ANDREAS ECONOMAKIS

INTERNATIONAL PARTY TURTLES

by Andreas Economakis

September 3rd, 2005.  A small mosquito bite hotel near Kalamaki Beach, Zakynthos.

I am awakened by beer-soaked karaoke screams and the sound of flip-flops flip-flopping somewhere outside my room.  The lyrics “I want to know, houh-hah, won’t you be my girl?” bounce off-key around my Navajo-white walls and explode in my tired brain. One of the singing Brits burps loudly and then crash-slams into my door with a hysterical laugh.  I sit bolt upright in my bed, disoriented. Where am I?  I turn on the light.  Oh yeah.  I look at my cell phone clock.  5:15 AM.  The mini van will be here in 45 minutes to pick me up.  I wonder if I should try to sleep for another 10 minutes.  Nah.  What’s another few minutes of restless mock-sleep anyway?

I slide across the beady polyester sheets and fish the toilet paper ear plugs out of my ears.  Not that they worked any.  Groggy-eyed, I crack open the brown aluminum and plastic shutters to the balcony and peak outside.  The repetitive subwoofer beat of house music that drove me nuts all night becomes even louder. Over and across the dark green cow pasture that fronts my small cement hotel, a noisy electric orgy of laser and neon and Tungsten light dominates the skyline.  It’s coming from the throbbing strip mall road that is the village of Kalamaki.  Well, I guess you can call it a village.   One must certainly not confuse this place with any kind of typical, dozy-cat white Greek village.  In fact, there’s nothing Greek about Kalamaki at all, except maybe the name, which means “little straw.”  And that’s not the hay straw, but the kind you put in a cocktail drink.   It’s a weirdly appropriate name, considering how booze is what Kalamaki is all about.

Though the first mango-orange signs of sunrise can be seen on the deep blue horizon, the party in Kalamaki is still in full swing.  I guess the nightly festivities only end when the sun screams “it’s high noon people, go to bed now so the delivery people can get through.”  I recall how the night before, as I walked down the strip mall road in search of a simple gyro, I had a psychedelic flash that I was in Las Vegas.  I had to fight for elbow space on sidewalks teaming with red-faced teenagers prowling the three-block village for the next bar to hop.  Many of these kids seemed to have their heads cocked upwards, almost as if an enormous Absolut Vodka bottle had suddenly arisen in front of their dialated eyes like a neon-lit Tower of Babel.  Were the teenagers taking in the Babylonian explosion of flashing light or were they simply too drunk to balance their heads while walking?  I wonder.  I never ended up finding a gyro or even a simple Greek taverna.  However, I did find plenty of Tequila Slammer bars, 10-euro booze-bonanza discos, Red Bull liquor stores, English fish and pubs, Singh Beer Indian restaurants and drink-until-you-scream karaoke joints. I ended up buying a pre-made ham and cheese sandwich and an Amstel beer (well, if you can’t fight them…) from a liquor store run by a young Polish couple who don’t speak a word of Greek.  They don’t need to.  I was probably the first Greek they’d seen all week.  Was I in Greece or Vegas’ new International Liquorland Junkfood Amusement Park?

As I shiver in the ice-cold shower (it’s solar heated and so brutally cold at night) I have a revelation.  How different the world would be if there were nice beaches and sun in Birmingham or Tokyo or Duluth.  Perhaps only then would pristine areas like Zakynthos be spared from the homogenized amusement park sprawl that seems to have taken over most of the beautiful, sunny areas in the world.  I don’t know if it’s funny or sad that it’s easier to find a gin-fizz in Kalamaki than an ouzo.  I wonder why tourists even come to Greece?  To eat the same food and swill the same booze as back home?  I guess so.  In the end, if you cut through all the neon and noise and booze and fast food grease in Kalamaki you will soon realize what this place really is: an international mass tourist destination that could be anywhere on planet earth but just happens to be in one of Greece’s most beautiful and verdant islands.

Zakynthos.  The birthplace of Dionysios Solomos.  He’s Greece’s poet-laureate and the writer of our national anthem, a true fighting ode to freedom.  Zakynthos.  The home of the Caretta caretta sea turtle.  These last few years these tranquil Loggerhead turtles have been fighting an uneven battle of their own.  Unlike Dionysios Solomos, the turtles aren’t battling Attila but rather a far more versatile enemy that has many faces and is custom designed to devour first and explain later.  This enemy loves the coastline and quickly blankets everything in cement and noise and lights and garbage and smoke and plastic.  A true propaganda beast of the modern age, this enemy calls itself “development” in order to stave off its critics.   The engine that drives this beast, at least in most of Greece, is consumerism through mass tourism.   It fights tooth and nail to import the mass tourism economic model by first attacking the local population, decimating it’s traditional economy and culture and replacing it with what it has to offer, which is basically multinational corporation junk food in a shinny wrapper.  When it has done its almost irreparable damage to the local environment, culture and economy, its cement and booze and fast-food trucks move on to the next tranquil spot to carry on the sprawl, quickly creating the infrastructure needed to meet the insatiable demand of the invading mass tourists for cheap lodging, ample booze, loud music, easy beach entertainment and fast food.  It’s a wonder a single sea turtle has managed to survive this new, take-no-prisoners-styled invasion of their ancient nesting grounds.  That’s why I’m in Zakynthos.  To help the sea turtles in this highly uneven, one-sided battle.

I was recently commissioned by ARCHELON, the Sea Turtle Protection Society of Greece to make a promotional film about the volunteers who come to the Society’s program from all over the world to help conserve the beleaguered Loggerheads and their dwindling environment.  My first destination is Zakynthos, where the Society’s volunteer program is particularly important and big, thus so in order to handle the large Caretta caretta population that returns each year to nest on this lush, emerald-green Ionian island.

A car honks in the hotel driveway and I gather my video equipment.  As I exit my sparsely decorated hotel room, I notice that the room next door is wide open and the lights are on.  Inside the room an extremely fat fellow with a beet-red face snores up a storm in his baggy cartoon orange boxers.  Wrinkled yet enormous white ants march about on his boxers ominously but fat fellow is too busy sawing wood to care.   Next to him, an incredibly thin chap in loose Calvin Klein briefs is splayed across the bed the wrong way, wheezing and gurgling as if in a belly-dance dream.  A lone flip-flop dangles from one of his big toes.  A dozen or so radiant green Heineken tall-boy cans are strewn about their hotel room floor, fighting for space on the faux Italian tile floor next to greasy McDonald’s wrappers, salt crusted Billabong surfer-dude trunks and damp Summer in Hawaii beach towels.  I wonder if this oddly contemporary Laurel and Hardy duo are the burp and sing karaoke twins I heard earlier.

The van doors slide open.  Right away, long-haired Yonni, ARCHELON’s designated volunteer driver for the day, calls out  “Shalom! Kalimera!” with a heavy Israeli accent and a sunny smile.  I squeeze myself into the van next to Angela, who is an ARCHELON supervisor and the only other Greek in the van (well, she’s half Rumanian too), Aude, a long-haired French woman with a nice smile, another Yonni from Israel (luckily this one has a shaved head) and finally tiny Joe, whose real name is John.   John opted for Joe when he heard that there were 2 other volunteers named John at the Zakynthos program.  In fact there are three Yonni’s at the program too, but none of them opted for another name.  “Was’up, mate” Joe-John says to me in a sing-song New Zealand accent once I’ve settled in.  “Hi everyone,” I say, a bit overwhelmed by all this early morning talk before I’ve even had a single sip of java.  “Did you sleep well?” Angela asks me in Greek.  “I didn’t sleep at all,” I reply in English.  “Way too much party noise all night,” I add.  “English,” skinhead-Yonni says, smiling.  “Karaoke and beer!” Joe-John yells out with a smile. “Welcome to Kalamaki,” Aude adds with an ironic French accent.

We start speeding to Kalamaki Beach for morning patrol.  A warm moist wind gently caresses my red-eyed face, helping me wake up.   I stare out the smudged front window at the almost tropical explosion of jungle greens and browns and blues and oranges developing in the road up ahead.  We drive by a field overflowing with plum trees, all dripping wet with glistening dark purple fruit.  We turn left and head down a wet pot-hole road that leads directly to the beach.  The sun is just coming up.  A mandarin-colored sky with intense dark gray-white clouds caps a frothy blue and menacing sea, which is particularly agitated today.  Curly-haired Yonni pulls up to the beach entrance and everyone piles out.  “See ya Scorcese!’ he shouts out with a smile and a wink, flooring the mini-van and disappearing up the pot-hole road.  When I turn around, Angela, Joe-John, skinhead-Yonni and Aude are already on the beach, looking at their clip-boards.  I pull out my camera, slide on my headphones and hustle down to film them.

Every summer hundreds of Loggerhead sea turtles return to Zakynthos from all over the Mediterranean to lay their eggs on the exact same beach where they were born.  Other Caretta caretta do this at a handful of other beaches in Greece as well: in Kyparissia, Koroni, a few beaches in the Lakonikos Bay in the Peloponesse and finally on Crete.  No knows why this is, why the turtles are hard-wired to return year after year to the land of their birth in order to lay their eggs.  Perhaps this system worked well for them over the millennia.  Unfortunately, this internal compass system is now proving to be the very Achilles Heel that is decimating their numbers.  Returning to the beaches where they were born, most of the Caretta caretta are finding them overrun by humans and all their egg-destroying detritus: beach chairs, umbrellas, bright lights, cement, pollution, garbage, noise and sometimes, outright human destruction and predation.  The number of sea turtles that actually manage to lay their eggs on these hard-hit beaches has been in a steady freefall for years.  This of course is in direct contrast to the steady increase of regulated and unregulated “development” in these areas.   Were it not for the efforts of ARCHELON, the WWF and a small handful of other conservation groups, the Caretta caretta wouldn’t have a fighting chance against the all-consuming human invasion of these ancient turtle nesting grounds.


