tag:blogger.com,1999:blog-36150904861756446582024-03-19T02:47:05.315-07:00A Walker in the City: Writings by Peter AnastasPeter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.comBlogger108125tag:blogger.com,1999:blog-3615090486175644658.post-62691744675439606812019-12-28T08:04:00.002-08:002019-12-28T11:19:34.102-08:00Peter Anastas, the Gloucester writer and activist, passed away quietly at 1:45am on December 27, 2019. <i>The Gloucester Daily Times </i>ran<a href="https://www.gloucestertimes.com/news/local_news/a-life-well-lived-in-the-city-he-loved/article_4ef0663e-2179-5b6c-a476-f16e4cec08f1.html"> this feature</a> on Saturday, December 28, and there will also be an obituary.<br />
<br />
We will be posting more information about his memorial service this summer as plans develop. All friends and family will be welcome. <br />
<br />Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-69849239493683410622019-05-09T14:51:00.000-07:002019-05-22T13:23:13.987-07:00Jack Kerouac's The Haunted Life<!--[if !mso]>
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<b><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Jack Kerouac’s <i style="mso-bidi-font-style: normal;">The Haunted Life</i> at the Merrimack
Repertory Theatre</span></b></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Peter Anastas</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">“But we haven’t <i style="mso-bidi-font-style: normal;">lived</i>.<span style="mso-spacerun: yes;">
</span>We have only thought.”</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">--Jack Kerouac, <i style="mso-bidi-font-style: normal;">The Haunted Life</i></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Lowell, MA—A singular event in
Beat history is taking place in Jack Kerouac’s home town.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The Merrimack Repertory Theatre has, since March 20, been
staging to great acclaim a dramatization of Kerouac’s long lost novel, <i style="mso-bidi-font-style: normal;">The Haunted Life.</i><span style="mso-spacerun: yes;"> </span>The production will run until April 14,
2019.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Written by Sean Daniels, the company’s outgoing artistic director,
and co-directed by Daniels and christopher oscar pena [sic], the play is based
on Kerouac’s second novel, believed by Kerouac to have been lost in a New York
taxi cab shortly after it was written, in 1944.<span style="mso-spacerun: yes;">
</span>As it turns out, Kerouac actually left his only copy of the hand-written
manuscript in the closet of Allen Ginsberg’s dormitory room at Columbia.<span style="mso-spacerun: yes;"> </span>Discovered later, and held in private hands
until 2002, the manuscript re-surfaced in a Sotheby’s auction catalogue in New
York, where it eventually sold to an unnamed buyer for $95,600, according to U-Mass
Lowell English professor Tod Tietchen, who edited the novel for publication in
the US by Da Capo Press, in 2014.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The novel, as published, is a nearly 100 page integral
text, meant by Kerouac to be the first section of a longer novel that was never
completed. Instead, Kerouac went on to write his first published novel,<i style="mso-bidi-font-style: normal;"> The Town and the City </i>(1950)<i style="mso-bidi-font-style: normal;">, </i>in which the story of the Martin
family, begun in <i style="mso-bidi-font-style: normal;">The Haunted Life</i> and
based on Kerouac’s own French Canadian family, is given fuller treatment.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>What is so important about <i style="mso-bidi-font-style: normal;">The Haunted Life</i> for an understanding of Kerouac’s <i style="mso-bidi-font-style: normal;">oeuvre</i>, is that in this early manuscript
nearly all of the major themes of the work to come are present—the yearning to
move, to travel, to be on the road; the tension between Kerouac’s attachment to
his family and home town and his desire to free himself from both; and his
desire for important intimacy in conflict with his need to set all
entanglements aside in order to write.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There is also Kerouac’s incredible sense of
place: the Lowell streets on summer nights, talk from neighborhood porches,
trees shaking in soft breezes, and the silence followed by the thunk of bat on
ball from nearby ballgames.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The novel—and the play—focus on Peter Martin, Kerouac’s
stand-in, and his family.<span style="mso-spacerun: yes;"> </span>Peter is home
for the summer after his first year at Boston College, where he has
matriculated with the help of a track scholarship.<span style="mso-spacerun: yes;"> </span>Peter reads Thomas Wolfe, William Saroyan,
and the proletarian novelist Albert Halper.<span style="mso-spacerun: yes;">
</span>He reconnects with his high school love Eleanor; and he and his best
friend Garabed, based on Kerouac’s friend Sebastian Sampas, talk about the
books they will write and the travels they will embark upon around the world.<span style="mso-spacerun: yes;"> </span>What neither of them know, as they walk the
streets of Lowell until dawn, is that Garabed will eventually be killed in
action on the beach at Anzio in the Second World War.<span style="mso-spacerun: yes;"> </span>It is a loss that Kerouac will never fully
recover from.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Peter is compelled to listen to his father, a Trump-like
figure and owner of a failing print shop, who attacks the immigrants who’ve come
to Lowell as degenerates that are destroying the city.<span style="mso-spacerun: yes;"> </span>The father’s virulent racism, as war rages in
Europe and will soon involve America, increases Peter’s sense of feeling
haunted.<span style="mso-spacerun: yes;"> </span>He is haunted by the books he
wants to write, the places he hopes to visit, the sex he yearns to experience, and
the call of big cities like New York.<span style="mso-spacerun: yes;">
</span>What haunts him equally is the possibility of joining the Merchant
Marines, which he and Garabed talk excitedly about, along with the war itself,
which his friend Dick Sheffield urges Peter to participate in by enlisting in
the army (Peter will later be haunted by Sheffield’s death).<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">As Peter
recollects:</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>“This
was the last of his magnificent summers… Something grave and perhaps terrible
was impending, the war maybe, or some violent change in the structure of his
[Lowell] world.”</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The novel leaves Peter with his personal issues and the
pressures on him unresolved.<span style="mso-spacerun: yes;"> </span>What writer
and co-director Daniels have been able to achieve by the use of Kerouac’s
writings about his novel-in-progress, including an existing outline for its
completion and correspondence made available by the Sampas family of Lowell, is
a play that transforms an intimate yet incomplete novel into a vibrant play.<span style="mso-spacerun: yes;"> </span>Daniels has also been able skillfully to incorporate
Kerouac’s lyrical descriptions of life in pre-war in Lowell, along with much of
the narrative itself into the dialogue of the play and the directly spoken
thoughts of the characters that connect the viewer with the time and place of
the drama:</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>“Soon
it would be summertime dusk.<span style="mso-spacerun: yes;"> </span>Voices
below rose softly in the air. A tender shroud was being lowered on his life.
With the darkness and the smell and feel of it would come the sounds of the
suburban American summer’s night—the tinkle of soft drinks, the squeaking of
hammocks, the screened-in voices on dark porches, the radio’s staccato
enthusiasm, a dog barking, a boy’s special nighttime cry, and the cool swishing
sound of the trees: a music sweeter than anything else in the world.”</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Daniels’
<i style="mso-bidi-font-style: normal;">The Haunted Life</i> is staged in two
acts. The setting consists of a backdrop of windows that appear to represent
the windows of the tenements Kerouac grew up in, or the mills and factories of Lowell, which Kerouac himself
described as “eyes” looking out on the world and through which the workers of
Lowell peered daily.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In keeping with the MRT’s reputation for world-class
theatre, each of the actors has worked regionally as well as nationally, and
many internationally.<span style="mso-spacerun: yes;"> </span>Their resumes,
described in the play’s attractive program, are impressive.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Peter
Martin is played by Raviv Ullman, who not only looks like the young Kerouac but
speaks as he must have.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Joel Colodner plays Peter’s father Joe, gruff
and opinionated but with a tender side.<span style="mso-spacerun: yes;">
</span>Peter’s long-suffering mother is portrayed by Tina Fabrique. <span style="mso-spacerun: yes;"> </span>Vichet Chum is precisely how one might imagine
Garabed to be while reading the novel; and Caroline Neff is an ideal Eleanor,
who loves Peter but learns to protect herself from his conflicted and wandering
spirit.<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Kerouac
is in good company at the Merrimack Repertory Theatre.<span style="mso-spacerun: yes;"> </span>Founded in 1969, this versatile company has
mounted prize winning productions of <i style="mso-bidi-font-style: normal;">Waiting
for Godot, Hamlet</i>, Harold Pinter’s <i style="mso-bidi-font-style: normal;">Homecoming,
</i>Marsha Norman’s ‘<i style="mso-bidi-font-style: normal;">Night Mother</i>,
canonical plays by Eugene O’Neill, Tennessee Williams, and Arthur Miller,<i style="mso-bidi-font-style: normal;"> </i>and a host of exciting plays by new
writers.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In recent years, the theatre has held a staged reading of
Kerouac’s only play, <i style="mso-bidi-font-style: normal;">The Beat Generation</i>,
the script of which was discovered in a New Jersey warehouse, in 2005<i style="mso-bidi-font-style: normal;">, </i>and a full production of Kerouac’s
bittersweet Lowell novel<i style="mso-bidi-font-style: normal;">, Maggie</i> <i style="mso-bidi-font-style: normal;">Cassidy. </i><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>But all the stops were pulled out for the MRT’s stunning
production of <i style="mso-bidi-font-style: normal;">The Haunted Life, </i>created
in collaboration with Jim Sampas and the Estate of Jack Kerouac.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>One
came away from the play with a sense that Kerouac had been given both the
attention and the respect due him and his work by his hometown.<span style="mso-spacerun: yes;"> </span>You could enjoy the play without ever having
read a word of Kerouac.<span style="mso-spacerun: yes;"> </span>This would not
prevent you from feeling in awe of the writer’s early struggles to become one
of America’s most original novelists, in the face of family strife, impending
war, and the attractions of the new bohemia emerging in New York and San
Francisco. <span style="mso-spacerun: yes;"> </span>If you had read Kerouac and
knew him through his books and the numerous biographies that tell his story, you
would emerge<i style="mso-bidi-font-style: normal;"> </i>from the play with an
even deeper understanding of how seriously Kerouac lived his writerly
vocation.<span style="mso-spacerun: yes;"> </span>The seeds of everything Jack
Kerouac would become may be found in both the novel and the play.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>But in the play we participate in ways
that only a beautifully made and staged drama can make us <i style="mso-bidi-font-style: normal;">see</i> and <i style="mso-bidi-font-style: normal;">feel</i> what the
words on the page open us to: the pathos of a major writer’s life.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">(This review appears in the
Spring 2019 issue of <i style="mso-bidi-font-style: normal;">Beat Scene</i>, UK)</span></div>
<div class="MsoNormal" style="line-height: normal;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span></b><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com2tag:blogger.com,1999:blog-3615090486175644658.post-85423967735151305592019-04-16T08:18:00.001-07:002019-04-19T13:57:56.723-07:00Stamford '76<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 115%;">Stamford
’76: A True Story of Murder, Corruption, Race and Feminism in the 1970s,</span></b><span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 115%;"> by
JoeAnn Hart (U. of Iowa Press, 2019)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 115%;">Peter Anastas</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 16.0pt;">“A black
drug dealer almost certainly killed his white girlfriend, then got killed
himself by a police officer during an armed robbery.<span style="mso-spacerun: yes;"> </span>What could I possibly hope to accomplish by
writing that story?<span style="mso-spacerun: yes;"> </span>Nothing. I had to
shape meaning out of what seemed be to meaningless violence.”</span></i></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt;"><span style="mso-tab-count: 7;"> </span>--JoeAnn
Hart, <i style="mso-bidi-font-style: normal;">Stamford ‘76</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">Among a
writer’s books there are those that come to us naturally.<span style="mso-spacerun: yes;"> </span>But almost always there is another kind of
book. It is not the book we write, but the book that writes us.<span style="mso-spacerun: yes;"> </span>We may be at the keyboard or with pen in
hand, but there is another force driving us to put down words on a page. It may
be a voice from the past urging us on, or the pressure of a traumatic event,
the outlines of which are still unclear.<span style="mso-spacerun: yes;">
</span>It may be a story we have long wanted to tell, if only we could find a
way to tell it, or we could discover certain details that have remained hidden
or even unknown to us.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">When we
do tell this story, we often discover that it is a story as much about
ourselves as its elusive subject or characters.<span style="mso-spacerun: yes;"> </span>Often we find out that we are trying to learn
more about who we were at the time of the story and, as a consequence of the
telling, who we are now—who we have become.<span style="mso-spacerun: yes;">
</span>Hence, we are written as we write.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">This is
one of the themes of Gloucester writer JoeAnn Hart’s stunning new book, <i style="mso-bidi-font-style: normal;">Stamford ’76</i>, published in April by the University
of Iowa Press.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">It is a
book that works on many levels.<span style="mso-spacerun: yes;"> </span>As
memoir, Hart is writing about herself and her nuclear family in the context of
an interracial relationship she embarked on after dropping out of college in 1975,
at the age of 18, and moving to Stamford, Connecticut, where she found work in
bars and restaurants, and eventually in a bank.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">Stamford ’76</span></i><span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;"> can
also be read as a true crime story.<span style="mso-spacerun: yes;"> </span>Hart
and her black lover Joe Louis were friends with another interracial couple, both
of whom died violent deaths.<span style="mso-spacerun: yes;"> </span>The white
woman, 24 year old Margo Olson, was found in a shallow grave in an abandoned
potter’s field in Stamford, her heart pierced by a steel arrowhead.<span style="mso-spacerun: yes;"> </span>Her partner Howie, who may have killed her,
died at the hands of police during a botched liquor store robbery.<span style="mso-spacerun: yes;"> </span>The circumstances of their deaths remained a
mystery that haunted Hart for decades.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">As Hart
writes: “Leaving behind the memory of Margo had meant forgetting parts of
myself, and I needed that eighteen-year-old by my side as I faced the challenge
of getting three children through their teenage years.<span style="mso-spacerun: yes;"> </span>I wanted to gain some wisdom from that girl,
who was both reckless and brave to a fault, and to do that I had to open the
box marked Fragile.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">“In
that box,” Hart continues, “nestled along with all my stored emotion, was a
three-pronged mission, (1) figure out what had happened to Margo, (2), remember
what had been going on with me, and (3) try to understand why her death made me
so wary, for so long.”</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">This,
then, is the thrust of a narrative that is as revealing as it is riveting.<span style="mso-spacerun: yes;"> </span>It is here that Hart employs her superb
investigative skills in attempting to solve the question of Margo’s death as a “study
in silence,” and the abandonment of her body in a makeshift grave.<span style="mso-spacerun: yes;"> </span>Here, also, she uncovers the couples’
entanglement with drug dealing and organized crime. Equally, Hart unearths a
parallel story whose outlines were unclear to her at the time of her
involvement with Margo and Howie.<span style="mso-spacerun: yes;"> </span>And
that is the story of the growing presence of organized crime in Stamford, aided
and abetted by the local Democratic Party establishment and the participation in
criminal activities of certain key members of the Stamford police force,
including the drug trafficking that led to the deaths of Margo and Howie.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">Having
published two novels (<i style="mso-bidi-font-style: normal;">Addled</i>, 2007,
and <i style="mso-bidi-font-style: normal;">Float</i>, 2013), along with numerous
essays, short stories, and works of journalism, Hart is an accomplished writer of fiction and
non-fiction. Everywhere in the narrative one experiences Hart’s novelist’s eye
for detail, which helps to give the book its powerful sense of immediacy.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">Hart’s story
also has social and political implications.<span style="mso-spacerun: yes;">
</span>At the time of the events described (and during the country’s
Bi-Centennial Celebrations), Stamford was undergoing extensive Urban Renewal,
so that the city could lure major corporations out of the nearby crumbling New
York City.<span style="mso-spacerun: yes;"> </span>In order to achieve this,
blacks and other minorities had to be pushed out of neighborhoods that had long
been theirs to make way for the high tax payers.<span style="mso-spacerun: yes;"> </span>As a consequence, race relations, strained during
the civil rights struggles of the 1960s, worsened, housing problems escalated,
and Stamford became a more problematic city to live and work in, as it turned “whiter
by the hour,” as Hart describes it.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">Some of
this Hart learned while living and working in the city and involved with Joe
Louis, his family, and his friends, including Howie and Margo.<span style="mso-spacerun: yes;"> </span>There is a particularly affecting picture of
Joe’s jazz and gospel singer mother Georgia, with whom Hart remained close even
after Joe’s death.<span style="mso-spacerun: yes;"> </span>Though Joe had
graduated from Columbia, much of his income came from gambling, drug dealing
and flipping used cars.<span style="mso-spacerun: yes;"> </span>He also ran unsuccessfully
for public office.<span style="mso-spacerun: yes;"> </span>As a consequence,
Hart’s paychecks kept their often unstable living situations afloat.<span style="mso-spacerun: yes;"> </span>Joe also became an increasingly heavy drinker.<span style="mso-spacerun: yes;"> </span>A significant part of the narrative involves
Hart’s attempts to come into her own as a person and a woman under the aegis of
second-wave feminism, while trying to remain in a committed relationship.<span style="mso-spacerun: yes;"> </span>Though Joe did not readily speak about it,
the couple remained haunted by the deaths of Howie and Margo.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">After
the couple finally separated and Hart was living in Colorado, about to meet the
man she eventually married, the story of Margo and Howie continued to affect
her.<span style="mso-spacerun: yes;"> </span>Her search for clues about their
deaths, particularly Margo’s, as Hart traveled back to Stamford during the
intervening years, searching through police records and the archives of the
Stamford <i style="mso-bidi-font-style: normal;">Advocate</i>, tracking down
people to speak with, and eventually writing about the case and her life in
Stamford, constitutes one of the most dramatic dimensions of a book that will
keep readers in suspense.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">In the
end, after all of her careful research and brilliant detective work, Hart
returns to the potter’s field where Margo’s body had been found by
picnickers.<span style="mso-spacerun: yes;"> </span>It is there that she finally
experiences a sense of closure.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 200%;">“I had
found Margo and with her, my younger self,” Hart concludes.<span style="mso-spacerun: yes;"> </span>But in the process of this act of recovery, readers
have shared the journey of a writer, who is as unrelenting in her pursuit of
self-knowledge as she is redemptive of her lost friends, who, in part, enabled
