9/6/13

Samuel Madden - the earliest known conception of time-travel. Story about an angel from the year 1997 who journeys over 250 years into the past to give documents to a British ambassador that describe the world of the future



Samuel Madden, Liam Gillick, Memoirs of the Twentieth Century; Prevision, Should the Future Help the Past? (1733/1999/2010)

Written in 1733, Memoirs of the Twentieth Century is widely regarded to contain the earliest known conception of time-travel and, in particular, the first cognitive leap that would allow for a historicized image of the present as seen from the point of view of a distant future. Intriguingly, it is the text itself which is claimed to have traveled back in time and Madden has used this conceit to satirize his own period – tracing out its bureaucratic absurdities into a strange yet pointed vision of the late 20th century: a world politically fraught, overwhelmed with corruption and struggling to reconcile religious faith with scientific discovery.
The mysterious publishing history of the book imparts a certain weight to its claims. Printed anonymously in an edition of 1000, all but 10 copies were immediately destroyed for unknown reasons. It would only be printed once more in 1972 and until now Memoirs… has been extremely scarce – resulting in disappointingly little scholarship. This new edition includes Liam Gillick’s Prevision. Should the Future Help the Past first published in 1999, the very year when Memoirs… leaves off. Gillick explores the socio-political implications inherent in strategic attitudes towards the future with a critical eye to the ‘scenario planning’ of late capitalism. It provides a prescient framework for reconsidering Madden’s text now, just over ten years on since its fictive origination and apocalyptic conclusion.

apparently the very first written time travel story is Memoirs of the Twentieth Century, written in 1733 by Samuel Madden, about an angel from the year 1997 who journeys over 250 years into the past to give documents to a British ambassador that describe the world of the future. - Michio Kaku

commentary on Madden’s book (Paul Alkon, Science Fiction Studies):Page 184 of Science Fiction Studies, Vol. 12, No. 2, Jul., 1985

Madden at Wikipedia
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And now for the forecast

People have been staring into crystal balls for hundreds of years, sometimes with alarming accuracy. But usually they have been hugely, and entertainingly, wrong. Jonathan Margolis looks back at the history of futurology - and risks a few predictions of his own.

Buried deep in the stack at the Bodleian library in Oxford, from which it is exhumed on average once every 50 years, lies a forgotten early 18th-century book which is both fascinating and disappointing by turns. A rare volume - and deservedly so - Memoirs of the 20th Century: Being Original Letters of State under George VI was the first ever complete work of futurology.
Written around 1730 by a clergyman, Samuel Madden, it opens intriguingly enough, with a letter datelined Constantinople, Nov 3 1997, but sadly goes downhill from that point. Madden's 1997 is dominated by a George VI who is a mighty world emperor, but most of the book's 527 turgid pages are mired in contemporary, 18th-century concerns. A couple of ideas suggest, none the less, that Madden really was thinking systematically about the future. He envisages the establishment of public granaries in all villages - pretty radical stuff, really - and even some prototype women's rights legislation. Thirty years later, another, more ambitious forward-looking book appeared, The Reign of George VI, 1900 to 1925, became a bestseller, and futurology was on its way. This George was also a conquering hero, who tames the nations the anonymous author believed would be the miscreants of the early 20th century: France and Russia. The latter, 25,000 of whose troops sack Durham in a war of 1900, is seen as the world's second most powerful nation by this time, with America close behind. Not bad at all as predictions go. The book wasn't all politics, either. It foresaw the legacy of the canal-building boom, which had just begun, and extrapolated that by 1900, a network of waterways would form a superhighway system, with the effect that "Villages grew into towns and towns became cities". Substitute trains for barges and you are looking at a decent stab at what today's multinationals call trend forecasting. The Reign of George VI also envisages a king who hates modern architecture so much that he builds a new English capital city, called Stanley, in Rutland, which he fills with neo-classical buildings and surrounds by artificial mountains. Fanciful, perhaps, but strangely reminiscent of our own heir to the throne's ideal village, twee little Poundberry, in Dorset. Futurologists tend not to get a great press. No wonder Samuel Goldwyn was moved to observe, "Never predict anything - especially the future", and Arthur C Clarke, whose 2001 has in so many ways failed to materialise, to comment wryly that, "The future isn't what it used to be." Yet it is arguable that we are far too harsh in smug retrospect on those who attempt to peer round chronological corners. Naturally, when we try to envision the future, we always get trivialities such as the fashions and shape of cars wrong. Those sorts of visual cues are decided on a whim rather than a response to need. But most futurological predictions I have come across are almost spookily prescient in more significant respects. Take this extraordinary forecast, made in 1661-70 years before Samuel Madden - in a scientific treatise by the philosopher Joseph Glanvill, a clergyman and chaplain to Charles II, and a founder member of the Royal Society. "To them that come after us," Glanvill wrote, "It may be as ordinary to buy a pair of wings to fly to the remotest regions, as now a pair of boots to ride a journey; and to confer at the distance of the Indies by sympathetic conveyances, may be as usual in the future as by literary correspondence . . . I doubt not posterity will find many things that are now rumours verified into practical realities. It may be that, some ages hence, a voyage to the Southern tracts, yea possibly to the Moon, will not be more strange than one to America . . . the restoration of grey hairs to juvenility and the renewing of the exhausted marrow may at length be elicited without a miracle; and the turning of the now comparatively desert world into a paradise may not improbably be effected from late agriculture." By the late-Victorian era, futurology was becoming really quite slick. Jules Verne described, for example, how musical recitals would by 2000 be sent down a wire from the artist to pianos around the world. Well, MP3 music on the internet hasn't worked out quite like that, but it's hardly dissimilar. An American journalist, David Goodman Croly, writing in 1888 as Sir Oracle, predicted for the coming new century: "Women throughout the world will enjoy increased opportunities and privileges. Along with this new freedom will come social tolerance of sexual conduct formerly condoned only in men. In addition, because of the greater availability of jobs, more women will choose not to have children." Twelve years later, another journalist, John Elfreth Watkins, having interviewed "the wisest and most careful men in our greatest institutions of science and learning" on behalf of The Ladies' Home Journal made a brilliant series of consumer predictions. The future, Watkins reported, would witness air-conditioning, international telephones, colour photography, frozen meals, medicine taken through skin patches, snowmobiles, the tapping of energy from wind, tides and sunlight - and out-of-season fruit. Most amazing of all, perhaps, was Watkins's prophecy that, "Persons and things of all kinds will be brought within focus of cameras connected electrically with screens at opposite end of circuits, thousands of miles at a span." John Maynard Keynes, also writing at the end of the 19th century, even prophesied e-commerce: "The inhabitant of London could order by telephone, sipping his morning tea in bed, the various products of the whole earth and reasonably expect their early delivery upon his doorstep; he could at the same moment and by the same means adventure his wealth in the natural resources and new enterprises of any quarter of the world, and share, without exertion or even trouble, in their prospective fruits and advantages." (Modern web shoppers will applaud Keynes's foresight, but regret that the "delivery upon the doorstep" part has yet to be sorted out.) Oddly enough, the would-be seers who consistently get the future wrong are specialists in their field, the media's beloved "experts", whose futurological track record isn't nearly as good as that of those whose approach is that of the generalist (aka, inspired guessing). The first expert futurologist was probably the Dorking vicar and demographer, Thomas Malthus, who in 1798 anonymously wrote a sensational pamphlet sounding the alarm on overpopulation. People had been complaining of overpopulation since Horace in 20BC, but Malthus was so convinced humanity would run out of space within a few years that he favoured effectively culling the working class, for which he was later derided by Karl Marx as "a miserable parson". Two hundred years on, Malthus still has his fans, and the fashion for apocalyptic forecasting grows apace. In 1964, a British physicist, John Fremlin, speculated in New Scientist on population trends for the coming 1,000 years, and argued that by the middle of the 29th century, 60,000 trillion people, a million times today's population, would spend their lives lying prone and eating recycled human bodies in cubicles in 2,000 storey buildings spread across both land and what had been sea. The apocalyptic certainty of choice today, of course, is global warming, which if its advocates are right, would be the profoundest ever future prediction. It is worth noting, however, that just a couple of decades ago, many of the same experts were confidently predicting global cooling , and a new ice age. "A new ice age must now stand alongside a nuclear war as a likely source of wholesale misery and death," said International Wildlife magazine in 1975. The next year, Science magazine reported that we were "heading for extensive northern hemisphere glaciation." Even experts proferring non-apocalyptic futurology have been hugely and entertainingly wrong over the years. The Nobel prize winning physicist, Ernest Rutherford, the founder of nuclear physics, once declared that talk of nuclear power was "moonshine". Britain's astronomer royal, Sir Harold Spencer Jones, dismissed the idea of space flight as "bunk" in 1957 - a fortnight before the Soviet Union launched Sputnik 1. And then there was Thomas J Watson, the former CEO of IBM, who never quite lived down a statement he made in the late 1940s: "I think there is a world market for maybe five computers." (Perhaps he really meant five computers per household.) No wonder that, in another of his dictums, Arthur C Clarke said that "when a distinguished but elderly scientist states that something is possible, he is almost certainly right, but when he states that something is impossible, he is very probably wrong." So what predictions for the next century would I make, having interviewed dozens of both expert and generalist futurologists, and explored the pitfalls and triumphs of past futurology? Well, I can't see the old favourite, household robots, ever taking off - another massive instruction book to read, another machine to drive us mad with software seizures. It is hard, similarly, to see artificial, computer intelligence being much of a starter, although it's promised for as early as 2015. Even if it could be achieved (which human brain experts are very sceptical of, pointing out that our most powerful computer currently has the intellect of an earthworm) there would, surely, be no market for computers which, when given a boring job, told you to do it your damned self. We like computers, surely, for their artificial stupidity . And if they get too clever, won't they soon start complaining of cruelty? (You laugh, but cruelty to computers is said to be close to becoming a social issue, and is already being discussed by acade mics specialising in human rights.) Genetic engineering will, I strongly suspect, also fail to deliver a fraction of what its advocates promise. There will be endless cases reported in the press around 2025 of people who supposedly had the "criminal gene" edited out of their DNA, and subsequently been convicted of car theft. Likewise, parents who paid to have the "gay gene" excised (probably illegally) from their children's make-up and ended up disappointed by the result will be locked in litigation with the clinics who did the genetic work. Time travel, I can't see happening either. It took the great Stephen Hawking to point out the obvious objection - that if it were possible, surely we would have seen tourists from the future by now? Quantum teleportation a la Star Trek is said to be a possibility, however. But whether a teleported human will arrive at his destination complete with his mind and memory intact will be an interesting one to watch. Medical advances, meanwhile, may well soon make death a lifestyle option rather than an inevitability, and this could have extraordinary repercussions. If you take the view, for example, that religion has only existed for the past few thousand years because of our fear of death, could the prospect of eternal life finally destroy religion once and for all? And could that, in turn, lead to an overwhelmingly amoral society? Space travel - and the eventual colonisation of other planets is probably inevitable if we all live for hundreds of years - may throw up some interesting conundrums too. For what will be tax position of the colonists? The first generation living on another planet may feel allegiance to the country that paid for their trip and the building of their base. But thereafter, it seems probable that Mars-born humans who only know Earth as a dot in the night sky, might resist attempts to tax them. Maybe there will be a space repeat of the 1773 Boston tea party? One thing is certain for the future. Just as we fervently believe we are living in a special time, and are a special generation witnessing a huge turning point in human affairs - so will our grandchildren and their grandchildren. Every generation thinks the same, and they're always just a little bit wrong.  • A Brief History of Tomorrow: The Future, Past and Present, by Jonathan Margolis, is published by Bloomsbury