Photograph courtesy of ARCHELON, the Sea Turtle Protection Society of Greece.

As soon as I step on Kalamaki Beach I realize that the wind and surf are so loud that I can barely hear Angela scream-explain to Joe-John, Yonni and Aude what the tasks of the morning are.  Through the whistling wind and crashing waves I am however able make out some of her instructions in English, the default language of ARCHELON’s volunteers.  Angela explains that because of the previous night’s rainfall, the hatchlings’ traces to the sea are probably not going to be visible and thus cannot be counted.  Instead, Joe-John, Yonni and Aude are to look for signs that the baby turtles have hatched in the marked (and sometimes unmarked) nests by the indentations and bulging in the sand.  They are also to count the number of tourists on the beach and inform them to move closer to the waterfront if they’ve laid their towels or beach chairs too close to the hatching nests.  These tasks, in a nutshell, comprise what is known as “Morning Patrol,” one of ARCHELON’s most effective tools in its coterie of efforts to help conserve the sea turtles and their environment.

Aside from the all-important public awareness aspect of the Society’s efforts in Zakynthos (and elsewhere in Greece), a large percentage of the volunteers’ time goes into cataloguing and classifying the numbers of returning Loggerheads, the nests they create, the number of eggs they lay and finally the actual hatchlings born on the known nesting beaches.  By doing this over the last few years, ARCHELON has been able to provide statistical evidence of the effects of human encroachment on the Loggerheads in Greece and thus help change both the government’s and general public’s attitudes regarding the conservation of their environment.  But it is ARCHELON’s consistent mano-a-mano effort to increase public awareness on the actual beaches that has provided the most tangible results with regards to Loggerhead conservation.  Because of the work of the volunteers and ARCHELON’s consistent approach, the steady decline in Loggerhead numbers has been somewhat reduced recently, at least compared to a few years back, when ignorance of the problem reigned supreme and nest encroachment and destruction was rampant.

Armed with their clip-boards, National Marine Water Park tags and ARCHELON volunteer t-shirts, Angela, Joe-John, Yonni and Aude start walking down the beach, their eyes scanning the light brown sand.  Not yet desensitized to the immense amount of garbage on most Greek beaches, Joe-John starts picking up countless beer-cans, plastic bottles and assorted garbage that has washed up on the beach, stuffing it all in his backpack as there are no waste bins anywhere to be seen.  He seems shocked at the amount of waste laying about.  Aude tells him that she too collected the garbage at first but soon gave up as it got too heavy to carry around every day.  The group’s first stop is a nest that started hatching a few days back and whose protective bamboo cage has been knocked askew by the wind.  After Angela shows the group how to restore the cage to it’s original position, I ask Joe-John how he learned of the program and ended up here.  He tells me that he heard about ARCHELON from a previous volunteer while he was traveling in Borneo.  Before I can ask another question, Joe-John strokes his thin goatee and adds “Yeah, turtles fascinate me too.  I had this favorite turtle pet when I was young, but it ran away, thank god!  So yeah, turtles interest me and the whole helping out, conserving their habitat and letting them live, I guess.”

Further down the beach, Yonni and Aude spot a ghostly-white couple who are sitting too far up on the beach, near a couple of nests.  Yonni gently pushes Aude forward and she hurries over to inform them that they need to move closer to the waterfront and away from the nests.  “Eastern Europeans for sure, or Russian” Yonni tells me as Aude approaches the couple.  “You can tell by their flip-flops,” he adds, smiling.  At first the ghost-white couple seem annoyed by the early-morning French invasion. They appear to not speak a word of English or French and Aude resorts to asking the couple to read a paragraph on her clipboard that explains what she needs them to do in a variety of languages.  After some hesitation, the couple get the message and they start to move closer to the water.

“Sometimes they don’t speak English, and they don’t speak French and they only speak very little German and even when they read the thing they don’t understand and so I have to find a way to explain that they need to move.  Some times it’s very hard because of the tongues,” Aude tells me with her heavy French accent when she returns.  “Where were they from?” Yonni asks.  “The Czech Republic,” Aude says, rolling her R’s.  Yonni smiles at me.  We continue down the beach and round some rocks.  An immense beach appears before us, with big hotels and lots of commercial action all along it.  “This is Laganas Beach, the main nesting beach on Zakynthos,” Angela tells me.  “And also the most abused,” Yonni says.  We continue walking and soon link up with Irini, the only other Greek ARCHELON volunteer in Zakynthos.  A happy-go-lucky college student from Athens. Irini started her morning patrol on the other side of Laganas.  She is wearing a bright pink ARCHELON volunteer shirt with baby turtles crawling on it.  As we all walk on together, Yonni spots a pretty blonde sunbather lying near a nest.  He quickly hustles off to give her the drill.  Aude looks at me with a frowning smile.  “You’ll soon learn that he only talks to pretty young ladies,” she tells me.  “He’ll be a while,” she adds and we continue on.

Further up the beach, the group spots a good-looking young couple skewering a large umbrella into the sand right next to a nest.  They seem to have brought an intense amount of beach junk with them and have spread it over a sizeable radius, partially covering another hatching nest.  The coup de grace is when the guy stamps his cigarette out on the sand next to the nest and covers it up with sand.  “Jeez!” Joe-John says.  “Should I go tell them?” he asks Angela.  “They look Greek, better let Irini talk to them,” Angela replies.  Irini lights up.  “I’ll set them straight, the thoughtless cretins,” Irini calls out in Greek and heads over to the beach-junk couple.

Just as Irini enters a long conversation with the couple, Yonni walks up with a smile and phone number.  Aude rolls her eyes.  Looking towards Irini, Angela tells me that there is a shortage of Greek volunteers at ARCHELON, something which is felt on morning patrols, particularly when the volunteers have to approach Greek sunbathers.  “Sometimes the Greeks don’t want to listen to foreigners because they feel like they’re local and who is this foreigner who is coming to tell them what to do in their land.  But generally, they are compliant,” she says.  A nodding Yonni adds that he doesn’t seem to have too many problems, even though he doesn’t speak Greek.  He attributes his luck with Greeks to the fact that he’s Israeli and thus more in tune with the Mediterranean mentality.  For Yonni it isn’t so much the language barrier that he sees as the main problem with the locals, but rather the economic issues.  “Most Greeks speak English anyway.  The tourists are usually very concerned and very cooperative.  Yeah, and they really like the efforts that we’re doing.  But with the locals it’s a different story, because they feel like we’re taking their income away and it makes them pretty upset.  What they don’t know is that in the long run it might increase their income.”  I lower my camera for a second.  “It’s the age old battle between mass tourism and ecological tourism,” I say.

The sky starts thundering ominously and we all look up at the suddenly dark, steel-grey sky.  Irini, who appears to be having problems with the argumentative beach-junk couple, seems relieved that at least the weather will clear the beach of all ill-behaving people.  The first fat drops of rain start to fall and the couple hastily starts to collect their gear to leave.  Irini rushes over to join us.  “Well?” Angela asks her.  “Italians,” Irini says and rolls her eyes.  “They barely speak any English and could not understand me.” The sky thunders again and a Biblical deluge begins.  Everyone on the beach, volunteers included, starts running for cover.  I quickly shield my camera and follow suit.   I catch up with the volunteers and we all take cover under the roof of a small open-air tourist kiosk by the beach, near a road with lots of bars on it.  “That’s it for morning patrol,” Angela says.  “What now?” I ask.  “Well, it’s kind of a standby situation now until the afternoon.  If the sun comes back out, we’ll continue with the beach patrol, and in the afternoon we’ll do some nest excavations to count eggs.”  The sky thunders again.  “I know a bar up the street,” Yonni says.  Before anyone can answer, he slides the hood of his poncho over his shaved head and bolts up the road.  Before I can say a thing, the rest of the volunteers take off after Yonni.  “Why not go to this bar?” I ask Angela and Irini, pointing to a bar that’s right next to the beach.  “We would never go there.  See that laser light? They represent everything we’re against,” Irini answers through the rain.

A few hundred meters up the road, Yonni cuts into a shanty-styled bar called The Captain’s Hook.  Fishnets and swords and black pirate hats and empty rum bottles decorate the wood-paneled walls.  I’m not sure if the sawdust on the floor is damp with rain water or beer.  I catch a whiff.  Definitely beer.  A bored looking English bartender perks up when she see us.  Dripping wet, we all sit at the bar and before long a variety of beers appear before us.  “This is the best part of volunteering,” Yonni says, smiling.  We all clink glasses and drink.  Aude goes to the jukebox and punches up a few songs.  Surprisingly, the “I want to know, oouh-hah, won’t you be my girl?’ song comes on.  “Ya mas!  Cheers!” Joe-John toasts and we all clink glasses again.  A couple of stumbling Brits enter the bar, dripping wet and with wide grins on their faces.  On the first refrain, everyone in the bar sings out at top volume, the volunteers included.  A cacophonous, multinational karaoke version of the song starts up spontaneously.  “I want to know, oouh-hah, won’t you be my girl?!!”  Infected with the good energy, I join in.

