from his prior victories against under-armed and undisciplined Africans and Boer militiamen, ignorant of the French language, absurdly concerned with his troops’ appearance and polish, dedicated beyond reason to the precept that the cavalry charge was the sine qua non of all combat tactics, almost unbelievably inept (his own deputy chief of staff wrote that he had “absolutely no brains”)—the BEF’s commander was utterly unprepared for the hell of mechanized trench warfare, in which the enemy dug in and fought back with machine guns and howitzers, rather than spears and breech-loading muskets. Before he was finally relieved and replaced in December 1915 by General Sir Douglas Haig—a marginally less doltish tactician—he had wasted hundreds of thousands of young lives trying to achieve the elusive and now-obsolete offensive “breakthrough,” directing his troops in waves of frontal charges over the tops of their trenches and into No Man’s Land, where they were met with German barbed-wire and a withering hail of machine gun fire, where they died by the hundreds, the thousands—in vain, for no gain of territory. (It later came to light that in some cases, German soldiers took pity on retreating British troops and held fire, so horribly had they been mauled.) This was to become the leitmotif of the entirety of the War, in which a weekly death count of 5,000 troops—not including major battle casualties—was considered “normal wastage” and hardly remarked upon; in which special “battle police” were deployed behind the front lines during major offensives to prevent retreats, surrenders, and desertions; in which staff officers celebrated casualties among their own troops, reasoning that they were inflicting a like number of casualties on the enemy and thus attrition—the new measure of success, now that gaining territory was out of the question—was being achieved. By the War’s end, one million British servicemen were dead, including not only working-class men, but a disproportionate number of the upper classes, among them the sons of Prime Minister Herbert Asquith and Rudyard Kipling and the grandson of the Duke of Westminster.

This unprecedentedly bloody, futile stalemate led to widespread cynicism and bathypelagic morale, both among the troops and at home. The British government had two official responses to this: propaganda and police repression. The former worked somewhat better than the latter. In the first months of the war, a call went out to most of the country’s best-known writers, including Thomas Hardy, James Barrie, H.G. Wells, Arthur Conan Doyle, John Buchan, and Rudyard Kipling. They were induced to sign an open letter exhorting all English-speaking people to join the war effort (Bertrand Russell was one of the few not to sign; in return, he was dismissed from his position at Cambridge, banned from lecturing, forbidden to travel outside the country, put under surveillance, and eventually jailed). Their further mission: to produce pro-war propaganda, which they did, in spades. At the same time, censorship, both officially imposed and voluntary, became commonplace. The press regularly sugar-coated its war reports so as not to disturb the populace. War correspondents were “embedded” at the front, as commissioned officers; as long as they played by the rules, they lived comfortably in officers’ quarters. The troops, consequently, hated the reporters for writing sanitized pap for domestic consumption. Lord Northcliffe, the owner of The Times, was in General Haig’s pocket, and frequently visited the front as a VIP. Waldorf Astor, MP and owner of The Observer, was a close friend of Prime Minister David Lloyd George and, along with Alfred Milner, helped to secretly found and finance the British Workers’ League, a thuggish proto-Fascist association of trade unionists that combined ultra-nationalism with support for social welfare programs, meant to undermine support for and intimidate workers’ organizations and political parties that favored pacifism and internationalism, especially the Independent Labour Party.

As the rate of voluntary enlistment proved too meager to replenish the troops being butchered en masse across the Channel, conscription became the law of the land. The government shrewdly instituted a fairly broad and flexible draft exemption for COs, and the men of Ireland were also exempt from  conscription—all to avoid as much as possible the creation of martyrs for the peace activists or the Irish independence movement. Only those COs who refused alternate service in a Non-Combatant Corps, were denied an exemption, or dodged the draft, faced prison time. But those COs who were sentenced to prison had a hard time of it: many emerged at the end of their terms broken in body and mind; many, still imprisoned at the War’s end, died in the influenza epidemic of 1918-19, owing largely to their poor health and the crowded, unsanitary conditions to be found in the prisons. And there were the 50 or so COs who—early in the War, before CO tribunals and the Non-Combatant Corps were instituted—were sent to the front against their will, and, if they disobeyed orders and failed to fight, faced the possibility of execution, to join those hundreds of soldiers who had enlisted more or less willingly but were later executed for desertion or other expressions of “cowardice” or insubordination.

