Early Saturday Evening

There are four distinct phases in the circadian rhythm of a bar: the time of morning drinkers, day drinkers, evening drinkers and night drinkers.

Morning drinkers show up when the beleaguered bartender of the late night shift rotates off and the groggy 6 am guy takes over. Some of these guys have been going since last night, and at this point are just delaying the inevitable. Others are just getting started either already subject to the inevitable, or blissfully unaware of its inevitability.

Day drinkers straggle in from the sun, a few at a time, all a little happier, a little louder than those who aren’t having jaeger shots at 1:30 in the afternoon. These are the champs because not any fool can be all-out plastered by 3 pm.

Evening drinkers are the gentrifiers, the wise and the old. There is a discount and appropriate time for drinking for these people and it begins after dinner. Sated and unwinding from a Saturday of chores, it takes a while for this crowd to warm up.

It is this crowd I am amongst tonight. We are seated, with beers, by the windows across from the half occupied bar. I could walk up and get a drink any time. The loose strings of conversation in the room are subsumed into the music, which isn’t booming or loud, but of just the right volume to swallow up the other noises of the room.

This crowd is warming up, loosening, lubricating themselves into a crowd of late night drinkers, loud and unpredictable, and they will, in a few short hours, spill out from these doors and into the streets, drinks splashing, to declare that there will be no inevitability, no waste, no wisdom, only tonight.

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Junot Diaz – This is How You Lose Her

Our lives are defined by any number ofinfluences: the place of our birth, our genetics, the experiences we have, but arguably the biggest influence on us are our relationships.  This begins at birth, outside of our control with our relationship to our parents, but we quickly gain control over our relationships as soon as we develop them outside of our families.  For the rest of our lives at least some part of us will be tied up with another, and it’s not long until that other is often tied to us romantically. Junot Diaz explores the ups and downs, the painfully human intricacies of being tied to that other, and what happens when those ties dissolve.

Diaz is a master of the human element of storytelling.  Through his narrative lens of a Dominican immigrant to the United States, a kind of drama usually missing from our culture’s current pantheon unfolds.  This is How You Lose Her isn’t a story of lust, loss or longing but a story of adaptation and making do.  People fall together out of convenience and fall apart from inflexibility.  People lie and cheat and hurt each other, though not necessarily on purpose.  They just do it because they are people just trying to get by.

This is How You Lose Her tracks the arc of broken love across the life of
Diaz’s usual character Yunior, in no particular chronological order.  The
stories instead seem to travel in maddening circles of failed relationships as
if in the feverish reimagination of the past of the jilted lover.  The
effect is difficult to quantify, but it lay somewhere between being sweet and
being damming, between tender care for the characters and complete disgust for
their faults.  All in all, the reader is left with a heavy sense of
melancholy that this cold and hard truth of existence is what literally
billions face every single day.

That universality has always been Junot Diaz’s strength.  He may write about
Dominican-Americans, but he has the ability to use them like canaries in the
coal mine of the world.  The legal and social status of immigrants makes
them vulnerable in so many ways.  Being foreigners in another country,
without roots or support networks, means that things many can slough onto the familiar
hit the immigrant harder.  Immigrants feel first the effects of modernity.
They are in some ways the poster children of the modern world: the part
many in America would like to forget.  The modern world is quite a bit
more complex and volatile than the average American believes, and the proof is
often working in the very factories and services that seem so stable.

All of which makes these stories about love amongst the immigrant underclass so
compelling.  Written in simple, conversational language mixed with latino
slang and expressions, the world of people who live very different lives than
most Americans has never been so relatable, compelling or heartbreaking.
Their status as immigrants does not directly cause any of the
relationship problems here, they are just the backdrop for the common issues of
human romance: cheating, desire, boredom.  It is by focusing on that which
immigrants have in common with every single person on earth that This is How You Lose Her soars where other stories
more explicitly about immigrants fail: they are too much about immigration and
not enough about immigrants, and most countries could stand to learn more about
the immigrants they so consistently demonize.

This is How You Lose Her is a beautiful, sad book which stands on its own
as a catalogue of broken relationships, but it is also more.  It is an
invaluable document of the way a different class of people live.  It is
the story of human struggle and human commonality.  This is How You Lose Her is about what it is to be
human and screw up, struggle to recover, and if successful, find redemption
wherever it can be found, whether that is in the arms of another or in the
pages of a book.

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Southern Guilt

Its effing hot. And the air is heavy. Its sitting low like a cloud against cracked gray sidewalk.  Its pushing massively against the leaning brick walls. Its resisting every movement lazily, yet extremely effectively, when I am trying to walk down the street.  Sweat blooms out immediately at my armpits, chest and back.  Solid shirts become rorschach tests that poor sweating souls on the street project their subconscious ramblings onto.  They see things like fires and demons, Boschian scenes painted in salt water across polyester.  It’s the slow season in New Orleans for this very reason, the flood of tourists reduced to a trickle of bachelor parties and summer road trippers brave enough to wade into the stifling air for a drink and some mischief.  The locals spend the summers here like most of the country spends its winters: indoors.  You only leave for the necessities – like a drink.