When the song ends, one of the Brits, who has been hitting on Irini and seems fascinated with her crawling baby turtle t-shirt, yells out “International Party Turtles!  Yeah!”  We all toast again.  Buena Vista Social Club’s ‘La Bayamesa” comes on the jukebox.  I imagine a bunch of baby turtles samba-ing their way down to the water.  I am awakened from my reverie by the loud karaoke voices of my friends.  They bounce around the wood-paneled walls and explode off-key in my brain. “Tristes recuerdos de tradiciones, cuando contempla sus verdes llanos lagrimas vierte spor sur pasiones, ay!  Ella es sencilla le brinda qal hombre birtudes todas y el corazon.”  “Sad memories of the past, memories of green pastures make her passionate tears overflow.  She is so true, she brings only goodness and love to mankind.”  As if to highlight the last verse, the sun breaks through the clouds and a beam of bright light enters The Captain’s Hook.  “Lets get back to work!” Angela calls out and all the volunteers get up and exit the bar, all dripping wet and with smiles on their faces.

–Andreas Economakis

This piece first appeared in the Spring 2006 issue of Johnny Seagull.

Copyright © 2010, Andreas Economakis. All rights reserved.

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

Okla Elliott Interviews Christopher Higgs (and Marvin K. Mooney)


I first met Christopher Higgs at Ohio State University’s MFA program, where we both studied, and where we became friends. I often say that the history of literature is a history of friendships but friendships are as much about debating each other and testing each other’s theories as they are about support. Over the years, Chris and I have certainly debated many issues and have found as many differences as we have agreements, but I can say that I have rarely met a more capable or more intelligent artist.

It was therefore with something like brotherly pride that I asked Chris for an interview to help promote his debut novel, The Complete Works of Marvin K. Mooney. As it turns out, he was also able to provide me with an interview with the novel’s titular character. Both interviews are included below.

I won’t waste a lot of time here talking about The Complete Works of Marvin K. Mooney, except to say that it is a romp in the sand, a scream in the dark, and an upthrust middle finger with a Cap’n Crunch decoder ring on it—and that it is a wonderful and strange creation.


INTERVIEW WITH MARVIN K. MOONEY

Okla Elliott: Your complete works have recently been released under the unsurprising title The Complete Works of Marvin K. Mooney. How complete is the book in terms of your body of work? And in what capacity did you collaborate with Chris Higgs on the project? There seems to be some confusion over what role he played, if any, in the effort. Could you elaborate please?

Marvin K. Mooney: Ain’t nobody collaborating. Chris Higgs or Christopher Higgs or Chrissy Higgs, whatever that character wants to call himself, had no hand in creating my masterpiece. He merely came along and slapped his big fat name across the otherwise beautiful cover, figuring I needed a bump of ethos or some such, which, incidentally, I did not need. But to answer your other question re: the comprehensiveness of the book vis-à-vis my oeuvre, I’d be remiss to omit the way Higgs treated me like Lish treated Carver, axing maybe 200 pages from my original manuscript, give or take. All for the good of marketability, whatever that means.  Now if you call that collaboration, then you and I are working from a different definition of the word.

OE: Chapter 5 of your book uses the number 5 as an organizing principle for the universe, at times quite arbitrarily and playfully. I am reminded of Witold Gombrowicz’s Cosmos, which has at its center the argument that quote traditional unquote narratives arbitrarily select certain events in order to create the illusion of order or purpose in the world (or at least in human life). Are you picking an obviously arbitrary organizational principle in Chapter 5 as an example of how all narratives do this? Or do you just like the number 5? Or both?

MKM: The number five was mother’s favorite number.  When I was a little boy she wouldn’t read me stories at nighttime. Instead, she would wake me up every morning and read to me from page five of various books from her huge secret library. I was never allowed to touch her books or look through her collection.  I never knew the titles of the books, and she never gave me any context, so I could never understand what she was reading to me. Those are some of my favorite memories.

OE: Your book includes many references to cultural theorists, philosophers, painters, and so forth. This tactic is largely seen as a no-no in contemporary fiction. Two questions then: 1) Why is there this turf war among the humanities in the US? 2) Why is it that something authors as wide-ranging as Dostoyevsky, George Eliot, Bertolt Brecht, Laurence Stern, James Joyce, Umberto Eco, etceteraetcetera have done is currently considered bad form in US fiction writing?

MKM: For the most part, contemporary American fiction is mediocre, conservative, backward thinking, and yawn-inducing.  You go to the bookshop and you see two kinds of books: the mega-blockbusters and the midlist crap. Neither of those categories are gonna embrace polyglot creativity because neither of them are Art. The former is entertainment and the latter is a particular kind of garbage: products of what I call the midlist feedback loop. Entertainment don’t need creativity because entertainment exists to reinforce prejudice. Art requires creativity because Art exists to challenge prejudice. The midlist feedback loop exists to secure academic positions in midlist production factories, i.e. MFA programs.

OE: Do you have plans to write another book any time soon?

MKM: No. Literature is now an exhausted medium.


INTERVIEW WITH CHRISTOPHER HIGGS

Okla Elliott: Okay, you have pointed out elsewhere that Kant teaches us that form is where aesthetic appreciation comes from, and therefore, you argue, content doesn’t matter. If this is the case, then why not use “traditional” content? If it truly doesn’t matter, then why do you insist on both nontraditional form and content? Could you write an avant-garde soap opera?

Christopher Higgs: These are very good questions. Very tricky. They’ve forced me to write and rewrite my response three or four times now. To address your second question first: sure, I could write an avant-garde soap opera. Ryan Trecartin has made a career of it, and to some degree David Lynch accomplished it with Twin Peaks. Like the experimental novel, the experimental soap opera would need to pose a question, such as: how far can we push the legible boundaries of this form. You see, it is a matter of intensities: I dare not say dialectic – goddamn Hegel and his ruinous ways! – wherein what constitutes the category of soap opera must retain enough integrity for it to be legible as a soap opera. You can’t just go all nutscape and expect the result to be identifiable. If your intention is to remain within the prescribed category of soap opera, you must think Derrida not Heidegger. In other words, you must think deconstruction not destruction.

With regard to your first question, I have to call your term “nontraditional content” into question. I think it’s problematic because it assumes that the novel form has traditional content, which doesn’t seem accurate to me. (Not to mention my inclination to challenge the notion of a singular tradition from which the individual talent engages, a la T.S. Eliot or whatever.) That’s why I always put the focus on form: the content in my book is the same content as is in the work of Johnny Updike, Phil Roth, Stephen King, Dan Brown, you name it. Plot, character, setting, theme, all those elements of content, are always already the same. What changes is the form, the arrangement, the way that redundant content is presented.  All writers are using the same content because all writers are using a common language.  In English, for example, we all have the same databank of words at our disposable.  What differentiates writers is the level of their ability or inability to organize that databank of words in different ways.  If you experience my arrangement of our common content as “nontraditional” then I would take that as an enormous compliment because what you are in effect saying is that my arrangement has excited the free play of your imagination and understanding, therefore bringing it back to Kant.

OE: Your book includes many references to cultural theorists, philosophers, painters, and so forth. This tactic is largely seen as a no-no in contemporary fiction. Two questions then: 1) Why is there this turf war among the humanities in the US? 2) Why is it that something authors as wide-ranging as Dostoyevsky, George Eliot, Bertolt Brecht, Laurence Stern, James Joyce, Umberto Eco, etceteraetcetera have done is currently considered bad form in US fiction writing?

CH: I think the kind of assemblage I’m doing is antithetical to mainstream contemporary American fiction because it rejects the prevailing wisdom: the myth of mimesis, the falsity of verisimilitude, the idea that truth is containable; instead, what I’m doing exposes the vast interconnectivity of various artistic and intellectual endeavors, which is especially threatening to those groups who pride themselves on specialization, consolidation, and exclusion. In this way, it takes power away from central authority (i.e. those false arbiters of what makes “good fiction”), which will inevitably lead to big frowning from those goons. Look at that list of venerable writers you’ve offered, Brecht, Sterne, Joyce, they have in common not only an inclination for interdisciplinary cross-pollination, but also an affinity for exploring the connectivity of proliferating difference. That’s dangerous shit. Power likes homogeny, not heterogeneity. Power likes clear distinctions. You start making connections outside of your designated field, breaking down borders, challenging signifiers, and all of a sudden you’re an outlaw. All of a sudden you’re banished from the tribe. Most people value their membership in the tribe too much to go challenging the conventions. Me? Not so much.

OE: The number five was mother’s favorite number. When I was a little boy she wouldn’t read me stories at nighttime. Instead, she would wake me up every morning and read to me from page five of various books from her huge secret library. I was never allowed to touch her books or look through her collection. I never knew the titles of the books, and she never gave me any context, so I could never understand what she was reading to me. Those are some of my favorite memories.

CH: Chapter Five was written for our mutual friend, Sara McKinnon, who had the idea to start an online journal dedicated to creative nonfiction, which she was gonna call FIVE. She asked me to give her something for it, but I didn’t really have anything appropriate so basically I Googled the word “five” and started seeing all these crazy associations, which I began jotting down.  Next thing you know, I had all these various factoids. So I did a little arranging and voila.