Alfonso D'Aquino - a book of shifting subjectivity and liquid perspective, of surrealist tradition and Butoh-like gestures. The speaker morphs into what he observes; speech comes alive while a plant becomes speech

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Alfonso D'Aquino, fungus skull eye wing: Selected Poems of Alfonso D'Aquino, Trans. by Forrest Gander, Copper Canyon Press 2013.

Amina Cain brings together short fictions set in the space between action and reflection, edging at times toward the quiet and contemplative, at other times toward the grotesque or unsettling.


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Amina Cain, Creature, Dorothy, a publishing project, 2013.

aminacain.com/

Amina Cain's Creature brings together short fictions set in the space between action and reflection, edging at times toward the quiet and contemplative, at other times toward the grotesque or unsettling.
       Like the women in Jane Bowles's work, Cain's narrators seem always slightly displaced in the midst of their own experiences, carefully observing the effects of themselves on their surroundings and of their surroundings on themselves. Other literary precursors might include Raymond Carver and John Cage, some unlikely concoction of the two, with Carver's lucid prose and instinct for the potency of small gestures and Cage's ability to return the modern world to elementary principles.
       These stories offer not just a unique voice but a unique narrative space, a distinct and dramatic rendering of being-in-the-world.

“To be among Amina Cain’s creatures is to stand in the presence of what is mysterious, expansive, and alive. Whether these distinctly female characters are falling in and out of uncanny intimacies, speaking from the hidden realms of the unconscious, seeking self-knowledge, or becoming visible in all their candor and strangeness, they move through a universe shaped by the gravitational pull of elusive yet resilient forces—the yin-dark energies of instinct and feeling that animate creative life. It’s here that the intuitive reach of fiction meets the reader’s own quest for understanding, through the subtle beauty of living the truth of one’s experiences in the most attentive and unadorned way possible.” - pamela lu


“Amina Cain is a beautiful writer. Like the girl in the rear view mirror in your backseat, quiet, looking out the window half smiling, then not, then glancing at you, curious to her. That is how her thoughts and words make me feel, like clouds hanging with jets, and knowing love is pure.” - thurston moore

Cain’s latest book, after I Go to Some Hollow, is a moody, enigmatic collection of 14 miniature stories, some as short as four pages. In one, a former cult victim recalls her abuse; in another, a woman enters into a three-way relationship with a married couple. Each narrator seems to have undergone trauma or something akin to it—unease, illness, adulthood—and so their streams of consciousness have the texture of recovery. Cain captures a particular kind of attempt at happiness: trying to be easy on oneself; praying at a Zen monastery; focusing on small pleasures like orchids and neatly folded towels. Perhaps that’s why, in both form and content, so much here is microscopic, with a delicate sadness infusing mundane activities like bathing, spilling olive oil, and touching a wall. At times, this mélange of fragments produces the atmosphere of a whole, but at others the bits seem disconnected and the search for meaning desultory. But Cain’s tone—unknowing, exhibiting the most awed reverence toward the smallest details of life and thought—remains wonderfully effective throughout, though one sometimes wishes she’d use it on richer content. It lingers after the pages are done, leaving an aftertaste that’s somehow more pleasant than the experience itself. - Publishers Weekly