As is fairly commonplace during wartime, spy hysteria was rampant, and Scotland Yard assigned an entire special section, with hundreds of agents, to root out and combat espionage. However, since there were no known cases of spying for foreign powers in the U.K. outside of John Buchan’s propaganda fiction, these police agents needed to find another way to justify their existence. So naturally, they preyed upon native “subversives and agitators”—mostly trade unionists, peace activists, and rogue presses and journalists who refused to comply with censorship guidelines. Police, being a hierarchical breed, tended to impose conspiracies, subversive organizations, and ringleaders where none in fact existed, thus causing much unnecessary hardship among those who merely wanted peace and workers’ rights but stood accused of much more serious crimes.

As it happened, one of the more outrageous conspiracies of the war occurred not among the pacifists and socialists, but between the Ministry of Munitions and the German optics firm of Carl Zeiss. The British government was running dangerously low on binoculars, telescopic sights, rangefinders, and other precision optical equipment, and English optics factories were not able to keep up with demand. So the British government, through neutral Switzerland, reached an agreement: in exchange for tens of thousands of military optical instruments, Britain would provide Germany with rubber, which could not get through the naval blockade, and which Germany could not fabricate synthetically in useful quantities. Records detailing the amounts of rubber transacted and the duration of the arrangement have been lost, but the trade stands as a testament to the exigencies of war, and profit.

It’s the priceless anecdotes like this one that make To End All Wars such a fascinating read. Most histories of the Great War worth their salt give the reader a good sense of the vast scale of suffering and  the tragic waste the War brought about. But few histories capture the little incongruities, ironies, and absurdities, the quirks of personality and the odd coincidences, that make war comprehensible on a human scale: the shock on the faces of the German and Austro-Hungarian foreign ministers, signatories of the Central Powers’ armistice with Russia, when they meet their Soviet counterparts—a pair of Jewish intellectuals, a rough-hewn worker, a soldier in fatigues, a sailor, a drunken peasant, and a woman who had done hard time for assassinating the Tsar’s war minister. Most accounts of the War present some version of the “Christmas Truce” of 1914; Hochschild’s recounts the reaction to it on the home front, as well as the less well-known story of what happened on Christmas 1915, when the men observed a cease-fire as best they could, in spite of strict orders from the top that a repeat of the previous year’s “Truce” was forbidden. The brief passages that show the anguish of two anti-war patriots, Bertrand Russell and Keir Hardie, as they struggle with a familiar dilemma—“how do you oppose a war without seeming to undermine the husbands, fathers, and brothers of your fellow citizens whose lives are in danger,” and without condemning a system of government that you feel is flawed but basically good?  By showing us how the Great War affected civilian life, and how conscientious civilians tried, fruitlessly, to put a stop to the killing, Hochschild allows the reader to better see the parallels to the state of affairs today, as the same dynamic unfolds all around us, again.

SATURDAY POETRY SERIES PRESENTS: H. L. Hix

FIRST CONFESSION FROM HARVEY OF THE PIOUS AND PATRIOTIC HIX FAMILY
(After Mustafa Zvizdic)
by H. L. Hix

I didn’t mean to fall away.
I own no whit of defiance.
I am, though, afraid of everything.
Others have a lucky amulet
attached to their key chain, or,
on a necklace they wear every day,
a ring from a lover. I have my fear.
I carry it in my left front pocket,
always, because (of course)
I am afraid to leave it behind.
I couldn’t carry it with me like this
without naming it, so I call it Kasimir,
because it resembles a Russian nobleman
out of Chekhov, with serfs who scythe
his sazhens and sazhens of wheat,
but for whom each year it proves
harder and harder to find credit,
and whose estate falls each year
further, more utterly, into disrepair.
It’s me in Benton’s “Persephone,”
keeping a tree between myself
and the most exquisite human body
I will be near ever, making sure
she doesn’t know I am there,
afraid to speak, afraid to ask her name.
And I talk to myself, out loud,
when no one is near (and no one ever is).
How could they not distrust you,
you who cannot look yourself in the eye?
Even in first grade your fear was visible,
and gave away to Miss Cassandra
the failures she rightly foretold.

So I slip through the party,
shuffling sideways, with my arms
above my head to avoid bumping
an elbow that would slosh someone’s drink,
hoping to get out the door
without Whoever Notices noticing.