OE: What should young writers today study or do in order to improve their craft?

CH: Become intellectually polyamorous, cultivate an insatiable curiosity for knowledge and experience in as many different guises as you possibly can, question everything, always challenge, learn that failure and rejection are positive things, subscribe to at least three non-literary magazines in three completely different fields (for me, right now, it’s National Geographic, Juxtapose, and Wine Enthusiast – last year it was Seed, Esquire, and Art in America), forget politics: it has nothing to do with you and any time or energy you invest in it is wasted time and energy you could be using productively to learn and experience and create, do not choose sides, do not agree or disagree, embrace contradiction, watch cinema from as many different countries and time periods as you possibly can, seek out unclassifiable music, spend time in unfamiliar locations, expose yourself to new activities, go to the opera, go to the ballet, go to the planetarium, travel a lot, observe as much as you can, pay attention to the way people talk and the way people listen, eat strange food, watch at least one sporting event but instead of thinking about it as entertainment think about it as narrative, ABR = Always Be Researching, carry a notebook and pen at all times, remember it is more important to ask questions than give or receive answers, seek to open up and never close down, seek to seek, do not seek to find, fall in love with language, think obsessively about language, about words, about sentences, about paragraphs, about the sound of words, the weight of words, the shape of words, the look of words, the feel of words, the placement of words, and most importantly be your biggest advocate, think of yourself as a genius, think of yourself as an artist, think of yourself as a creator, do not despair, do not listen to criticism, do not believe naysayers, they are wrong, you are right, they are death and you are life, they destroy and you create, the world needs what you have to say.

OE: What new projects are you working on? How is the scholarly work you’re pursuing informing your creative work, or vice versa? In short, what can fans expect from Chris Higgs in the coming years?

CH: There’s certainly a reciprocal relationship, a kind of feedback loop, between my scholarly and creative work, where each plays off and builds upon the other. In terms of the scholarly stuff, I’m writing and thinking a lot about new ways to discuss and understand experimental writing, mapping locations of experimental intensities, ‘pataphysics, the posthuman, etcetera. In terms of creative stuff, I’m working on a top-secret experimental collaboration with two of the most significant contemporary American writers living today, which will be groundbreaking and will blow heads clean off. Individually, I’m slowly working on a nonfiction book about the history of American experimental literature, and I’m also in the beginning stages of a new novel, which I plan to work on heavily this summer.

SATURDAY POETRY SERIES PRESENTS: H.D.


Selection from HELEN IN EGYPT

by H.D.


Did her eyes slant in the old way?
was she Greek or Egyptian?
had some Phoenician sailor wrought her?

was she oak-wood or cedar?
had she been cut from an awkward block
of ship-wood at the ship-builders,

and afterwards riveted there,
or had the prow itself been shaped
to her mermaid body,

curved to her mermaid hair?
was there a dash of paint
in the beginning, in the garment-fold,

did the blue afterwards wear away?
did they re-touch her arms, her shoulders?
did anyone touch her ever?

Had she other zealot and lover,
or did he alone worship her?
did she wear a girdle of sea-weed

or a painted crown? how often
did her high breasts meet the spray,
how often dive down?

© 1961 by Norman Homes Pearson.

H.D. (Hilda Doolittle) (1886 – 1961) was born in Bethlehem Pennsylvania and was a friend and contemporary of Marianne Moore, Ezra Pound, and William Carlos Williams. She was a leader of the Imagist movement in poetry, though her work was neglected during her lifetime due to its feminist principles that were ahead of their time. H.D. had a deep interest in classical Greek literature, and her poetry often borrowed from Greek mythology and classical poets, as this particular excerpt exemplifies. In her personal life H.D. had a fluid sexuality, being married twice and engaging in a number of lesbian relationships. She was unapologetic about her sexuality, and thus became an icon for both the gay rights and feminist movements during the 1970s and 1980s.

Editor’s Note: H.D. has always been a fascinating figure to me. She held her own in a boys club comprised of heavyweights like Pound and William Carlos Williams. I have been told that her abbreviated name was used in order to keep readers from knowing that she was a female, in order to expand her potential readership in a time when her ideas might have been more easily accepted coming from a man. Or perhaps it was an homage to her sexual ambiguity? H.D.’s poems were certainly ahead of their time and have managed to remain timeless so that while she may have been underrated during her lifetime, she thrives as a celebrated poet today.

Want to read more by and about H.D.?
Poets.org
Shot Through With Brightness: The Poems of H.D.
Imagists.org

George Leonard 1923-2010

A Tribute By Gordon Wheeler

The Big Sur coastline and the Esalen Institute – “a center for alternative education, a forum for transformational practices, a restorative retreat, a worldwide community of seekers” – have always been magically intertwined in my mind. The wildness and beauty of the coastline, despite the economic and ecological pressures of the last century, is a gift that shouldn’t be taken for granted. So also is the survival and durability of the Institute since its founding in 1962, despite the social and political upheavals that have occurred since. In the essay below, Gordon Wheeler, past president of Esalen, writes about George Leonard and his contributions to Esalen and to Western thought in general. Leonard’s emphasis of spiritual and physical practice and sustained effort in the search for personal transformation have been of particular importance to me, as a child of the sixties and an early believer in the ‘quick fix’. The essay is posted at www.esalen.org/tributes/george-leonard.html.


George Leonard, President Emeritus of Esalen Institute and one of the giants of the Human Potential Movement through the second half of the 20th Century, died peacefully at his home in Mill Valley California, surrounded by friends and family, on January 6, 2010. Often called the “third Founder” of Esalen for his decades of leading contributions to the Institute and its work, George Leonard was one of the leading voices of the past two generations in shaping American culture and our world today.

George’s fertile legacy will live on in his beautiful family, his contributions to public journalism and social change, his 12 books which continue to spark programs and trainings today, his founding role and research (with Michael Murphy) in the programs of Integral Transformative Practice, which have changed thousands of lives over the years—and in the transformational work and mission of the Esalen Institute in Big Sur California and around the world, which he labored so long and creatively to nurture and to inspire.

Here at Esalen, we will miss George’s sparking, challenging presence, his amazing physical discipline, his endlessly energetic spirit, his inspiring example of the active creative life into his ninth decade, and his constant reminders that, as he liked to put it, “every idea, every intention, every new thought is a new generative form in the universe,” and that as human creators, we are tapping and manifesting only a small part of an unlimited potential for imagination, transformation, and social progress.

The following biographical sketch will give you only highlights of his exemplary creative life and spirit.

George Leonard, the co-founder (with Michael Murphy) of Integral Transformative Practice (ITP), was the author of numerous books on human possibilities and social change, including Education and Ecstasy, The Transformation, The Ultimate Athlete, The Silent Pulse, The End of Sex, Mastery, andThe Way of Aikido. The 1995 book, The Life We Are Given, co-authored with Esalen founder Murphy, reports on a two-year experimental class in ITP created by the authors for realizing the potential of body, mind, heart, and soul. ITP Groups are now practicing not only throughout the U.S., but in other countries as well.

From 1953 to 1970, Leonard served as a senior editor for Look magazine. He produced numerous essays and special issues on education, science, politics, the arts, the Civil Rights Movement, and foreign affairs. A collection of his LookThe Man & Woman Thing and Other Provocations. His articles on education won eleven national awards. Articles by George Leonard also appeared in such magazines as Esquire, Harper’s, Atlantic, New York, Saturday Review, and The Nation.

Leonard held a 5th degree black belt in the martial art of Aikido, and was the co-founder of an Aikido school in Mill Valley, California. He was also the founder of Leonard Energy Training (LET), a practice inspired by Aikido, which offers alternative ways of dealing with everyday life situations. Leonard introduced LET to more than 50,000 people in the U.S. and abroad.

George Leonard received a Bachelor of Arts degree from the University of North Carolina (1948) and Doctor of Humanities degrees from Lewis and Clark College (1972), John F. Kennedy University (1985), and Saybrook Institute (2003). He was a past president of the Association for Humanistic Psychology; during his tenure, the Association’s membership reached its all-time high. He was President Emeritus of Esalen Institute. Leonard’s adventures along with the human frontiers of the 1960s are described in his 1988 memoir, Walking on the Edge of the World. He was married to the artist Annie Styron Leonard, and left, in addition to his wife, three daughters and six grandchildren.

George Leonard has been called “the granddaddy of the consciousness movement,” by Newsweek, “the poet-philosopher of American health in its broadest sense” by , and “the legendary editor and writer” by Psychology Today. While serving as senior editor for Look magazine (1953-1970), he won an unprecedented eleven national awards for education writing. His coverage of the Civil Rights Movements (praised in the February 10, 2003 New Yorker) contributed to Look receiving the first National Magazine Award in 1968. His harrowing 7,000-mile journey around the Soviet border with photographer Paul Fusco just after the Berlin Wall went up provided the first reportage showing that the Iron Curtain was an actual barrier of barbed wire, mine fields, and watch towers rather than a mere figure of speech.

In a sense, Leonard discovered the Sixties. While other media were still decrying the silent or cautious generous, he produced a special Look. issue called “Youth of the Sixties: The Explosive Generation” (Jan. 3, 1961) which foretold the idealism and turmoil to come. His special issue on California (Sept. 25, 1962) was the first to put forth the thesis (later adopted by all media and become conventional wisdom) that what happened in that state would happen later throughout the nation. In the 1960s, Look had a readership of 34 million and won more national awards for excellence than any other magazine.