1.     I am ashamed of what I think about book reviews.
2.     “I’m [...] ashamed of what I think about literature—I can only open up to a few people in this way.” So says the narrator of “The Beak of a Bird,” the fourth short story in Amina Cain’s Creature (Dorothy, 2013). For now, I am hovering 40,000 feet above the Earth.
3.     My thoughts about texts exist as emotional impressions, and what interests me most as a reader is ambience and affect—words as molecules of emotion, states of agitation, decorative illuminations, background noise. Readerly impressions in my bones are intimate like pages; they are, as in Creature, “the place where [my] life unfolds.” I want to recite my Creature to you, but instead draw inward toward the place where my body’s median axis, its midline, is askew.
4.     Preoccupied with atmosphere and feeling as I am, I am ashamed of what I think (or don’t think) about literature, and so I choose not to write about books. But Amina Cain’s Creature is different: Amina Cain’s Creature resides out of harm’s way, although it exists in savage and erotic twilight. “I expressed myself through the violent putting away of a pan.” “Myself, alone, in my bed, is a story.” “Write about the arm when the whole body is being abused.” “We watch something violent on my laptop. It will help me wear this dress.” In this darkness, I read and write and think-along, and feel involved in every sentence. This involvement is key to my wanting to recite my Creature. Involved in it, I am pleased to feel ashamed of what I think.
5.     Creature begs to be watched. Passing over one’s horizon of attention, the book is a meditative practice, which is not to say Creature is necessarily a meditation, for a person does not read Creature so much as she suspends it in space. 40,000 feet above the Earth, she observes its sentences, lines of thought that move across the mind, and breathes them in and out. There are momentary pauses of deep calm. It is likely the mind wanders. And as Creature unravels, the body sheds itself.
6.     I am ashamed of my physiological responses to literature. See Exhibit A, which I am sorry to describe. In this disgraceful scene, I am hovering 40,000 feet above the Earth reading Creature’s “Attached to a Self.” I am attempting momentary pauses of deep calm. In the midst of this exercise, I cross a passage wherein Cain refers to a Benedictine monk: “The word is supposed to send a person into great silence,” she writes. “Just a little bit of reading is enough.” I suspend the statement in space, let it resonate. My eyes trace the sentence and tear.
7.     Am I crying because of the story, someone asks, or because of the space?
8.     Am I crying because of the space, I wonder, because this is the space where my life unfolds?
9.     And is it really me if I’m not there?
10.  To answer these questions for you, let me describe where Creature rests in my body—deep within my thoracic spine, in the middle of my vertebrae alongside photo booth-sized images of unrequited knives. I am conscious of it as I watch my body read. Its language moves and settles. This process of watching—as opposed to thinking—may seem enigmatic. It is.
11.  The morning I begin reciting my Creature, I have a conversation with my friend Michael. Most people do not listen to the body’s unrequited knives, he says but does not say. We are drinking lukewarm lemon water. We are practicing long pauses between words.
12.  I have to write about Michael’s calves. When I show him Creature, I ask where the book rests in his body. I feel it in my calves, he says. Jeff says he feels it in his lumbar section.
13.  The thoracic spine’s vertebrae possess several general characteristics. For example, the vertebrae’s largest parts—its bodies—are heart-shaped. Pain in the leg may be linked to pain in the spine. Something has brought me to this numbered list.
14.  Creature’s language whinnies in the body’s deep embankments. There is no other way to describe this than to call to mind the image of an unrequited knife that is withheld.
15.  Tonally inappropriate musical interlude: “i wanna be your thurston moore / wrestle on the bedroom floor / always leave you wanting more”
16.  Now it is three o’clock in the morning, and I am awakened by the sound of a creature’s rolling cry. It cannot be my creature, I think. She is with me.
17.  My creature always has a double. This one is literal. My creature dervishes and screams and claws. Draws blood.
18.  The second creature was loved.
19.  List of abrasions: his right calf, his left calf; his right shin, his hand.
20.  “Something inside me is doubling over.” My creature, it is summer, as reflected by the skin’s outer layer, and the beach is evolving. We are sitting on an airplane in the company of ghosts. My eyes are shedding text, and our creature is at home alone in the apartment in the company of friends. You are on your knees; the bag of purple-spotted flowers is torn open; our creature emits a low growl, begs, and eviscerates your hand. I am locked in the bathroom, naked underneath a stolen towel. I am writing this. Creature speaks: “I want someone to love me.” My creature waits in my room. Please, someone.
21.  My creature waits in my room, calling me.
22.  I cannot write anything else.
23.
24.
25.

* Note: Several sentences have been gleaned from Amina Cain’s Creature. - Claire Donato


hollow_cover

Amina Cain, I Go to Some Hollow, Les Figues Press, 2009.


Question: “If you had to think of a motion you’ve made more than any other in your whole life, what would it be?” Response: “I don’t want to be a motion.”
In her debut collection of fifteen short stories, Amina Cain makes ordinary worlds strange and spare and beautiful. A woman carves invisible images onto ice, a pair of black wings appears in front of a house, and a restless teacher sits in a gallery of miniature rooms.

I Go To Some Hollow floats and tilts, as balanced as a mobile; rather than narrative arcs we get laps, tides, and circuit, currents of clear observation and the occasional stunning insight.”  — Miranda Mellis, Rain Taxi Review of Books

The surrealist concept of dépaysement refers to an induced displacement and disorientation, of seeing the world anew. In this debut collection, the dominant mood is this sense of wonder, shot through with nervousness. Amina Cain’s travelers view their surroundings with a curious emptiness, other times ecstasy, while adrift either abroad or in a distinctly American terrain: bodies of water, fields, or forests, the banality of a heated pool or the aisles of Home Depot.
Her characters are reminiscent of Jane Bowles’s Mrs. Copperfield, lost and stumbling through Panama City in Two Serious Ladies, watching and pondering. The title of the collection’s best story, “A Body Walking Through Space,” best describes this odd detachment. Cain’s characters are uncomfortable bodies who exist and meditate in the strangeness of space. It is fitting that one of her characters is a dancer—it is the awkward, lingering dance between bodies in space, the ambiguous gesture or glance, that best distinguishes Cain’s fiction. - Kate Zambreno, The Believer

One of the hoary old dictums that sends new philosophy students’ heads spinning is Greek philosopher Heracleitus’ declaration that you could never step into the same river twice, because the river never stops changing. The characters in Cain’s debut story collection seem to grasp this intuitively, but can’t quite keep themselves from dipping their toes.
In the opening story, “Black Wings,” the narrator says, “I read an article about the asexual movement and asexual rights and though I feel like a sexual person, I crave something else.” That something else remains unattainable, even unidentifiable, as the narrator tries out asexuality but finds there are plenty of other things missing that can’t be filled by the absence of sexuality.
There’s something calmly erotic about Cain’s writing, a treatment of sex as both a source of energy and a supremely unfascinating part of life. In the title story, the narrator says, “When you’re turned on your heart beats fast. But long periods of time can go by when I don’t even think about sex, when I would rather read or go through my things and get rid of them.” Even in the rhythm of the writing, there’s an ebb and flow of temperance and indulgence.

The self-examined lives of the characters in Hollow don’t lead to any deeper understanding. Or, it’s more correct to say they don’t lead to clearer answers. That river keeps changing. As the narrator of “A Body Walking Through Space,” writes, “I felt the distance I had traveled expand out in front of me, like a warm snake that never stops.” — Jonathan Messinger, Time Out Chicago

These 15 brief stories press the modern reader to examine both their direct and indirect relationship with the external world, through a number of subtle and at other times provocative devices. Amina Cain writes in “Black Wings,” “It is hot and humid and we are reading Lolita. After we read for a while we take a bike ride, and when we are tired we get off our bikes and sit against a concrete wall.” At first glance, this appears to be an unassuming reference to just another book of the past, yet for those who have read Nabokov, we know its literary weight and are sure to be stirred, if not strangely aroused by this juxtaposition of Lolita to the bicycle -- the one tool every blooming adolescent recognizes as synonymous with liberation, movement and exploration.