It was the urge for a drink, and a little fresh, unrecirculated (if thick) air that lured me out of the house one evening after an early dinner.  I sauntered down the tree lined avenues that radiate from the river into the crowded jumble of the French Quarter.  People were just beginning to appear as the sun, having burned the sky from blue to white, faded and with it returned the colors of the world.  The trees became a little greener and the houses a little brighter, the world looked a bit less tired.  I settled into a bar stool in a familiar spot in the thick of the quarter and ordered a beer.  I sat and watched the sidewalk for a while just to see the families walking by and drew some shapes on the bar with the puddle of condensation flowing off of my beer.  It’s nice to sit in a comfortable place on a hot day with a cool drink and just think sometimes, but thinking involves a certain modicum of peace and it is difficult for one to spend too long in a bar alone, simply because in a drinking town friends seem to materialize next to you in the form of strangers, and conversations blossom, whether you want it or not.  I’d come to expect this so I surveyed the smoke filled room for what was distracting my revery.  The usual types were there, the quiet drunks, the self absorbed couple, the guy monopolizing the hot bartender’s attention.  

But there was also in the corner what appeared to be the middle stages of a bachelor party downing Bud Lights and laughing at their own ridiculous hijinx.  They were apparently in for quite a drunken night.

A night’s drinking and the associated debauchery is easy enough for anyone with a liver and a flexible definition of dignity. With an ample quantity of intoxicants floating around in their system, even the shiest can be capable of antics which, while of questionable value to society, are at least mildly entertaining to onlookers.  And trouble, oh, with but a modicum of creativity can anyone, anywhere find trouble, but the city of New Orleans is where most people choose to look.  New Orleans has the distinction of generating more instances of trouble per capita than any other city in the world today.  I think.  It’s hard to put a number to these things, really, but it’s safe to say that few people come to New Orleans without at least indulging in the normally illegal little taboos we allow like drinking on the street while singing sea shanties at 4:30 on a Tuesday morning.  Or is that just me?  It’s hard to say if the city openly encourages this behavior to suck up a few extra tourist dollars, or if, simply by the strange habits of history, trouble always finds you in New Orleans.

There is a certain attraction to trouble, that good, gut wrenching fear of probably not getting away with what you are doing, and the exaltation of doing it anyway. That’s where the alcohol, drugs, rubber cement or plastic bag over your head come in: you’ve got to get over that fear of getting caught and be willing to do it anyway.  You’ve got to instill within yourself the proper degree of recklessness to go tearing down the street naked, punch that guy in the face, or steal whatever it is you have always wanted to hang in your living room. Once you have convinced yourself that you care nothing about the consequences of your actions, that there is nothing that other people, or the police or anyone else can do to stop you.  The world opens way up.  Which is why they invented sin of course, to make sure that once you have convinced yourself that there is nothing man can do to stop you, there is still God sitting there keeping an eye on things, keeping you in line.  But sin, it turns out (thanks to the tricks of the aforementioned intoxicants) only holds its power in retrospect.  Trouble may find you in the moment, but sin finds you the next day, at some ungodly bright hour when your eyes creak open to find a strange room.

Trouble found us in that little bar quickly, given the proximity of the dozen or so 20-somethings pounding cheap beer and routinely ordering shots “all around” which the bartender took to include her, and occasionally me, too.  Watching these guys while drinking their liquor, I wondered what trouble they would get up to.  What was their preferred form of sin?  Would it be the strip clubs, or would they go all the way to prostitutes?  Would they stick to alcohol or find someone to sell them something a little more potent?  Which one would end up in jail: the best man, a groomsman, or the bachelor himself?  It is hard to say but tremendously fun to imagine.  The most fun to posit, however, is what they thought they would get into tonight on the trip to the city.  There was, inevitably, some image fixed in their head of the city, and inevitably they were living out their idea of this city as I sat there.  No doubt about it, these boys arrived here in the “city of sin” to find themselves some trouble.

It is no accident they call New Orleans a “city of sin” rather than a “city of trouble”.  Part of this is tied up in the city’s heavy religious heritage, but I posit that it really isn’t the crazy nights that make the city, it’s the regretful sober mornings, much the same way the excess of Mardi Gras is actually defined by the fasting of Lent and not the other way around.  After all it is usually the harsh light of judgement in the mornings that force a drinker to face the implications of the trouble they got themselves into last night. And at least on a theological level, it is judgment that separates harmless mischief from true sin.  The city invites a degree of excess which pushes the boundaries of harmless, especially among the tourists who take the city’s lax attitudes to be a permission slip for mayhem.  A lax attitude however, won’t help the hangover the next morning and certainly won’t pay the bail money.  Everyone eventually must face a judge.

So once the sin has been committed, once the bottle has been emptied, what then?  How does a person react to having gotten in trouble, done wrong, sinned and gotten caught? That answer is more interesting and more telling than any story of sin. The guilt in the face of certain judgement, the second guessing, the sin “hangover” is what really defines a city like New Orleans, and indeed defines any region with a past, darker, history.  In fact, the hangover from the South’s great “original sin” of slavery has largely defined the regions economic and political path for the past 150 years.  From the initial admission of guilt that was the formulation of the underground railroad to the civil rights movement, the implications of slavery have never “sat right” with everyone; a sure sign that some people were already considering the idea that they would be judged for their actions.  There was an always asterisk, a resounding if unspoken “but” on the expedience of slavery.

Sin is after all, a relatively easy, and usually advantageous thing to commit; depending on who is defining it, sinning can be as complex as financial fraud or as simple as a stealing a cookie from my mother’s kitchen as child.  However, the financier may be cavalier about his fraud, and sleep well every night he spends in prison, while I for one found myself full at dinnertime, racked with the fear of my unauthorized snacks being discovered (and the shame and guilt of having disobeyed and put myself in this position in the first place).  The way we react to sin is as important as the way we commit sin.  Our history, nationally, regionally and personally, is shaped by our reaction to sin.  