Leonard coined the term “human potential movement” and first used the term “The Transformation” in a book of that title to describe a shift in the way industrial culture deals with matter and energy, organizes social forms, and shapes consciousness. His bestselling 1975 book, The Ultimate Athlete, helped shape the fitness boom. His 1983 book, The End of Sex (the cover article for the December 1982 Esquire and several other magazines) was the first published requiem for the sexual revolution.

His scenarios for the interactive multimedia education in Education and Ecstasy and Esquire are still considered state of the art by educational technologists. Dr. Alfred Bork of the Educational Technology Center at the University of California at Irvine has stated that “Many of the features that Leonard describes seem to me likely to characterize almost any school of the future that uses computers effectively as tools for learning.”

Leonard’s more recent books, Mastery (1991), The Life We Are Given (1995, with Michael Murphy), and The Way of Aikido (1999) have helped create a nationwide movement towards long-term practice, as opposed to the quick-fix mentality. According to the San Francisco Chronicle, “Leonard has been right so many times about prevailing zeitgeists that you have to wonder if he has a third eye.”

During World War II, Leonard served as attack pilot in the southwest Pacific theater, and during the Korean conflict, as an analytical intelligence officer. He also enjoyed a lifelong devotion to music and occasionally played piano with jazz groups. He wrote the music for two full-scale musical comedies, which were produced by the Air Force, and another, Clothes, based on “The Emperor’s New Clothes,” which was produced at Marin County’s Mountain Play Theater.



One side or two?

ONE SIDE OR TWO?

by Billee Sharp


On Friday night Pixieman and I drove down to the Ferry Building to pick up a friend I hadn’t seen for twenty years and he’d never met. As the Amtrak link bus barreled into sight I spotted Sophie by her signature immense fro. When she came down the bus steps towards me I had one of those moments: the kiss dilemma – would it be one side or two?

Using powers of deduction augmented with background deets courtesy fakebook I figured I should be prepared for the French double style, this because the lady has worked in theatre and is technically foreign ( her family came from Germany to England in the Thirties) I was wrong –we did the easier, more English, one cheek peck and hugged more convincingly.

Social etiquette seems a dreary and old school consideration but while we live together in our huge societies and in our local communities our social terrain will continue to be raked over and rightly so. The kiss dilemma is obviously a frivolous example but operates on a number of levels: most nuance has a social relevance and where I come from (England) kissing both sides is posh, or foreign and likely both. Our West Coast sensibilities seem to allow for an easy-going interpretation of customary practices, we pick up on the language and gestures we like and adopt them readily. Sometimes too readily, I fought a long teen battle over the ambient usage of bitch and ho but I’m invigorated by their prolly and the ubiquitous bro. I’m veering into linguistic semantic territory now which must be Sophie’s weekend legacy as her dissertation, on linguistic something-or-other and Battlestar Galactica has been covering a modest third of our kitchen table for the last couple of days. In our house, this is good social etiquette: if you are staying here, find a space to do your thing and this works well.

The only questionable point of social etiquette in my last few days was the conversation I had with a Seventh Day Adventist on Easter Sunday, I wonder if I offended him. I didn’t mean to, but everything I said made him look like he was either going to hit me, vomit or have a seizure. I was being really nice too, really gentle and explaining how I had this perspective on all religions having the same divine aspirations. He cut me off right in the middle of my spiel about how we’d brought our boys up to recognize Jesus as a very cool teacher , he made that ominous wince I mentioned and then quoted Jesus-from-the-bible: nodding sagely and resonating he let everybody there in the kitchen at Mamsan’s know that Jesus said I DO NOT COME IN PEACE, I COME WITH A SWORD , there was an aside about cleaving the truth but the crazy downer bible quote had me spiraling. Seventh Day dude went on to reveal that Jesus had also said that when all the nations are howling for peace that is when some sudden bad shit will be coming down (not exactly his words but apocalyptic tattle of the first degree) I told him that I thought it was really sad that a Christian guy like him was so pessimistic about humans and our potential to live in peace, maybs that what Jesus meant I added—that when all the nations were doing that howling for peace maybe the sudden change would be apocalytically good , something like the consciousness shift we so badly need to improve planetary well-being. Seventh Day dude gloomily listened to me recommending Buckminster Fuller to him for about three nanoseconds and our exchange tapered out over the arrival of a banana pudding.

For me the wretchedness of the exchange was the wide gulf of understanding that was between us over a perceived equality of religions, but I don’t think it was bad etiquette to talk religion on Easter Sunday, Jesus, I believe, would’ve approved.

The etiquette that seems to worry me most is what social parameters exist online. This interconnectivity we have with media and information exchange has to be discussed openly and keenly. Cyber-bullying is unacceptable and the culture of fail.org seems basically incorrect. When we use real-life material for  gratuitous entertainment we need to examine our values again. When shocking viewing can  be had at a click it is not only children at risk,  desensitivity is not desired. We make our own world online especially through social networking, last weekend we had consternation over “adding” Granddad, my son didn’t want Pops to be mortified at his photos. Gradually we are discovering what over-sharing means and how being connected to friends is not necessarily what we experience as we like & tweet & comment.

Eco etiquette is always on the social correctness agenda I realized as I forced myself to do the right thing and practice Clancy’s eco dishwashing regime this morning: wash everything with soap and then rinse everything in just one bowl of water at the end.

But back to the kissing: I just messed up a two cheek kiss with visiting techno hero Thomas Fehlmann – “I can’t believe I did that” I said after planting a clumsy smacker on his nose, “ I’m just writing about kissing and social etiquette”

“Never mind,” he said, “ Its worse in Switzerland – they do it three times.”

JACK HIRSCHMAN

Jack Hirschman photograph by Marco Cinque.

THE AL-MARBID INTERNATIONAL POETRY FESTIVAL

March 23-25 in BASRA, IRAQ

by Jack Hirschman

When Agneta Falk and I were invited, a couple of months earlier, to participate in the Festival, we were eager to do so notwithstanding the dangers because we had been in email touch with Sabah Jasim, an Iraqi poet and comrade since 2006, who had translated poems written by both of us. It was Sabah Jasim who I invited to the San Francisco International Poetry Festival in 2007 and who was cruelly refused entrance into the U.S. (after 23 days in Damascus, Syria, where he went to obtain his visa, he received it on the last day of our Festival in San Francisco, though Kareem James Abu-Zeid, a brilliant young translator of Arabic poetry, translated some of Sabah’s work and presented it at one of the Festival’s venues.

So there was the meeting between us all at the Basra airport where, after much bureaucracy, Aggie and I received our visas for Al-Marbid. We finally met Sabah in person and drove with him and two other poets, Furat Salih and Thamir Sa’id, to the Golden Tulip Hotel, a very modern structure, where we met Mudhafa Al-Rubai, the organizing overseer of the poets invited from other countries. On the way in we’d gone through a couple of checkpoints and noted that a car proceeded ours in which two at least and sometimes three armed Iraqi security forces were ever present. The same would hold for the large modern bus which carried all the guest poets to different venues: we became accustomed to the sight of soldiers with kalishnikovs or handguns leading the way in cars, and guarding the front of the Hotel. Basra had been “secured” some time ago by the British and American forces. But all of Iraq is still a war zone and security is very heavy.

At the Hotel I was asked by Thamir Sa’id to do an interview, in which Dr. Adel Al-Thamary translated the questions to me, which were largely about my views on Poetry.

Next morning the poets all piled into the bus provided by the Ministry of Culture—which had organized the Festival under the direction of 34 year-old Aqeel Mindlawie—and we went into Basra to the Petroleum Cultural Center Hall, a vast domed-like workers’ Hall where, after ceremonious speeches and an extraordinary dance ensemble called the El Basra Group for Public Folklore Arts, which performed breathtakingly with women drummers and male dancers, the poetry readings began.

The poets read a couple or three poems each. Iraqi poets often read in dramatic style with great expressivity and sonority. At each of the three-day venues there would also be included the guest poets from other countries. I read two poems on that first morning,—“Path” and “One Day”— with Sabah Jasim reading the Arabic translations he’d made, after I read a brief note of solidarity concluding with a “Long Live the Iraqi Poets!”.

In the large space in the rear of the auditorium—tables laden with books of poetry and prose, large art and photo exhibitions, and many people interviewing the poets for news- papers, radio and television. The Iraqis are hungry for communication with the outside world—it was a central underlying theme of the Festival. Indeed, on the second day Agneta Falk gave no less than seven interviews after she read her poem on Israel/Palestine, “O Hate”, and the poem on a British prostitute, “Shivering Mountain”—with Sabah Jasim reading the translations he’d made of them as well. She also read a poem she’d written at the Festival, in memory of the Babylonian poet Ja’fr Hadjwal, who died on the train carrying him to the very Festival.

After the first venue, the bus took the poets to the riverside statue of Shaker Bader or Al-Aysaayab, an impressive towering monument to one of the founders—with two women, Nazika Mala’ka and Lameea Abbas Omara, working independently and simultaneously—of the Free Verse Movement in Iraq, which began in the 1940s.

From that statue and across the Arab River, one could see Iran.

The other guest poets included two from Italy—-Anna Lombardo and Alberto Masala; Eric Sarner from France, though he lives at present in Uruguay; Kamal Akhlaki from Morocco; Sejer Andersen and Kristen Bjornkjiflr from Denmark; Bayan al-Safadi from Syria; Maurilio de Miguel and Angel Petisme of Spain; and Osman Ceviksoy, Necdet Karasevda, Imdat Avsar, Ayten Mutlu and Ali Akbas from Turkey.