Cain documents obscure movements and physical rapports of individuals in response to their surroundings, reminding us that there is a larger, webbed system at play. There are moments when Cain's characters appear to revere the existence of this particular order. In this case, it proves effective when Cain simply states what is occurring, what is being felt, without prescribing additional layers of skewed interpretation to a particular circumstance. Cain understands the importance of being forthcoming. For instance, Cain shares in “Black Wings,” “I walk by the ocean and think of nothing but the ocean. I put my hand in the waves and feel nothing but the waves. But it doesn't last. I try to make it last. The water is green and clear, heavy with salt.”
The characters in I Go To Some Hollow are very present; they like existing and participate in a readily available life of colors, sights and sounds. Yet, being so aware of one's self can be alienating, and Cain weaves this curious, social isolation into her storytelling. And in return, her stories weave a difficult-to-attain empowerment into their reader -- each one releases the reader from the usual responsibilities of finding a necessary conclusion or locating a clear narrative arc. And this can be a good thing. But, a caveat: these stories require a kind of habitual re-introduction -- you might find yourself only reading part of a story then coming back and reading that same part again, then moving on to another story, then back to where you started. This somewhat schizo hopscotch could be seen as a lack of interest by a certain reader x, or it could be viewed as the reader's desire to locate overarching patterns or themes. Don't be surprised if you're carrying this book around with you for a while. It has a way of wanting to accompany your own daily rituals. It has a way of expecting something from you.
With working titles such as “A Body Walking Through Space” or “Watching a Bird Fight as a Person,” one is immediately reminded of a shared, spiritual journey and how this internal place, this hollow is oftentimes in conflict with one's physical reality. The reader may note multiple duplicities and contradictions, i.e. being both a sexual animal but also a creature desiring something more than just fulfilling an urge -- perhaps, it is love, recognition, communion, a sense of purpose, the right to feel at peace. Or maybe: it is the right to freedom, the right to interpretation, the feeling of being responsible for whatever life that we have made for ourselves, the choices that become ours -- if even the wrong ones. An excerpt from “In the Sugar Patches” illustrates this:
At the beginning of winter I had sex with him in my apartment while my husband was at work. Tom didn't work anymore, he had quit the library, and I worked at night. But afterwards, the apartment was so cold that I had to get dressed right away and I felt sad. I stood in the kitchen, listening to the hum of refrigerator.
Or:
You are an installer or you are a collector. Choose one. It is cold next to the ocean. You might drink coffee next to the ocean or you might drink dark tea. Choose one.” And though these decisions might seem insignificant, many of these decisions compiled may lead one either to a life of meaning or some alternative removed from relevance all together. But at least: you have a choice.
Cain injects odd moments of domesticity and craft into her work -- but with hesitation to submit to a particular role or redundant assignment. Often, her characters (with emphasis on females) seem aware that certain tasks need to be done, but that it might not be in one's best interest to claim one role as their own over another. There is a larger inquiry at hand, somewhat inspired by the philosophical tenet: the freedom from something, vs. the freedom to do something. For instance, Cain writes in “Nothing is There,” “This year I have sewn a lot, even though it isn't one of my favorite things to do. I helped sew a quilt for someone as a birthday present, and now I'm helping someone else sew a robe. I'm not a good seamstress.” This shows how we find ourselves sifting through obligations -- some wanted, others unwanted -- how we come to terms with such forces, from both a gendered perspective and from the view of one rolling into adulthood.

Cain writes from the position of someone who seeks wisdom -- yet from a safe distance, with mystery. These stories are not obnoxious in the way that a mother's experience shed onto her offspring might be seen as. They are subdued and unpretentious, and though one may not experience the seductive “punch” that one feels from a Mary Gaitskill or Joyce Carol Oates narrative, Cain is onto something -- a less-than-obvious kind of erotic that isn't pushy or desperate, but it's there. There is no need to adopt one cornered conclusion, and it is wagered that Cain would be more content if yours didn't match another's. Though our means may appear similar, must we all really share the same end?— Jacquelyn Davis, Bookslut

“Cain’s debut demonstrates that when the clichéd expectations of traditional narrative are gently omitted, what’s left is a calming stillness, and startling language—a welcome relief from the ironic realism that characterizes so much young contemporary fiction.  We need more writing like this.” — A D Jameson, The Review of Contemporary Fiction


[Cain] is much like a fast expressionist painter who employs color and texture, letting the viewer decide what the painting reveals. Ultimately these stories highlight the distance that occurs in any relationship and how, within quiet moments, people can transcend this coldness, finding the sublime within an awkward state. --The Pedestal Magazine
           
Work:
Action, Yes
Dear Navigator
Dewclaw
Joyland
La Petite Zine
Little Red Leaves
MINIMALBOOKS
onedit
Sidebrow
summer stock
Two Serious Ladies


Recordings:
Here and here.
AminaFamily
If on a Summer’s Night a Reader
I have begun to read from and record passages from books.
The fourth is recorded with artist Rachel Tredon.
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  • The Apple in the Dark by Clarice Lispector
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  • Absalom, Absalom! by William Faulkner
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  • American Canyon by Amarnath Ravva
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  • The Maids by Jean Genet
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  • Women in Love by D.H. Lawrence

Into the Wine-Dark Sea of Self: A Conversation With Amina Cain and Veronica Gonzalez-Peña

HER KIND: In her poem “Summer X-Rays,” Nina Cassian tells us: “That’s why I swim so far out,/ willing prisoner/ inside the sea’s immense green magnifying glass.” What draws you to the water? How far are you willing to swim and why?


AMINA CAIN: My mother tells me that when I was two years old, she couldn’t keep me from the water. She would set me down on the beach and before she knew it, I was in the waves trying to go further than a two year old should. I had very few fears as a child and I loved the water, as many children do. I love it still. I am always trying to decide which I like best—ocean, river, or lake—but I can’t. The ocean is immense, yes, but you can float down a river for a very long time, and in a cold climate a lake’s waves freeze in winter. Today, on the first day of summer, I think I would choose to swim in a river. The Yuba, in the Sierra Nevada mountains.
I like to think that I’m willing to swim to the ends of the earth, but the truth is that I have a relationship to fear now. There are ways in which I block myself. But there are also ways in which I feel free. I am freest in summer, more myself. I think water has something to do with that. Water is healthy; swimming is healthy. Cassian writes: “I’m still able to recognize a perfect day.”
Is it bragging to say that I think I know what swimming far out feels like? I have felt it in my movements, and in my relationships with other people (I love how far you can go with another person) and myself (I love how far you can go with yourself), and in my writing. To temper this are the ways in which I have been very held back. I think that those moments of going far into something made me a writer, or at least they take up the same space as my writing. It may be that I write partly to be in that space. It is one way to get there. I am probably slightly addicted to it, to heightened experiences (this is what swimming far out is often like for me). But I am also made happy by the simplest of things.
Veronica, I just finished your new novel, The Sad Passions, and the sense for me of reading it was almost total immersion. I think you are able to show what swimming far out is like, swimming out with one’s fears. Feeling them and swimming anyway. Being set in front of the ocean. The water is there, so the question is not do I swim, or how far, but, what is swimming like? What will I encounter “inside the sea’s immense green”? And the sisters’ (and mother’s) voices/chapters do become like waves; they return and crash upon the narrative.
There’s a passage toward the end of the book—in Julia’s final chapter—that reads: “I know what limitlessness is. It was during that year that I saw it in Claudia. I know what not stopping feels like, what not having an outline is, a boundary, an inside, which ends at the edges. I know what not having edges is. I have seen it, that lack of line.” This is the other side of the coin, the other side of swimming far out into the sea. It’s not a place one can live in all of the time.

VERONICA GONZALEZ-PEÑA: I think that I swim because I have to … and I am not brave; I don’t go far out. I respect those primal forces, fire and sea, and I like safety; I like to feel myself in some place of control; I envision myself a coward, a scaredy-cat… this is my vision of myself, though when I step outside myself a bit I know it is not true. I am constantly doing things that would terrify other people – this book for instance, The Sad Passions. But it is not a choice for me; it is not as if I do things because I am brave, or feel heroic. I don’t choose to be these things. I feel myself a coward who does what she does because she must. I am already in the middle of the ocean and I have to swim hard, hard to try to find my way back to land. And I can’t say what drives me, either. I am not someone who does things with a plan in hand. I don’t say, I’m going to write a terribly dark novel, or teach myself a new skill, or go far and wide. I like doing and so I do and do and do, I am making films now too, in addition to my fiction, and working on this collaborative project called Rockypoint through which I make prints with writers and artists, and through which too I ran a reading series in LA.
Right now, I am on the road, sitting in a motel 6 with my cat and my dog. My cat has just gone to the bathroom, and the whole room stinks. I have left a very comfortable life and am moving from LA to NY. Not for a job, not for anything concrete, just because I am compelled to; it is like I have to do it. Like writing. Like all these other things I do. But in actual water, in the ocean, say, I am never one to tempt the waves. I do not go far into it at all. I am afraid of that immense space… the wine dark sea… how it may take me over, bring me down and into itself. I respect primeval forces.
I am listening to the Odyssey on my drive across the sea that is Middle America. Ian McKellen’s recording of it – it is just gorgeous, and of course the ocean, the sea and water are everywhere. People are constantly crying too – the warriors weep all the time, into the ocean itself sometimes, and their blood is everywhere, all that aqueous substance. The wine dark sea of self.
In The Sad Passions, Julia says she is afraid of limitlessness, says she knows what boundarylessness is… her mother is mad, so this is her experience of that space that is not a defined space at all because there is no outline. And that limitlessness which can be such a romantic aspiration for some, for her is a terrifying and tragic reality.
But, Amina, I’ve been looking at I Go To Some Hollow again, with our discussion in mind, and your writing, your stories are so full of water. It is everywhere, from the very first. People going to the water, staring at the water, swimming in it, floating, in pools and rivers and the ocean; it is everywhere. All this water is set up as a kind of counterpoint to fire, and barren land. Can you talk a little about this, both as symbol and in the actuality of these primal forces: the barren land (yesterday I drove through Utah) and the sea. How do those two things play off of each other in your own internal landscape, and then in your writing?