Well my mother would have been appalled at the bachelor party, which surged back into my consciousness with the shattering of glass.  Every head in the bar snapped to their corner on cue, but the party didn’t miss a beat.  They just continued with the crunching of shot glass shards underfoot.  I could almost see the bartender make the mental note to use plastic from now on.  It was difficult to guess where these guys were from, they were too old to wear identifying college t-shirts or fraternity hats and their voices were a loud enough muddle in the bar to obscure any identifying accents.  It was almost impossible to determine what culture governed what they considered acceptable, and what definition of sin against which (if any) they were rebelling.  This group could very well be acting out exactly what they had observed as children growing up, or they could be living out a world they had observed only through secret viewing of forbidden television channels as a child.  But if they were raised anything like I was in my Louisiana family, their mere presence in this bar, at this time, in their condition would constitute sin, and no small part of their coming of age would have been spent rectifying their behavior and the behavior of their peers with their upbringing.  They would have had to somehow rectify their actions against their guilt.  

The way we feel guilty is inextricably tied to the way we were raised.  In my personal, deep Southern terms, that pretty much meant the Bible.  Religion is terribly useful for parents as it provides a framework for guilt, a universal way to define good and bad, and an ultimate enforcer in God.  Even outside of childhood, the idea of impending judgement for one’s actions is never very far away in life.  For me as a child, this judge was mom-and-dad unit, who answered only to God.  Since I have grown older and struck out on my own, the judgement of God has been supplanted by more earthly (and occasionally literal) judges, the embodiments of the judgement of my community.  Contrary to a theological point of view, the amateur bar-sociologist in me is likely to tell you that sin is based much more around the judgement of the community of the judgement of the almighty.  I see proof of this in the admittedly overused example of race relations in the south.  Religion, being ultimately much more pliable than its adherents would like to admit, was once used as justification for slavery.  Later, when community standards developed (also in part thanks to religion) to the point where slavery was considered a sin, religion was used to once again to define the boundaries of the tense relations between races.  Today, racism is thankfully breathing its last vitriolic breaths and not only slavery but discrimination is commonly held to be a sin.  To my reckoning, sin has been redefined over the course of 200 years.

While the definition of the sin may be malleable over the course of time, whether that period time time stretches from childhood to adulthood or over generations, guilt at the hands of the judgement inherent in sin remains unchanged.  Society merely changes the reasons for judgement.  When I run afoul of mom and dad, or society, when I cause trouble, (at least once of sober, rational mind) I realize that, much like stealing a cookie before dinner, I have gone against the wishes and welfare of the community.  Is there then some remnant Southern guilt, some fear of judgement over the now accepted-as-sin of slavery?  It is possible that the Southern proclivity to cling to tradition, which is both positive (see culture) and negative (see racism), is in a way an attempt to avoid the guilt of admitting to sin? Indeed if the wage of sin is death, I for one would prefer not to define sin in such a way as I run afoul of it.  Certainly in society this is not a conscious, coordinated effort, but an inevitable result of the fear instilled by the impending judgement of sin.

A clatter and thud, followed by an explosion of laughter announced a new phase in the bachelor party that involved falling out of barstools with a little more frequency than could be attributed to random (even drunkenly increased) chance.  The nice part about being good and ripping drunk is that it removes the fear of judgement of others, and these guys weren’t afraid of being judged by anyone, including the increasingly concerned bartender, whose activities found her nearer and nearer to the far end of the bar, perhaps in an attempt to exert some sort of calming, authoritarian influence in what was proving to be a vacuum of calm and authority.  It was going to be a while before this crowd found a reason to be concerned about anything other than their own amusement.  There was no fear of judgement, and certainly no sense of guilt radiating from the party in the corner currently ruining a good bout of quiet daydrinking.  This group, deep in the thralls of alcoholic dumbassery was not of a mindset to allow guilt to govern their behavior.

Is a city like New Orleans, or a region like the South governed by guilt?  One has only to look at the region’s politics, which are steeped in the religious language of sin, to suspect that the fear of the consequences of sin are prominent.  A quick survey of “hot button” social issues such as abortion, gay marriage, or sex education reveals a society concerned not with the pragmatic or popular, but with the moral “right” and “wrong,” the sin intrinsic in particular behaviors. There is, across the South, widespread fear of sin and, more importantly, fear of the guilt of sinning.  Even the most fundamentalist Christian sect will admit that one merely has to ask for forgiveness for sinning to absolve himself of the supernatural consequences that come with judgement.  Every consequence that is, except guilt.

I’d like to point out at this juncture that technically, only the religious sin; everyone else just feels guilty.  Nobody is perfect, and I can speak from experience that the inevitable consequence of screwing up is guilt.  Some deal with guilt through escapism: drinking, drugs, sex, more sinning.   Some deal with guilt through denial: what they did wasn’t really all that bad, compared to some other, far more dire sin.  Others deal with guilt through penance: running the gamut from apologizing to community service to jail to death. Still others allow the guilt to simmer and fester beneath their skin where it becomes cancerously intertwined with who they are.  I for one have tried them all out, and it is this final non-choice of how to deal with guilt that is the most interesting as it has the most far reaching effects on a person.  To allow feelings to go unacknowledged is never healthy, to allow these unacknowledged feelings to define one’s behavior can be disastrous.