Apparently the poems I’d read had appeared on National television the first morning and I was asked to read at the Translation School of the University of Basra on the second day. I’d thought the request was part of the Festival but apparently heads had to get together—security-wise— because the university was not on the Festival venue. But I was cleared to read to a large group of about 150 in a hall at the University. At that event I read a whole ensemble of poems including “New York, N.Y” and “Mother” but it was “The Quntzeros Arcane” which I’d written about the war in Iraq that gave me one of the greatest pleasures of my life, reading it to those incredibly receptive students of the English language . It was my own personal highlight of the Festival, but the collective sense of harmony in poetry at the Festival is what has made Al-Marbid such a new inter-national wonder.

Afterward I was told by Khadin Al-Ali, the professor of that large class, that I had been the first poet from another country to read at the Translation School in seven years!

At the evening session at Autba-Bin Ghazwan Hall on the second day of the Festival we all were treated to stirring Mendelsohn and Tchaikowski by the National Symphony Orchestra, brilliantly conducted by Kareem Wasfi, prior to the poetry readings that continued filling the air with Iraq’s finest verbal sounds and its desire to became part of an international community. At this session and others, I had a chance to meet young Iraqi poets and comrades, largely through Sabah’s being on hand to bridge the language difficulties.

On March 25, readings continued at Al-Shuhada (Martyrs’) Hall in the morning, and at the evening and final session once more in the Petroleum Cultural Center Hall the newspaper of the Iraqi Communist Party (which won 4 seats in the recent elections), called The People’s Road, was on hand, and I was humbled to see a large photo of me next to a general article (or so Sabah told me) about the Festival.

Afterward the Council-General of Basra invited all the guest poets to a dinner in the garden of the Gold Tulip Hotel. The celebration spilled over into March 26, which, as it happened to be Agneta Falk’s birthday, was celebrated after breakfast in the Hotel dining-room, with songs being sung in Italian, Danish, Turkish, Spanish, French, Moroccan Arabic, American, and Aggie sang a Swedish lullaby. It was a truly international finish to a Festival that spread its wings outward, beginning to make its claim of belonging to the international struggle against the evils of globalization. Long Live the Poets of Al-Marbid in All the Years Ahead!

–Jack Hirschman

San Francisco, March 30, 2010

ALBERT HERTER

BLUNDERING AROUND, PONDERING ALOUD

On Becoming A Lacanian Analyst

by Albert Herter

“What is realized in my history is…the future anterior of what I shall have been for what I am in the process of becoming.” –Jacques Lacan

I am still in the beginning.  The beginning is very genteel, friendly, civilized.  A theoretical discussion, nothing on the line really.  Nothing I couldn’t step back from.  I have put concepts on the table which are worthless.  The first time I saw my analyst I was walking behind her into a lecture hall, and she suddenly turned around and said hello, smiling.  I said hello and smiled and she turned around and we continued walking in.  A pleasurable and surprising first encounter. The next contact I had with her was three years later when I emailed her about entering analysis.  In her email back she mistook me for a mutual friend of ours I had mentioned as way of introduction.  I don’t think I responded to that email.  Before our first session I was struck by a long wait that imposed some feelings of anxiety.  Later I would learn to love this long wait.  We talked about her situation for a while, some troubles, and then she said “That’s my story. What’s yours?”  The first words that came out were “I’m an artist.” A few sessions later she mentioned that in many countries people don’t say “I am an artist.” That it’s an adjective.  I think we continued to speak about art and various shows and one in particular at the New Museum.  I said I thought conceptual art had a tendency to be too cute.  I asked her if this particular show was old.  She said it’s older than JESUS.  I bare some resemblance to Jesus (I’m tall and had long brown hair at the time, maybe even a bit of beard) and so I thought this was some sort of message. I thought about it for a while. Later I found out that was the actual name of the art show we had been speaking about.  Many misrecognitions.  I remember her opening her legs a bit which I also thought was some sort of maneuver.  It sounds a bit adversarial.  I thought of it later as being called to an appointment, not knowing why, and knowing that one had made the appointment oneself.  I referenced Lacan’s statement on beginning from a point of not understanding.  And then the session was over, a friendly introduction.  We had faced each other.

The next session continued in the same vein, art, aspects of Lacanian analysis and it’s present developments.  I began to feel frustrated that we weren’t talking about what I had come here to talk about.  Towards the end I said I would like to speak about my “personal problems”.  Josefina asked if I would like to start now or next time.  I said we could start now.  I said “I tear the skin around my fingernails. My cuticles.  I tear them till they bleed.  I lie in bed and read my book and play with my penis or tear my cuticles.”  She stopped the session there and said I had named it and said it well, that often it could be hard for men.

I enjoyed my own bewilderment when friends asked me about my analysis. I recounted things I’d said and my analyst’s responses, letting the words hang without any anchoring points.  My most intimate formulas delivered to a stranger.  I felt like analysis accentuated the absurdity of all other intersubjective contact.

I missed one session, out of absent mindedness.

I recounted a dream of driving a Porsche into a giant pile of laundry.  She said it reminded her of my sculptures and cut the session.

She asked me what the mandate was and I said “Economic and to sleep with lots of women.” She said “But it’s a mandate so you know you don’t have to do it.”

Everything was infused with meaning. It’s a realm I invested with power and knowledge.

“You’ll find some way to tell me.”

She said something about a “Narcissistic world where there is no desire.”

“I don’t know what words mean. I need to understand my words before I say them.”

“You postpone yourself.”

Sometimes I noticed her perfume.

“Look at you” she said.

I said “I say ‘You know, I don’t know.”

She said “You say that?”

I said “That’s something I say.”

You can see I simply dictate words I heard while in analysis.  I haven’t yet threaded them into any larger fabric.

At one point I said “This isn’t exactly a doctor’s office.”  Defending myself against any power she might have over me.

At first I moved her chair closer to the couch before she arrived, it couldn’t really be close enough, preferably in my ear.  I couldn’t hear her words properly. Now I hear her well enough, though there are still some mumbles and slurs I don’t have the courage to ask her to repeat.  I just smile and nod.

She said “There’s something regal about you.” I smiled, embarrassed.  She shook her head, “Not in a stupid way.” There’s nothing more stupid than an angel’s smile.

Once I lay on the couch, mind racing for some talking points, coming up empty. I began to panic.  She entered- began in our usual way- “How are you?”- “Good”- “So?”- “So.”

I said “I don’t know…I feel…I don’t know…I feel…”

“Wow,” she said “and twice!”

That was the first time I had sat in my uncertainty, without hypotheses.

I entered analysis with the ulterior motive of combining Lacanian theory with the physics of Roger Penrose, specifically two books he had written on the impossibility of artificial intelligence due to the non-algorithmic, non-deterministic nature of consciousness.  He postulated a theory of consciousness based on some subtle quantum mechanical procedure, which would necessarily take advantage of some physics yet to be unveiled.  Penrose does not take the neuron as the atom of consciousness, discretely either firing or not, but rather the empty space within microtubules. This stance seemed to have an affinity to that of psychoanalysis.  Cognitive scientists, brain science, and string theorists to one side. Penrose and Lacanians to the other.  But as Josefina said quoting her analyst “Psychoanalysis is not Kabbalah.”  Nor is it physics.  Though there may be phystricks or

Kablahblah.

I named a symptom, right off the bat.  Josefina said Miller says “One can’t read Lacan and tear at one’s fingers.”

I wasn’t sure why I was there.  I was worried I wasn’t crazy enough.

She said “You make me the analyst.”

I am only a few months into my first analysis, and so there is no clarity of hindsight.  But like, from a speeding train, I can try to name some discernable landmarks.  What I shall have been for what I am in the process of becoming.

We only had two sessions face-en-face before she said I was “beginning to go.” I was ready for the couch.  She laughed upon entering the next time because I was already lying down. I took to the couch.

She said for Lacan, Don Juan was great.  That night I went to a club and across the street was a neon sign in red and white pulsating “Don Juan”.  I went home and took Byron’s Don Juan off the shelf.  This really made her laugh.

Every week I would come in with a new diagnosis or thesis.  “My father is my father and my mother.  My mother didn’t want me.  Why do women read mystery novels? I tear my cuticles and play with my penis while I read. My father plays with his penis when he speaks to me and plays with his nipples when he speaks to my girlfriend.  I want a woman like my father.  I play with my penis so I know it’s there.”

I made an art video in which tearing my cuticles till my fingers are bloody and a baby infinitely reflected in two mirrors figure prominently.  At one point I wondered aloud whether I was the viewer looking at the fingers and babies or if I was the finger and babies exposing myself to the viewer.  That was a cut.

She asked me to name the part of me that had made that video and I said “Albert the pervert.”

One would have to finish an analysis to know how long the beginning lasted.  I’m not sure the beginning has begun.

In the midst of an analysis, one doesn’t see the forest for the trees.  I have one side of a formula and hope she can provide the other.

I am beginning to remember dreams, and to linger in bed, gathering evidence.

Of her I know very little.  I want to sustain the illusion.

Once I tried to slip her a note, a list of all my sins and character flaws.

I was willing to say anything, confess to any crime in order to be successfully finished.