AC: I relate to that completely: moving to a place because you just have to, because you are driven towards it. That’s what moving to LA was like for me. I was pulled there, kind of inexplicably. And I knew my time in Chicago was over. Driving across the U.S. is like a kind of ocean. The vastness, but also the weird depths. There is something to sink into in that huge swath of landscape that’s always changing. Sometimes your own self.
Landscape has always been important to me, both physically/psychically in my life, and also in a story. When I write something new I often start with land, or at least a kind of atmosphere, usually a place I want to spend time in somehow, either because I crave or miss it. Maybe I passed through once and I couldn’t stay, didn’t have enough hours. Lately, I’ve been combining landscapes. In the novella I’ve started writing: an imaginary France-Brazil coupled with an imaginary Los Angeles.
When I was a baby, our house burned down. Heat is a purifier. I don’t know how to stop it from being a kind of purification in my fiction too. As with bodies of water, when I go to the spa in winter I can never decide which kind of heat I like best: the dry sauna or the wet one. There is something to the sensation of sweating everything out, but I also like the subtle way dry heat pulls out the toxins. I guess I need both, and when I’m at the spa I take turns with each, several times in a row.
When I drove through Utah, I felt very alive and happy. Maybe I’ll never live in Utah, but some part of me wants to inhabit places like that in my stories. I like when everything seems empty; I like when it’s still warm at night. Something this simple is enough to get me writing. In my stories, I think I just go towards what I need and crave, and this means I take myself to these bodies of water and land.
In your novel, Claudia wanders outside her hotel room in Acapulco, looking for her husband M. and she sees a falling star. At first it’s just Claudia and the sky and her fear. Then the ocean is there, moving in that landscape too. “I stopped and made a wish, though I was very frightened, my heart racing, because I believe you must, you must take a wish that is offered to you. And as soon as I had made my wish I registered the crashing waves, loud, hard, and black and loud as they are on the Pacific. I watched their dark violence play itself out upon the soft white shore . . .” When I read this passage it stuck with me, partly because of how beautifully it describes the complexity of an ocean and what our feelings toward it might be in different kinds of moments, but also because of the way it comes alive in that scene, comes alive in that sentence. When I read your writing and in the times I’ve heard you read it out loud I’m struck by how your sentences gather their power and then by how whole chapters do as well. Do you like sentences? I mean, as writers, I imagine we all like them, but in the same way that the ocean becomes present in the middle of fear and a star filled sky, I find a sentence written by you to bring a thing into existence and then another thing and another all along itself. There is a way to travel not just from one sentence to the next, but right inside one of them. There is a way to swim far out. This is gratifying.

VGP: I’m obsessed with sentences. With rhythm, with the way things build. I love repetition, and patterns, and hiding things inside of other things. I can live inside a sentence by Henry James, or one by Sebald, or Josef Skvorecky who wrote this incredible novella full of unbelievable sentences, Emoke, or HD (who writes about fire beautifully). Or Flaubert, the way his sentences can negate themselves with one semi colon. Nabokov writes about this in his Lectures on Literature. The way one of his sentences will build and build through clauses; and then a semi-colon and the negating clause which undoes all that went before. It is perverse, almost, and I like that sort of thing… the way that Jean Rhys makes things happen in her sentences too, the dense poetry of them. They do get very complicated sometimes, my sentences, I love layering so I can lose control of them sometimes, and then I have to double back and make them work. This can take a long, long time, but that is what I find gratifying, to use your term – that wrestling with language that ends up giving you something. I like it so much I want to give it to my reader, that gift, a sentence you have to untangle, the pleasure and sense of satisfaction you get from something like that… For me it is all about sentences, not words necessarily. I’ll sacrifice a word for a sentence – I won’t sacrifice a sentence for anything else, not for a paragraph, not for plot, not for character. I work toward making as perfect a sentence as I can; I don’t struggle for the perfect word in the same way. But we’re all so different. I’m sure there are people wanting to kill me over that statement, how stupid, they must think. But I chalk it up to difference, and to pleasure. Sentences are my pleasure. And a series of good sentences, when the rhythm builds to a pitch – that is just beyond…
But Amina, I want to talk to you about the floating sensibility of your characters who are so often there and not there at once – this I associate with water, the ocean mainly, as it is so symbolic a body of water, huge and unknowable, like our very selves. Your characters are often trying to feel or make themselves felt, as if floating on the surface of life. Sometimes they say this directly, express it, their need to be felt, their need to feel; it is as if they don’t quite know they are there at all, like a dream. It is almost as if through the meticulous narration – because your narration is slow and careful and meticulous –  they are trying to explain themselves to themselves. Sometimes the stories have a  dream logic, as in Black Wings where a pilot is suddenly present in an important role, as interlocutor (I imagine him wearing his pilot hat, his pilot’s coat). Other times the stories exist more fully in that dream world, as in Homesteading; yet other times they inhabit our logic, but still feel floaty and somehow slow and surreal – like being in deep water. How do you do this? I keep trying to figure it out. It is not any one element, and, as I said, your narration and attention to detail are meticulous, so how do you achieve that sense of swimming which feels like suspension in water, deeply pleasurable, but so untethered we might float away at any moment?

AC: That makes sense to me, that you find such enjoyment in sentences and in the way they build upon each other through rhythm to a pitch. I know I mentioned to you that after hearing you read last month here in L.A. for your book launch, well, I didn’t really want it to end. I felt pitched into something, something not easy to come down from, like when I’ve just watched a film and then it’s hard to walk out of the theater afterwards, into the actual day, or night. The same with reading The Sad Passions. When I finished it, I missed it. I had gotten used to going into the landscape of it, everyday, and also the landscape of those sentences. Interestingly, right now, writing back and forth with you, having this conversation, is affecting my own sentences! I realize I am at times going further into them myself.
It’s fascinating to me what different writers gravitate to in their work. I have always thought that though I’m a writer, it’s not language I’m drawn to when I’m working on my stories—more than that, it’s image. Sometimes fictional situation. And always atmosphere/setting. Plot has never been important to me. Character, I’m not sure, but certainly the relationships between characters. And definitely narrative and voice. So much can be carried in the voice, a swimming out. I think that when plot is not the thing holding a fictional work together then other kinds of scaffolding can emerge, perhaps dreamlike. I don’t plan anything out either, relying instead on my subconscious. That’s probably where some of the floating sensibility comes from. I write to see what is inside my mind—a bit like meditation. But I think in Creature, which will be coming out in the fall, I have been trying to get closer to feeling, and closer to closeness itself, and to understanding another, instead of that distance I have so often mined. Not that one is better than the other, just that these kinds of proximities are important to me right now.
I have to say: I very much want to see the film you just made!