(“First Confession from Harvey of the Pious and Patriotic Hix Family” was originally published in The Offending Adam, and is reprinted here today with permission from the poet.)


H. L. Hix’s most recent book is a “selected poems” entitled First Fire, Then Birds: Obsessionals 1985-2010. Others of his recent poetry collections include Incident Light, Legible Heavens, and Chromatic (a finalist for the National Book Award). His books of criticism and theory include As Easy As Lying, Spirits Hovering Over the Ashes: Legacies of Postmodern Theory, and Morte d’Author: An Autopsy. He earned his Ph.D. in philosophy from the University of Texas, and currently teaches in the Creative Writing MFA at the University of Wyoming. More information is available at his website: www.hlhix.com.


Editor’s Note: What a heartbreaking work of human genius. How brutally honest Hix is–not only with himself–but with his readers. Keenly observant of both his own inner workings and of the world around him, the narrator notes that while some carry a trinket for luck or love, he carries his fear–keeping it with him always because (of course) he is afraid to leave it behind. The mindset driving this piece is almost palpable. I know and love people who approach life in this way, and I have had my own moments of awkwardly trying to escape a room, “hoping to get out the door without Whoever Notices noticing.” Relatable in its content, today’s poem is also embellished with moments of brilliant and beautiful language and imagery. My personal favorites: “a tree between myself / and the most exquisite human body / I will be near ever, making sure / she doesn’t know I am there, / afraid to speak, afraid to ask her name,” and “I talk to myself, out loud, / when no one is near (and no one ever is).”

Want to read more by and about H. L. Hix?
Like Starlings
Poetry Foundation
Connotation Press

SATURDAY POETRY SERIES PRESENTS: HUGH MANN

BROTHER
by Hugh Mann

I’m not well
If you are sick

I’m not rich
If you are poor

I can’t live
If you’re not free

I depend on you
And you can depend on me

A brother is no bother
We all have the same Father


(“Brother” was originally published in organicMD, Envisioning Peace, and Poets Against War in Canada, and is reprinted here today with permission from the poet.)


Hugh Mann, MD is a holistic physician-poet whose website, organicMD.org, promotes peace and health by publishing Peace Poetry. His work has been published in various poetry anthologies, websites, and medical journals, including MIT’s Envisioning Peace, British Medical Journal, Canadian Medical Association Journal, Annals of Internal Medicine, Jerusalem Post, and Poets Against War in Canada.

Editor’s Note: In keeping with our recent discussion on this series about peace poetry, today’s poem is by a poet who has dedicated his life to bringing about peace through poetry. Short, sweet, and to the point, today’s poem highlights how simple peace ought to be.

Want to read more by and about Hugh Mann?
Hugh Mann’s Official Website
Envisioning Peace

Good News About Breast Cancer? Not So Fast …

While this is not a real campaign, it represents the pinkwashing dilemma: does supporting breast cancer research make up for toxic products? Ad and caption from Johanna Björk's excellent essay on pinkwashing at http://www.goodlifer.com/2010/10/pink-ribbons-pink-products-pinkwashing/; reproduced by permission.

I’ve written about cancer previously in these pages. In Against Medical Advice, I recounted what I learned when someone I loved (I called her Bonnie) was diagnosed with breast cancer. In Poisoned, I traced Bonnie’s and my efforts, once her treatment was over, to identify the root causes of our cancer epidemic and comprehend why forty years of the “War on Cancer” have failed to dramatically reduce cancer rates. Finally, in Not Your Median Patient, I paid tribute to my two of my scientific idols, evolutionary biologist Stephen Jay Gould and climate scientist Stephen Schneider, who applied their own scientific expertise and methods to understanding and fighting their own cancer.

One organization I commended in “Poisoned” was Breast Cancer Action for their efforts to eliminate the root causes of cancer in our environment. BCA’s seminal Think Before You Pink™ campaign urges consumers to resist buying pink-ribbon products from companies that actually worsen the cancer epidemic. BCA has recently stepped up their outreach, including a new blog and an informative monthly webinar series. For example, I learned in this month’s webinar that National Breast Cancer Awareness Month (NBCAM) was co-founded by the American Cancer Society and the pharmaceutical division of Imperial Chemical Industries. ICI is now part of pharmaceutical giant AstraZeneca, which manufactures not only several breast cancer drugs but also the herbicide Acetochlor, a known carcinogen, thus profiting from both causing and alleviating cancer.