that important discovery.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt;">_______________</span></div>
<span style="font-family: "cambria" , "serif"; font-size: 16.0pt; line-height: 115%;">JoeAnn
Hart will be reading locally from <i style="mso-bidi-font-style: normal;">Stamford
’76</i> at the Gloucester Lyceum, on April 18, from 7 to 9 p.m. and at the
Gloucester Writers Center (Rocky Neck Cultural Center), on May 22, from 7:30 to
9 p.m. with discussion </span>Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-13453770669611316482018-10-12T08:30:00.000-07:002018-10-12T08:30:06.600-07:00An Open Map<div class="separator" style="clear: both; text-align: center;">
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<![endif]--><span style="font-family: "Cambria","serif"; font-size: 12.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">(<i>Peter Anastas and
Vincent Ferrini at Charles Olson’s apartment, 28 Fort Square, Gloucester,
January 1970; photograph by Charles Lowe, <span style="mso-bidi-font-style: normal;">Gloucester
Daily Times, </span>from the archives of the Cape Ann Museum)</i></span>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">An Open Map: The Correspondence of Robert
Duncan and Charles Olson</span></b>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Robert Berthholf
(Editor), Dale M. Smith (Editor), UNM Press, 2017.</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Peter Anastas</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">“We also knew Olson as a
secret spy of all the Gods in disguise.<span style="mso-spacerun: yes;">
</span>Walking around Gloucester as a big man in sloppy pants; hanging around
the bars; talking to the fishermen; shuffling around in the registry of deeds;
looking at old court records to find out who first stole the land from the
Indians; how much they got when they resold the land; and how the new owners
abused the land, subdivided it, killed the Indians and the animals; and how
their descendants continued exploiting their stolen property, and turned it
into inhuman plastic.”</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">--Allen Ginsberg, at Charles Olson’s funeral, January 13, 1970,
Gloucester, Massachusetts</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">I
read my first poem by Charles Olson in the pages of Vincent Ferrini’s magazine <i style="mso-bidi-font-style: normal;">Four Winds</i> as a high school student
during the summer of 1952.<i style="mso-bidi-font-style: normal;"> </i><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But I
came much later to Robert Duncan.<span style="mso-spacerun: yes;"> </span>In
college the Beats were my poets—Ginsberg, Corso, di Prima.<span style="mso-spacerun: yes;"> </span>When I returned from Europe in 1962, Duncan’s
name was prominent during nightly conversations at Olson’s 28 Fort Square
dinner table.<span style="mso-spacerun: yes;"> </span>Those who gathered to
discuss everything from James Joyce to JFK were expected to have read poets
like Irving Layton and Drummond Hadley, whose names often entered the talk that
usually began after Olson emerged from his bedroom at the dinner hour and
continued until early morning, when the whiskey had been exhausted and Olson
excused himself to spend the remainder of the night writing.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Don
Allen’s <i style="mso-bidi-font-style: normal;">The New American Poetry</i>, was
published in 1960.<span style="mso-spacerun: yes;"> </span>This seminal
authority became the handbook for an understanding of what had been written by
the Beat, Black Mountain and other vanguard poets, who replaced the academic
poets of the 1950s, like Lowell and Snodgrass, whom our teachers had without
success been urging us to read.<span style="mso-spacerun: yes;"> </span>If it
wasn’t Ginsberg, McClure or O’Hara, whose incendiary work came to us in the <i style="mso-bidi-font-style: normal;">Evergreen Review, </i>it was their
progenitors Pound and Williams, who excited us.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">I
had not read Duncan’s poetry until that time, though I ought to have
encountered it in the <i style="mso-bidi-font-style: normal;">Evergreen Review</i>,
or in Cid Corman’s <i style="mso-bidi-font-style: normal;">Origin</i>, which I had
been given by Vincent Ferrini, one of the stalwarts at Olson’s table.<span style="mso-spacerun: yes;"> </span>Nevertheless, it was Olson’s mention of
Duncan as though he were among us, and his reading to us from Duncan’s letters
as soon as Don Whynott, the letter carrier, delivered them to the door of
Olson’s second-floor apartment, that sent me back to Allen’s indispensable
anthology, and hence to Duncan’s masterful <i style="mso-bidi-font-style: normal;">The
Opening of the Field, </i>which appeared in 1960, the same year that Olson’s <i style="mso-bidi-font-style: normal;">The Distances</i> was published, both by
Barney Rosset’s Grove Press.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Though
Olson carried on important correspondences in those years (1957-1969) after he
returned home from Black Mountain—his longest with Creeley and Frances
Boldereff, and a briefer but no less crucial one with avant-garde filmmaker
Stan Brakhage—his exchange of letters with Duncan, that began on September 9,
1947 and ended with the older poet’s death, on January 10, 1970, seemed of
paramount importance.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">“Charles
is just like I am,” Duncan once said of his fellow poet.<span style="mso-spacerun: yes;"> </span>“He sits around and reads all day.”<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>No one
read as much and as deeply as Olson, except possibly for Gerrit Lansing, who
left a library of over 20,000 volumes.<span style="mso-spacerun: yes;">
</span>But Olson, who’d worked as a letter carrier in his adopted city (“people
want delivery”), was equally a writer of letters.<span style="mso-spacerun: yes;"> </span>“Don’t hesitate to use the mails,” Olson
often exhorted friends blearily on their way out of his kitchen door at dawn,
so that the conversation we had been engaged in all night could be sustained on
the page.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">As
for Olson himself, he is still remembered as lumbering down Main Street
enveloped in a blanket—it was actually a Mayan Indian serape, acquired while
doing archeological and linguistic research in Yucatan in 1951 on a Wenner-Gren
Foundation grant.<span style="mso-spacerun: yes;"> </span>Since his days in
Washington at the Office for War Information, he had grown a thick mustache, and
his hair was tonsured like a monk’s.<span style="mso-spacerun: yes;"> </span>As
it whitened, he allowed it to grow long, often tying it in a ponytail.<span style="mso-spacerun: yes;"> </span>Along with the serape, he would wrap a moth
eaten Shetland sweater around his neck, summer and winter, to keep the chills
that assailed his massive frame at bay.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">To
be with Olson in those years was to have lived intensely.<span style="mso-spacerun: yes;"> </span>One had a sense of what the Concord of
Emerson and Thoreau might have been like, the talk of books, the activism,
Olson’s attempt to live a life free of materialism—“in the midst of plenty walk
as close to bare.”<span style="mso-spacerun: yes;"> </span>In Concord, Emerson’s
“plain living and high thinking” was tested by the rise of the Abolitionist
movement, just as our city was being torn down around us by Urban Renewal (“renewal
by destruction”) and the nation was in turmoil over Civil Rights and opposition
to the war in Southeast Asia.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">So
while the talk at Olson’s table was of poetry, or who would be visiting or had
visited Gloucester (Jack Kerouac, Ed Dorn, Robert Creeley, Amiri Baraka, Hettie
Jones, Michael McClure, Diane di Prima, John Wieners, Ed Sanders, Ann Charters,
among many others) to pay their respects to a poet who lived with his wife and
son in a $28 a month cold-water walk-up overlooking the city’s waterfront, the
background to our talk and the reading of letters, journals and books that
arrived daily in the mail, was the war raging a world away and the growing
opposition to that war in the country’s streets.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Such
were the times: and I can only mark them here as an era of turmoil, during
which we watched our republic falling apart, just as we experienced some of its
greatest achievements in the work of writers and visual artists, whose poetry
and paintings continually energized our conversations, keeping us sane in a
world we believed gone mad.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">There
was a great spontaneity about Olson, along with a huge thirst for knowledge,
for getting it right, even if it kept him and his friends up all night.<span style="mso-spacerun: yes;"> </span>I remember one day—oddly in the afternoon—he
called me over to his house to help him translate some passages from Hesiod’s <i style="mso-bidi-font-style: normal;">Theogony </i>(Smith kindly mentions my
knowledge of Ancient Greek in the notes to these letters).<span style="mso-spacerun: yes;"> </span>The gigantic poet was in bed—he often took to
his bed when life got to be overwhelming, or when he needed to be utterly
isolated so that he could work in peace.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">I
knocked quietly on the door to be let in by his second wife Betty, mother of
Charles Peter, soft spoken with raven hair piled high on her head, the delicate
abstract paintings she was working on spread out on the floor of the room
between the kitchen and Olson’s study-bedroom.<span style="mso-spacerun: yes;">
</span>She led me to Charles who sat up in bed surrounded by stacks of
books—the original texts of Hesiod’s <i style="mso-bidi-font-style: normal;">Theogony</i>,
his Greek-English lexicon, some hand written lines of a poem in which he hoped
to quote Hesiod.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">“I’m
stuck on a phrase,” he said, making room for me to join him on the double
bed.<span style="mso-spacerun: yes;"> </span>He was in pajamas—Betty told me
he’d only left the bed to eat and use the bathroom, he was so intent on the
poem.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>He smelled of the cigarettes that never seemed
to leave his fingers.<span style="mso-spacerun: yes;"> </span>We got to work,
comparing the Loeb translation with Olson’s reading word by word. <span style="mso-spacerun: yes;"> </span>I experienced first-hand how Olson’s mind
worked, grasping for an idea or insight, rejecting it, checking the definition
of<span style="mso-spacerun: yes;"> </span>a word in his Oxford dictionary, or
maybe the big Webster’s that lay open on his immense work table.<span style="mso-spacerun: yes;"> </span>What were the roots? <span style="mso-spacerun: yes;"> </span>How might Hesiod have employed the word or
phrase, Homer? (Olson’s bible was Victor Berard’s 1931, <i style="mso-bidi-font-style: normal;">Did Homer Live</i>?, his copy made illegible by marginalia).</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">In
retrospect, I do not know how helpful I was to Olson, but in encounters like
the one I describe I observed one of America’s most original minds in action,
to such an extent that I received an education I could never have obtained in
graduate school, which I soon abandoned.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Olson’s
kitchen had a gas-on-gas range that heated only that room.<span style="mso-spacerun: yes;"> </span>There was a rusted kerosene stove in his
study and some electric space heaters scattered around the flat, always damp
from the fog off Gloucester harbor.<span style="mso-spacerun: yes;"> </span>On the
walls were coast and geodetic survey charts of Cape Ann and the Gulf of Maine,
and a street map of Gloucester on which Olson pinned notes about who had lived
where, and when.<span style="mso-spacerun: yes;"> </span>At the center of that
map was Dogtown, Cape Ann’s vast, wild interior, whose mythic origins Olson
counterposed to the maritime history of the city (“go inland, the city is
shitty…”)</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Often
at the table, along with Ferrini, whom Olson had met in 1949, when he paid a
“fan call” to the former General Electric bench hand at his Liberty Street
home, after reading a poem of Ferrini’s in a literary magazine, was Jonathan
Bayliss, a Harvard and Berkeley educated novelist and playwright, who made his
living as a market analyst at Gorton’s, Gloucester’s principal seafood company;
Gerrit Lansing, also Harvard, whose exquisite poetry was just then beginning to
be published; and painter Harry Martin, at whose studio on Main Street the
group from Olson’s kitchen often spilled over to, along with whoever else
happened to be visiting—once it was Harry’s friend Patrick Balfour, the 3<sup>rd</sup>
Baron Kinross.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">This
then is the setting: Olson’s dinner on the table, which he picked at while
talking, smoking and drinking; the day’s cache of mail, from which he read us a
prize letter from Duncan when it arrived, or from J. H. Prynne; dozens of
little magazines in German, French and Japanese; and the other correspondence
from writers of his acquaintance going back to Harvard and Washington, D.C.,
from Black Mountain students and friends; though much of it came from readers
he did not know, but who, having discovered a <i style="mso-bidi-font-style: normal;">Maximus Poem</i> in one of the many journals where the poems often
appeared (including Ed Sanders’ <i style="mso-bidi-font-style: normal;">Fuck You:
A Magazine of the Arts) </i>were prompted to write Olson.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">I
linger over these details to help you see what it was like to be around Olson
in those fruitful years before Betty’s accidental death in Buffalo and his
wanderings away from Gloucester to teach and read in the larger world.<span style="mso-spacerun: yes;"> </span>For the atmosphere in which Olson lived and
wrote, and into which letters like those from Duncan dropped, letters that fueled
and informed the dialogue that kept Olson writing and thinking about the
process of writing, was as much a part of the poetry as his night-long reading
in the <i style="mso-bidi-font-style: normal;">Quarterly Court Records</i> of
Essex County, where he found details of<span style="mso-spacerun: yes;">
</span>the daily life—who sued whom for slander, which husband left his goods
and chattels to his second wife; who had encroached on whose property, or
stolen prize pears from a neighbor’s tree—in which the poetry was grounded.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">While
it is true that the most important phase of the correspondence occurred before
Olson had returned to Gloucester, the years in which he and Duncan grappled
with the work of creating a new poetics, the letters of the Gloucester years,
though less frequent, are no less significant.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">Looking
back, it now seems to me that our talk and the endless conversations Olson had
with other friends and visitors was like a holiday for the poet, a time and
place for letting his hair down, for sharing what he had been thinking, trying
it out among contemporaries who were open to it; while the real work of
thrashing out the methodology through which the great Gloucester epic was
expressed took place in Olson’s voluminous correspondence.<span style="mso-spacerun: yes;"> </span>There was the reading, too, the work of
intense and deeply mined research; but it was in the correspondence that Olson
was utterly himself.<span style="mso-spacerun: yes;"> </span>To turn the pages <i style="mso-bidi-font-style: normal;">of An Open Map</i>, is to discover two major
poets, possibly the most important of their time, connecting intellectually and
through their delight in language, in ways that in our era seem nearly
impossible.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">It
is difficult to find a finer premise for these letters than in the introduction
to the collection by Smith and Bertholf, where the editors describe the
correspondence as “one of the foundational literary exchanges in American
poetry in the second half of the twentieth century.” <span style="mso-spacerun: yes;"> </span>Duncan and Olson are said to have “met each
other with huge accomplishments, an inquiring declarative intelligence, wide
ranging interests in history and occult literature, and the urgent demand to be
a poet.”<span style="mso-spacerun: yes;"> </span>Struggling together “to
articulate a new basis for poetics, their shared goal was to reestablish the
uses of poetry beyond the domain of literature, to confront a large cultural
and historical field of action.”</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">As
the editors equally assert, both poets favored the open approach “in resistance
to New Criticism and to the models of closed form verse then promoted in
academia and the literary public sphere.”<span style="mso-spacerun: yes;">
</span>In other words, the verse they were each striving to achieve was open,
not unlike the manner of Pound’ <i style="mso-bidi-font-style: normal;">s Cantos</i>,
to whatever was happening or had happened in the world around them, personally
in their own lives, and also to what they were reading, or what had simply
occurred to them daily: a word on the street, a newspaper article, or an
inquiry from a friend or reader.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">There
is nothing that seems to have escaped them in their struggle to make a poetry
that was both original (Olson’s “projectivity,” Duncan’s “thinking of my own
going at it along a literary voice”) and resonant. So while Duncan writes on
January 9, 1963, “in vegetative terms I’m likely to luxuriate; not, here, to go
beyond my roots, for I put out roots as richly as I put out branches: but to go
outside of my <i style="mso-bidi-font-style: normal;">seed</i>,” Olson responds
with a quotation from one of his most powerful poems: “I have this sense/that I
am one/with my skin.”<span style="mso-spacerun: yes;"> </span>For both poets the
body was central, as ground of being, as Olson had explored in his essays on
Proprioception, and Duncan had written about in his masterful poem <i style="mso-bidi-font-style: normal;">Groundwork</i>: “Now so late that my
body/darkens and the gossip of years/goes on loosening the tides of/my
body.”<span style="mso-spacerun: yes;"> </span>“I now lie in a dark of my
own/nursing my body’s unquiet watch.”</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>While
there were few face to face meetings between the two poets, the correspondence
promoted a closeness, a sense of collegiality that could hardly be imagined now
in the illusory intimacy of the internet.<span style="mso-spacerun: yes;">
</span>“I miss your spirit in in my life,” Olson, lonely and declining in
health, wrote to Duncan in April of 1968, seven months before his diagnosis of liver
cancer, “and got part of it reading your piece on Dante…got it right beside me
now,” And on December 18, 1969, Duncan responded, as his friend lay dying in
New York Hospital: “It is a beautiful music for these here ears, and a music
that is thruout, a melody of idears [sic] (as vision we hear must be.”)</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>There
was much that was new to me during those years in Olson’s kitchen, much that I
did not understand; but reading this immaculately edited collection of letters
between Olson and Duncan it all comes back to me with a stunning sense of
revelation, of deep humility and gratitude for what I was privileged to have
participated in.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">(This review first appeared in <i style="mso-bidi-font-style: normal;">Beat Scene</i>, #90, Late Summer 2018)</span></div>
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Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-34868138629018647802018-06-17T12:26:00.004-07:002018-08-21T12:32:14.015-07:00The Rooms in My Life: A Backward Glance<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">I wanted to be a writer like George Konrad
or Cesare Pavese, a writer in the European manner, who was both an artist and
an intellectual; a writer, who was also an outsider, as both Konrad and Pavese
seemed to be, writers who had become internal émigrés, or who had otherwise lived
on the margins of society, yet whose insights, emanating from the core of their
alienation, entered their fiction.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">All during my undergraduate years and
afterward in Italy, as I walked the streets of Florence at night, trying to
picture what the city must have looked and felt like to Dostoevsky, who lived
there while writing <i style="mso-bidi-font-style: normal;">The Idiot</i>, or to
native writers like Giovanni Papini or Vasco Pratolini, I imagined myself
becoming such a writer, someone who lived and wrote in a furnished room, as
Carlo Levi described the <i style="mso-bidi-font-style: normal;">camere affitati</i>
he’d inhabited in the aftermath of the Second War, first in Florence and later
in Rome, in his novel <i style="mso-bidi-font-style: normal;">The Watch, </i>and
as I knew those rooms myself; someone who wrote far into the night, surrounded
by books, or who roamed the darkened streets of a still wakeful city, engaging
the night people—prostitutes, baristas who intuited at a glance what you were
seeking, students smoking and talking politics in half-lit cafes--returning to
sleep until noon before taking coffee and a roll for breakfast at a nearby bar
and then returning to work.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Between 1959 and 1962, I lived this way,