There was the scratching of chairs and I looked up from the topography of the dented varnish of the bar to see the bachelor party coalesce and collect itself.  Some poor fool paid the tab, clearly without registering its complete impact on his credit card statement, and they loudly stumbled out the door leaving a vacuum of near total silence in their wake.  The entire bar sat for a while staring out of the door, each person wearing their thoughts on their face.  Most people appeared grateful, some relieved and a couple envious.  I’m sure everyone wondered what they would get up to next, at least for a little comic relief.  I wondered how they would feel the next morning, in some trashed hotel room.  Regardless of the trouble they found tonight, the next day they will initiate the time honored tradition of waking up earlier than they should because of their pounding headaches, stumbling to breakfast, and spending the too-bright morning reconstructing the previous night.  Most of them will be happy and amused, but at least one will realize that last night he went too far, let loose a little too much, and he will hide his guilt behind a laugh and his shame behind a smile.

As a Southerner, as a New Orleanian, I have been taught to hide my guilt and shame too, for they come often in a city with no last call.  I have frequently allowed it to go unacknowledged and let it become a part of the fabric of my existence.  I am the roster of mistakes I have made.  I carry a burden of stupid statements voiced a little too loudly and poor decisions carried through a little too far.  To compensate for this I have altered my behavior to head off these mistakes in the future.  I have created a mannerism and tradition of being myself that is dictated both by who i want to be but just as importantly by whom i don’t want to be.  All of us create a structure of manners and tradition to hide behind, which we convince ourselves is unassailably moral, truly right. Tradition provides a sort of default backdrop upon which to project our lives when we lose our moral bearings.  This is an important function of tradition, to provide a framework when the more stringent (as thus more easily breakable) rules of morality are broken.  Not only societal norms, but laws are the result of cultural traditions; societies with the most stringent cultural moralities also have the most stringent laws.  It seems that it is in the attempt to head off sin, codify judgement and quantify the atonement required to alleviate the accompanying guilt that these traditions are formed.

In the South, unexpressed and unexorcised guilt has grown like a tumor and resulted in what then presidential candidate Obama famously (and boneheadedly) referred to as “clinging to guns and religion.”  Guns and religion, these things are rights, unassailable, and thus undefinable as sin.  In a region where the traditional fabric has been rent multiple times over the centuries by the redefinition of sin, a region which should on paper be judged by the almighty himself and suffer from immense guilt over past sins, the unassailable right has an undeniable attraction.  It is that “clinging” that prevents the stored up cultural guilt from overtaking people who in all honesty have absolutely nothing to do with the sins of the past 200 years.  The sin is gone, the sinners are gone, but the guilt remains.  

What is to be done about the sins of history?  New Orleans, for one, has chosen to embrace the dual nature of sin and redemption.  The biggest holiday in the city, Mardi Gras, is a two week narrative of the triumph of the sacred over the profane.  The ultimate guilty binge of fat Tuesday is followed by atonement of Ash Wednesday which absolves of the guilt and excess of the previous day. This little play of sin and redemption is repeated every weekend by tourists coming in to let it all go, only to return home to the penance of their everyday lives elsewhere.  The next morning when that bachelor party awakes and heads to breakfast they will undoubtedly, at least internally, face this question.  They will have a rough, nauseous morning and they will deny that any wrong was done.  They will cling to whatever they can find that is steady, literally and figuratively, as they stagger through the sharp morning sunlight.  With time however the sunlight will dull in the humidity and they will begin to feel better.  They will board planes that will take them far away from the scene of their crimes.  They will harbor misgivings and ill feelings about themselves for years perhaps, but they will learn from their mistakes as they grow older and wiser.  They will pass this lesson onto their children (who will inevitably have to learn the lesson, the sting of guilt, the hard way).  They will move on, past the sinning and into the greater expanse of life.  They will grow and change, as we all grow and change as we live, as healthy cultures grow and change.  

The city of New Orleans, the profane secret of the sacred south, will grow and change its living culture with every new sin committed and every new twinge of guilt felt by residents and tourists alike.  It will build a structure of culture in order to judge its way of doing things, however unconventional in a region known for its conventionality, inevitably good a right.  The city will stand a mirror in which generations of Americans will cast the images of their desire and see their guilt reflected there.  It is an important role among a people raised to fear judgement, for once one has sinned and faced the judgement of God and society, he often finds the harshest judge is himself.

And our struggles with the implications our mistakes will live on in some way in our collective culture, the very framework of our lives defined not by our sins, but by our guilt.

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Rooms

Sometimes, in unguarded moods of drifting attention,

I find my mind wandering through familiar rooms. 

Rooms of varying light, strange geometries, and unremembered features, 

their layouts shifting in the blue haze of half consciousness,

an entire architecture of random synaptic fantasy,

sometimes creating soaring cathedrals of imagination,

their spires landmarks dotting the sprawl of cities 

assembled from half dreams and broken memories,

released when my mind sets about at doing nothing in particular.

If this architecture could be remembered, could be realized and mapped,

I would have the blueprint of the whole world within my head,

a specific geography created not by where I’ve been 

but by what I have seen through the eyes of my being.

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The Bridge Tender

If a restless driver, tired of the crowded city, pining for the open air and fractal edges of nature were to head west from New Orleans on the wide and crowded concrete lanes of the interstate, through the sprawl and into the skeletons of salt water stricken cypress forests, and take the opportunity to turn north along Lake Pontchartrain, he would quickly leave behind the reassuring signs of interstate exit amenities and find himself in a dense and verdant swap.  Only the elevated Interstate 55 cuts through this land, skimming the treetops and following canals speckled here and there by houseboats and the skiffs of fishermen.  After driving about a half hour, any accustomed to the very stimulation they just left behind would find themselves almost thankful to see the sign announcing the imminent exit for a town called Manchac.  Our driver’s relief and excitement at civilization would quickly be quashed when, upon taking the exit, he realized that Manchac is home to nothing but a couple of bars, a boat launch, a few fishing camps and an excellent seafood restaurant.  Most would stop and eat there, sampling Middendorf’s fresh, potato chip like thin fried catfish and move on without noticing the railroad bridge just to the south, crossing the pass between Lake Pontchartrain and Lake Maurepas that gives this wide spot in the road its name.  This bridge is considered so remote that these days it is in fact remotely controlled from a computer in New Orleans, but there has been a bridge here, in some form or another, for a long time.  Decades ago, before Middendorf’s, before the camps, when this was the cypress choked frontier of south Louisiana, it was a swing bridge manned by a lone bridge tender named John.