So I’m pleased today to reprint an essay by BCA’s communications manager, Angela Wall, about the need to go beyond breast cancer “awareness” (as if we’re not already aware of breast cancer) to identify and eliminate the toxins that cause it. If the beginning of wisdom is to call things by their right names, as the Chinese proverb says, then calling NBCAM “Breast Cancer Industry Month” is wise indeed. My thanks to Ms. Wall and BCA for permission to reprint her essay here.

Good News? Not So Fast …
By Angela Wall

Good news on breast cancer, says Sadie Stein writing for Jezebel. Why? Well, because of pink ribbon awareness campaigns more women are getting screened and diagnosed earlier. Hold on. Does this ring false to anyone else?

Awareness only got them to make a screening appointment to detect the cancer that was already developing.

Ordinarily, I celebrate an article that tacitly suggests that we’ve had enough pink awareness. I’d certainly celebrate the end of the pink noise and hypocrisy that accompanies breast cancer industry month because then instead of having our attention distracted by pink awareness campaigns, we could all start addressing the real issues that increase our risk of developing breast cancer and we might actually be able to focus on reducing diagnoses rather than celebrating them.

I doubt that’s going to happen though. There’s too much money to be made every October from slapping a pink ribbon on a product. Plus and the feel good rewards that accompany  pink ribbons can really boost a company’s image regardless of whether or not the product being sold actually contributes to breast cancer. Heaven forbid we make consumers aware that the products they are purchasing actually contain ingredients that might cause cancer. Awareness apparently doesn’t need to go that far. It’s no surprise then that awareness never prevented anyone from developing breast cancer.

Awareness campaigns have never addressed why more white women get diagnosed with breast cancer but more women of color die from it. Awareness and pink ribbon campaigns have only ever distracted us. Awareness campaigns don’t demand we demand tighter state and federal regulations around the manufacturing and production of cancer causing chemicals or their being included as “ingredients” in the products we use to clean our homes.

I’ve never seen anything to celebrate about breast cancer and I certainly get deeply troubled by the idea that we might have done enough simply because people are being screened more regularly even though more cancer is being detected. Surely, screening rates are only to be celebrated when fewer people receive a cancer diagnosis.

I would agree that awareness has served its purpose. Now it’s time to demand that chemical corporations stop manufacturing products known to cause cancer. I would celebrate if Eli Lilly announced that they were stopping production of their cancer-linked recombinant bovine growth hormone (rBGH), which contaminates a third of US dairy products. I would celebrate if the FDA declared that rather than meeting with Roche Pharmaceuticals to reconsider approving Avastin as a treatment for metastatic breast cancer (despite evidence demonstrating that it doesn’t work), they refined their approval guidelines and insisted that treatments cost less, do more than existing options, and improve the quality of life of women with breast cancer who take them. So I think I’ll hold off on my celebrating if nobody minds until the studies start to show real systemic changes are reducing breast cancer diagnoses over the long term.

SATURDAY POETRY SERIES PRESENTS: MICHAEL HETTICH

AFTER THE RAINS
by Michael Hettich

So let’s say one sweaty morning you wake
in another person’s body, or you wake up without
any body at all, which means you start feeling things
as the air might do: the flight of birds
across your garden, even pigeons, makes you sing inside
your backbone; the delicate staccato of a lizard
climbing your kitchen window, the snakes
draped in your wild coffee, that come alive
like water when you step out. You feel that sometimes.
And so you walk slowly, feeling even what the beetles do
with their singular lives, and you feel what the spiders
intend by their webs, beyond hunger.
You study caterpillars, and you spend your evenings
imagining the lives of the creatures you rarely see,
hummingbirds and manatees, the foxes and opossums,
birds of lovely plumage, and you start to open up
to nothing you call it, but it’s not really nothing:
Squirrels are breathing right outside the window.
Birds are breathing as they fly across your roof.
You are the only person in your body
for a moment. What’s a moment? Where eternity resides
you think, and blush at your grandiose pretensions,
turning back, with relief, to the world.


(“After the Rains” was originally published in Perigee and is reprinted here today with permission from the poet.)


Michael Hettich’s most recent book of poems, Like Happiness, was published this past fall by Anhinga Press. A new book, The Animals Beyond Us, is forthcoming from New Rivers press. Today’s poem is from a manuscript in progress, tentatively entitled Systems of Vanishing. He lives in Miami and teaches at Miami Dade College.