like Rilke’s Malte Laurids Brigge or an impoverished student in a Strindberg
novel, in furnished rooms on shadowed streets and alleys, rooms that looked out
over other rooms nestled under red-tiled roofs; rooms I left only to eat and
teach or to attend lectures in philology and Medieval literature at the
university, in Piazza San Marco.<span style="mso-spacerun: yes;"> </span>I can
picture them all now: the first room I had on Via Cavour, in Pensione Cordova,
when I arrived in Florence, small and neat with a desk by its single window;
and then the bright, sunny room in Piazza San Marco in the house of the
DiMaggio family, a room that looked across a courtyard to the Duomo, a
courtyard into which flocks of swallows plunged before nightfall, as the voices
of children echoed off the stuccoed walls and wash hung out to dry from
innumerable balconies.<span style="mso-spacerun: yes;"> </span>After that I
moved to Via dei Servi, renting a room frescoed with gorgons and swans, whose
double French windows I could lean out of to see the fountains of Piazza
Santissima Annunziata splashing on a summer afternoon.<span style="mso-spacerun: yes;"> </span>And finally, I lived in Via dei Fossi, off
Piazza Goldoni and the Arno, in a painter’s studio still smelling of turpentine
and linseed oil.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">I’d had a room of my own, too, in
Settignano, in the Villino Martelli, on Via del Rossellino, which my friends
from Brunswick, Maine, novelist Peter Denzer and his painter wife, Ann Sayre
Wiseman, had taken in September of 1960 and invited me to share with them and
their two children, Kiko and Piet.<span style="mso-spacerun: yes;"> </span>I
loved that room on the third floor, at the very pinnacle of a narrow stone
staircase, where I slept in a 16<sup>th</sup> century carved wooden bed on a
straw-filled mattress and wrote at a little oak table by the lone window that
looked out over the Arno valley and the city of Florence below.<span style="mso-spacerun: yes;"> </span>This was the room in which I worked on my
first novel, “From What Bone,” a room with a blood-red tile floor and yellow
ceramic wood stove that heated it in chilly early mornings or on frigid Tuscan
winter nights, when I often woke to the mournful shriek of the Brenner Express,
as it departed Florence for Munich.<span style="mso-spacerun: yes;"> </span>I
cherished the solitude that was mine, once I had bid Peter and Ann good night
and ascended those stone steps to the summit of our small stucco covered house
that was flush with the hilly street, which led up from the village, where I
took the No. 10 bus daily to work or to attend lectures at the university.<span style="mso-spacerun: yes;"> </span>But though I enjoyed living in the Tuscan
hills, walking daily on old dirt roads that bordered olive groves and grape
arbors, taking coffee in the local Casa del Popolo, where Peter and I would
argue about politics with the village communists, I never felt truly myself
until I had moved back down into the city to be closer to work, and from where
I could resume my wanderings through nighttime streets, returning always to a
quiet room, where I’d have the radio softly tuned to an all night jazz program
that came from the U. S. Military Radio Station in Germany.<span style="mso-spacerun: yes;"> </span>Accompanied by the music that seemed
unerringly to fit or enhance my mood, music that reminded me of the country I
expected never to inhabit again, I would write or read until dawn.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Although that need for a room of my own had
begun in high school, when we moved to Rocky Neck and for the first time I had
such a room, in the corner of which I would sit to read or
write, I’d actually sought such refuge when we lived on Perkins Road and I
began writing in the basement of our duplex on my aunt’s typewriter.<span style="mso-spacerun: yes;"> </span>But a white washed basement that smelled of
mildew was scarcely the sanctuary I’d envisioned; and I didn’t fully attain my
dream until senior year in college, when I finally had a room entirely to myself
at 83 Federal Street, in Brunswick, in a big white 19<sup>th</sup> century
house occupied by the chairman of the biology department, who rented out a
couple of rooms to students.<span style="mso-spacerun: yes;"> </span>My
furnished single room was located over an ell attached to the main structure. <span style="mso-spacerun: yes;"> </span>It had a private bathroom and an entrance of
its own from a set of steps in the driveway off Federal Street, next door to
the mansion where the president of the college lived.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Because my room was in a separate
wing I was undisturbed by the radios or record players of the few students, who
lived in the main section of the house along with Professor Gustafson and his
family.<span style="mso-spacerun: yes;"> </span>Once I'd lighted the floor lamp
behind the easy chair at the foot of my bed, the room was suffused with a
comforting yellow glow.<span style="mso-spacerun: yes;"> </span>Then, after
returning at midnight from my late work shift at the library, I'd put on my
flannel bathrobe and wrap a blanket around me.<span style="mso-spacerun: yes;">
</span>Warmed that way, I could study or read for as long as I wished, which
was often until the first light.<span style="mso-spacerun: yes;"> </span>Usually
I slept until noon because I no longer had morning classes.<span style="mso-spacerun: yes;"> </span>In any event, I took breakfast and lunch
together.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>To the right of my old upholstered
chair was a dark, polished bookcase with glass doors.<span style="mso-spacerun: yes;"> </span>It was there I kept the books I owned, the
poetry of Pound, Eliot and Williams and some paperback or cloth-bound editions
of the novels I was currently reading, including <i style="mso-bidi-font-style: normal;">Women in Love</i> and <i style="mso-bidi-font-style: normal;">Aaron’s
Rod,</i> by D. H. Lawrence, seven volumes of the Modern Library edition of
Proust, and Celine’s <i style="mso-bidi-font-style: normal;">Journey to the End
of the Night</i>.<span style="mso-spacerun: yes;"> </span>The floor against the
adjacent wall was lined with books I borrowed from the library.<span style="mso-spacerun: yes;"> </span>To the left of the single unlocked door to my
room was my desk.<span style="mso-spacerun: yes;"> </span>Over it I'd tacked a
large street map of Florence cut out of a Baedeker guide I discovered at a church
book sale.<span style="mso-spacerun: yes;"> </span>Between my desk and single
bed there was a window, and another at the foot of the bed and to the right of
the closet.<span style="mso-spacerun: yes;"> </span>Over my bed I had a Vlaminck
print of fishing vessels tied to a wharf in Normandy because its dark browns
and cerulean blues reminded me of the waterfront in Gloucester.<span style="mso-spacerun: yes;"> </span>On the opposite wall was a Rouaultesque <i style="mso-bidi-font-style: normal;">gouache</i>, by George Dergalis, a Greek
artist from Cambridge, whom I’d met on Rocky Neck.<span style="mso-spacerun: yes;"> </span>It was of an ancient flute player with
Byzantine beard and hair locks.<span style="mso-spacerun: yes;"> </span>A faded
Oriental rug covered most of the floor.<span style="mso-spacerun: yes;">
</span>Between an antique dresser and the bookcase, a hi-fi console sat on a
table with cast iron legs.<span style="mso-spacerun: yes;"> </span>My collection
of ten- and twelve-inch long-playing jazz and classical albums was lined up
under it.<span style="mso-spacerun: yes;"> </span>Attached to the dresser was a
mirror that reflected my desk and the map of Florence.<span style="mso-spacerun: yes;"> </span>In the glow of my reading lamp the map
appeared to be made of old parchment.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>This was the room I had lived in
since September of 1958.<span style="mso-spacerun: yes;"> </span>A single floor
duct heated it irregularly.<span style="mso-spacerun: yes;"> </span>Sometimes
through the register I could hear Professor Gustafson and his wife, who taught
high school English in Bath, talking quietly over dinner.<span style="mso-spacerun: yes;"> </span>My typewriter and typewriter table were
nestled to the left of my desk under the big window.<span style="mso-spacerun: yes;"> </span>The sound of trailer trucks late at night on
the Bath Road told me I wasn't isolated from the commerce of highways; and the
roar of jet planes taking off from or landing at the Brunswick Naval Air
Station, a mile from the campus, reminded me that I was never very far from the
instruments of war and those who operated them.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It was in this room, exclusive of
the roommates I’d shared living arrangements with for the previous three years,
roommates whom I liked but whose constant presence I felt stifled by, that I
began to undertake the kinds of reading and writing that I would pursue for the
rest of my life.<span style="mso-spacerun: yes;"> </span>It was also in this
room that I embarked upon the first systematic self-examination I had hitherto
pursued, as I immersed myself in the writings of Freud and Jung, an inquiry
that began by attempting to address the sense of alienation I have already
described.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I’ve mentioned George Konrad and
Cesare Pavese.<span style="mso-spacerun: yes;"> </span>As an undergraduate, I
knew nothing about the work or the existence of either.<span style="mso-spacerun: yes;"> </span>Konrad’s haunting first novel, <i style="mso-bidi-font-style: normal;">The Case Worker, </i>was published in 1969,
though it didn’t appear in English until 1974; and I didn’t read my first
Pavese novel, the pitilessly neorealist <i style="mso-bidi-font-style: normal;">Il
Compagno, </i>until I arrived in Florence, although I bought it in Rome as soon
as I’d arrived in Italy, having been told by my printmaker friend Emiliano
Sorini, whom I’d met on Rocky Neck the summer before I left for Italy, “If you
love Moravia, you will die for Pavese.”</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>So it was Lawrence whose essays,
novels, poems and stories I first read in that room at 83 Federal Street;
Lawrence and Hemingway, whom I had begun reading in high school, not Hemingway
the big game hunter and sports fisherman, but Hemingway the expatriate, the
young writer of the Paris years.<span style="mso-spacerun: yes;"> </span>And I
read and re-read Sartre, having discovered his writings during my freshman
year--the <i style="mso-bidi-font-style: normal;">Chemin de la</i> <i style="mso-bidi-font-style: normal;">Liberte`</i> novels, <i style="mso-bidi-font-style: normal;">Nausea,</i> the New Directions edition of which I was to carry with me
to Europe, and <i style="mso-bidi-font-style: normal;">Being and Nothingness. </i><span style="mso-spacerun: yes;"> </span>Of Simone de Beauvoir I had only read <i style="mso-bidi-font-style: normal;">Th</i>e <i style="mso-bidi-font-style: normal;">Mandarins</i>.<span style="mso-spacerun: yes;"> </span>But that novel introduced me to the
highly-charged atmosphere in which Sartre, Camus and the other French left-wing
intellectuals I admired lived, the Paris of cafes and political soirees, and a
Europe that was attempting to reconstitute itself politically and
intellectually after a devastating war, a war that left many of its finest
minds bereft of hope for mankind’s future.<span style="mso-spacerun: yes;">
</span>I read Beckett, too, and Marguerite Duras, Nathalie Sarraute, and
Robbe-Grillet, all of whose works I had first been introduced to in the pages
of the <i>Evergreen Review</i>, which I devoured as soon as each new issue arrived in
the mail.<span style="mso-spacerun: yes;"> </span>It was in the <i>Evergreen Review</i>
that I also discovered the short stories of Michael Rumaker, “Exit 3” and “The
Pipe.”<span style="mso-spacerun: yes;"> </span>Rumaker had been a student of
Charles Olson’s at Black Mountain College.<span style="mso-spacerun: yes;">
</span>Though it would be years before we met and became friends—after Olson’s
death, in fact—Michael’s stories, later collected in <i style="mso-bidi-font-style: normal;">Gringos and Other Stories, </i>had a profound impact on my own fiction.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Lawrence, the working class
intellectual, who was alienated both from his own class and from the culture he
grew up in, along with the literary society that should have provided a
sustaining environment, attracted me deeply, not only as a writer but as a
person, restlessly moving from Nottinghamshire to Germany, from Italy to
Ceylon, Australia and the American Southwest, ultimately dying in the South of
France.<span style="mso-spacerun: yes;"> </span>The Lawrence who also interested
me was the Lawrence who wrote, “At times one is forced essentially to be a
hermit,” adding: “Yet here I am, nowhere, as it were, and infinitely an
outsider.”</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>My deep study of Lawrence in that
room on 83 Federal Street prepared me for the senior thesis I was expected to
submit as partial fulfillment of the graduation requirements for an English
major.<span style="mso-spacerun: yes;"> </span>I chose to write mine on <i style="mso-bidi-font-style: normal;">The Plumed Serpent</i>, not one of
Lawrence’s most successful or highly acclaimed novels, but one which interested
me because of its mythic substructure.<span style="mso-spacerun: yes;">
</span>For as a student of Dante I was also interested in myth and symbol and
the creation of anagogic structures of belief.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>There were many teachers at Bowdoin
whose courses in literature, philosophy, Latin, Greek and Italian, sustained
me, along with their friendships, making it ultimately worthwhile to have
chosen this small liberal arts college on the Maine seacoast over a major
university like Harvard, where, I feared, I would have been overwhelmed
socially and academically.<span style="mso-spacerun: yes;"> </span>But the
principal education I received at Bowdoin was not in the classroom, nor was it
at the hands of my fellow students, whom I gradually separated myself from.<span style="mso-spacerun: yes;"> </span>My true education emanated from
the Hawthorne-Longfellow Library, where for four years I read widely on my own,
irrespective of course syllabi or graduation requirements, especially during my
final two years in college, when I worked nights at the circulation desk,
studying in the library and familiarizing myself with its immense
holdings.<span style="mso-spacerun: yes;"> </span>Each night after work I would
return home with a new book, which I would read often until dawn.<span style="mso-spacerun: yes;"> </span>There was never a book I sought or needed
that wasn’t already in the stacks or in the rare book collection that contained
copies of most of the major avant-garde or underground books of 20<sup>th</sup>
century art and literature, bequeathed to the college by an alumnus and rare
book collector, Robert L. Swasey, scion of Warner & Swasey, a leading
machine tool manufacturer in Cleveland.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>If, in a book about Hemingway and
the Spanish Civil War, I came across the name of novelist and historian, Arturo
Barea, I could rush to the library and find his autobiographical trilogy, <i style="mso-bidi-font-style: normal;">The Forging of a Rebel,</i> whose dense,
lyrical prose brought to life the young writer’s coming of age against the
background of a nascent civil war.<span style="mso-spacerun: yes;"> </span>It
was a heavy volume, bound in yellow cloth, gathering all three books of his memoir,
<i style="mso-bidi-font-style: normal;">The Forge, The Track</i> and <i style="mso-bidi-font-style: normal;">The Clash</i>, as translated by Barea’s wife
Ilsa.<span style="mso-spacerun: yes;"> </span>I remember sitting over it for
hours on a long winter night, utterly absorbed in Barea’s descriptions of his
childhood and youth as a student.<span style="mso-spacerun: yes;">
</span>Reading Barea led me to Gustav Regler’s autobiography, <i style="mso-bidi-font-style: normal;">The Owl of Minerva,</i> and from Regler I
read backwards to discover seminal Weimar and Austrian writers like Hermann
Broch and Robert Musil, plunging deeply into British translations of their
great novels, <i style="mso-bidi-font-style: normal;">The Sleepwalkers</i> and <i style="mso-bidi-font-style: normal;">The Man Without Qualities.<span style="mso-spacerun: yes;"> </span></i>Along the way I discovered Salvador
Dali’s strange novel, <i style="mso-bidi-font-style: normal;">Hidden Faces, </i>which
I gobbled up, along with Elio Vittorini’s <i style="mso-bidi-font-style: normal;">In
Sicily</i>, Kenneth Patchen’s privately printed <i style="mso-bidi-font-style: normal;">The Journal of Albion Moonlight</i>, Henri Barbusse’s <i style="mso-bidi-font-style: normal;">Under Fire</i>, all part of the Swasey
collection; and then, from the main stacks, Herbert Gold’s <i style="mso-bidi-font-style: normal;">The Man Who was not With It</i> and John Clellon Holme’s ur-Beat novel<i style="mso-bidi-font-style: normal;">, Go!,</i> published five years before Jack
Kerouac’s <i style="mso-bidi-font-style: normal;">On the Road</i>.<span style="mso-spacerun: yes;"> </span>Some prescient librarian or astute faculty
member had had the sense to purchase or recommend both Gold and Holmes, now
sadly neglected.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The books piled up around my easy
chair—Edward Nehl’s three-volume composite biography of Lawrence, Broch’s
infinitely complex and experimental <i style="mso-bidi-font-style: normal;">The
Death of Virgil</i>—and I read and read, circling around schools, eras, places,
cultures, until I had created for myself a better picture of the birth of
European Modernism than I would ever have received had I taken a course in the
subject, which wasn’t offered anyway.<span style="mso-spacerun: yes;">
</span>The fiction I was writing at the time, stories about growing up in
Gloucester, didn’t directly incorporate this reading, but I am certain the
reading inspired it, particularly Musil’s electrifying coming-of-age novel, <i style="mso-bidi-font-style: normal;">The Confusions of Young Torless</i>.<span style="mso-spacerun: yes;"> </span>Mostly I wrote about what I was reading in a
journal that I began to keep, inspired by André Gide’s journals, and in daily
letters to my girlfriend Cynthia Brown, who was studying literature at Boston
University.<span style="mso-spacerun: yes;"> </span>Sadly, those long, soulful
letters Cynthia and I exchanged during that period no longer exist.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The Swazey collection was of
particular importance for me because it contained most of the published works
of Henry Miller, not only <i style="mso-bidi-font-style: normal;">Tropic of
Cancer</i> and <i style="mso-bidi-font-style: normal;">Tropic of Capricorn,</i>
in the original Obelisk Press editions, as published in Paris in 1934 and 1938
by Jack Kahane, but the privately printed <i style="mso-bidi-font-style: normal;">The
World of Sex</i>, <i style="mso-bidi-font-style: normal;">The Books in My Life</i>,
and, <i style="mso-bidi-font-style: normal;">The </i>Colossus of <i style="mso-bidi-font-style: normal;">Maroussi</i>, one of Miller’s greatest books
and of utmost significance to me as a young writer of Greek-American extraction,
planning his first trip to Europe.<span style="mso-spacerun: yes;"> </span>Exile
and expatriation had emerged as significant themes for me from when I’d first
started to read about the Lost Generation in Malcolm Cowley’s <i style="mso-bidi-font-style: normal;">Exiles Return</i> and John Aldridge’s <i style="mso-bidi-font-style: normal;">After the Lost Generation</i>.<span style="mso-spacerun: yes;"> </span>Thereafter, Miller’s own saga of abandoning
New York, followed by years of penury and artistic struggle in Paris,
culminating in the publication of the <i style="mso-bidi-font-style: normal;">Tropics</i>,
his life-affirming stay in Greece just before the war, and his return to travel
in America, as chronicled in <i style="mso-bidi-font-style: normal;">The
Air-Conditioned Nightmare</i>, were an enormous inspiration to me, both as a
writer and prospective traveler.<span style="mso-spacerun: yes;"> </span>I will
never forget the long nights during which I read Miller’s forbidden books,
books I’d spirited out of the collection late at night, only to return under
cover the next day, giving myself a single night alone to read them lest their
absence be noted.</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Why do I tell you all this?<span style="mso-spacerun: yes;"> </span>Why do I share with you the titles of the
books I read in those intense months, in that single room on Federal Street in
Brunswick, Maine, while my classmates were dating girls, drinking beer, and
planning the careers that would eventually bring them more money than I would
ever earn in a lifetime of reading and writing?<span style="mso-spacerun: yes;">
</span>Why recount the story of a lonely student, an outsider and a misfit, who
was happiest reading late at night in the yellow glow of an old lamp, as he sat
wrapped in a sweaty bathrobe in an unheated room?<span style="mso-spacerun: yes;"> </span>Who cares today about an undergraduate and
his reading habits, about a studious young man who didn’t study much but read
instead so that, in effect, he became The Self-Taught Man of Sartre’s <i style="mso-bidi-font-style: normal;">Nausea?</i></span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Has my life changed today, sixty
years later?<span style="mso-spacerun: yes;"> </span>Am I any different from