Coming up on his first anniversary at the bridge, John was, relatively speaking, new at this job.  The old man he’d replaced had laughed at John when he showed up the first day clean shaven with his ironed shirt tucked into his immaculate pants.  The old man had spent 25 years pulling levers in the operator’s house and wore every bit of grime and grizzle across his body one would expect from a quarter century of keeping company with heavy machinery.  “You have to listen,” he said. “Listening is the most important part of the job.  No sleeping.  You can’t hear the whistle when you’re asleep.  If you hear the train whistle, you got to make sure the bridge is closed.  If you hear a boat whistle, you got to make sure there are no trains coming, and open the bridge.”  The distant shriek of a train whistle, he explained, was different from the moan of a boat horn.  He tended to keep the bridge open to let the rafts of logs and barges through into the lake and close only when the whistle of the approaching train sounded.  “You’ve got a lot to learn, kid,” he had said, and John wondered in his head how complicated whistles and levers could really be.  John mastered the levers in an hour, had a grip on the machinery by lunch and felt superior to the aging windbag who seemed to have thought all of this was so complicated.

At the time nothing was around Pass Manchac but fishermen and loggers plying the cypress swamps.  In order to reach the bridge, John awoke before dawn, while his family slept, and caught the morning train in New Orleans as it headed north to Jackson.  As a railroad worker, he rode up front on the locomotive as the train cut through the dense foliage of the swamp, heading further into the humidity. What with all the switches, sidings and traffic in the city, it took two hours to get to the bridge. The train would slow down enough on the south bank of the pass for him to jump off, and after it had passed John would stride from tie to tie for the 500 or so feet to the control house and relieve the night operator, who was usually just making his coffee by the time John walked into the house.  He always said the same thing when he left: “sleep well.” But John never slept.  He was scared to death of missing a whistle.

The first few weeks out in the swamp were easy.  He read many books, brought a picture of his wife and newborn son to set on the little desk and generally enjoyed the peace and quiet.  It was wonderful, he thought, to be out in the middle of the water on your own.  There was no boss to stand over you, no co-workers to appease with small talk.  While having worked as a machinist in the railroad shop he had never shied away from labor, it didn’t hurt him any to spend his days sitting in a chair reading a book.  But John quickly discovered that you can only read for so many 12 hour shifts before the words lose their meaning and begin to dance about on the page.  

He began to catalog and customize the little operator’s house.  In addition to his pictures, he built a tool box and storage shelf out of some old bargeboard that had washed up against the pier one day.  The little house became familiar, it became a home.  He knew every flake of pale green paint, every knot-hole and every ripple in the glass.  Though he was never a church going man, he memorized the Bible verses the old man had painted in his listing, calligraphic hand on the fading grimy walls. He set to work oiling the levers of the machinery and hinges of the squeaky door.  He did all of this without being told, simply to have something to do.  So John would set about his day every day finding chores to do, ways to make himself more comfortable, all the while singing to himself or talking to the item of his attention, just to make the hours between whistles pass.

It wasn’t long before he began to crave a little bit of companionship, and often relished the conversations shouted between the operators house and the men riding the passing rafts of cypress logs.  The rafts would float by like carpets, chained together into one bobbing and tumbling membrane.  The loggers would hop about on the rafts and between barges with an agility John, with his big hands and stocky build, could only dream of. They were a crass group, and the conversation was never very long. He felt like he didn’t even speak the same language as these swamp loggers (in some cases, he really didn’t), but it was something.  He took up fishing and would often cast off the side of the house into the shadowy water by the pier where the fish loved to hide and catch his lunch to cook it on the little sterno can stove in the operator’s house.  He came to realize that the old man meant he had to more to learn than the procedure:  After all the chores were done, the loggers had passed and he couldn’t read another word, he had to learn to listen to his own thoughts.

This started out an easy task. He would spend 15 minutes here and there smiling to himself about his wife or son, reminiscing over the trouble he used to get into with his buddies, or thinking about what he planned to do with the money he was earning.  However, after a few weeks spent plying these mental roads such thoughts became well-worn ruts in his mind as unappealing as the words on the pages of his now neglected books.  He would spend hours staring off into the horizon with random words stuck in his head like songs without melodies, only sound and rhythm.  RAIL-road, the words would sing, RAIL-road.  Funny word really, simple but meaningful.  Not like “seasoning” he thought as he salted a freshly caught redfish, with its implication of the salinity of water at the beginning but also hints of the rotation of the earth, warm weather, cold weather revolutions, why then is the world “seasoning” linked with flavor?  A word outside of the general agreement on its meaning becomes a meaningless sound but for the appropriateness of habit.  Seasoning.  Seasoning.  Seasoning.  And the word would lose all meaning until the whistle sounded.  It was deliverance, a task and purpose as he set to pulling levers here and there to swivel the bridge around to complete the track and reap his reward of social interaction: a sulte for the train crew.