VGP: I’m glad you appreciate that sense of rhythmic space I create within my writing – or work to create, anyway. I want the reader to feel submerged in the musicality of the book, to feel so deeply in it that it is as if they must come up for air sometimes. To feel as if they are swimming in it. The films are not as weighty. I made the first one as a relief from the book, which had been so solitary and deep and intense, and so I wanted to work collaboratively, which was a joy. The film is visually poetic, and slow, though it is narrative too, and hopefully it is moving; but it is not of the same deeply immersive intensity as my writing. Sylvere Lotringer plays my daughter’s grandfather in it! This I love. The title comes from something he says to her character about death: Death is like a shadow…. I’m making a new one now, with Michael Silverblatt; and Chris Kraus and Hedi El Kholti are in it too. It’s about a young poet Michael is concerned about, and a young poet plays that part; I’m not really interested in working with actors, but rather in making things happen with the people who are a part of my life, my sphere of interest. I want you to see the completed one! We’ll do that.
It is clear that atmosphere is your main concern. It is amazing, really, how you are able to create it in such a minimal/minimalist way. There is a sense of indirectness between characters and situations, and although your characters work hard to explain things to themselves, they never quite get at things – this is part of this sense of atmosphere, I think, the living inside a space that is thick and weighty and as I’ve repeatedly said, dream-like, that they seem to not be able to move out of, even through their meticulous attention to detail, and language, and careful attentiveness to each other. We sense they are working toward an intimacy that is at one remove from them. They have affairs that aren’t satisfying, friends they love deeply but can’t tell, the children, even, seem careful in these stories. And we are never quite sure why this is, even though they try to tell us, try to tell themselves to us, and it feels almost as if all these things they do in the world are part of the telling, in the service of the telling that will come. In And Went Inside the narrator tells us, Often I imagine things too soon. Sometimes I begin while the thing is still happening.
I’m in NY now, in my new apartment, and of course I am still thinking about the Odyssey. When Odysseus reaches Ithaca, he still has many tests he must endure. He knows this going in, the gods tell him it will be this way. He enters Ithaca a liar; he has to obfuscate the facts in order to save himself. And then for many books he is constantly lying, even to Penelope, and Telemachus, telling stories about himself to others through the voices he takes on, I believe he is still alive, he tells both his wife and his son at different moments, referring to himself in the third person. I think this is something all storytellers share – a telling of the self through the stories we tell, and of course I don’t mean this directly, as autobiography, but something deeper, more decentered and thus more deeply moving. What are you telling us about story telling through your work, and about yourself as a teller of stories?

AC: Regarding Death is like a shadow, I really like the idea of working not with actors, but with the people who are already significant in your life. My good friend Laida Lertxundi, also a filmmaker, does something similar. Sometimes she drives out to a space—like the desert—and part of shooting the film, I think, is spending time with the people who are with her there in that specific space. They are making a film, but they are also having an experience together, inhabiting something, and that experience comes into the work very strongly. Laida’s films are not driven by narrative, but they are in relationship to it, and I’m always interested in how one can be in proximity with something without going through the front door of it, if that makes sense. Connecting this back to writing: a story with a relationship to character, for instance, without centering the story there.
I like the way Odysseus refers to himself in third person. I believe he is still alive. If anything, I think of storytelling as a way to get close to experience. Can I somehow let the reader swim out into that space too? There are things that have affected my life so profoundly that I think I have wanted to be near them again, either because of how pleasurable they were, or painful; either way, I have wanted to share them. I have wanted to be in conversation.
What kind of storyteller are you?

VGP: A lost storyteller, always searching. I feel I am always lost, like I don’t know things I should and so I tell to figure those things out, or to at least attempt to approach. I am always searching. And this can be hard for others… I am always pushing further, asking questions, too many questions, and I am sure that sometimes I am just too much…

AC: I’m glad for that answer, Veronica, for how honest it is. I think I’m trying to figure things out too. Thank you for having this conversation with me. - herkind.org/


My essay “The Continuum of Friendship” was just published at Two Serious Ladies.
I recommended some of my favorite books over at Nat. Brut.
A video reading of Jackson Mac Low’s “Forties 133.”
My 2012 Attention Span.
Gregory Howard on “narrative, obsession, collections, the act of collecting, fairy tales, the uncanny, Henry Wellcome, and the work of Dennis Cooper, Amina Cain, Bruno Schulz, Georges Perec and others”: The Object is Always Magic: Narrative as Collection.
Both Sides and The Center: Andrea Quaid in conversation with Teresa Carmody & me.
At Frances Farmer Is My Sister, Kate Zambreno writes about “I Go To Some Hollow, trauma, romance novels, and macrobiotics.”
IMG_0728

Amina Cain is the author of Creature (Dorothy, a publishing project, forthcoming 2013) and I Go To Some Hollow (Les Figues Press, 2009). She is also a curator, most recently for Both Sides and The Center (with Teresa Carmody) at the MAK Center/Schindler House. A recording of her story “Attached to a Self” was included in the group show A Diamond in the Mud at Literaturhaus Basel in Switzerland in 2008, and in summer 2010 her work was featured at LACE (Los Angeles Contemporary Exhibitions) as part of NOT CONTENT, a series of text projects curated by Les Figues. Writing has appeared in publications such as 3rd bed, Denver Quarterly, [out of nothing], Stolen Island, The Encyclopedia Project (F-K), and Two Serious Ladies; as a chaplet through Belladonna* and a chapbook in the PARROT Series; and is forthcoming in BOMB magazine and n+1. Several of her stories have been translated into Polish on MINIMALBOOKS, and a French translation of “Black Wings” is out in Jet d’encre. She lives in Los Angeles.

9/5/13

Lauren Shufran - Riffing on military chants, propulsive rhythms whereby submission and domination are inculcated, these chatty, allusive, classically informed poems explore analogies of terrorism and homosexuality in the context of our militarized media, our mediated military



Lauren Shufran, Inter Arma, Fence Books, 2013.
read it 

This debut collection takes its title from a maxim of Cicero’s that, translated loosely as “In times of war the law falls silent,” has been effective in recent discourse around the erosion of citizens’ rights. Riffing on military chants, propulsive rhythms whereby submission and domination are inculcated, Lauren Shufran’s allusive, classically informed poems explore analogies of terrorism and homosexuality in the context of our militarized media, our mediated military wherein heroes and villains are sodomized and lionized, penetrated and perpetuated.

From "Afterwards They Photographed my Veteran Face, f/4 at 500":

The aperture where pussyfooting loses depth
Of field like summary exposures. Doubt-
Ful of my fealty I’d procured a honey who
Was made of honey-indicators: form
In cock and crockery. I souse his dish with glaze
To make it lachrymose and vitreous,
Get myriad shaft fractures in his forearms and
His saucers, and high incidences of
Throw-Downer’s Sprain from over-wedging. I put the
Clay up on the wheel; I make a hole there.


“Lauren Shufran’s meter-making argument stings with lucid blows bent to send the line aquiver. Weaponized with duck soup and chicken rimes (a baker’s dozen haptic hexes of heptameter), Inter Arma is the neo-classical nude formalism that the times demand. With searing wit and virtuous elan, Shufran’s epic lyrics hit homers every time.” —Charles Bernstein

Cures for Love (II)

I sustained these losses and disfavors at the doors of
          Brigadiers and mistresses, whose latitude and fastness
Loosed the hinges of those doors so that they swung out on my
          Kisser. So I muscled out the dactyls with my esca-
Lating danders and unsheathed these iambs from the sheets of
           Hijacked Latin verse so as to reassert my mannish-
Ness with more emphatic metrics. Okay, I bartered trag-
           Ic buskins for a single comic clog, since it’s common-
Place to ambulate with one lame foot when writing ele-
           Giacs. Now I’ve got the cropper and this pretty filthy sock –
Not to mention that I know where wits of kissers go when kis-
           Sers get to kissing. I abided all this biding at
Insufferable thresholds, and the only war wounds I
          Received were self-inflicted wounds of love, this cloven nose
From closing doors – and chronic PTSD. Your heart’s moved
           By my stigma, but not broken. You’re summoned to my ot-
Toman where I was warned that leisure triggers love and so
           Went hunting to evade uncanny arrows. I ordered
Bridled bulls to bow beneath unwieldy collars and drank
           Bitter juices under stupid udders. I chafed inside
Of duck suits and then surfaced from that nowhere just like eid-
           Erdown and allergies, at cells, before my love had time
For blushing. I thought how Ovid changed his tune to be con-
           Tent with feeding figs to pretty girls in injured verse and
Epic kitchens. I do not hurl invectives at the lin-
           Tel of the DoD, or butter up its hinges or
Get plauditory, cosseting its knocker. It’s not the
           Door’s fault that my love has used the door to bar its entrance,
Or my heart clove with my nose – when lovers slammed it. I made
           My way, for love, through flocks of jalabibs and togas, drown-
Ing habits not conducive to love’s spirit: then dismount-
           Ed with these feathers swelling from it to extend my ten-
Der heart, but the DoD refused to swap a purple
           Heart for one that had been penetrated. You wouldn’t taunt
A camel who’s on crutches with a cloven hoof, but you’d
           Pick on one made sensitive by entrance. Time and turns of
Tune do sometimes sour tender grapes so Ovid sets his teeth
           On edge like Latin damsels and their fathers. Did my love
Commence at boot camp, or the choppy flight, or headlamps where
           I witnessed birds in cross-examinations? Its foot was
On my passive neck; I guzzled up the stuff of it in
           Gulletfuls; I tippled ‘til it trickled down my chin, and