Editor’s Note: Ah, a nature poem; a poem celebrating life and the earth! I came across Michael Hettich’s work in Perigee and was taken by all of it. The poems in that publication vary in style and theme, and I recommend heading over there after taking in today’s poem and reading them all. When I read Michael Hettich I feel alive, I ponder the nature of things, and I am renewed in my belief that life should be celebrated and the universe revered.

Want to read more by and about Michael Hettich?
Michael Hettich Official Website
Mudlark Journal
Anhinga Press

SATURDAY POETRY SERIES PRESENTS: LAWRENCE CRONIN

MY FATHER WAS A WANDERING ARAMEAN
by Lawrence Cronin

Behold, I was somebody back there!
Then this guy, who calls Himself
‘I AM who I AM’, let me tell you, He
looks more like three hooligans, and
comes talking about blowing up
Sodom and Gomorrah
if “He” can’t find ten decent people.
Oy, they should be so lucky.

Back there they called me Sarai,
others called me Ishtar.
We had god-sex up in high places
on the pyramid of the moon.
None of this sordid swinging
what with slaves and pharaohs
and Abimelech!
Yech.

Behold, I was somebody back there!
High priestess of the moon
But now we have this I-AMbic god.
He, my husband insists we spell it He,
was over for dinner last night
with a couple of buddies.
I laughed them out of the tent.

I’m sure those three are thinking of
doing it again, but I’ve had enough
of this royal wife-swapping scene.
I’m getting too old for it anyway.
We’ll never settle down.
My husband should stick to sheep.

For behold, I was somebody back there,
But my father was a wandering Aramean
So was my husband, my brother
And they took me from those whom I loved,
More importantly
From those who loved me.


(“My Father Was a Wandering Aramean” was originally published in Perigee and is reprinted here today with permission from the poet.)


Lawrence Cronin: Ostensibly a practicing psychiatrist, Lawrence Cronin’s literary work is better described as that of a spiritual chiropractor working to achieve a better alignment of all our off-piste notions. Growing up in Detroit, Michigan, he dreamed of migrating out west. One day on the streets of San Francisco he met a Mexican girl from the town of old Tucson. Lawrence fathered all her children and is working on a series of novels based on the Book of Genesis.

Editor’s Note: Thanks to my mom, I am immensely interested in pre-monotheistic goddess worship, particularly that of the Jewish matriarchs. Today’s poem explores this idea, reflecting on a time when the goddess was turned away from in favor of the idea of one god. In today’s post, Cronin uses humor and wit to play around with these notions from the goddess’ perspective, a dance I know my mother will enjoy. This one’s for you mama; specially chosen for Mother’s Day. Love and light, and may the goddess(es) be with you!

Want to read more by and about Lawrence Cronin?
Lawrence’s work has appeared in the following publications:
– “My Muse” appeared in Sandcutters, 2008, Arizona State Poetry Society.
– “Alzheimer’s in Triptych” appeared in Harmony, A Humanities Magazine, University of Arizona, 2009.
– “My Father Was a Wandering Aramean” appeared in Perigee, an online literary journal.
– “Cutting Grass” appeared in Sandscript, Pima Community College, 2008.

Lawrence is currently working on a novel titled Edge Of Innocence (and its four sequels), in which Adam still walks the earth, Eden is a town in modern America, and God meanders into lives almost daily, shining new light on Biblical truth in surprising and shocking ways.

Small Press Review Series: Adam Robison and Other Poems (A Call to Arms or At Least to the Continued Search for the Munitions Locker* of Meaning Where Arms Might Be Kept)

Adam Robison and Other Poems
Adam Robinson
Narrow House (2010), 77 pages, $12

As an editor at a small press/journal, I wage daily confrontation against the sheer tonnage of quality work out there. After awhile, you don’t always ask yourself “Is it good in some objective measurable sense?” or even “Do I like it?” but “Does the literary world need this?” Of course this leads to a more fundamental question: What kind of writing, if any, does the world need? The shelves of bookstores and warehouses of Amazon are flooded with writing someone thought worthy of publication, and yet much of it is just more words on a page. The detritus of a culture with too much time on its hands.