that bearded boy in the old bathrobe, reading in a fraying chair under the glow
of a rickety floor lamp, on the corner of the Bath Road, as trailer trucks
roared by in the night and jet fighter planes took off at dawn, while I was
falling asleep, my head full of images from the books I’d read myself to sleep
over?</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>What I’m trying to relate, I
suppose, is not just the story of the books I read and the room I read them in,
a room that became imbued with my own perspiration to the extent that I could
still smell myself in it as I packed up to leave after graduation in June of
1959.<span style="mso-spacerun: yes;"> </span>It’s the story of my
self-education, I’m driven to share, an education that would not have been
possible without the library that contained those books and the room in which
to read them, apart from the noisy dormitories and liquor spewed fraternities
(not that I didn’t drink, and drink a lot). I don’t fault the dormitories,
though I moved out of them, or the fraternity I regretted joining and whose
membership I ultimately rejected—they were part and parcel of the atmosphere of
college in the 1950s; but they were not my Bowdoin.<span style="mso-spacerun: yes;"> </span>After three stumbling years, I had found my
own refuge to read and write in, and that refuge, if even for one year alone,
constituted the most important part of my education.<span style="mso-spacerun: yes;"> </span>It was a pattern I would follow for the rest
of my life, which, you might say, has been a life spent in small rooms of old
houses, reading and writing.<span style="mso-spacerun: yes;"> </span>For this is
the story of my life, or at least a significant part of it, and not to share it
in some detail would be to misrepresent the record of that life, insignificant
as it may seem.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I attended class during those years
I’m speaking of and I did pretty well in most of my courses, reading Dante and
Sophocles in the original, immersing myself in Romantic poetry and ancient
history, making dean’s list and graduating with honors in English.<span style="mso-spacerun: yes;"> </span>I had a girlfriend, as I’ve said; I went to
parties, though I spent most of my time playing piano at them and in other
venues around Brunswick.<span style="mso-spacerun: yes;"> </span>But my room at
83 Federal Street meant more to me than anything else.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I’ve studied with great
teachers.<span style="mso-spacerun: yes;"> </span>I first learned how to read
and write critically with Hortense Harris at Gloucester High School.<span style="mso-spacerun: yes;"> </span>At Bowdoin I studied expository and
imaginative writing with novelist Stephen Minot, and literature and criticism
with novelist and Hawthorne scholar, Lawrence Sargent Hall, while under Walter
Solmitz I began my lifelong study of philosophy.<span style="mso-spacerun: yes;"> </span>I continued to read Dante and I studied
Romance Philology in Florence with Domenico De Robertis.<span style="mso-spacerun: yes;"> </span>I attended lectures on Renaissance culture by
Eugenio Garin and I audited classes on contemporary European literature by
Mario Luzi, both major scholars at the university, and Luzi himself a
distinguished contemporary Italian poet.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In graduate school, at Tufts, along
with reading Shakespeare with Kenneth Myrick, I studied
Milton’s poetry and prose with Michael Fixler, whose <i style="mso-bidi-font-style: normal;">Milton and</i> <i style="mso-bidi-font-style: normal;">the Kingdoms of
God </i>is one of the seminal studies of the poet as Christian theologian.<span style="mso-spacerun: yes;"> </span>At Tufts I also began, under the tutelage of
Americanist Wisner Payne Kinne, the deep immersion in the books and essays of
Henry David Thoreau that would lead both to my thesis on Thoreau and the
phenomenology of place and to a lifelong absorption in the writings of the
Concord seer whose words and whose politics guide me to this day.<span style="mso-spacerun: yes;"> </span>All of these teachers made a profound
impression on me, opening me to the richness of their own minds as well as to
disciplines I might never have been able to master on my own.<span style="mso-spacerun: yes;"> </span>But at bottom, and certainly due to their
guidance, I have essentially become my own teacher. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>I’ve lived and written in other rooms.<span style="mso-spacerun: yes;"> </span>Upon my return from Italy I rented a studio
at the Beacon Marine Basin on East Main Street, high over Gloucester harbor,
where I completed a second novel, and where my wife and I lived before moving
to a carriage house on Farrington Avenue, bordering Eastern Point.<span style="mso-spacerun: yes;"> </span>It was there, in a quiet back room that later
became my first son Jonathan’s bedroom that I wrote my master’s thesis on Thoreau
and the short stories that would become my first publications.<span style="mso-spacerun: yes;"> </span>From there we moved to an 1850s farmhouse on
Vine Street, in Riverdale, where I had a study overlooking Gloucester’s oldest
intact colonial dwelling, a meadow rich in wildlife, and Ipswich Bay.<span style="mso-spacerun: yes;"> </span>Here I wrote another novel, “Reunion,” a
memoir, <i style="mso-bidi-font-style: normal;">Landscape with Boy,</i> and my
first two published books; and it was here that I remained living and writing
alone for many years after the end of my marriage.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>When my landlord died and the
property went on the market, I moved from Vine Street to a house in Bickford
Way on Rocky Neck, overlooking Wonson’s Cove.<span style="mso-spacerun: yes;">
</span>In a tiny first floor room, flooded with light for most of the day and
with a view out onto the cove, I finished <i style="mso-bidi-font-style: normal;">At
the Cut</i>, my memoir of growing up in Gloucester during the 1940s, and <i style="mso-bidi-font-style: normal;">No Fortunes,</i> a novel about my final year
at Bowdoin, while also completing most of <i style="mso-bidi-font-style: normal;">Broken
Trip</i>, a novel-in-stories about Gloucester in the 1980s and 90s, published
in 2005 by writers Grace Paley and Robert Nichols of Glad Day Books. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I’m writing this in my study on Page
Street above the ocean, far up on Mt. Pleasant Avenue from Rocky Neck,
surrounded by the books I began collecting when I lived on 83 Federal Street;
but I come back to this room and that time, where it all began, and where I
often feel it was better than in any other room or in any other time or place
in my life.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
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</span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"></span>Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-12894434238855066202018-04-15T11:04:00.001-07:002018-07-09T14:38:15.017-07:00<br />
<br />
<br />
<header class="entry-header">
<h1 class="entry-title">
Main Street</h1>
<div class="entry-meta">
<span class="date"><a href="https://enduringgloucester.com/2018/04/10/main-street/" rel="bookmark" title="Permalink to Main Street"><time class="entry-date published" datetime="2018-04-10T11:28:49+00:00"><br /></time></a></span><span class="comments-link"></span>
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<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_3004" style="width: 510px;">
<img alt="" class="wp-image-3004 size-full" data-attachment-id="3004" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Middle Street, Gloucester. Paul Cornoyer (1864-1923)" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2018/04/middle-street-gloucester-paul-cornoyer-1864-1923.jpg?w=665?w=500" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2018/04/middle-street-gloucester-paul-cornoyer-1864-1923.jpg?w=665?w=237" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2018/04/middle-street-gloucester-paul-cornoyer-1864-1923.jpg?w=665" data-orig-size="500,634" data-permalink="https://enduringgloucester.com/2018/04/10/main-street/middle-street-gloucester-paul-cornoyer-1864-1923/#main" src="https://enduringgloucesterdotcom1.files.wordpress.com/2018/04/middle-street-gloucester-paul-cornoyer-1864-1923.jpg?w=665" /><br />
<div class="wp-caption-text">
<b>Middle Street, Gloucester. Paul Cornoyer (1864-1923)</b></div>
<div class="wp-caption-text">
<br /></div>
</div>
During the many years I used to meet her, she seemed unchanged, a
little old lady full of energy: gray-haired, walking jauntily on Main
Street, coming over to me in the post office to say she liked a column
I’d recently published, or gently disagreeing with my argument. She
never offered her name, and I never asked because she seemed so much a
part of my daily life. A brown pillbox on her head, along with brown
Oxford walkers; what our mothers referred to as “sensible shoes.”
Opaque nylon stockings, a short, light, cloth coat in spring, quilted
parka in winter, both brown. Lovely Yankee voice, pure
Gloucester—“’’Twas” for “it was."<br />
<br />
One day I saw her, as I had during all the years past, and the next
day I didn’t. Had she died? Was she suddenly in a nursing home or
hospital? At her age she couldn’t simply have moved away; not her, with
the sense she projected of continually having been rooted here.<br />
<br />
Was she a retired teacher? She looked like one, had the rimless
bifocals Miss Harris and most of our teachers once wore, hair in a bun.
Had she been a secretary in a law office? There were many, women who
hadn’t married, but who, like my mother, had gone to work out of school
with typing, shorthand and bookkeeping skills they’d amply acquired in
the former Commercial Course at Gloucester High School. They staffed
the banks, or they clerked in the gas and electric company, as my Aunt
Harriette had done all her life. They became operators in the Bell
Telephone Company office building on Elm Street that later became
National Marine Fisheries, where my mother also worked and is now the
Cape Ann Museum’s library.<br />
<br />
For weeks I agonized over her disappearance. I could have asked my
friends in the post office who knew everybody in town. But it didn’t
occur to me to ask. It didn’t occur to me to do anything but remark her
absence. It didn’t even occur to me to check the obituaries in the <i>Gloucester Daily Times</i>, even though I didn’t know who she really was.<br />
<br />
It got to be that way as I lived my life on Main Street during the
thirty years I spent working at the city’s anti-poverty agency. Two
trips daily to the post office, one to pick up my own mail at 10:30 each
morning, and a second in the afternoon to post the agency’s, but more
to get out of the office during coffee break, when I could afford a few
minutes for a walk around town: Dale Avenue from the post office, City
Hall and the library to Middle Street, then down to the Joan of Arc
statue in front of the American Legion Building. Around the corner to
Main Street, through the West End, and all the way back to the office on
Elm Street. Soon I began to think of myself as an old Gloucester dog,
making his habitual rounds; that is, before the city instituted a leash
law.<br />
<br />
On those daily strolls I came to know dozens of people by sight, men,
women, natives I’d recognized since childhood, having seen them every
day in Woolworth’s, Sterling Drug, the Waiting Station, all of them gone
now, the people along with the places themselves: Sears & Roebuck,
W. T. Grant, Gorins, W. G. Brown. Dr. Benno Broder’s dental office on
Pleasant Street, with a human skull in a glass-doored bookcase; the old
Western Union’s tiny dark storefront from which you could telegraph a
message anywhere around the world. Willie Alexander’s father’s Baptist
Church across the street from City Hall and the Museum, torn down for
parking. Elks Lodge, now condos; Knights of Columbus, likewise; Red
Men’s Hall vanished; Masons moved to Eastern Avenue. Bradford Building
burned down, the fire in which E. E. Cummings’ Harvard classmate,
painter Winslow Wilson, lost the manuscript of his autobiography. Hotel
Gloucester, on Main across from Elm, where, in a small rented top floor
room, I worked on my second novel—gone in urban renewal, along with the
old police station and the Fishermen’s Institute, a bethel for retired
mariners, who gathered to swap stories in front of the bank on the
corner of Main and Duncan, or in the sun across the street at Sterling
Drug.<br />
<br />
One by one they’d disappear, like the little old lady in brown—the
fishermen, the retired letter carriers, the women who sold us toys in
Woolworth; those who drew the chilled root beer out of the casks at
Kresge’s or measured out the penny candy.<br />
<br />
Jake’s on Granite Street, where we bought bubble gum on the way to
Hovey School, now an apartment house; Cher Ami’s ice cream parlor on
Washington converted into a barbershop. Bart’s Variety on Pine and
Washington streets, where we went for Italian ice, a driving school
today. Captain Bill’s on Main and Washington, once Frank Barkas’
restaurant and pool room, now the Blackburn building with Giuseppe’s on
the ground floor, until it, too, closed, to be replaced by a tonier
Tonno.<br />
<br />
I could see the old clapboard or redbrick buildings as they were
abandoned or torn down, residents displaced. I watched them emptied of
what they sold, windows gone blank. Though devoid of human habitation,
the places themselves had a lingering presence; even their smells
persisted—yeast from the Sunnyside Bakery, burnt almonds at Mike’s
Pastry, sawdust in front of the National Butchers. But the people, like
my little old lady in brown, had an equal vitality, which, as they too
disappeared, slowly ebbed out of the city itself, along with the local
dialect and the natives’ slouching walk, draining the city of its
uniqueness and spirit, except for the young people I run into today on
Middle Street. They’ll be heading home from high school, pierced and
tattooed, their hair in dreadlocks, often speaking Spanish, a language I
never heard until I went to Europe, or Brazilian Portuguese. Or
they’re African-American. It wasn’t until I moved to Rocky Neck in
1951, and started sneaking over to the Hawthorne Inn Casino to hear
jazz, that I actually saw a black person.<br />
<br />
What would these teenagers in 50 Cent T-shirts and slashed jeans
think of the skinny kid in the maroon and silver sateen Mighty-Mac
baseball jacket, coming toward them from Central Grammar as he headed
home down the Cut? He’s hatless and his hair, slicked down even in the
autumn wind, has been cut at Bill Maciel’s barbershop on Duncan Street,
next to the Fishermen’s Institute. Theirs goes wild and they wear
hooded sweatshirts against the cold. They talk on cell phones, get
their music from iPods, living in a digitized world that was imagined
only in the science fiction novels I read at their age.<br />
<br />
I find it remarkable that sixty-eight years later I’m taking the same
route I took home from school, the route that led past the old “Y”, the
Solomon-Davis house, and C. F. Tompkins’ furniture store, all since
disappeared; past the Lorraine Apartments that managed to survive condo
mania only to be destroyed in a fire that took the synagogue next door
with it; past Pike’s Funeral Home, where my father’s and my brother’s
memorial services were held and my mother’s ashes reposed before her
grandchildren and I scattered them at sea; past Trinity Congregational
Church, rebuilt after the fire in 1979 that destroyed the original
structure, where my brother and I attended Sunday school during the war
because the gas ration prohibited travel to the Greek Orthodox Church in
Ipswich. When I was twelve or thirteen, had anyone predicted that I’d
be walking on Middle Street, balding and gray-bearded, or told me I’d
still be in Gloucester in 2018, I would have been incredulous.<br />
<br />
But it’s not myself as I appeared then I miss, it’s the old people I
grew up knowing with their sense of correctness in what they wore and
how the men still tipped their hats to women on the street, asking each
time, “And how’s your <i>mutha</i>?” Live in a place long enough and
its entire history replays itself in your head. You come to know where
everyone’s house is, even in childhood, where their parents came from,
their grandparents. You saw their little sisters in strollers on the
Boulevard or at St. Peter’s Fiesta. You went to Hovey School or Forbes
with their brothers and cousins. You could tell from anyone’s face who
he was, who his father was. Each beautiful blond Finnish girl in school
had a beautiful blond Finnish mother who’d gone to school with your
mother or your aunts. The minute you met the mother you knew who her
daughter was, or her sister. Visiting Gloucester High School today, I
see the great-granddaughters of my classmates and know exactly who they
are, even though I can no longer remember their mothers’ names.<br />
<br />
Live in a place long enough and it enters your dreams. There was
another woman I saw one day on Middle Street, getting out of her car in
such a way that I felt I was reliving a dream. She’s tiny, like my
mother, and she’s Lebanese, probably related to Freddie Kyrouz, who used
to run the shoeshine parlor on Main Street before he became city
clerk. I know this woman from city hall, from the bank, from the post
office, yet, like the lady in brown, I don’t remember her name. We
always say hello and smile. And the other day when I caught the lovely
clear expectant look in her eyes, her smallness like my mother’s and my
aunts’, I was overwhelmed by impending loss because I realized she will
become one of those people I may no longer see, one of the many who are
ebbing away just as the city itself is being erased by strip mall
commercial complexes, proliferating donut franchises, cheap modular
houses jammed into pocket-sized lots, imposed upon us by those, as
Charles Olson wrote, “who take away and do not have as good to offer.”<br />
<br />
A bitterly contested retail complex with a mega supermarket was
recently completed near the Route 128 entrance to the city. Called
Gloucester Crossing and billing itself as “the premiere shopping
destination on Cape Ann,” the center is competing with downtown
businesses that have been struggling for years to stay afloat. Soon it
will be accompanied by a 200-unit “market rate” housing complex with
added retail space and a new YMCA. And on the Fort, one of the last
remaining ethnic enclaves in the maritime heart of the city, a
billionaire developer has built a 94-room “boutique” hotel and function
center in a neighborhood where a delicate balance has long existed
between residents and a thriving marine industry.<br />
<br />
I walked sadly away after I met the Lebanese woman getting out of her
car across the street from St. John’s Church, in front of the house
that used to be Dr. Doyle’s office, where my brother and I were taken
when we got sick or had poison ivy infections. In her persistence in my
daily life, her smile of recognition, she embodies for me what my life
here has meant, a connection to a single place and a sense of duration I
never expected to experience when I was younger.<br />
<br />
I don’t have to ask anyone in my generation who Pat Maranhas is, or
if they remember that he played tenor sax in the Modernaires, or that
his grandfather was a fisherman named Captain Green. We take people
like Pat, with whom we went to kindergarten or worked with at Gorton’s
or see at the bank or walking his dog in Magnolia, for granted, just as
we understand why a house covered by aluminum siding should never have
been put up where our junior high school shop teacher Tom Brophy’s
graceful 19<sup>th</sup> century white frame house once stood on the
corner of Pleasant and Shepherd streets, or why it was unthinkable to
tear apart the lovely wooded, granite-bouldered, hill above Brightside
Avenue and wedge a bunch of houses into it that look like they were made
from kits you’d buy at Wal-Mart.<br />
<br />
And unless they happened to be born here, who will ever know what it
felt like to walk home from high school every day along the waterfront,
smelling the gurry and the rendered mink food, the codfish cakes at
Gorton’s cannery, and the tar and oakum caulking from the railways;
listening to the screech of gulls and the idling engines of the boats at
dock. Or returning home from Hovey School through the sumac bushes
clustered high on Rider’s Rocks, the entire harbor spreading out beneath
you, all the way to Boston. Or even Middle Street, on the way home
from Central Grammar, day after day, knowing the Solomon Davis house
like one’s own, the two sisters who lived as recluses in it, apparitions
from the 19<sup>th</sup> century, or that the YMCA bought it for a mere
$25,000 and tore it down, the city’s stateliest example of Greek
Revival architecture, for a concrete basketball court that was never
built. Or the Parsons-Morse house on Western Avenue, another of the
North Shore’s endangered First Period houses, which Olson fought to save
but couldn’t, torn down by the state to widen the highway that never
got widened.<br />
<br />
They wouldn’t know that if you walk to the post office through the
parking lot behind City Hall, even on the hottest day in July, there is
always a cool breeze; and if you choose the same route in the dead of
winter, an icy wind hits you in the face and makes you shiver even in
your warmest fleece jacket.<br />
What about sitting in the Miami Pastry Shop, later Mike’s, among the fishermen speaking Sicilian, sipping the first <i>espresso</i> that was sold in town and eating a <i>ricotta </i>pie that one could not find the equal of in the bakeries of Boston’s North End?<br />
<br />
And what of the smells and tastes that Proust insists are primary?