‘Til it tickled in my hinder parts, and hindered hinges
          On the door – and hindered further contestation.




now i do                       i



   i                                remember you now i do                             in
a cowboy hat                            say                  i
                      know because i dreamt of you
                      last night i think i
i dream in english now    (three) times
     three      stones from
     the bottom drawer of a cluttered
     desk   (my
       desk is where my mind is)
     you mumble nottome in            portuguese and
     (in hand) which one looks
     most like                                               me eyes from
hand to eyes to silent something
he died day             after i returned
    a                           five week    trip in (almost your land)
when we got home i checked the
answering machine (don’t
worry love i am going
to be fine i just wanted to let you
know that) to
                    want
towantneversobadly  to     hit         erase

                                                   *  *  *  *  *
                gray stone with a                                  white band
                 around it (eyes hand to eyes you:
   :choose) do                  you know the english
  word for                                                                                                                                            halo
     pawing at your cat more he
     at you you
                                           don’t climb onto your roof
from
                                           the bathroom window
(leaks)       don’t
                                           want to leak with it down
                                           into the neighbors
                                              we
drink
       coffee from a coffee maker that
makes only
 one
                  cup
at a time days
                earlier at the university café i
bring a full cup(i        you) of ice (i            you) say
ionlywantedonecube  i                   know i say
                                                                                                                the rest is for me sit
smiling i
     do not know portuguese but enough
     spanish to help you                     sometimestranslate
     a book of poems
                                                                    *  *  *  *  *
violento    sometimesmeaning uncomfortable
in spanish (what about you from where you from you:     : (at)home:
:a question                                                    what is
                    a photograph (no technical              answers
please) green                            two
           figures and a golf club white hair a bonnet
the                                                                                                              art of
   (nothing self-taught)
a frame found on the living room
table of a house i rarely visit
(foryouloveyou)
to find out later it was
my grandmother that took the picture she’ll
be fine        they said                                           go and
when i came back a week later (three
                                                                  rocks in handeyeshands)
                                                                                      silence

                                                                  *  *  *  *  *
to hurt  in portuguese in spanish
                                                                                                          now i do i know
       (do i?) (i?) (i?)
   know i remember you in (notinenglish) i
                       know because i dreamt of you (or
 woke                                                                            thinking of you)
on the floor of a one-bedroom apartment
      two cups of coffee and the
                                       cat pushing two (extra) stones
across the floor

Taylor Brady Interviews Lauren Shufran 

Taylor Brady: So let’s begin with the obvious: Inter Arma is a poem that has quite a lot to do with metrics, with scansion, with both the organization of its verse sections around some fairly strictly counted meters, and the pressuring of those meters by an array of rhetorics and allegories that seek to forefront and trouble the question of “what counts?” (in both subjective and objective senses, i.e., who or what is the force that decides the unit of measure and tallies it, and who or what is it that gets thus enumerated). This is linked to a radically anti-naturalistic sense of meter: neither the modern dismissal of counted meters as too artificial to represent the richness of lived speech, nor the classicist insistence on the kind of metrical virtuosity that can make even the most abstruse meter feel like second nature. And yet the poem retains the informing tension of these two hardened options, locating itself within this privative binary in order to propose a metrics that (per the modern complaint) does violence to the language, introduces division where one expects wholeness (signaled to me perhaps most clearly in the many lines ending in a pointedly awkward hyphen), and that becomes an anti-virtuosity (here, a kind of perverse classicism) all of whose resources are brought to bear on creating breaks, lines of scission, subtractions from coherence, and stumbling articulations of dissensus within language. So if, as I’ve suggested, this is all arrayed as a means to trouble the question of “what counts?,” then perhaps my first real question for you is precisely that: Within the framework of Inter Arma as a metrics of division, what counts?

Lauren Shufran: Goodness Taylor, this is a really lovely first question to get to write through. There’s this set of associations that unfolds itself before me every time I start thinking about meter (the spatial unfurling in the aural) – that by extension, I am thinking about measure; and by extension of that, appropriateness or the proper: thus propriety, thus property. Meter and ownership are really joined by so very few degrees. I guess I should say a little something about the meter in this work first, which is that the text slips between a number of metrical structures, the biggest of which are elegiac meter (but iambs not dactyls) and poulter’s measure. They fail, of course, on every page, and that’s thing one: and I’ll get there.

The book in a lot of ways was instigated by Ovid’s Amores – or rather, by a use of the Amores to mediate what it was I was trying to grapple with: how easy it has been made for us (or how easy we have made it for ourselves) to figurally and discursively conflate homosexuality and terrorism, the mergence of which is borne out in particular in the military; how the military hazing ritual performs its own conflations – but in a turn from fields of representation to fields of action. And the more I thought about military hazing the more I realized how perfectly these rituals map on to the kind of detainee torture that was taking place – that continues, obviously, to take place. And so the Arma of Inter Arma, though taken from Cicero, is also an echo of the Amores’ first word. But as I really started writing this I also really started thinking about birds. And I was having lots of conversations with Brandon Brown at the time; we were studying Arabic together and traversing the Tenderloin to get to the MUNI every morning and thinking about translation and then we were thinking about birds. Brandon’s work, as you probably can tell, is very much behind this text. And we don’t have to go too deeply into this (and in a way we can’t, because it’s actually fairly shallow) but for me it had something to do with Loretta Swit – Major Margaret “Hot Lips” Houlihan from M*A*S*H* – and a testimony she gave before the Chicago City Council in 2005. In this testimony Loretta Swit similized gavage and Abu Ghraib prisoner abuse, the revelations of which were really unfolding in that moment: in fact Swit actually references Lynndie England in this testimony. Anyhow this testimony (which was argued really ineptly – perhaps imaginably so) somehow helped compel the city of Chicago to ban the sale of fois gras the following year. The ban was repealed two years later, but two years too late for this text because I was, by then, really caught up in this: if conflating gavage and prisoner abuse could end – even if briefly – the practice of gavage, why could it not end the abuse? Of course the answer to this question is in so many ways obvious and has a lot to do with valuation – which is also measure – but I needed to keep that very particular correspondence in operation here, in order to work those answers through. And the more I started writing this text through birds the more this other meter – poulter’s measure – seemed called for. Poulter’s measure is alternating Alexandrines and Fourteeners – or, in the ongoing poem here, iambic hexameters and heptameters. C.S. Lewis said it “lumbered,” and I was already thinking a lot about missing members and limping, so in terms of negotiating these radically graceless acts its barbaric uncouthness was kind of perfect. But poulter’s measure is a kind of metrical corollary to the baker’s dozen: less a generous offering and more a sort of fear-based, preemptive measure (I was thinking a lot about preemption, after all). As the story goes, the baker’s dozen is a response to Henry III’s Assize of Bread and Ale, which essentially placed regulatory measures on those goods; and instituted fines, pillorying, or flogging for bakers who gave “short measure.” Thus it accrued: and I was thinking the preventative alongside the penal, and reading Richard Trexler’s Sex and Conquest, which discusses punitive gendering and state-building.

So I guess, in taking a long route to get at your question – and because so much of this text is in poulter’s measure – I want to suggest that what counts in this work is precisely what isn’t counted, or what’s uncountable: the anxiety that founds a new marketplace practice reflected as the anxiety that organizes a new metrical pattern. Everything that can’t get said about preemptive or preventative measures (WMDs as the most pronounced example) as the real stress that ictic is indicating. There’s this assumption that one counts in order to arrive at a sum, but perhaps one can count so to arrive at a summons. You’ve asked who or what gets enumerated, and of course part of the answer to that is both this text and its author: that “count me in” that includes one – that includes us – in the reckoning as participants. I mean the text reckons with (by which I mean it measures) and is reckoned as implicated by virtue of the fact that it has not gotten outside of the language – or the counting – it critiques: because an ideal reading of this book – or at least the reading I think the book calls for – is actually a call-and-response akin to a military cadence. And in that reading I would be your drill instructor and you, Taylor, would be engaged in some really intensive calisthenics, and would eventually not be able to keep up with me anymore. And then I would call you a pansy, or a pussy, or a faggot, and make you march through really cold swamplands at 2 in the morning and by the time you got your next question off to me you’d also have hypothermia. This being a common hazing narrative. And would you do the same to the next guy? Milgram experiments or no, I’m not sure I can be confident I wouldn’t. Which is why I made sure – the impossibility of not being implicated, of ever keeping up entirely (of being in measure, of being proper-to-oneself) with one’s own reckonings, with one’s own utterances – that the meter would always fail at some point. And yet, who was it that first said “that which can be measured can be improved”?