As I read the charming Adam Robison and Other Poems by the not-quite-eponymous Adam Robinson, I wondered why this particular book needed to be published. As the title suggests, this is a work of fourth-wall-breaking experimental postmodernism. When I say that as an editor, I am seeking “the new,” I mean the truly new, not the merely “experimental” – which as anyone versed in their Barth and Barthelme knows is neither new nor actually experimental. It is, rather, another tradition like the more accurately named traditionalism.

Let me stress that Adam Robison is not a bad book. I even have a soft spot for this type of writing; I did pay for the book. The charm in Robinson’s writing is that it doesn’t take itself too seriously. In fact, it seems to directly position itself against serious interpretation. In this sense, asking whether the culture “needs” such a book is already answered, quite cheerfully, in the negative by the book itself. Its language is deliberately unpoetic and the poems tend to end on flat, declarative statements or sometimes even non sequiturs. Here are some representative endings, all as printed, without periods – suggesting that the poem’s ending is provisional or even arbitrary:

He had a pompadour or feather/A nom de plume was Johannes Climacus – “Soren Kierkegaard”

Brahms died in 1897 – “Brahms”

My grandmother is still alive – “Emma Ruth Rogers Tyner”

I know a lot about Mike Schmidt but he doesn’t know one single/solitary thing about me – “Captain Cool”

As I’ve already mentioned, and as is especially evident in the above quote from “Captain Cool,” Robinson’s prose is purposefully conversational, even comically so. From the same poem: One time Mike Schmidt hit a hit that hit a loudspeaker in Houston. That repetition is 100% grammatically correct and yet it’s the kind of move we rarely see in prose, let alone the heightened, compressed language of poetry. Or this, from “Curtis Ebbermeyer, Leading Authority on Flotsam:” What’s up with bottled water man…Boy howdy what’s the deal with bottled water. The missing commas only heighten the sense that these words have been arranged to resemble an overheard conversation, just more cultural flotsam, to echo the poem’s title. Such a tone and syntax seem to be saying, “Hey, none of this matters, but it’s kind of fun and interesting anyway.” This is a smart rhetorical position to take in this age of centerless postmodernism, but in its extreme – i.e.–when it’s used over and over throughout a collection – it leaves a reader a little sad and untethered. The trouble is that it’s not a trick meant to lead us toward the meaning at the heart of apparent meaninglessness. (See how, for example, David Foster Wallace uses postmodern means for traditional ends.) Rather, Robinson appears to believe in the meaninglessness of it all. Which leads me to the question: why a book of poetry? Is it just one more wet noodle thrown against the void? Robinson seems aware of this weakness:

My poems lack depth and complexity in which the reader can invest
They are bald things…
…Readers will grow bored and go about their day
“There’s no urgency” they’ll complain “No incision.”

And yet an admission of a book’s faults does little but reveal the impotent self-consciousness of the author; it doesn’t eradicate or reduce the faults (though it can mitigate them marginally). Robinson is not wholly without poetry, as that interesting word “incision” in the above passage suggests. Here’s a passage from one of the stronger poems:

Deathbed is one word made special for the place you die
But there is no one special place for your deathbed
On her deathbed what do you want your daughter to say
You will be so spitsoul sad
Then you will be okay
Then you will be sad that you are okay
Then mostly okay again and well this will continue
Even now I often feel sad that I am not sadder
And my worst thing that died was a dog

This piece strikes me as new and weird and truly experimental. It strikes me, which is exactly what literature needs – poems that act as a slap to our complacency. Who hasn’t felt “sad that you are okay?” And further, doesn’t it say something interesting about the paradox at the heart of Western luxury and ease that the speaker is saddened that his “worst thing that died was a dog?” And yet this is an ugliness that we rarely admit: that our lives are empty, and our poetry shallow, due to the fact that our lives are too good.

Probably it is unfair of me to insist that every book assert its necessity. When you get right down to it, Robinson and I are asking the same question: when the traditional is too retrograde and predictable to impact us and the postmodern is a dead end (and equally retrograde), where and how do we find meaning? I worry, though, that Robinson has settled for postmodern stasis rather than trying to find the hard path forward. Because I believe there is meaning in the world. People die – not just dogs – and along the way they suffer and kill and surprise with kindness, creating narratives about themselves and the world, just as they always have.


*Editors Note – But of course the munitions locker wouldn’t contain meaning itself but merely the tools to target that meaning. Or something. To append a Robinson-like ending:
Oh well.