In the beginning, I am desperate for activity, concrete signs of improvement, or at least change.  A lever, to move a weight.

I prepared the sessions, formulating.

I try to dig deep into my sentences and find the hottest stone I can and throw it up into the air.

Lying on the couch, head cocked to the side, staring out the window, grimacing, arms crossed over my head, then across my chest, never in my pockets, fingers laced across my belly, squirming.

I was completely caught up in the images and words.

I thought most people had elaborate personas they constructed for the outside world, to get the job done and as a sexual lure.

–Albert Herter

Book Review of Curtis Smith’s BAD MONKEY

Spending/Reading Politically: Curtis Smith’s Bad Monkey

by Raul Clement


Historically speaking, I don’t read much work from small presses and journals.  I am well aware of the arguments against this: 1) as an aspiring professional, I should support the industry that I hope will support me; 2) there’s a lot of good stuff out there that doesn’t get picked up by major New York presses; 3) politically, not supporting small presses is like shopping at Wal-Mart over your local grocery.  Yet I tend to stick to Barnes & Noble.  Indy for me is McSweeney’s or Tin House.

Recently, I won a drawing from Press 53. The prize was a book of my choice from their catalog. Because of my ignorance about small presses, I pretty much had to pick at random.  I chose Bad Monkey, a book of short fiction by Curtis Smith, for two reasons, both superficial: 1) the title struck me as amusing; and 2) I liked the cover.

It turns out you can judge a book by its cover—if that cover is a monochrome photo of a shirtless man crouched, monkey-like, on a back alley stairwell.  The photo promised a collection that was quirky and dark—and those adjectives apply.  There are stories about abduction, Russian mobsters, Ukrainian rapists, and demolition derbies. This is not the plotless, slice-of-life fiction so popular in journals, large and small, these days.

Even better news is that these stories avoid the pitfall of other work of their kind: stylization. Curtis Smith knows that high drama, in order to be believable and compelling, must be grounded in careful prose and attention to detail.  He writes about the most over-the-top subject matter with a subdued lyricism that reminds me of writers of a more traditional bent, like John Updike.

Here is a passage from the first story in the collection, “The Girl in the Halo.” It is told in the second person, the “you” being a teenage misfit in a high school of rich kids. One of these kids, a girl named Sally for whom “you” harbored secret feelings, has gone missing—presumably not willingly. In this scene, Smith observes the effect of her absence on the chemistry lab she and “you” took together:

“…how many bleary mornings had you spied on her, her purple pen scribbling notes and Mr. Fink droning on as he held one of his molecules, a slapped-together collection of spheres and connecting sticks that reminded you of a child’s toy.”

I’m not going to pretend that there’s anything groundbreaking here. But it’s solid, unflashy writing. It starts with “bleary,” which evokes the drag that high school was for most, while being a word we can read right past. But what really gets me here—what really takes a sledgehammer to my cynical reader’s heart—is the purple pen, encapsulating as it does an entire world of vanished innocence and half-realized femininity.  And the molecular model is great, too: who doesn’t remember these, and yet who remembered that he remembered them?

This is what good fiction’s all about: the oft-referenced “shock of recognition.”  By generating that shock, Smith earns the right to tell a story in the second-person (and present tense at that, though the above quote doesn’t demonstrate it).  He earns the right to sensationalist subject matter.  I am not going to give away the ending, but suffice to say, it’s a killer—pun certainly intended.

There are flaws in this collection. At times, the writing can wander into the excessively literary. At these moments, it reminded me of the worst stuff from small journals and presses—writing that adopts the tone of “good” writing, while having none of the feeling or insight. Here’s an offender from the same story, concerning the rumors that have circulated around school regarding Sally’s disappearance:

“Daryl Stone claims he spotted Blake’s red car on the other side of the Duke street railroad crossing, and between the hoppers’ cars flickering, thundering parade, he saw a blonde in the passenger seat…but when the caboose passed, the car was gone, the gate’s zebra-striped arm raised over a deserted macadam patch.”

I seriously doubt Daryl Stone described the scene this way. Now one can argue that this is the way “you” re-imagine(s) it. But there are similar instances throughout the collection, where Smith loses track of his characters in an ecstasy of linguistic posturing. Here’s one from “Without Words”:

“Ambrose, a cost analyst by trade and thus skilled in calculations and extrapolations, could have predicted these things, but when her loaded-down car pulled from the curb, what he couldn’t have predicted was the greater absences that would find him, his life’s unappreciated scaffolding of love and trust and faith sent crashing to the ground.”

I trust you can see why this is bad—or maybe not bad, but merely competent. A little bullshitty. Additionally, there are several examples of flash fiction here, which in trying to pack too much punch in too small a space, fail to achieve resonance. Maybe some people will like them; I preferred the more expansive work, where Smith’s lyrical aggregation has time to take hold.

But these flaws are, by and large, overlookable. Stories like “Think on Thy Sins”—in which a series of questionable moral decisions lead to one of the most bad-ass, and emotionally damaging eruptions of violence in recent short fiction—more than justify the $12 cover price which I cleverly avoided, but which you will have to pay. An earlier collection, The Species Crown, is next up on my list. I will shell out hard cash for it, and unlike when I shop at Barnes & Noble, I will know my money is going to the preservation of something real.

This could be the beginning of beautiful friendship.


Raul Clement is a musician and writer living in Greensboro, NC. His work appears in such journals and anthologies as Coe Review, Mayday Magazine, and Main Street Rag, among others. He is currently at work, with co-author Okla Elliott, on Joshua City — a Brechtian, po/mo, sci-fi novel replete with lepers, revolutionaries, and Siamese triplets who can see the future. An excerpt from Joshua City appeared in Surreal South 2009.

SATURDAY POETRY SERIES PRESENTS: SOLOMON IBN GABIROL


I’M PRINCE TO THE POEM

by Solomon Ibn Gabirol


I’m prince to the poem my slave,
I’m harp to the court musicians,
my song is a turban for viziers’ heads,
a crown for kings in their kingdoms:

and here I’ve lived just sixteen years,
and my heart is like eighty within them.

© Translation: 2001, Princeton University Press.

Solomon Ibn Gabirol (approx. 1021 – approx. 1058), one of the greatest liturgical poets of the Middle Ages, was a Hebrew poet whose entire life was spent in Spain. He was born in Málaga in Andalusia in the third decade of the 11th century and died approximately thirty years later in Valencia. (Annotated biography of Solomon Ibn Gabirol courtesy of Israel – Poetry International Web.)

Editor’s Note: As I move toward graduate school I am contemplating what specific areas of poetry interest me and what I might want to spend the duration of my PhD program working on. As an Israeli-American poet whose parents were founding members of Shalom Acshav, a prominent peace movement in Israel in the 1970’s and 1980’s, I feel drawn toward middle eastern poetry, and particularly poetry that contemplates Israeli-Palestinian peace struggles. Poets have been political activists and anti-war protesters for nearly as long as poetry has existed as an art form. Poets throughout history have played an important role in peace struggles, as well they should given their ability to manipulate language and be heard. As I embark on this journey into this particular subset of poetry you will see more posts that explore middle eastern poets, and particularly those who contemplate politics and peace.

Want to read more by and about Solomon Ibn Gabirol?
Article by Yehuda Ratzaby
Jewish Encyclopedia
SOLOMON IBN GABIROL: AN ANDALUSIAN ALPHABET
Poetry Chaikhana

ANDREAS ECONOMAKIS

Flickr photograph by Pacdog.

A MAN UNDER THE INFLUENCE

by Andreas Economakis

All alone on Saturday evening and no one called and you really want company and there’s just no one there and you sit on the couch all alone and time passes by like a wet knot sliding down your throat, a sick feeling in your stomach, a palpable emptiness in your chest and you want so bad to fill it, to fill it with love, with anything and you end up filling it up with booze and television and you pick up the receiver but no one’s there and you can cut through the silence in the air with a knife. Maybe you are the victim of a bad idea, of a love gone south, off the map and you’re almost sure that you’re suffering from some kind of brain damage brought on by your mom boozing when you were a fetus, because damn it, the other kids aren’t like me, they’re out there, laughing and singing and kissing and fucking and talking to one another like there’s no problem, like they get along just fine, and maybe they do, they sure as hell act like it.

Midnight and you’re still on the couch, tonight it’s a soft coffin couch, all pretty in fabric and patterns and so very hard to leave behind but you hate it, you loathe it and you long for day to come and you’re afraid of the night ahead with its nightmares and your bed, alone in your cold bed, a bed that hurts your chin when you lie on your stomach, a bed that only you have slept in recently, that hasn’t had that sweet smell of a woman in a while but hopefully will soon, a bed to share with someone, and maybe if you fill your bed that emptiness in your chest will go away, you hope so but you’re just not sure it will because it’s so damn empty in there it would take a hundred women to fill the void.

You open another beer and it slides down smoother than the last one and another soft layer is tacked to your brain, making it stray a bit and dull the fact that you’re all alone here on this couch, in this apartment, in this city, on this Saturday night. You wish you had the gift of gab, you wish you were an actor and could just talk for the sake of talking and smile like you care and listen when nothing’s being said and pretend that you interested when you don’t give a shit.  Maybe then you’d be happy, with lots of friends, the phone always ringing, the girls always laughing, people always listening and inviting you to more of the same and god forbid a moment’s silence should arise because you just might have to look at your real self in the mirror then and you’re not sure you’ll like what you see.  No, you’re not sure because you’ve been running away from that mirror a long time now, running away from that image, cloaking it in fancy ribbons and clothes and haircuts and eyeliner and cars, dressing up your image so that you can’t see yourself anymore and you actually believe this new mirror image is you.  Your new best friend and he looks cool.