There were the strips of salt cod we pulled off the big fish drying on
the clotheslines outside my grandmother’s house and ate like potato
chips, and the taste of anise cookies our Italian friends’ mothers baked
at Christmas. There was the smell of the grass on the river bank after
it had been mowed and the sickly sweet perfume of clethra, or the
flowering locusts in June, which the fishermen could smell offshore, on
their way in from a trip: <i>When the locusts are in bloom the fish come home.</i>
And always in Gloucester, the smell of fish—fish cooking and fish
rotting—and the salt air off the ocean often combined with the rank
smell of kelp.<br />
<br />
In remembering these things I don’t intend to be nostalgic. I
mistrust nostalgia because it’s usually not about things that no longer
exist—lost people, customs, ways of being—but about yearning for those
things we thought we possessed but only imagined we had; and everyone
will have a Gloucester of his own, no matter when they came or left.
I’m only recording what I remember of daily rhythms, of the names of
people who still come to me in my dreams, of the ways these people who
inhabited each neighborhood, even their dogs and cats, become so deeply
embedded in our consciousnesses we can’t even articulate them, we just
feel them in our blood.<br />
<br />
There are expectations, or there were, of how each day would be, who
you’d meet, who would tell you a story about whom, who would have lived
next door or down the street at a time when hardly anyone ever moved,
when moving was a momentous event; who would have gotten sick or died
and was laid out in the family parlor, like Barry Clark’s grandmother,
or little Joey Nicastro, who died in second grade from “ammonia,” and
was one day in the neighborhood, reading Superman comics with us on my
back porch, and the next in Addison Gilbert Hospital and then, when we
saw the ribbon of black cloth pinned to his front door, lying with a
suit on in a small coffin in his living room with the women in black all
around him saying the Rosary and the men, home from fishing, consoling
his father in the kitchen.<br />
<br />
Don’t believe for one minute that having grown up and lived in a
small town we had seen nothing of life. We came upon rotting carcasses
of deer that lay dead in the woods; saw our friends’ sisters naked in
their bedroom windows; watched half-dressed couples making love under
the bleachers at Newell Stadium; heard neighbors screaming at each other
in the dead of night; saw a sailor who had been beaten nearly to death
along the Boulevard, where his blood remained for days drying in the
cracks of pavement; knew the drunken sea captain, who always came into
my grandfather’s shoe repair shop on Stoddart Lane, speaking perfect
Greek even though he was Portuguese, because he loved the <i>tarama </i>Papouli
prepared from fish row in the back room, packing it in small wooden
casks to sell to the Hellenic markets in Boston. Yes, and we heard from
our mothers talking together about the fisherman who strangled his
wife, cut her body into pieces and ate her liver after frying it in a
skillet; about the daughter who beat her mother to death with a hammer;
the son who drowned his father in the bathtub; and the other son who
killed his mother, cut her head off and tried to shred it in the
Dispose-all.<br />
<br />
We heard and saw these things, and more: the sutured wounds in Irving
Morris’s head after he’d been attacked and robbed one night on Middle
Street, while returning home with the day’s earnings from his First
National grocery store; the blood all over the snow on Main Street after
the city worker had his leg torn off by the snow removal machine; the
body of a five-year-old Sicilian girl, who was run over by a trailer
truck on Commercial Street (I wrote that story as a young reporter for
the <i>Gloucester Times</i>), her tiny foot with its little red
sneaker sticking out from under a tarpaulin the workers at a nearby fish
plant had gently covered her with.<br />
<br />
And I think we also came to understand certain moments of human
vulnerability—the eager look I caught on a boy’s face as he approached
the toy store on Pleasant Street with his father one Saturday morning,
his excitement propelling him just ahead of his father, who was
straining to catch up with him; or the other boy on his bike in
Riverdale, shyly taking orders for Christmas cards door-to-door one
August afternoon, who reminded me of my son Ben, who once sold them
himself, and it made me think of my three children away at summer camp
in Maine, missing them so much that I rushed home from my walk to sit
alone in the darkened house on Vine Street counting the days until I
would see them again.<br />
<br />
Small events and moments—a teacher’s sharp rebuke, a neighbor’s
reprimand if you stepped on her marigolds while on the run in war
games—that stayed for years, returning again and again in the vacuum
left by loss or abandonment. Comments we made that hurt people’s
feelings, stupid remarks in school, pain inflicted: the Irish kid who
called me “Pinocchio Nose” and pushed me off the sidewalk in front of
the “Y.” And when I went home crying and asked my mother why he’d done
it, she said I shouldn’t have been at the “Y” anyway with all those
ruffians. I was so terrified it would happen again, not so much the
shove as his remarks about my nose, which I was sensitive about, that I
never went back to the “Y” until high school, when I played piano there
at Saturday night dances with the Modernaires. And even when I saw that
kid for years afterwards, still a bully—he was the son of a patrolman
in Gloucester—long after he’d obviously forgotten what he’d said and
done to me, maybe even forgotten <i>me</i> as I got older, my body
would stiffen and I would find ways of avoiding him. I can still see
his pinched face, can tell what the beanie he was wearing looked like
the day he pushed me off the sidewalk; can even remember the sound of
his voice, the humiliation has stayed with me that much. Why didn’t my
mother comfort me, explaining to me why certain kids bullied or
threatened us, instead of telling me not to go back to the “Y?”<br />
<br />
der why I
ever came back, or why I still love the place of my birth; and maybe it
is about masochism, or the fear of new or unknown cities, which my
children appear never to have experienced—Jonathan, at seventeen, on the
road with his hardcore punk rock band—that kept me in Gloucester; or
the inability to let go of family, of the place itself. We often speak
of an “island mentality,” which natives seem to share, the sense of
innate comfort we take in remaining in one place, a house, a street, a
certain neighborhood (I’ve only lived at the Cut, in East Gloucester and
Riverdale during all my years in the city), and the inability
ultimately to leave Gloucester. Older people once boasted of never
having “crossed the bridge,” when we only had one bridge out of town. I
knew some of those people. They had never seen Boston and they
apparently hadn’t needed to, their lives were that sufficient; though my
mother took us often to the city on the train for shopping or to visit
the museums. We drove to the Witch City Candy Company in Salem to pick
up the chocolate bars my father sold in his corner store, walking its
then dark streets and visiting the Peabody Museum, full of artifacts
from the city’s East India trade. And we even ventured farther out to
Newburyport, to Plum Island and the beaches of the New Hampshire coast.
So, slowly, I began to leave Gloucester, though, as the years go by
now, I want less and less to do so.<br />
<br />
In the end, it comes down to this. In a shrinking world, when every
place has either been destroyed or homogenized, when the culture, the
national intelligence, has been reduced to the lowest common
denominator; when the young hope only to consume the world’s goods, not
yearn to know the world itself in all its particulars, or to embrace its
arts and its languages, the books that beckon to be read, paintings to
be seen, monuments to visit, cities to wander in at night, as I once did
in Florence; in a shrinking world, we must have something, some <i>place, </i>to hold onto, and an <i>ethos, </i>related to that place, its history, and our own in it. We must have such a thing or die from the lack of it.<br />
<br />
So that little old lady in brown I knew without even learning her
name is even more precious to me now. For a long time I could count on
her presence in Gloucester, in my own life, just as I could count on the
presence of my father, my mother and my brother, who are dead now; or
Charles Olson, who showed me how to know the place we inhabit through an
immersion in its history; Vincent Ferrini, who first taught me about
poetry; or John Rowe, the eighty-year-old carpenter on Perkins Road,
who, as a child, I watched as he slowly rebuilt our front porch, hour by
hour, day by day, plank by plank; patiently, carefully, purposefully,
and not without delight, addressing the task, as I myself have finally
learned how to write.<br />
<br />
Now, I fear, we have come to an end of rhythms, of traditions and
folkways, at least as I’ve known them; an end, too, of expectations,
though the ocean remains and the seasons return, however more
unpredictably. Toward the end of his life, Olson said that a writer has
two choices: you either oppose the destruction of the things you love
or you describe the tragedy of their loss. I’ve tried to do both, often
with mixed results, but in the end, it is the loss that has remained
with me, touching every aspect of my thought and being. The only
Gloucester that exists for me now is the city of my mind.<br />
<br />
(This is the first chapter of Peter Anastas’ recently completed memoir <i>From Gloucester Out) </i><br />
<br />
<b><img alt="" class="alignleft wp-image-1554 size-thumbnail" data-attachment-id="1554" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"5.6","credit":"","camera":"Canon PowerShot SX260 HS","caption":"","created_timestamp":"1379174188","copyright":"","focal_length":"61.131","iso":"1600","shutter_speed":"0.076923076923077","title":"","orientation":"1"}" data-image-title="Peter at Museum (1)" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg" data-orig-size="222,271" data-permalink="https://enduringgloucester.com/contributors/peter-at-museum-1-2/#main" height="150" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=123&h=150" width="123" />Peter Anastas, </b>editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in the <i>Gloucester Daily Times</i>.<br />
<br />Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-61840558763404334272018-03-25T14:31:00.001-07:002018-05-10T15:33:25.975-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskFfSui5fBP5VoCKEtKqGmQgr3ywdF9R86AME1OU2JQrAWjGq1HgaoSLEG8h8CD2hnMmyICNx8-IotOMjPGKY3LUFLA-A__ZldK0AlYVEV43FiIWN4rdN8i-GlzolJDgm5hjOVfn94Q/s1600/Schloss+Brunnenburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1146" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskFfSui5fBP5VoCKEtKqGmQgr3ywdF9R86AME1OU2JQrAWjGq1HgaoSLEG8h8CD2hnMmyICNx8-IotOMjPGKY3LUFLA-A__ZldK0AlYVEV43FiIWN4rdN8i-GlzolJDgm5hjOVfn94Q/s400/Schloss+Brunnenburg.jpg" width="400" /></a></div>
<div style="text-align: left;">
<span style="font-size: small;"> Schloss Brunnenburg</span></div>
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</xml><![endif]--><b><span style="font-family: "times new roman" , "serif"; font-size: 24.0pt;">Ezra Pound in the Bughouse, by Peter Anastas</span></b><br />
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">THE BUGHOUSE:<br />
The Poetry, Politics and Madness of Ezra Pound</span></i></b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">By Daniel Swift<br />
302 pp. Farrar, Straus & Giroux. $27</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">For
Gerrit Lansing (1928-2018)</span></div>
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<br /></div>
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“American poetry in the twentieth
century is a cycle of encounters with Ezra Pound.”</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">—Daniel Swift</span></div>
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Shall we learn from his line and
not answer his life?”—</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Charles
Olson</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The turrets of Schloss Brunnenburg
rose through a swirl of mist that enveloped the valley lying between the 13<sup>th</sup>
century castle and the Italian Alpine town of Merano. Standing
above the valley, you could make out the vineyards and apple orchards that
surrounded the castle. When we arrived in early October of 1960 to visit
Ezra Pound, who had been living in the castle owned by his daughter Mary and her
husband Boris de Rachewiltz since his release in 1958 from St. Elizabeth’s
Hospital in Washington, D.C., the <i style="mso-bidi-font-style: normal;">vendemmia</i>,
or grape harvest, was in progress. Wagons loaded with clusters of
dusky-green grapes that would become the region’s prized Pinot Grigio were
drawn by pairs of white oxen. Slowly they advanced toward us through the
mist, as we stood overlooking the valley, marveling at the wonder of the
castle, the yellow farm houses that surrounded it, and the oxen as they moved
at a stately pace.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Leaving Florence at dawn, my friend
Peter Denzer and I had arrived in Merano after a five hour drive through
Bologna, Verona, Trento and Bolzano. It was early fall and the leaves
were still on the trees, the grapes and olives ripe for harvest. The
countryside was bathed in golden light. There was a Roman amphitheater in
Verona, and the great paintings of Mantegna. Yet we deferred those visits
because our destination was Merano. We had an appointment with Pound the
next day and we did not want to be late for it.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Peter, who was writing a novel based
on Pound’s years in Italy and hoped to interview the aging poet, had received a
letter of introduction from Pound’s publisher James Laughlin.
Laughlin warned Peter that Pound had not been well, so that any visit
might be abbreviated.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Nevertheless, the Pound we met when
we presented ourselves the following day at the castle after an arduous descent
on foot down into the valley and up to the imposing structure that Pound’s
daughter and her husband were still in the process of restoring, seemed alert,
if intermittently silent. We were greeted by Noel Stock, an Australian
writer and journalist, who was engaged in cataloging Pound‘s vast store of
papers, while also writing a biography of the poet that would be published in
1970 by Pantheon.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Stock, who we later realized was
also Pound’s gatekeeper, led us to an unostentatiously furnished room where we
awaited the poet’s arrival. It was not a long wait, enough for us to
observe the contents of the bookshelves and the art on the walls, transporting
the visitor back to the London and Paris of Pound’s early years of
expatriation.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Expatriation was the subject of the
novel for which Peter had received an advance from St. Martin’s Press, ample
enough to enable him to bring his family to Italy while he researched and wrote
the book. They settled on Florence because I was completing
graduate work there at the University and the city’s centrality in Italy seemed
a perfect base for any travels Peter might need to embark on for his work.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Peter and I had met in 1957 in
Brunswick, Maine, while I was an undergraduate at Bowdoin. He and his
painter wife Anne Sayre Wiseman had moved to Maine with their two sons, Piet
and Kiko, to escape the urban chaos of New York, part of a growing migration of
artists and writers who sought the relaxed pace of country life. Meeting in the town’s only bookstore, Peter, Anne and I hit it off
immediately. Consequently, I ended up spending more time in their 19<sup>th</sup>
century farmhouse than in the student dining halls and lounges of the college I
was beginning to tire of. As soon as they arrived in Italy, we found a
small villa to rent in the Florentine hill town of Settignano and moved in <i>en
famille.</i></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Peter, a former foreign
correspondent for UPI and the author of three novels, did not want to write <i>about</i>
Pound; rather, he hoped to understand how Pound’s years in Italy, specifically
in isolation during the war, might help him to recreate the atmosphere of
expatriate life. Our visit to Pound was not only to see the long-time
expatriate face to face, but also hopefully to talk with him about his
experiences of exile.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">That this might be problematic was
apparent as soon as we met the frail poet, who we later learned had spent time
in an Italian hospital being treated for depression shortly after his arrival
back in Italy, in July of 1958. Pound moved slowly, walking with a
cane. His hair and grizzled beard were white, his voice low, phrases
often difficult to understand. Stock helped from time to time as Peter,
presenting Laughlin’s letter, gently asked Pound how it felt to be back in
Italy after his incarceration in the US. “All America is an insane
asylum,” Pound had told the first reporters to interview him after his release
from St. Elizabeth’s.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Pound gossiped about his publisher,
whom Peter also knew; and he turned to me with a nod. When Peter
explained that I was studying Medieval Literature in Florence, his eyes lit up:
“Ah, Philologia Romanza,” he said, using the Italian terminology for the
discipline.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“I wouldn’t be in Italy if I hadn’t
read <i>The Spirit of Romance</i>,” I said.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Then I remained silent because
I knew that Peter had much to ask Pound.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Intuiting this, Stock motioned to me
to follow him out of the room, which I did, but not before touching the mottled
skin of Pound’s trembling hand and telling him how much his poetry had meant to
me; in effect, reaching back to that boy of 18, who, reading the <i>Cantos </i>for
the first time, did not understand much about the poetry, except that he knew,
or had intuited, that what he was reading in his cold Maine dormitory room was
magical. (The experience was not unlike my first reading of a <i>Maximus
Poem</i>, in Vincent Ferrini’s <i>Four Winds</i>, in 1952).</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">After Stock retuned to the room
where Peter and Pound sat talking quietly, I stood in a corridor of unadorned
walls and small windows feeling the silence of the vast stone edifice around
me, not a footfall or human voice, until Peter joined me. Pound was
tired, he said, but he had been granted another visit the following day.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I remained in the comfortable <i>Gasthaus</i>,
where we were staying while Peter returned to the castle the next
morning. Dinner the night before had been memorable, with
delicately prepared veal cutlets, pasta in a rich cream sauce, a nice change from
the tomato sauces of Florence, and Pinot Grigio to accompany our meal, a wine
I’d never tasted before. I also experienced the warmth of an Alpine
comforter in bed, especially welcome because we discovered that nights in the
mountains were cold. The natives of the Alto Adige region of Alpine
Italy spoke both Italian and German. Peter, who had spent several years
in Germany after the war as editor of an English language newspaper, was happy
to be speaking German again.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Peter returned to report that his
talk with Pound, though briefer than he had hoped for due to the poet’s
lingering fatigue, had been fruitful. He had also met Pound’s daughter,
who had warmly welcomed him to the castle, offering tea. At first there
had been a moment of potential conflict, Peter said. The poet had asked
Peter what kind of name “Denzer” was. Knowing of Pound’s anti-Semitism,
Peter, who was Jewish, said, “It’s German from Tanzer,” avoiding further
discussion with a question about Pound’s choice of Italy as a place to live
during the 1920s, specifically Rapallo. It was cheaper than Paris,
Pound said, and warmer in the winter.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Pound had worn the same loose
clothing we met him in the day before, a pair of soft gray trousers and a
wrinkled faded blue shirt that fell below his belt. On his feet were
sandals. Peter, who had read the transcripts of some of Pound’s
controversial wartime broadcasts from Rome, had decided not to discuss politics
with the poet, though the protagonist of Peter’s novel, an American poet named
Zeno, would have similar conflicts and an idealized sympathy for Fascism, which
Peter, who had been one of the first reporters to enter Dachau, would explore
in his novel, whose working title was “The Alien.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“There wasn’t enough time,” Peter
reported after he returned to the <i>Gasthaus</i> for a walk through the town’s
cobblestone streets. “I managed to get him talking about how those who
stayed on in Italy after the declaration of war managed to survive —‘It was
brutal,’ he said, ‘food shortages, but we had friends.’” (We did not know that
Pound had been paid by the Ministry of Popular Culture of the Fascist regime
for his broadcasts, the money helping to support his family in Rapallo,
including his aging parents, who had left America to be near their adored son.)</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The discussion I had dreamed of
having with Pound about his early work on Dante, about the genesis of the <i>Cantos,
</i>which I had started reading in 1955 and which had been the impetus for my
continued study of Latin and Greek, followed by Italian; indeed, for my
decision to live in Florence in order to read Dante on his home ground, did not
occur. But I <i>did</i> see Pound. I stepped into the
magnificent 13<sup>th</sup> century castle. I sat in the same room with
the great poet. I heard his voice, though the Pound I met was not the
handsome dark-haired poet whose photograph appeared in dramatic profile in the
1948 edition of the <i>Cantos </i>I bought and read like a Bible when I should
have been reading poets like Wordsworth, who were assigned to us in
class. Pound also inscribed my copy of <i>Personae</i>, which Peter had
carried with him on his second visit to the castle.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It was not what we imagined, either
for me or for Peter, as we discussed the visit on our way from Merano to Venice
before returning to Florence.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“I don’t regret it,” Peter mused,
stroking his graying beard. “It was like visiting a
monument. Jim Laughlin warned me it might be disappointing. He said
that Pound wasn’t talking much, that he seemed often in a state of dissociation
after his release from St. Elizabeth’s. What’s important is that I got to
meet him. I got to see the ravages of St. Elisabeth’s.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It was those ravages we knew nothing
about then, that long ordeal of incarceration in an insane asylum, that British
scholar and critic Daniel Swift writes about in his gripping new study of Pound
in “the Bughouse.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Much has been written about the
twelve and a half years Pound spent at St. Elizabeth’s, from his admission on
December 21, 1945 until his discharge on May 7, 1958, following a Washington
District Court hearing on April 18, during which the federal indictment against
him for treason was dismissed. From Charles Norman’s 1960 biography, <i>Ezra
Pound</i>, the first to appear after Pound’s release, to the most recent third
and final volume of A. David Moody’s definitive <i>Ezra Pound: Poet</i>
(2007-2015), Pound’s years in “the bughouse,” as he himself called it, have
been documented in increasing detail. But not until Swift’s study have we
had a view that encompasses an analysis of the complexities of the indictment
against Pound, an account of his daily life in the asylum, including the
numerous visits he received from family and friends, and especially from poets,
the work he was able to achieve during his incarceration, and, most crucially,
the psychiatric treatment (or non-treatment, as Swift discovers) that the poet,
who was judged incompetent to stand trial, received. In addition—and this
may be one of the book’s most important facets—a history of the government
asylum, its architecture, including floor plans of the wards, opened in 1855 as
the first federally established psychiatric facility and effectively shut down
in 2003, with its buildings either demolished or rededicated to other
governmental uses.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">A good deal of what Swift offers was
newly made possible by the release of public records concerning the workings of
the hospital, its staff during Pound’s years of incarceration, Patient Case
Files obtained under the FOA, and accounts of those still living, who either
worked at St. Elizabeth’s, visited patients, or were themselves incarcerated.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">For the purposes of this review, I
will confine my attention to the poets who visited Pound, most prominently
Charles Olson, and to Pound’s diagnosis and treatment, neither of which have
been documented as well or as extensively as Swift has been able to do.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Olson, living in 1946 in a small
apartment on the outskirts of the city with his first wife Constance, was
Pound’s first literary visitor, initiating his visits on January 4<sup>th</sup>
of that year. Olson knew Pound far better than Pound may have known him,
though Pound pleased Olson by asking if he had not previously seen his
visitor’s name in print. It was a transitional time for the tall
poet, freed from political employment, first at the Office of War Information
and then by the Democratic Party, a year away from the publication of his
ground-breaking prose study of Melville, <i>Call Me Ishmael</i>, and seeking a
form for an ambitious long poem he hoped to write about the history of Western
man, then America, and finally his adoptive home town of Gloucester,
Massachusetts.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Swift convincingly contends that it
was the visits with Pound and Olson’s opportunity both to discuss Pound’s
ongoing work on the <i>Cantos</i> with him and to read the corrected galleys
for <i>The Pisan Cantos </i>that formed the basis of Olson’s magnum opus, <i>The
Maximus Poems</i>, which Swift characterizes as “a remarkable cycle: huge,
avid, hungry for change, and most of all marked by vast ambition.” Taking
the galleys home with him with the promise to forward them to James Laughlin,
not before copying out relevant passages, Olson writes, “I should like to keep
this for my own.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Beginning with his first visit,
Olson saw Pound regularly for two months, bringing with him an occasional
bottle of wine, journals and books Pound had requested, and other items the
poet needed for his Spartan life, initially in Howard Hall, where Pound
continually heard the screams of the insane, and later to the more peaceful
quarters of Cedar and Chestnut wards, where he spent the greater part of his
stay and was able to enjoy time outside in the hospital’s well maintained
gardens and even to play tennis.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Olson’s visits became less frequent
when the poet and former New Dealer felt he could no longer countenance what he
considered to be Pound’s unregenerate fascist politics and his anti-Semitism,
which Olson thought of as “his sickest and most evil moments.” And yet,
Olson continued to describe Pound as a “man of exquisite sensibility…the ear of
an era. He has such charm!” Olson equally notes that in his own
hearing Pound blurted out in court: “I never did believe in Fascism, God damn
it!”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In discussing his own ambivalence,
Olson early on put his finger on the “Pound problem,” as described by Katherine
Seeley in her essential <i>Charles Olson and Ezra Pound: An Encounter at St.