Between the whistles and moans there was the white silence of life in the swamp.  Bugs, buzzing in the thousands echoing the increasing buzz in his head. The gentle smack of dragonflies against the windows sounded the same as the first raindrops of the tropical summer thunderstorms.  He grew used to this noise such that when he was home the clatter of traffic outside of his house would drive him just as insane as the day before the silence had.  At home he would want peace and quiet and at the bridge he would want a noise and stimulation.  This made John feel out of sync with the world, apart from the conductors and engineers on the train, from the loggers joking and pushing each other on the massive rafts.  He had no coworkers but the machinery: he was alone.

When John realized the extent of his solitude, the real trouble started.  He envied the night shift man who just slept with the bridge closed as no one ever really travelled the pass at night.  Even if he wasn’t scared to death of missing the sound of the whistle, during the day it was too hot and bright, and the trains and boats came more frequently so that on his hardest days all he could manage was a quick cat nap here and there.  Something came by just often enough to disturb any serious rest.  When he slipped away into a trance he would suddenly jump to attention at the dreamed sound of an approaching horn.  This became a frequent occurrence as he found himself closing the bridge for trains that never arrived only to open it for boats that failed to come over the horizon.  The silence now made him dizzy.  

To combat this growing unease, John began to keep a journal.  This worked well for a few months as he found time and cause to muse on everything from politics to religion and philosophy.  However, this object of intense focus eventually fell prey to the blank noise of the swamp, too.  One day looking back through the pages of the journal John realized that for a week and a half all he had been doing was cataloging the sounds of the swamp, one by one, as if by meditating on each individual component of the characterless whole he could break the hold of the noise on his brain.

An unoccupied mind is fertile ground for all sorts of troubling questions, and in the void hollowed out by the noise of the swamp John began to ruminate on the strange patterns his life had taken. “Open” and “closed” became his sunrise and sunset, his days but hours long and populated by the forced routine of rail and water traffic. By the time the sun was at its apex, when everything that needed to be oiled was oiled, when every knob had been cleaned and polished, John had already aged three days in bridge time, and it began to show.  He grew restless with the routine, with the lack of stimulation and grew to regard the little operators house as a prison.  From this Alcatraz in the swamp he contemplated whether or not he was serving a life sentence.  Was there parole from this place?  These thoughts led him back to his family, whose insatiable need for money was were keeping him here in this stuffy fading room surrounded by machinery and infused with grease.  Why did he continue on in this place when it fostered such resentment of those he thought he loved?

Thus discontent was as inevitable as restlessness, and John’s thoughts began to follow the only thing within sight that promised a direction to his aimless existence languishing by the bridge: the rails.  Everything else meandered without purpose.  From the course of the dragonflies to the shoreline to the rafts of logs, everything but the rails wandered without aim, bumping against obstacles and careening through the fluid that surrounded them.  He identified with their hopeless course headed nowhere.  He was stuck flying spirals in the fluid of time.  John spent hours now staring down the rails, not looking for a train, but trying to see the end of the rails, trying to plot a course away from his existence as a bridge tender.  It was a bit like trying to look into the future, like trying to divine his purpose by sighting some station in the humid distance.  Out there, he felt, was where he belonged, finding his future, not here in this room wasting away in routine.  The rails held a promise even his family lacked.  The rails were possibility.  And he found himself looking north, away from home.

One bright fall day the heat broke and brought with it the kind of clear air that makes you feel like you can be decisive.  It was a slow day in the pass, and the afternoon train from the North was late.  John had been staring in its direction for hours, finding new patterns, clear for once, not shimmering, in the stillness of the cool air.  He kept thinking that he could see the train there, in the distance; he was sure of it. To get a clearer view and enjoy the air, he closed the bridge and stepped out of the house onto the rails.  The water flowed by quietly between the rails under his feet and the bugs had all died off.  Everything was just so clear it was amazing that he couldn’t see the train.  So he walked to the end of the bridge, looking all the while to the north, expecting to see the train, but it was not there.  John, curious now at how the train could be this late kept walking, thinking if he walked to the next bend in the track, some mile away, he was sure to see the train on the other side.  He walked and walked and didn’t see the train, but something, perhaps dread, kept him from going back to his bridge-prison.  He kept walking north, he kept looking for the train.

By the time that night fell John was in unfamiliar territory, but he was unafraid.  He just kept walking, pulled north along the rails as if by a giant magnet.  He stopped looking for the train, concentrating now on the parallel rails.  And it was the rails that pulled him away from home, away from what he knew, and off, into his uncertain future among the web of steel that crisscrosses not just swampland, but a land of fields and mountains, coasts and deserts, great plains and lakes, land whole and interesting, open and forever new.

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David Mitchell – Cloud Atlas

I first read Cloud Atlas years ago.  This was back when my tastes in literature were in their infancy, and it was partially due to this book that I came to realize all that was possible in a story.  Cloud Atlas taught me that the stories we tell can be more than just fictional journalism, that within true literature lay art. And that art tells us something more than what it merely appears to state.  The difference between a simple story and literary art resides in the ambition of the author, and Cloud Atlas, a single thread of narrative wound through six different times, places, plots, characters and styles, could not be more ambitious.

The book begins simply enough, in the form of a journal, but 200 pages and several thousand years later it has morphed from a journal to a series of letters, a book, a movie, a hologram and ultimately to an oral telling. The settings of each section of the story are mirrored in their medium and genre of storytelling. Spectacularly, each story is contained within the previous, from the beginning chapter to the sixth, and then back from the sixth to the first, like disassembling and reassembling a set of Matryoshka dolls.