TB: I love the idea that it's precisely the excessive investment in applying strict measure that allows for revelation of what exceeds or falls beneath or fails measure. Which might be one against-the-grain way to read "that which can be measured can be improved," no? That the disappeared of measure can be made to appear by leaning on the ictus of counting from a contradictory direction. Within that rhythmic organization, I'm thinking of this crisis of measure in Inter Arma as also and importantly a crisis of value. And this is in some ways just following your lead as you raise the specter of "the anxiety that founds a new marketplace practice reflected as the anxiety that organizes a new metrical pattern." It's important to note, as you do, that this anxiety is organized around the figure of an imagined heteronormative, masculine, productive body. I write here as a (mostly) hetero-identified man who has received – who has incorporated, bodily – those interpellations of "faggot" and "pussy," and noted how often they're applied in contexts where what's at stake is maybe not the direct demand by norming powers that one stop having sex with men, or fantasizing about what might be going on in that next stall (though it's certainly an open possibility that this is precisely what it's about, and if one has the kind of body that desires those kinds of conjunctions with other bodies, one might at any moment become the literalized and physicalized term of what suddenly, violently falls out of metaphor) -- so let's say maybe not only about this demand to be a proper sexual subject, but that one exorcise a certain "unproductive excess" from one's way of taking up social space. I.e., fall in line, faggot, and don't break step. Of course, the only way to comply with such an order is to deploy a parallel excess of production: the baker's dozen, the militarized social body, labor discipline, poulter's measure. So I have these figures of detritus, surplus, and redundancy circling around that question of value, but for now, provisionally, I want to exit the roundabout onto a route that maybe cuts transversally across your text: How much do all of these figures of unproductive excess (and the various excessive defensive postures and gestures mobilized to ward it off) have to do with unemployment?

LS: Employment folds in. But every fold is a detour, and every detour is an excess, and I’m taking one, extravagantly back to the beginning of this, to re-tour, at the end, to that in-folding (I mean, I’m gonna get us lost and a little doubled-over, Taylor). But how fantastic that you’ve taken this kind of amazing affinity posited between measure and improvement and invited, first, a question about value. “To improve” comes from the Anglo-French emprouwer, “to turn to profit.” And of course that profit hasn’t always necessarily been financial – though money gets… well, folded in quite early – but what would a non-fiscal profit look like now? Either way we are dealing from the word’s very origins with a kind of excess – the beyondness of what one takes up that is in becoming profit – plus all these other excesses clinging etymologically to the word: Old French prud also meant courageous and valiant. It’s very soldierly, improvement. It’s very epic. It builds nations. And it is also a model of occupation: of course first tied up in land, but then (and now) tied up in war – or rather, not tied up at all in war, but tied up explicitly in the discourse that makes war. We go to war, we occupy, in order to improve the lives of The Others. It’s generous and benevolent. And very interesting to reflect upon, in November of 2011, in the midst of this Occupy Movement in which ‘self’ is ‘other.’ And employed in and employing this construction (not the 1%). And resisting or contending with unemployment. But probably I need a minute to get there.

You mention “the disappeared of measure” and I think you were signaling a kind of metric rupture – maybe the syncopic moments this text consciously or unconsciously enacts – as gestures toward re-appearing the disappeared. I’ve been thinking about haunting lately, Derrida’s ‘hauntology’ in Specters of Marx as an ethical historiographical model – a being-inhabited. I’m really interested in haunting’s seeming insistence on the spectral, and I keep wondering, how would we talk about an aural haunting? And then I wonder about that inhabitation and how a text would be open to occupation by an incomplete mourning and I wonder – finally – what meter might actually foreclose. And so alongside and against what you said (and I think also what I said, since the whole point of the interview anyhow is the exposure of self-contradiction) about what is made to appear (and again! appearance as what’s visible), I want to suggest this other anxiety within the text, which is that meter will eventually out-sound what the language is trying to articulate. Inter Arma, the full text, is much longer than this. And the measure is so invariable at times over so many pages that it’s benumbing. I mean, counting numbs. As does repetition, as does repetitive exposure to, say, torture images, but that argument’s been made so we don’t have to go there. Maybe this is one lens through which to think that “crisis of value:” what gets under-valued in an over-valuation of the aural? What if it’s the language itself? What if the text sounds so loudly that it’s un-hauntable? What is at stake, and is it an ethics? Then again, Gertrude Stein discusses (in “The Gradual Making of the Making of Americans,” I think) repetition – the perpetual but imperative detour – as a kind of knowing. Stein worked with William James, by the way, who did all that work on habit, and habit and haunting are kind of inextricable. And Stacy Doris sent me this crazy article some years back entitled “Some Poetry Helps Cardiac Synchronization After Heart Attack.” It was based on research focused on the hexameter (dactylic, of course: we remain in the realm of the epic). Anyhow apparently this team of European physiologists determined that recitation of hexametric poetry creates some kind of synchronicity between respiration and heart rate, thus regulating the cardiovascular system. I mean, we are quite literally talking poetry and health. And so here’s valuation again: should meter concern itself with self-rupture so that it might open that space for haunting, for the disappeared; or should it desire a precision for the sake of its (living) reader? We value the living and the dead differently, as we value our selves and our others. But I wonder about aural haunting as that threshold where value, like the heart, is regulated.


What does it mean that, finally, I have had a whole lot of pleasure in writing this? And is that pleasure an excess I would have to expel in order to maintain what feels like the most ethical stance I should have had to this text? Certainly I’ve had The Guilt. And I love that you’ve pointed to this paradox, Taylor, and you’ve said it so much better than I would be able to: that one produces an excess under obligation in order to exorcise (quietly) that very excess, and comply with the norming imperative that one never was in excess to begin with: and I think that “fantasizing about what’s going on in the next stall” is, strangely enough, one of the things one is allowed to keep. It’s part of our cultural imaginary, particularly in war. It’s why it wasn’t surprising that so many images of a sodomized Bin Laden were circulating shortly after 9/11 (the given, of course – and this is somehow accepted – is that we are the sodomizers). And here, this expulsion-of-the-excess (baker’s dozen, poulter’s measure, the socialization of the body in general) becomes productive in the most radical of ways, saving – quite literally – lives. The baker’s dozen is precisely the excess that keeps one alive – minimally alive, even; enduring, even. Perhaps this is unproductive excess at its most productive? And so in a way I want to answer this question about employment by thinking, simultaneously, about deployment: both working around a kind of folding (employment as enfolding, as folding in; deployment as unfolding, folding out, unfurling: a display). If employment folds in, what does it hide? And if unemployment is its other, what does it expose? I think one of the things you’re gesturing toward here is the demographics of military recruitment, deployment of the otherwise-unemployed (even the “unemployable”). The military is steeped in its own “unproductive excess:” basic training continues to include drills that are becoming more and more anachronistic (hand-to-hand combat, bayonet training – but defiant adherence to tradition is its own excess, no?), and in the five years before DADT was repealed, the military spent almost $200 million to replace the troops it had discharged under that policy. These are just two examples, but of course they both involve our taxes. I guess I’d like to suggest that unproductive excess always gets consumed again somewhere, and maybe the answer to your question is as much about what is on that other side, consuming, as it is about who is producing that exorbitance. And that goes as much for the “consumption” of queer sex by an otherwise “unemployed” heteronormative body as it does for those military excesses that “produce” camaraderie – and well as for the excessive text that un-employs, that de-ploys, that displays. But I somehow don’t think that even begins to answer what you were asking here. Say more, Taylor. Say more. - www.traffickerpress.com