Elizabeth’s</i>, published in 1975, three years after Pound’s death and five
years after Olson’s:</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Two poems, one sympathetic and the
other savage, on the subject of Pound’s post-war troubles…clearly reflect
Olson’s ambivalence concerning Pound, which never quite left him: on the one
hand, an abhorrence of the ‘fascist and traitor,’ and on the other, an enormous
admiration for a great poet…” This is also the ambivalence that many of
us who came to admire Pound the poet before we were aware of the extent of his
troubling politics have long felt.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Other significant poets who visited
Pound included Robert Lowell, Elizabeth Bishop, John Berryman, Donald Hall and
Frederick Seidel. The chapters on their visits, the poems often
reflective of them, and the comments publicly made by the poet-visitors form a
multi-faceted view of Pound himself at St. Elizabeth’s and, more importantly,
what Swift presciently describes as “a knot of reverence and self-invention, of
worship met with use.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“A whole generation of American
poets underwent this ritual,” Swift continues. “They became themselves by
visiting Pound and then writing about it. This was their
graduation.” And yet it was Olson’s visits that were the most crucial for
both the older and the younger poet. “Olson saved my life,” Pound told
Hugh Kenner, while Olson came away with the inspiration and the methodology for
one of the singular poems of our literature. Among the several gifts of
this capacious book are Swift’s description of the roots of Olson’s epic and
his meticulous analysis of the elements that went into the composition of the <i>Cantos,
</i>which shared with the <i>The Maximus Poems</i> a drive to document and
recover history, an acute sense of place, and a profound understanding of the
loss of both that connects the two poems.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">As for Pound’s purported “mental
illness,” in his painstaking examination of records, Swift appears to have
punctured many myths, primary among them that the poet was insane at the time
of his indictment and incarceration.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Olson begins the account by stating
directly in his notes after an early visit to Pound in the hospital: “You and I
know Pound is not crazy… You and I know he is as gifted and trained and
skillful a poet as any man who has written the English language in these years
of our century.”</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The first doctor to have examined
Pound was an Army psychiatrist in Pisa, where Pound was placed in detention
after his capture—“the gorilla cage,” as Pound called it. “There is no
evidence of psychosis, neurosis, or psychopathy,” the psychiatrist reported on
June 15, 1945. “He is of superior intelligence, is friendly, affable and
cooperative.” Yet soon after his imprisonment in an open cage under the
broiling sun of summer, Pound suffered a nervous breakdown.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Upon his return to America Pound was
examined by a team of army medical experts and civilian psychiatrists, under
the direction of Dr. Winfred Overholser, Superintendent of St. Elizabeth’s.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“On 21 December 1945,” Swift writes,
their joint report was presented to the court. “He is now suffering from
a paranoid state, which renders him medically unfit to advise properly with
counsel or to participate intelligently and reasonably in his own defense,” the
examiners concluded. “He is, in other words, insane and mentally unfit for
trial.” Pound was taken directly from the courtroom to St.
Elizabeth’s Hospital, Swift adds. “He was kept there for the following
twelve and a half years.”</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Julian Cornell, Pound’s lead
attorney, retained by James Laughlin, told the <i>New York Times</i> on
November 27, 1945, “Mr. Pound is not sufficiently in possession of judgment and
perhaps mentality to plead;” thus the defense that Pound was not competent to
stand trial. Yet Dr. Marion King, director of prison medical services,
found that “Pound was not a psychotic or insane person,” and Dr. Addison Duval,
an additional consulting psychiatrist, wrote at the end of December 1945 that
he “could not elicit any symptoms of psychosis at all. There were no
delusions, no thought disorder and no disturbance or disorientation. He
definitely did not seem to be insane.”</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The insanity plea, with which Pound
concurred, saved his life, though sentencing him to incarceration and
ultimately depriving him of his bodily freedom and his right to manage his own
affairs.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Examining the records of Pound’s
stay in the hospital, especially Pound’s Patient Case File, which had
previously been sequestered, Swift found no record whatsoever of any treatment
that Pound underwent for his presumed mental illness—no electroshock treatments,
no drug therapy, not even a tranquillizer; and no psychotherapy during the
entire length of Pound’s stay. Early on, Pound had been administered a
Rorschach test, which he failed due to “lack of imagination,” according to the
tester.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Among previous biographers, E.
Fuller Torrey, a former psychiatrist at St. Elizabeth’s, contends that while
Pound’s insanity plea saved him from potential execution as a traitor, his
incarceration allowed him to continue living and writing pretty much as he had
while free. Torrey further argues that it was with the complicity of Dr.
Overholser, who greatly admired Pound’s poetry, and Pound’s “literary allies in
New York” that Pound was able to “fake the symptoms of madness to escape the
treason charge and relished his years” at St. Elizabeth’s.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Swift enters no final judgment as to
Pound’s sanity. What he offers instead is a conclusion that adds to the
importance and originality of his study. “Pound in the insane asylum,” he
writes, “is the central question about art, politics and poetry of the
twentieth century. These are questions about what madness is, and what
makes genius; about the connection between experimental art and extreme, often
illiberal political sentiments; about the consequences of the Second World War,
and specifically about America’s post-war ascendance; and about the modern
world’s relation with its immediate past. Pound at St. Elizabeth’s is the
riddle at the heart of the twentieth century.”</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This is a major book about one of
our greatest poets. It is an equally rich and suggestive inquiry into the
role of poetry in our personal, social and political lives, more threatened now
than possibly ever before in the nation’s history.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Leaving Merano, Peter and I set out
on the three hour drive to Venice, stopping in Padova to see the frescoes
by Giotto in the Scrovegni Chapel. One had a sense from these stunning
1305 depictions of the Creation, the Nativity, the Passion of Christ, the
Expulsion of Adam and Eve from Paradise, and the Last Judgment of being immersed
in the visualization of an epic like Pound’s <i>Cantos, </i>in one of the very
regions of Italy that had inspired the great poem.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">We parked Peter’s Morris Minor at
the railroad station in Venice and took the <i>vaporetto</i> to the Zattere, a
water-side promenade near which was a monastery where I had stayed during the
previous summer. The rooms were comfortable and reasonably
priced. For dinner we were given an excellent three-course meal with a
quarter-liter of local red wine each for only 500 lire, less than an American dollar at the time.</span><br />
</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">During the night we heard rain on
the roof tiles of the monastery. When we woke up to a breakfast of
excellent coffee and freshly baked <i>brioche</i>, one of the monks announced
that the canal-side <i>calli,</i> or alleys, were beginning to flood and we
ought to catch the boat as soon as we could. Rolling our pants up and
carrying our shoes and backpacks, we waded from the monastery to the Zattere,
where the <i>vaporetti</i> were beginning to fill up with passengers headed for
the mainland.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It was fitting that we ended our
journey to Pound in Venice. Pound had spent his final years there with
the violinist Olga Rudge, his long-time companion and the mother of his
daughter Mary, dying in Venice’s Civil Hospital on November 1, 1972. His
body was taken by gondola for burial to the island cemetery of Isola di San
Michele, his life ending in the city where he had first found his poetic
vocation:</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Will I ever see the Giudecca again?</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> or
the lights against it, Ca Foscari, Ca Giustinian</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">or the Ca, as they say, of Desdemona</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">or the two towers where are the
cypress no more</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
or the boats moored off Le Zattere</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">or the North quai of the Sensaria. .
.</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">(Canto LXXXIII)</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">(Previously posted on <i style="mso-bidi-font-style: normal;">Dispatches from the Poetry Wars</i>, March
18, 2018)</span></div>
<br />
<br />Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-60798900477812383382017-10-15T13:50:00.001-07:002017-10-15T13:52:14.950-07:00On the Road Sixty Years Later<!--[if !mso]>
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<![endif]--><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITBlq88dH-YkigJmj6iGkKafhuDLquNFvXPwdkxhoviJwv1JMHRvu-OjPLRXBVBhlt8-e7PmwKcUe-Xy4iBXQE2gZdnHG5-HO0qT98epTB6babYWcH6oU8EDJeMSOCxILeDsQEkDlWg/s1600-h/BMP.kerouac.BMP"><span style="color: blue; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%; text-decoration: none;"></span></a></span> </span></b></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITBlq88dH-YkigJmj6iGkKafhuDLquNFvXPwdkxhoviJwv1JMHRvu-OjPLRXBVBhlt8-e7PmwKcUe-Xy4iBXQE2gZdnHG5-HO0qT98epTB6babYWcH6oU8EDJeMSOCxILeDsQEkDlWg/s1600-h/BMP.kerouac.BMP"><span style="color: blue; font-family: "times new roman" , "serif"; font-size: 12.0pt; text-decoration: none;"><br /></span></a></div>
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<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center; text-indent: .5in;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“There is nothing to do but write
the truth.”</span></i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">--Jack Kerouac</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Sixty
years ago, on September 5, 1957, a novel was published that changed the face of
American literature, and with it much of American culture. That novel was <i>On
the Road</i>, by Jack Kerouac, a young writer from Lowell, Massachusetts, who
grew up in a French-Canadian working-class family and had been a football star
at Lowell High School and a promising athlete at Columbia.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Writing
in the <i style="mso-bidi-font-style: normal;">New York Times</i>, on September
5, Gilbert Millstein described Kerouac’s book as a “major novel...an authentic
work of art.” He went on to call <i>On the</i> <i>Road,</i> “the most
beautifully executed, the clearest and most important utterance yet made by the
generation Kerouac himself named years ago as ‘beat.’”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
was nineteen years old when I read Millstein’s rave review. A less enthusiastic
one by David Dempsey appeared a few days later in the <i style="mso-bidi-font-style: normal;">Times’ Sunday Book Review</i>, as if the timid editors had gone too far
in allowing a positive appraisal of a novel that was destined to become one of
the most subversive in our literature and felt they had to correct Millstein’s
enthusiasm.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
had not heard of Jack Kerouc and I didn’t know what the Beat Generation was.
The literature I was studying in college was pretty much canonical. But I raced
down to my friend Carl Apollonio, who owned the only bookstore in Brunswick,
Maine.<span style="mso-spacerun: yes;"> </span>Within a week I possessed a first
edition of <i>On the Road</i>.<span style="mso-spacerun: yes;"> </span>I should
have held onto that copy, instead of sharing it among my friends until it
disappeared, because today a first edition of <i>On the Road</i> is worth
between $7200 and $19,000 depending upon its condition. Kerouac’s own
manuscript of the novel, typed on a continuous roll of architectural drawing
paper, was sold fifteen years ago at auction by Christie’s for $2.4 million
dollars. Kerouac would have loved it that the winning bidder was James Irsay,
the owner of the Indianapolis Colts football team, whose comment upon taking
possession of the manuscript was, “I look on it as a stewardship. I don’t believe
you own anything.” In 2007, Kerouac’s original publisher Viking Press issued a
ground-breaking edition of <i>On the Road,</i> effectively reproducing the
initial scroll manuscript and, true to Kerouac’s wishes, reinserting the actual
names of people upon whom the characters were based. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">On
the day I bought <i>On the Road</i> I sat down after dinner in my rented room
on Federal Street and didn’t stir until I had read the novel in its entirety.<span style="mso-spacerun: yes;"> </span>Describing the novel’s young and articulate,
if often manic, characters, narrator Sal Paradise, alias Jack Kerouac, says:
“They rushed down the street together, digging everything in the early way they
had, which later became so much sadder and perceptive and blank. But then they
danced down the street like dingledodies, and I shambled after as I’ve been
doing all my life after people who interest me, because the only people for me
are the mad ones, the ones who are mad to live, mad to talk, mad to be saved,
desirous of everything at the same time, the ones who never yawn or say a
commonplace thing, but burn, burn, burn like fabulous yellow roman candles
exploding like spiders across the stars...”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Imagine
the effect of this prose, indeed of a narrative in which Kerouac’s people are
racing from one corner of the country to the other in pursuit of experiences I
could only imagine, on a studious small town boy attending a staid New England
College. It was incendiary, to say the least. And while I’d learned to play on
piano the bebop that accompanied Dean and Sal and their friends from New York
to Denver, and from Denver to San Francisco, LA and Mexico City, I had no idea
that people like them or their chronicler Kerouac existed.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">As
a budding literary critic, I grasped the relationship between Kerouac’s Beat
Generation and the equally alienated Lost Generation of the 1920s that Ernest
Hemingway, one of my heroes, had described in <i>The Sun Also Rises</i>, a
novel that had as much impact on its era as Kerouac’s had on mine. But the
Beats were less after “kicks,” as their critics alleged, than they were in
search of transcendence in the face of post-war materialism and Cold War
anxiety. Asked by his friend, novelist John Clellon Holmes, whose 1952 novel <i>Go</i>
was really the first Beat novel, to describe Beat sensibility, Kerouac replied:</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“We
were a generation of furtives...with an inner knowledge there’s no use
flaunting on that level, a kind of beatness—I mean being right down to it, to
ourselves, because we all really know where we are—and a weariness with all the
forms, all the conventions of the world. So I guess you might say we’re a <i>beat
</i>generation.”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
wish I could tell you that after closing the covers of <i>On the Road</i>, I
dropped out of college like some of my friends did, traveling to San Francisco
in pursuit of the “subterranean” culture whose members Kerouac characterized as
“hip without being slick, they are intelligent without being corny, they are
intellectual as hell. . . without being pretentious or talking too much about
it, they are very quiet, they are very Christlike.” But I didn’t. As much as I
may have wished to go “on the road” literally and metaphorically, I was
committed to my studies, and afraid, I see now, of taking any risks beyond the
purely academic.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Nevertheless,
<i>On the Road</i> had a deep impact on me as a writer, an impact that
reverberates to this day, when I am no longer nineteen but approaching eighty.