Enough though about the structure, it is a beautiful thing to behold, for sure, and makes the book a true pleasure to dive into and its pages a fascinating habitat for the reader, but there is more to any good story than its structure.  Each sub-story of Cloud Atlas stands on its own, populated with very real struggle and excellent storytelling.  Within each story lay not only allusions to other places and other times but allusions to the way we live as human beings. Some human beings are good, some are bad, most just reacting to circumstances beyond our control.  Judgement, it seems, lay beyond actions but in the impacts of those actions which stretch beyond what we can anticipate.

Ultimately, the human experience is one that lay almost entirely in the grey area between what society teaches us is “right” and “wrong”.  In fact, on closer inspection, the very human edifices which claim to define right and wrong seem to inhabit this grey area most precariously.  Cloud Atlas suggests that human beings create right and wrong then adapt to it, that morality is a fluid construction subject not only to the advancement of thought but the luxury of the times.  It is easy to claim right and wrong from a position of security, but when that security is threatened morality often becomes prey to the more pressing questions of survival.  We are, after all, but a species of animal, subject to the same Darwinian caveats as the greatest ape and smallest bacteria.  

Cloud Atlas paints a picture of humanity which indicates that despite our advanced status and complicated brains, both our real virtue and eventual undoing is our animal roots.  We are as a species stuck in a struggle of survival between the ambitions of our higher brains and the necessities of our lower brains, and when push comes to shove our lower brains often triumph. The same ambitions and the same drive for survival which allows us to adapt and thrive across the globe in every imaginable habitat will eventually drive us to our own demise and rebirth.  

Which leads us to the most essential question of human existence is posed in these pages: what happens when we die?  The answer that can be inferred from Cloud Atlas is decidedly Buddhist. We are all souls trapped in Samsara, to be born and reborn tracing our paths across the greater events of time, which is but the medium of our journey, like clouds of vapor floating across the sky, the story of our souls but an atlas of clouds.

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Laszlo Krasznahorkai – The Melancholy of Resistance

So how does one go about describing, muchless reviewing a novel titled The Melancholy of Resistance? The task becomes ever more difficult when the author of said novel is none other than acclaimed sentence-smith Laszlo Krasznahorkai.  Here goes anyway: The Melancholy of Resistance is the kind of book writers just don’t seem to be making much of anymore.  The blurbs on the cover of the book use words steeped in the language of the apocalypse, and it is not inappropriate, for the book follows the arc of a universe deteriorating from order to disorder.  The story begins in the sinister terms of a late train on a cold night, a lone woman and her irrationally wild fears.  It becomes rapidly clear that the world of this book is exactly as sinister as this woman fears.  There is something desperately wrong as she avoids drunks on a rickety train and walks home from the station through trash strewn streets under blacked out lamps, her steps dogged by strangers and strange occurrences before she finally arrives at the comfort of her home.  It is her son we follow for the rest of the story.

His name is Valuska, and he doesn’t appear to be very bright.  Obsessed with the musical dance of the cosmos, he is disowned by his mother and is the laughingstock of the village, befriended only by the reclusive Mr. Esther, obsessed in his own way with the orderly dance of music.  The two of them turn out to be the only sane people in the village, for a carnival advertising the biggest whale in the world has arrived and with it legions of mysterious followers who have encamped around the giant, rickety truck, but there is someone else with the carnival, and he appears to possess the power to incite great disorder and violence among his followers.  This violence besieges the town and offers an opportunity for the Machiavellian Mrs. Esther to rise to power.

But this plot is merely a strange, engrossing vehicle for Krasznahorkai’s beautiful language.  In fact, the fall from order to disorder seems an ideally suited subject for a man whose sentences contain clauses and asides within clauses and asides, his language being both orderly and chaotic at the same time.  The breathless cadence of the writing follows Valuska and the Esthers through the violence and disorder, into the land of senselessness.  The reader is carried along with the village, almost against his will, through the nightmare the carnival has wrought.

Ultimately, what does this story mean?  Does Krasznahorkai intend to suggest that we are all on the brink of chaos, that though we may stare upward into the clean ballet of the cosmos, the moon circling the earth circling the sun circling in the galaxy circling, it is not the cosmos we should concern ourselves with? The village in The Melancholy of Resistance was falling apart long before the arrival of the carnival, perhaps in this lay the key to the story.  The world in which we live is orderly provided one does not take into account the actions of man.  In The Melancholy of Resistance it is the violence and destruction wrought by men and not natural forces which push the already deteriorating town over the edge.  

The fears and the whims of mankind drive most forces we find ourselves up against, and though we may resist those forces, ultimately even our resistance becomes a part of the mess.  In our efforts to control and resist chaos we have in the past given rise to fascism and lost the very freedoms we feared losing in the first place.  Mankind, it seems, is doomed to struggle against forces within and without, to struggle for peace and freedom, for sense and order, in the face of certain compromise either way, we all, to borrow the phrase, live with the melancholy of resistance.

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My People

I hate to be amongst
beautiful people
and clean faces
or otherwise untrammelled
countenances unfallen.
More my style
are the beaten
and the weathered
for they remind me
of my privilege
rather than my misfortune.

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Wells Tower – Everything Ravaged, Everything Burned

There are at least as many different Americas as there are Americans.  Each of us forms a country we choose to see, some focusing on the good, some on the bad, others on the weird or the normal.  Inevitably we create a personal mix of what we’ve noticed, combining our influences, memories and views resulting in our mental image of America. In Everything Ravaged, Everything Burned, Wells Tower has created a perfect depiction of his America.  Wells Tower’s America is far from ideal, personal conflicts run deep and everything is on the verge of falling apart physically and emotionally.