You close your eyes…

You get up and walk outside, the cold air biting your face, the dog from next door barking, the fucker wakes you up every morning at 6 and the asshole neighbor is too damn selfish or stupid to do anything about it and you dream non-stop of putting a bullet in the dog’s brain, no the owner’s brain.  Maybe that’s the problem with this world, you think, that no one gives a shit and when they do they do nothing about it, like you, letting things escalate to a burning point, a point when all rationality dies and the only answer lies in killing and hurting and stealing and all the other deadly sins that are just weird, fucked-up offshoots of the survival instinct, a survival instinct gone haywire, isolated from society, alone, disconnected, like you feel this Saturday night.

A young woman drives by and you look at each other.  She’s breathtaking, a soft focus woman with hair like silk and skin so soft it makes the knot in your chest grow bigger and drip with envy and hatred for yourself because you won’t ever meet her, it’s just not in your cards.  At the corner she puts on her brakes and waits and for just one moment you hope, you imagine, you dream that she is waiting for you, that you’ll walk up and the door will swing open and she’ll ask you in and the light will play in her eyes, revealing the fact that she likes you very much, that she has been waiting her whole life to meet you.  You’ll take off together and… that’s when the story goes dead because the car turns the corner and disappears into the night, taking with it all your love and future and desire and hope.

You sigh and walk on.

You find yourself on the local bus to Hollywood, nowhere in particular, just a Cassavetian somewhere where lots of people are milling around because you need to be near people tonight.  The man across the aisle from you has a vacant stare revealing nothing inside, an android in motion, a pod returning to a refueling station.  You notice the reflection of your own face in the bus’ darkened windows, the eyes pitched into darkness, your skin a deathly neon yellow, a whitish yellow, a dead yellow.  Your image is looking at you and it scares you, it sucks the life out of you, it reminds you of a horror movie you once saw where people just didn’t have emotions.  You shutter and your image in the window looks away.  The lights of the city slowly jostle by, accompanied by the soft hum of the bus’ engines, the occasional dinging of the warning bell signaling the next stop.  You get up and wait.  In slow motion you see three fat, juicy tomatoes explode on the front windshield of the bus. Son of a bitch, little fuckers, the bus driver says and accelerates again, switching his wipers on, spreading the red tomato sauce around, obscenely, streaking the windows, garishly.  Son of a bitch, he breathes again and you remember when as a kid you used to egg buses with your brothers, but from rooftops, you weren’t brazen enough to do it from the street.

You get off the bus.

Beer, please. Yes, that’s fine, and you walk away from the bar a moment later, your hand wrapped around a cold bottle, the dew drops forming a puddle on your right index finger.  There’s something very phallic about a beer bottle in your hand, all hard and wet, especially when you’re looking at beautiful women.  You pick a low impact yet central point just left of the bar and lean against the wall, affecting your most coy, unaffected look, your hand automatically going up to check your hair, your receding hair. The hum of the bar is deafening, a myriad of people jostle by, all kinds of folks, beautiful, strong, gorgeous, butt-ugly, plain, yuppies, hippies, grungers, Hollywood-types, businesswomen, bums, cute girls in skin-tight dresses that ooze sex, guys so full of themselves you catch them fucking with their hair, their hands constantly checking their hair, ablaze in cockiness and those fuckers will probably all get laid tonight because they’re in a bar and they’re not alone, alone like you, even if they have no one with them.

Next to the blonde surfer dude at the bar–you hate blonde surfer dudes, they must be the dumbest species on earth–you spot a brunette sitting alone with a blue drink in front of her, wisps of smoke curling around her head, her body cocked in such a way on the stool that you know she’s desperately trying to avoid the blonde surfer dude.  But he’s persistent and actually taps her on the shoulder, him waiting with a stupid smile and she turning annoyed but they actually start to talk and her body tilts towards his and, fuck (!), she just smiled and looked your way and caught your eye, her gaze lingering just long enough to send a cold trickle of sweat down your spine.  A moment later she looks again and her gaze lasts longer this time, its message clear.  You’re sick to your stomach now because this is where it always falls apart–you never get your nerve up to do anything, you just sit there like a fish blowing bubbles and hope like a bloody fool that the girl will walk up to you and say she spotted you and that you’re cute and Hey do you want to take a walk (?) and before you know it you’re holding her hand and in a dark spot on the street you turn and kiss and she’s an amazing kisser, your tongues in perfect unison, her scent so incredible and she presses into you and her hair is so soft and her nape is so warm and your hand wraps itself around her waist and she hugs you like she means it and you know she will be the mother of your children and you will love her until the day you die and probably longer.  But this doesn’t happen and eventually she leaves with the blonde surfer dude, a guy who has the IQ of a pea and the personality of blanched rock.

You storm out of the bar, sick to your stomach, thankful for the blast of fresh Hollywood air on this cold winter night.  You’re exhaling steam under the bar’s neon sign and you spot the blonde surfer dude jump into the brunette’s Celica, son of a bitch.  You look to the left and you see a woman in rags approaching, pushing a shopping car filled with bottles, empty jingling jangling bottles and she’s got the most amazing smile plastered all over her face like she’s the happiest woman in the world and maybe she is, you just can’t tell anymore.  She smiles at you as she goes by and you look away because you are the opposite of her and her happiness depresses you though she’s the one sleeping on the street tonight and you’re the one sleeping in your house tonight, alone.  You’re both alone but the big difference is she has come to terms with it and you haven’t and for a second, just a second, a smile lights across your face and you see yourself in rags, pushing a shopping cart down the boulevard, not a care in the world.

Excuse me, do you have a light (?), you hear behind you and you turn and two big brown eyes are looking at you, framed in a beautiful face, the face of a girl you noticed in the bar briefly, before you were sucked into the surfer dude vortex. I… I don’t… I don’t smoke you stammer and wish you did, fuck, you wish you were the Marlboro Man right now.  Oh, she says and blushes and you blush and she turns to walk away and you want to say something so you stutter something stupid like, I can find you a light if you want and she turns and blushes again and your eyes lock and she steps toward you, her body opening up and she says That’s so sweet, what’s your name (?) and you squeeze it out and you ask What’s yours (?) and she replies Amy.  Hi Amy, and you look around for a second, hoping somebody is smoking nearby so you can be a knight in shining armor, but there’s no one and you look back and say, You want to walk to that 7-11 and get some matches (?) and she says Okay.  You jam your hands in your pocket and affect the Bob Dylan look from Highway 61 Revisited and she walks next to you, comfortable, not a care in the world and out of the corner of your eye you notice her noticing you noticing her.  You both smile and she tucks her arm into your arm just as you dodge a car and then she pulls it away to not give the wrong impression and your heart takes a wild beat, you’re such a fucking hopeless romantic.

Once outside you’re at a loss for words but not thoughts and you manage to sputter a suggestion of grabbing a bite at a dinner or someplace, maybe the House of Pies (?), and you notice a change in Amy, a slight but perceptible chill.  I should probably be getting on home, she says and, gentleman that you are, you nod and say okay and your bodies separate, tearing those little strings in your heart to pieces but the game isn’t over so, as you pause by her car, you add Do you want to catch a film or something in the next few days (?) and she hesitates and you’re sure she’s going to say No and she backs away some more and you wonder if you are indeed cursed and she says Okay…  Unbelieving, she gives you her phone number, whose last 4 digits are identical to your number from freshman year in college and you wonder if it is fate and before you know it you’re shaking hands and she’s saying Thanks and you’re saying My pleasure and you see her tail lights disappear around the corner and you’re happy, a damn stretch happier than you’ve been in a million years and you pump your fist into the air and feel untouchable and you scream Yeah under your breath.  Yeah.  You decide to walk back into the bar and celebrate, yeah, fuck the blonde surfer dude and that loser chick.

Back inside the crowd has thinned to those that are planning on closing the place down and you order another beer from the bar and the cute bartender smiles at you and you know you’re on fire, it’s written all over you. You suck half the beer down and scan the room, noticing a few couples and some other guys just like you, only the tide has changed and you’re the winner now, the one who’s scored and so you’re cocky and as you look around you see that other girls are checking you out and you act indifferent, you are indifferent, in a dream world with Amy, walking down a dusty road somewhere in Baja, in search of a small French restaurant with 4 tables run by a sympathetic Belgian couple who moved to Mexico and as you round the bend you notice the most amazing small beach with palm trees and you both run and as you reach the sand you both strip and dive into the water and under the cool waves you grab her and she’s goose bumped and your skin touches at the exact moment your lips meet, the salt slightly burning the side of your mouth and you don’t have a clue where you are for a second when the lights flash on and a man at the bar yells Last Call!

And you open your eyes and find yourself glued to your couch, your neck in a crick, the TV tuned to a horrific Tom Cruise film.  Is that fluttering sound coming from your stomach?  No, it’s coming from the daydream you just had.  You click the TV off and slowly pad your way to bed.

–Andreas Economakis

This piece was inspired by Dylan’s Last Thoughts on Woody Guthrie and Cassavetes’ A Woman Under the Influence.  It is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2010, Andreas Economakis. All rights reserved.

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