In fact, when I put down the novel after my first reading, I picked it up and
started reading it all over again. Then I thought about it for weeks, pondering
its meaning on long solitary October walks down the Mere Point Road in
Brunswick, the red and yellow leaves accompanying my mood of autumn melancholy.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">For
all its surface elation, <i>On the Road</i> is at bottom a profoundly tragic
book. It’s a novel about a missing father who was never found, a childhood
never regained, a country whose innocence is forever lost. At the end of
Kerouac’s road, and Hemingway’s, too, instead of enlightenment for Sal and his
friends there is only the recognition of lost illusions and inevitable death.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“I’m
writing this book because we’re all going to die,” Kerouac said. “In the
loneliness of my life, my father dead, my brother dead, my mother faraway. . .
nothing here but my own tragic hands that once were guarded by a world, a sweet
attention, that now are left to guide and disappear their own way into the
common dark of all our death.”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Like
much of our finest fiction—<i>U.S.A.</i> and <i>The Great Gatsby</i> come to
mind—<i>On the</i> <i>Road</i> interrogates the fundamental American myth of
success, the viability of a life based on material values. For all their
seeming irresponsibility, Sal, Dean Moriarty (a character based on the legendary
Neal Cassady), and Carlo Marx (poet Allen Ginsberg), are committed to achieving
a higher consciousness and an authenticity of personhood and spiritual insight
that cut through the religious and political cant of Henry Luce’s “American
Century.”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">For
this reason, more than for Sal or Dean or Carlo, who drank too much or took
drugs in order to “see God’s face,” who refused to work nine-to-five jobs, and
who flaunted conventions with their liberated or inter-racial sexual
expression--indeed, for the experimental brilliance of Kerouac’s “spontaneous
prose”—<i>On the Road</i> was viciously attacked by the established press and
marginalized by mainstream and academic critics. Literature, unlike
politicians, tells the truth; and sometimes the truths it reveals are
unpleasant. Yet, since its publication in 1957, <i>On the Road</i> has sold 5
million copies in the United States alone and continues to sell more than
100,000 copies a year. Like Salinger’s <i>Catcher in the Rye</i>, which was
once banned from the classroom, <i>On the</i> <i>Road,</i> is now taught as an
essential American text.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Along
with <i>On the Road</i>, Kerouac published nine other novels. Perhaps the most
achieved in terms of structure, language and the poignant evocation of his
childhood in Lowell are three books set in his hometown, <i>Dr. Sax, Maggie
Cassidy</i>, and <i>Visions of</i> <i>Gerard.</i> Kerouac also wrote movingly
about growing up in Lowell in his first novel, <i>The Town and the City,</i>
(1950) and his last book, the elegiac <i>Vanity of Duluoz</i>, published in
1968, a year before his death of alcoholism in St. Petersburg, Florida at the
age of 47. Kerouac was buried in Lowell on October 23, 1969. As he wrote in <i>On
the Road</i>, “I was going home in October. Everybody goes home in October.”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Turning
the pages of this book again, I rediscover my youth in Kerouac’s stunning
prose, with a voice as unique as Whitman’s or Henry Miller’s, and the
unremitting energy of his narrative, both so characteristically American. I see
myself and my circle of friends, aspiring writers all of us, electrified by a
novel, which beckoned us away from our textbooks, opening us to a world that
lay beyond classrooms and degrees, beyond jobs and the promise of suburban
respectability. In one way or another many of us eventually followed Kerouac’s
road to self-discovery; and that decision, in the words of another great New
England writer, “has made all the difference.”</span></div>
<div align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"><br />
Coda: The Scroll</span></b><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
was ten years old when Jack Kerouac began the journey, hitchhiking and by car
and bus, that would take him back and forth across America. And I was thirteen
when Kerouac sat down at his typewriter, on April 2, 1951, to begin writing an
account of those epic trips on eight sheets of tracing paper he would later
tape together to form the 120-foot “scroll” version of the novel that would be
published in 1957 by Viking Press as <i>On the Road</i>. He completed that
single-spaced draft version of the novel twenty days later, on April 22, 1951.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">By
the time <i>On the Road </i>was published, six years later, I was two months
away from my twentieth birthday. Between the time Kerouac had begun work on the
scroll and the date of its book publication, I had read those sprawling
narratives by Thomas Wolfe—<i>Look Homeward, Angel</i> and <i>Of Time and the
River</i>—which had been an inspiration to Kerouac, especially in his first
novel, <i>The Town and the City</i>; I’d heard in person the great tenor
saxophonist Lester “Prez” Young and the bebop innovator Charlie “Bird” Parker,
both of whose lives and music inspired Kerouac and his Beat companions on the
road; and I’d become something of a jazz musician myself. I’d also heard and
begun to experiment with the “bop talk” that became a prevalent form of
communication among jazz musicians, black and white, and among many of the
literary and artistic bohemians of the time, and which found its way into both
the speech of the characters and the narrative of <i>On the</i> <i>Road.</i> By
that time, too, I’d read most of the key texts of Modernism, which had equally
inspired Kerouac, Allen Ginsberg and William Burroughs, later to be
characterized as the Beat Triumvirate, though Burroughs was older than Kerouac
and Ginsberg and never considered himself part of the Beat Generation.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Consequently,
as soon as I began reading <i>On the Road</i> I understood Kerouac’s cultural
frame of reference, though I had never read a word of either writer, nor had I
traveled further west than Pittsfield, Massachusetts. I knew the music he
referred to, and I had myself experienced those extraordinary moments when, as
he wrote, “the tenorman jumped down from the platform and stood in the crowd,
blowing around…”</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">So
much of that excitement came back to me as I read the scroll version, which in
its rawness, its lack of paragraphs and chapter breaks, sounds to me like what
Kerouac really wanted to write, what was burning inside of him to express in
incandescent images, whole exhalations of pure language--that "spontaneous
bop prosody" he strove to attain. Even as the young scholars and critics,
who have edited and introduced this long-needed authentic version of an
American classic, detail Kerouac’s painstaking revisions (including drafts of
the novel before he began the scroll), and the difficult editorial negotiations
during which the book’s handlers at Viking attempted to “manage and commodify
his wild book and Kerouac’s enthusiastic vulnerability and complicity in that
process,” they make clear to us that the scroll is the ur-text and should be
read as such. I agree with them. My experience of reading it is not unlike the </span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">one </span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">I had sixty years ago
when the Viking version of the novel blew my mind. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Encountering
recent scholarship like that which underpins the Scroll Edition of </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">On
the Road </span></i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">and Joyce
Johnson’s definitive biography, <i style="mso-bidi-font-style: normal;">The Voice
is All: The Lonely Victory of Jack Kerouac, </i>one can’t help but be reminded
that the Beats played a crucial role in the last truly concerted avant-garde
movement in art and literature in the US. Action Painting/Abstract
Expressionism, bebop and hard bop, the dance of Merce Cunningham and Martha
Graham, the new theater, and the poetry of the Beats, Olson's Black Mountain
group, and the emerging New York School all came together, intermingled, and
fertilized each other, from 1947, when Kerouac first went on the road, to the
late 1950s, when <i>On the Road</i> and his other novels emerged, along with
Ginsberg’s <i>HOWL</i> and Burroughs’ <i>Naked Lunch.<br />
</i><span style="mso-spacerun: yes;"> </span>It was a heady time for the
arts--arts that were also in opposition to the Cold War, to American materialism,
the myths of family life and suburban respectability. We haven't experienced a
total movement like that since, and we may never again because the <i>literacy </i>doesn't
exist anymore, nor the material conditions. It was cheap to live in the East
Village from 1947 to the early 60s, or in San Francisco or Venice Beach. The
Bowery is now full of high-end hotels, restaurants and condos. People could
live on next to nothing, get part time jobs, sell their work and essentially give
their time over to making art. Now we are compelled to teach or to find other
work that takes us away from art, while artists are being forced out of the
cities and neighborhoods they once inhabited. With the loss of places to live
and gather, the kind of community that the Beats created, lived in, and
traveled to and from in SF, Venice Beach, Denver, New York, Mexico City, and LA
no longer exists. This is a great loss, not only to art but to the creation and
sustenance of the kind of transgressive culture a nation needs for its
intellectual and imaginative growth, especially now in the world of Trump and
the new Cold War he and his administration are creating. <i>On the Road</i> is
therefore all the more poignant because it describes a radically new world just
as it was coming </span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">into being, a culture and a time—an energy—we
may never have again.</span><br />
<br />
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">(First posted on <i>Dispatches from the Poetry Wars</i>, October 2017) </span></div>
<div class="MsoNormal">
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Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-60821430556900007912017-08-08T14:14:00.001-07:002017-08-08T14:18:52.399-07:00Tribute to Kent Bowker<br />
<br />
<br />
<header class="entry-header">
<h1 class="entry-title">
Kent Bowker (1928-2017)</h1>
<div class="entry-meta">
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Peter Anastas<br />
<img alt="" class="aligncenter size-full wp-image-2700" data-attachment-id="2700" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Kent Bowker" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/07/kent-bowker.jpg?w=665?w=526" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/07/kent-bowker.jpg?w=665?w=300" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/07/kent-bowker.jpg?w=665" data-orig-size="526,394" data-permalink="https://enduringgloucester.com/2017/07/11/tribute-to-kent-bowker-1928-2017/kent-bowker-2/#main" src="https://enduringgloucesterdotcom1.files.wordpress.com/2017/07/kent-bowker.jpg?w=665" /><br />
<br />
I grew up in San Francisco, knew the old California of cities with
limits, bare brown hills dotted with live oaks, glorious orchards, and
deep dark redwood forests. San Francisco’s fog, shifting beauty filling
voids, never either hot or cold, chilly often, no more. The smell of
ocean sweeps through the gate, tumbles over the hills. North end bars
filled, fifty years ago with poets, before money came.<br />
<br />
My old California no longer, I depart, return<br />
to my New England home, to the marshes,<br />
granite ledges of the older sea. (Kent Bowker, “The Hand Off”)<br />
<br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">John Donne wrote that every death diminishes us. I thought of
Donne’s words after a mutual friend emailed me on June 24 to report that
Kent had died at 7 a.m. that morning at Kaplan House, following
complications from a pacemaker procedure.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">I had known Kent for nearly thirty years. We’d sailed together,
dined with our families, and worked together on the board of the Charles
Olson Society. In recent years we met regularly for lunch and
conversations that ranged from the day’s pressing political issues to
Kent’s years in Berkeley during the 1950s, where he studied physics and
became friendly with some of the Bay Area’s finest writers, including
poets Robert Duncan, Robin Blazer and Jack Spicer, during the era known
as the San Francisco Renaissance.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">Kent really was the “Renaissance Man” that his <i>Gloucester Times</i>
obituary and the family’s Facebook tribute describe him as being. He’d
studied theoretical physics at the University of California in Berkeley
and worked at the Lawrence Radiation Laboratory, where the Manhattan
Project had originated. Concurrently, he painted and wrote poetry at a
time when writers like Jack Kerouac, Allen Ginsberg, Michael McClure,
Gary Snyder, Lawrence Ferlinghetti, Kenneth Rexroth, John Wieners, and
Charles Olson were either living in San Francisco or passing though.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">After Kent moved to the Boston area to work at the Lincoln
Laboratories and Itek, he continued to write, adding sailing to his
repertoire. He designed the house in Essex he and his art historian
wife Joan lived in. Filled with books and paintings and situated on a
hill surrounded by fields, forests and wetlands, it was an ideal place
for meditation and creativity. After he retired he devoted his entire
time to painting and writing—when he and Joan were not sailing or
traveling. Kent was also a superb cook.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">When I first walked into Kent and Joan’s house for a Christmas party,
I was attracted to Kent’s impressive library. Personal libraries tell
us much about the person who has created them. As soon as I discovered
the collected poems of Charles Olson on the bookshelves, along with
those of the San Francisco poets Kent was close to, I knew that I had
met someone I could talk with about the things that meant the most to
both of us, not only poetry but the larger cultural and social issues
the poets we both admired addressed.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">Kent was always modest about his learning. Berkley at the time Kent
was a student there, along with Gloucester novelist and playwright
Jonathan Bayliss, and woodworker/sculptor Jay McLauchlan, was arguably
the most exciting place to be in America, especially if you were a
writer. New York, yes—and always. But there was an atmosphere in San
Francisco the likes of which we had never seen and, sadly, would never
see again. The Pacific light, the blue ocean itself, the astounding Bay
and its iconic bridge were part of that atmosphere, along with North
Beach bookstores like City Lights, cafes and housing that was affordable
to writers and artists.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">But Kent did not engage in nostalgia. He did not romanticize
Berkeley. He lived in the present, depicting the marshes and woods
around his house, the beaches of Ipswich and Plum Island he sailed past;
himself and family members.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">When we started Enduring Gloucester five years ago I asked Kent for a
poem. It would be the first of many he contributed—wryly humorous or
passionate. Poems about the passing of time, the changes in nature;
about Gloucester lobstermen and the sea itself.</span><br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span><span style="font-family: "georgia" , "times new roman" , serif;">Kent was a Progressive long before those who use the term today. A
conversation with Kent was like his poetry—articulate, knowledgeable,
and deeply humane. We will miss Kent while cherishing the gift of his
poetry.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">
</span>
<b><img alt="" class="alignleft wp-image-1554 size-thumbnail" data-attachment-id="1554" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"5.6","credit":"","camera":"Canon PowerShot SX260 HS","caption":"","created_timestamp":"1379174188","copyright":"","focal_length":"61.131","iso":"1600","shutter_speed":"0.076923076923077","title":"","orientation":"1"}" data-image-title="Peter at Museum (1)" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg" data-orig-size="222,271" data-permalink="https://enduringgloucester.com/contributors/peter-at-museum-1-2/#main" height="150" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=123&h=150" width="123" />Peter Anastas, </b>editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in the <i>Gloucester Daily Times</i>.Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-22691275003961738512017-05-20T10:16:00.000-07:002017-05-26T16:47:55.663-07:00All from Somewhere Else<br />
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<br />
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<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_2645" style="width: 675px;">
<img alt="" class="size-full wp-image-2645" data-attachment-id="2645" data-comments-opened="1" data-image-description="<p>Old Gloucester Theresa Bernstein 1890-2002</p>
" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Old Gloucester Theresa Bernstein 1890-2002" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/old-gloucester-theresa-bernstein-1890-2002.jpg?w=665&h=496?w=665" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/old-gloucester-theresa-bernstein-1890-2002.jpg?w=665&h=496?w=300" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/old-gloucester-theresa-bernstein-1890-2002.jpg?w=665&h=496" data-orig-size="1100,821" data-permalink="https://enduringgloucester.com/2017/05/19/all-from-somewhere-else/old-gloucester-theresa-bernstein-1890-2002/#main" height="496" src="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/old-gloucester-theresa-bernstein-1890-2002.jpg?w=665&h=496" width="665" /><br />
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Old Gloucester Theresa Bernstein (1890-2002)</div>
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<span style="font-size: large;">In 1908, my father arrived in America wearing his mother’s shoes. He
had come to join his father, who was working at the Massachusetts
Cotton Mill in Lowell.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">He was wearing his mother’s shoes because he didn’t own any. When
the officials at the port of Piraeus saw that my father was barefoot,
they refused to let him on the ship to America. It was then that his
mother took off her own shoes and handed them to her son. He never saw his mother again.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">When my father arrived in Lowell, he discovered that his father had
died from consumption, his lungs packed with textile fibers. Dad was 9
years old.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">A year later, my father was hawking newspapers on the corner of State and Court streets in Boston. When he had earned enough money, he bought a
shoeshine stand. At night he taught himself English using <i>Webster’s New International Dictionary</i> and the <i>Boston Evening Transcript. </i> I still have that dictionary.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">At the age of eighteen Dad enlisted in the army and was sent to
Europe as a medic, where he remained for the duration of the First World
War. After the war, Dad began to pursue his dream of owning his own
business. He entered the wholesale candy business, eventually coming to
Gloucester where he and a partner bought Johnny’s Morgan’s Candy
Company on the Boulevard. When the city took the properties to create
an esplanade for Gloucester 300<sup>th</sup> anniversary in 1923, Dad
relocated the business to the corner of Western and Centennial avenues,
calling it the Boulevard Sweet Shop. In 1949 he sold that business and
we moved to Rocky Neck, where Dad opened a luncheonette and S.S. Pierce
gourmet grocery store called Peter’s. The store, which for many years
became the social center for Rocky Neck life, exists today as Sailor
Stan’s.</span><br />
<br />
<span style="font-size: large;">
</span>
<br />
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_2648" style="width: 675px;">
<span style="font-size: large;"><img alt="" class="size-full wp-image-2648" data-attachment-id="2648" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"\"Peter Anastas. soon to retire. photo by Erkkila.\" undated.","created_timestamp":"1495200807","copyright":"Cape Ann Museum","focal_length":"0","iso":"0","shutter_speed":"0","title":"\"Peter Anastas. soon to retire. photo by Erkkila.\" undated.","orientation":"1"}" data-image-title="“Peter Anastas. soon to retire. photo by Erkkila.” undated." data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/papou-the-elder-rocky-neck-cropped1.jpg?w=665&h=459?w=665" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/papou-the-elder-rocky-neck-cropped1.jpg?w=665&h=459?w=300" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/papou-the-elder-rocky-neck-cropped1.jpg?w=665&h=459" data-orig-size="2366,1633" data-permalink="https://enduringgloucester.com/2017/05/19/all-from-somewhere-else/peter-anastas-soon-to-retire-photo-by-erkkila-undated-2/#main" height="459" src="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/papou-the-elder-rocky-neck-cropped1.jpg?w=665&h=459" width="665" /></span><br />
<div class="wp-caption-text">
<span style="font-size: large;">Papou the Elder. Rocky Neck</span></div>
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<span style="font-size: large;">
</span><span style="font-size: large;">Years after he had come to Gloucester, Dad continued to speak English
with a strong accent. I remember once when Eddie Bloomberg, whose
father owned Bloomberg’s clothing store and the Strand Theater on Main
Street, joked that Dad, like his own father, “murdered the English
language.”</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">“I’d like to know what you would do,” Dad shot back. “Alone in a strange country and no one to turn to.”</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">My father never went beyond fourth grade in school, but he valued
learning. He sent my brother and me to college, not because he wanted
us to do better than he did, but because he wanted us to become
“educated,” as he often said. When I was studying Greek in college, Dad
and I used to translate <i>The Iliad</i> together. He hadn’t forgotten the Ancient Greek he learned in grade school and he could still recite from Homer’s great epics.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">After Dad sold the store on Rocky Neck in 1964 and retired, he spent
most of his free time collecting and reading books about Greece, where he and my mother traveled in 1966.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">I have a photograph of my mother’s family. It was taken in front of
the Fitz Henry Lane house, where they lived. It is dated April 6,
1914. The photograph shows the entire household, my maternal
grandparents, all my aunts and uncles, except my uncle George Polisson,
who wasn’t born yet. There are other people in the picture, relatives
from Boston and a couple of the men who boarded with the family.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Everyone in the picture is Greek. Two men are seated playing
“bouzoukia,” Greek mandolins; another holds a pitcher of wine and a tray
with glasses. Still, another holds a whole leg of lamb on a skewer.