Everything Ravaged, Everything Burned is a dark book which leaves a somewhat sticky, grimy feeling in its wake, but given the skill with which the stories within are paced and peopled, it is doubtful that this is an unintended consequence. The title is apt: the people and places in this book are normal on the surface, but just give it a few pages and the world in the story turns into a wasteland of regret and fear, missed opportunities and mistakes.  From Middle America to the Viking age, It is a ravaged world, burned (or burning) to the ground.

As depressing as this can be, it’s a terribly accurate depiction of a solipsistic country spending much of its available time creating then extracting itself from trouble.  The characters of this book do not think of the world outside themselves, of consequences beyond tomorrow.  Whether or not America is populated by such people is irrelevant: we aren’t reading a history book or guide book, this is fiction.  The point is to paint a picture, and it just so happens that Wells Tower’s picture seems frighteningly familiar.

What is so familiar about this picture?  It is not, as it would be easy to suggest, an attempt to pass judgement on others, to imply that these are the kinds of people out in the world. Rather, Everything Ravaged, Everything Burned is so powerful because it speaks to the elements inside the reader which are less than comfortable to acknowledge.  We all have parts of our character that are stubborn, liars, cheats and failures.  Much like a country is made up of the varied character of its people, so too are our characters made up of the varied qualities of our personalities.  

Everything Ravaged, Everything Burned is a portrait of a people turned inward.  This America is similar to the America I see when I watch the news or read the papers, but it’s much more enjoyable to discover.  The difference between being told how the country is and discovering for yourself is obvious.  While it may be most productive to take a year off and wander the back roads of America actually meeting and getting to know Americans, with all their foibles, fears and contradictions, the next best thing might just be to read a book like Everything Ravaged, Everything Burned because it explains so plainly and eloquently the internal struggles which result in the trials and triumphs we see today.

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Jeffrey Eugenides – The Marriage Plot

It is always a good sign when a book starts out talking about books.  Hell, just look at the first line of The Marriage Plot:

“To start with, look at all the books.”

It might just be the perfect opening line for a serious reader because they know at some level at least they can identify with this book.  It goes on from there to map out a love triangle as conventional on the surface as it is unconventional at greater depths.  The arc of this book loosely (and openly) follows the Victorian marriage plot.  The story centers around Madeline, a voracious consumer of Victorian literature stranded at college in the midst of the post-post-modern upheaval of early 1980’s literary academia.  She’s in love with Leonard, a well loved but poorly understood bipolar biologist.  He’s in love with her too, to a point, but is ultimately and touchingly, ruled by the whims of his sickness and the associated treatment. Mitchell, on the other hand, is madly in love with Madeline despite her continual rebuffs of his clumsy advances.  

Every central character in The Marriage Plot, as a recent college graduate, is struggling against the looming spectre of the future.  They have been swept up by the intoxication of learning new ideas without the sense to place the new ideas in some sort of context which could provide gainful employment. Madeline majored in English, Leonard struggles against the boring reality of experimental biology (and his illness, always his illness) and Mitchell, a religious studies major, floats around the world in a fashion that can only be interpreted to be some kind of search for spiritual truth.  This is not a book about the old and wise, it is an excellent depiction of what it is to be young and foolish, to think you know exactly what you want without actually having any idea what you are even talking about.

Ostensibly Madeline, at the peak of the triangle, is the main character, but often the pages depicting Leonard’s struggle with bipolar disorder or Mitchell’s struggles with his spirituality steal the show.  Leonard, a couple of breakdowns into their relationship, fights daily with the side effects of his medication, which makes him almost as miserable as his disease.  Mitchell on the other hand spends months wondering the globe, eventually embarrassing himself by abandoning his volunteer work at Mother Theresa’s hospice in Calcutta.  Meanwhile Madeline just moves forward, because she is the mirror, the conception of “normal” in this book which sets the tone for the rather more exceptional struggles of Leonard and Mitchell.  Madeline often seems preoccupied with the little questions of life, what to eat, who to love, what to do, where to work, while the two men in her life struggle with giant gnawing doubts about themselves and the world around them.

It is these big doubts that make the greatest story, that make The Marriage Plot a book worth reading.  None of the obstacles faced by Madeline, Leonard, or Mitchell are exceptional, but the way in which they each deal with the terrifying prospect of an independent future makes for terrific reading.  These struggles are so life-like, and for anyone who has ever made the transition from college to reality, they will seem quite familiar.

Ultimately The Marriage Plot is a book about books and book learning versus life learning.  It’s about learning new ideas and those ideas changing who you are and what you want at a time in your life when everything seems mutable and in flux.  The Marriage Plot is a coming of age story, a bildungsroman of three young people.  It was a pleasure to watch them learn and change over the course of these pages, and, upon turning the last page over and shutting the back cover with its satisfying thump, it is not difficult to spend at least a few minutes of rumination over what will become of these young people.  Then it strikes you that, if the book’s timeline were to merge with our own, and if it were taken as biography rather than fiction, Madeline, Leonard and Mitchell would be in their 50’s now, the experiences in this book but a footnote to much fuller lives.  They would have continued their growth and focused their efforts and each become more than the person they were in their 20’s, like most people do.  It is common to lament one’s college years, but only because time blunts the trauma of the college age transition, and The Marriage Plot is a wonderful depiction of that time and place in life.  And reminders of time and place in life is pretty much why we read in the first place.

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