It is Greek Easter. It says so in the lower corner of the picture. In
the upper left corner it reads, “Christos Anesti,” which means “Christ
is Risen.”</span><br />
<br />
<span style="font-size: large;">
</span>
<br />
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_2650" style="width: 675px;">
<span style="font-size: large;"><img alt="" class="wp-image-2650 size-full" data-attachment-id="2650" data-comments-opened="1" data-image-description="<p>Polisson Family – Lane House 1914</p>
" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1495200755","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Polisson Family – Lane House 1914" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/polisson-family-lane-house-1914.jpg?w=665&h=449?w=665" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/polisson-family-lane-house-1914.jpg?w=665&h=449?w=300" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/polisson-family-lane-house-1914.jpg?w=665&h=449" data-orig-size="925,625" data-permalink="https://enduringgloucester.com/2017/05/19/all-from-somewhere-else/polisson-family-lane-house-1914/#main" height="449" src="https://enduringgloucesterdotcom1.files.wordpress.com/2017/05/polisson-family-lane-house-1914.jpg?w=665&h=449" width="665" /></span><br />
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<span style="font-size: large;">Polisson Family – Lane House. 1914.</span></div>
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<span style="font-size: large;">
</span><span style="font-size: large;">The people in the photograph are “different,” the men swarthy, the
women exotic with long dark hair done up in buns. They are holding
objects from their own culture, the wine and the lamb, the “bouzoukia.”
The writing on the photograph is in Greek.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">I didn’t think I was different until once, in Miss Parks’
second-grade class at the Hovey School, we were asked where our parents
were born. When I told the teacher that my mother had been born in
Gloucester but that my father came from Sparta, Greece, one of the kids
(I’ve never forgotten her name) piped up: “Sounds like a can of
grease.” After that my brother and I were called “Greasy Greeks” or
“Greaseballs.” When I went home crying one day, my father said, “Tell
them that you’re proud to be Greek. Tell them that the democratic
system of government they live under was invented in Greece.” This
happened during the Second World War and I cannot help but think that
the war had colored people’s attitudes toward immigrant families like my
own.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">In the Gloucester of my childhood one heard many different languages
and smelled many different kinds of cooking on the way home from
school: Italian, Portuguese, Greek, Yiddish, French Canadian, Finnish,
Polish and Russian, among others. Our grandmothers learned enough of
each other’s language to converse over the backyard fences. Growing up
down the Cut or at the Fort, we and our friends had a working knowledge
of Italian, exchanging some pungent swearwords in Greek and Italian.
The first African-Americans I saw were jazz musicians, who came to
perform at the Hawthorne Inn Casino, in East Gloucester, beginning in
the early 1950s, when my brother and I sneaked up the back stairs to
listen to this wild new music, which we soon began to play ourselves.
It wasn’t long before we heard Spanish on the street and even Vietnamese
and Cambodian. Though it has always been a cosmopolitan city due to
its many ethnicities and art culture, Gloucester has continued to
change. Yet the incredible diversity that defines us has remained the
same.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">We are all superficially different, and we all came from someplace
else. What brings us together are the stories we tell. The people in
those stories may have different names or speak in languages we do not
know, but the tales of arrival and loss, of recognition and
assimilation, pain and joy, are uncannily alike. And so are we
fundamentally.</span><br />
<span style="font-size: large;">
</span>
<span style="font-size: large;">
</span><span style="font-size: large;"><b><img alt="" class="alignleft wp-image-1554 size-thumbnail" data-attachment-id="1554" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"5.6","credit":"","camera":"Canon PowerShot SX260 HS","caption":"","created_timestamp":"1379174188","copyright":"","focal_length":"61.131","iso":"1600","shutter_speed":"0.076923076923077","title":"","orientation":"1"}" data-image-title="Peter at Museum (1)" data-large-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-medium-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=222" data-orig-file="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg" data-orig-size="222,271" data-permalink="https://enduringgloucester.com/contributors/peter-at-museum-1-2/#main" height="150" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=123&h=150" width="123" />Peter Anastas, </b>editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in th</span>e <i>Gloucester Daily Times</i>.Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-92188804932028117532017-04-08T17:12:00.000-07:002017-04-09T06:03:47.945-07:00Paper Trail: A Personal Journey through the Archives of the Cape Ann Museum <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1FNPdVJEt9qhLxZt2Q1C9Zr2E0quIpEAr-o_qPYlTqyQRkyeDxFilGWSV15eAaCJp8iVXbE1q3I_yS9MPjgJQVKBIhFWbAu-sOJTG1qwaC7Z_uAZLVjmWDu4cUgXwAmHCxA6phMsUw/s1600/olson1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1FNPdVJEt9qhLxZt2Q1C9Zr2E0quIpEAr-o_qPYlTqyQRkyeDxFilGWSV15eAaCJp8iVXbE1q3I_yS9MPjgJQVKBIhFWbAu-sOJTG1qwaC7Z_uAZLVjmWDu4cUgXwAmHCxA6phMsUw/s320/olson1.jpg" width="320" /></a></div>
<div style="text-align: center;">
Peter Anastas, Charles Olson and Vincent Ferrini, 1964 (Mark Power photograph)</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpViXF-2iI1Lbq9rIzGbwJvax2H9W2-w_yoi2UaXxUWhTNnSnHtg4GlpZ76En5iEmlPgbNoa9ZmQ90ibkDk7enPYhXWAnd0CD3RH4v-whKhahl6DrjMASHK1WIrUIlC_TPKOeyuy_gg/s1600/CAM.garland++file.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpViXF-2iI1Lbq9rIzGbwJvax2H9W2-w_yoi2UaXxUWhTNnSnHtg4GlpZ76En5iEmlPgbNoa9ZmQ90ibkDk7enPYhXWAnd0CD3RH4v-whKhahl6DrjMASHK1WIrUIlC_TPKOeyuy_gg/s320/CAM.garland++file.jpg" width="320" /></a></div>
<div style="text-align: center;">
From the correspondence of Peter Anastas and Joseph Garland</div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 18.0pt;">Paper
Trail: A Personal Journey through the Archives of the Cape Ann Museum </span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 18.0pt;">Peter Anastas</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> </span><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"> According to the <i style="mso-bidi-font-style: normal;">New Oxford American Dictionary</i>, an archive, which has its root in the Greek word <i style="mso-bidi-font-style: normal;">archeia</i> or “public records,’ is “a collection of historical documents or records, providing information about a place, institution, or group of people.”<span style="mso-spacerun: yes;"> </span>In keeping with its mission “to collect and preserve significant information and artifacts, and “ to foster an appreciation of the quality and diversity of life on Cape Ann past and present,” the Cape Ann Museum has long maintained its own special set of archives, which I hope to acquaint you with today.<span style="mso-spacerun: yes;"> </span>I will also be sharing some stories about my experience of cataloging my papers, while becoming familiar with the papers of Gloucester writers, Barbara Erkkila, Vincent Ferrini and Joseph Garland, which were donated to the Museum by the writers and entered the archive before mine.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">When we refer to someone's papers, a collection might include correspondence, family records, diaries, scrapbo<span style="font-family: "cambria" , "serif";">oks, </span>school reports and certificates, photographs, newspaper clippings and keepsakes like Bibles, or other books and documents that have been passed down through the generations.</span>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Let
me begin with some background. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>For years I have been fascinated by
archives and what they contained.<span style="mso-spacerun: yes;"> </span>As an
undergraduate at Bowdoin in the 1950s, I worked nights on the circulation desk
at the Hawthorne-Longfellow Library, its atrium walls hung with massive
portraits of the two great writers, who had graduated from the College in the
same class.<span style="mso-spacerun: yes;"> </span>One of my privileges was
gaining access to the library’s Rare Book Room, which also housed the Special Collections
that contained, among letters home and records of expenses incurred by the two
writers (including Hawthorne’s laundry bills, which his family was obliged to
pay, and Longfellow’s grades—which were better than Hawthorne’s), the papers of
Maine historical novelist Kenneth Roberts, whose books are now sadly neglected
[<b style="mso-bidi-font-weight: normal;">image 1</b>.Bowdon rare book room],<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Before
this, I had never looked at or even considered what writers left behind, so I
began poring over the drafts of Roberts’ novels (<i style="mso-bidi-font-style: normal;">Arundel, Oliver</i> <i style="mso-bidi-font-style: normal;">Wiswell,
Lydia Bailey</i>) until I discovered another treasure trove containing the
correspondence between the controversial American writer Henry Miller and
Bowdoin alumnus and rare book collector,<span style="mso-spacerun: yes;">
</span>Robert L. Swazey, the heir to an Ohio manufacturing fortune, who had
been Miller’s patron and whose letters, along with signed copies of each of
Miller’s books, he donated to the Bowdoin archives.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Reading these letters about Miller’s
difficulty finding a publisher for his books, many of which<i style="mso-bidi-font-style: normal;"> </i>were considered scandalous and therefore unpublishable in the US,
and his consequent lack of money, it occurred to me for the first time that I
had my hands on literary history. I was, in effect seeing it unfold in front of
me as I touched the very records that documented it.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I experienced the same revelation when
I traveled in 1978 to the University of Connecticut library at Storrs, to write
an article for <i style="mso-bidi-font-style: normal;">North Shore Magazine</i>
about the collection of Gloucester poet Charles Olson’s papers, which had just
been opened to the public after extensive cataloging by its curator, the late
Olson scholar George Butterick (<b style="mso-bidi-font-weight: normal;">image 2.</b>George
Butterick]. <span style="mso-spacerun: yes;"> </span>One could literally walk
into the massive archive (<b style="mso-bidi-font-weight: normal;">image 3</b>.Olson
archive]) and find oneself among such artifacts as Olson’s old Royal manual
typewriter <b style="mso-bidi-font-weight: normal;">(image 4</b>.Olson’s
typewriter and research materials], at which he composed his Gloucester epic,
the <i style="mso-bidi-font-style: normal;">Maximus Poems,</i> and the more than
3,500 books in his personal library that had been transported from his home at
28 Fort Square to the university for safekeeping and study, along with the
poet’s manuscripts and correspondence in over 100 cartons. (A duplicate
collection of the books in Olson’s library now exists at the Ralph Maud/Charles
Olson Library at 108 E. Main Street; created by the Gloucester Writers Center,
it is open to the public [<b style="mso-bidi-font-weight: normal;">image 5.6.</b>Olson’s
books at Maud Olson library].</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Subsequent
to that revelation, Museum curator Martha Oakes and I traveled to the Beinecke
library at Yale in 1985, when we were preparing the catalog for the Museum’s
first exhibition of the Dogtown paintings of Marsden Hartley.<span style="mso-spacerun: yes;"> </span>To have the experience of asking to examine
copies of letters that Hartley had written describing his first experience of
Gloucester in the 1930s, and a hand-written first draft of his autobiography <i style="mso-bidi-font-style: normal;">Somehow a Past</i>, was a moving experience.
<span style="mso-spacerun: yes;"> </span>Here is a copy of a postcard I
discovered that Hartley sent to the photographer and gallery owner Alfred Stieglitz,
from Florence, in 1924, 35 years before I was living there myself <b style="mso-bidi-font-weight: normal;">[image 7</b>. Hartley in Florence].</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Among
the papers archived at the Cape Ann Museum are those of sculptor Al Duca,
writer, art historian and former curator and president of CAM, Professor Alfred
Mansfield Brooks, Samuel Sawyer, benefactor of the Sayer Free Library, Captain
Ben Pine<i style="mso-bidi-font-style: normal;">, Gloucester Times</i>
photographer Charles A, Lowe, Col. Leslie Buswell of Stillington Hall, Mayor
Robert French<i style="mso-bidi-font-style: normal;">, Gloucester Times</i>
editor Paul Kenyon, musician Sylvester Ahola and writers Samuel Chamberlain and
Virginia Lee Burton, to name only a few of those who papers comprise the
Museum’s collections.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">The
papers are cared for by staff and volunteers, with new accessions catalogued
under the supervision of archivist and librarian Stephanie Buck and assistant
archivist/librarian Linda Anderson.<span style="mso-spacerun: yes;">
</span>Volunteers Bing McGilvray and Ann Siegel, process the artist files; <span style="mso-spacerun: yes;"> </span>Bing also cataloged Joe Garland’s papers.<span style="mso-spacerun: yes;"> </span>Mary McCarl is working on the Sawyer
journals.<span style="mso-spacerun: yes;"> </span>Sam Ciolino transcribes log
books and accounts and Judy Bannnon types them.<span style="mso-spacerun: yes;">
</span>Jane Mead is compiling a time-line of local businesses, while Anthea
Brigham is working on Victorian Trade cards and Holly Clay, on materials
related to the history of Annisquam.<span style="mso-spacerun: yes;">
</span>Amanda Santoriello is also helping to process the collection. <span style="mso-spacerun: yes;"> </span>Howard Thomas and Judith Nast are working
respectively on Vincent Ferrini’s papers and books.<span style="mso-spacerun: yes;"> </span>Fred Buck is the archivist of the Museum’s
large collection of photographs.<span style="mso-spacerun: yes;"> </span>It has
been a tremendous experience for me to work with and learn from this amazing
team.<span style="mso-spacerun: yes;"> </span>I might also add that we have a
great deal of fun working together, breaking the isolation of a life largely
given over to writing after my retirement from more than 30 years of social
work and college teaching .<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Here
is an inside look at the archive storage facility. Materials pictured include
the papers of Barbara Erkkila and Joe Garland, Vincent Ferrini’s papers and his
entire personal library, the papers of former curator Carrie Benham, documents
from Mighty-Mac and other local businesses and banks, art books and children’s
books [<b style="mso-bidi-font-weight: normal;">images 8.9.10.11.12</b> of
archive storage facility at CAM]</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Let
me now turn to the writers whose papers have most recently been accessioned, writers
with whom I have had the pleasure of a personal relationship: Barbara Erkkila,
Vincent Ferrini and Joe Garland.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Barbara Erkkila</span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
first met Barbara in 1956, when we worked together at the <i style="mso-bidi-font-style: normal;">Gloucester Times</i> [<b style="mso-bidi-font-weight: normal;">image 13</b>.
Barbara at a local granite quarry].<span style="mso-spacerun: yes;"> </span>Home
after my first year in college, I was hired as editor of the <i style="mso-bidi-font-style: normal;">Cape Ann Summer Sun</i>, along with being
the relief reporter when the regular staff members went on vacation.<span style="mso-spacerun: yes;"> </span>Barbara was one of two feature writers, the
other being Doris Berthold, otherwise known a<span style="font-family: "times new roman" , "serif";">s</span> “The Lady with the Feather”
because of her habit of sticking bird feathers in her hair each day.<span style="mso-spacerun: yes;"> </span>Doris was a transplant to Rockport from New
York’s Greenwich Village, where she and her former husband owned and operated a
book shop.<span style="mso-spacerun: yes;"> </span>She covered Rockport, writing
up art shows and interviewing artists.<span style="mso-spacerun: yes;">
</span>She did not own a car and went everywhere by bus, which you could do in
those days up until the last Cape Ann Auto Bus round-the-Cape run at midnight.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Though
she had been born in Boston, in 1918, Barbara grew up in Gloucester mentored by
a grandfather, who had worked in the granite quarries back of the Cape and knew
the industry and its culture intimately.<span style="mso-spacerun: yes;">
</span>As a reporter and feature writer, Barbara was unequaled.<span style="mso-spacerun: yes;"> </span>She would be given an assignment by editor
Paul Kenyon—Old Ellery House opening, Annisquam Village Fair waxworks show,
trumpeter extraordinaire Sylvester Ahola—and before day’s end she would return
with copy so expertly written, either at home or on one of the newspaper’s old
Remington manual typewriters, that it would only require a headline from Paul
or myself, if her piece were slated for the <i style="mso-bidi-font-style: normal;">Sun.</i><span style="mso-spacerun: yes;"> </span>She would also research and write amazing
stories about Lanesville history, the granite quarries, and the people whose
lives had once depended upon them, stories that became part of her definitive
history of the industry<i style="mso-bidi-font-style: normal;">, Hammers on Stone</i>,
published in 1980.<span style="mso-spacerun: yes;"> </span>Barbara also took her
own pictures, <i style="mso-bidi-font-style: normal;">de rigueur</i> at the time
for reporters, and she began collecting the artifacts from the industry—a blacksmith’s
chest, a pair of safety glasses, hammers and chisels. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">After
a freelance career, writing also for the <i style="mso-bidi-font-style: normal;">Boston
Globe</i> and <i style="mso-bidi-font-style: normal;">Yankee Magazine, </i>Barbara
joined the <i style="mso-bidi-font-style: normal;">Times</i> staff in the early 1960s,
when she became the editor of the paper’s community news pages, once
regressively referred to as the “women’s pages.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
will never forget Barbara’s professionalism.<span style="mso-spacerun: yes;">
</span>She could interview someone and return with the sharpest quotes, the
most perfect <i style="mso-bidi-font-style: normal;">apercu.</i><span style="mso-spacerun: yes;"> </span>Her leads gripped a reader immediately, and
the ensuing story always held your attention.<span style="mso-spacerun: yes;">
</span>Jimmy Clark, the<i style="mso-bidi-font-style: normal;"> Times’</i> city
editor once said to me, “Be sure to read what Barbara writes.<span style="mso-spacerun: yes;"> </span>It’s better than a college education in
reporting.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Of
Barbara’s contribution to the Museum, curator Martha Oaks has written:</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">"In
the nearly 20 years since Barbara selected the Cape Ann Museum to be the
repository for her collection, other donors have followed her example donating
additional items to our holdings. Today, the Museum is proud to have one of the
strongest collections of this type in New England," she said.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“The
museum as a whole benefited from Erkkila's involvement,” Oaks said: "For
many years, Barbara served as an advisor to the Cape Ann Museum's Collections Committee.
With her vast knowledge of all aspects of local history, she was a valuable and
much appreciated asset to that group.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">In
2014, Barbara’s papers, including correspondence, drafts of newspaper and
magazine articles, tear sheets and clippings, and a collection of photographs,
came to reside at the Cape Ann Museum.<span style="mso-spacerun: yes;">
</span>They are not only a tribute to her lifetime commitment to writing, they
are also an invaluable series of documents of local history, especially of the
granite industry.</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Vincent Ferrini</span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">On
September 27, 2000 Gloucester Poet Laureate Vincent Ferrini [<b style="mso-bidi-font-weight: normal;">image 14.</b>Vincent Ferrini] wrote me one
of his frequent letters:</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“Dear
Peter,</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>You find me in a state of separation
with my creations—A man from the Historical (which one called the Museum for years)
came and left with over 40 bound manuscripts, 20 cartons of correspondence, and
16 of extent books.<span style="mso-spacerun: yes;"> </span>Harold Bell called a
week or ten days ago and asked for my manuscripts.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">My
house is cleared except for the filing cabinet which I am giving to Dan Ruberti,
who has been helping clean the shop [this refers to Ferrini’s picture framing
shop, which he opened in 1948 and operated until the fall of 2000, after which
he retired to devote the rest of a long life to poetry]</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">The
labor pains are almost gone [Ferrini wrote]; once the shop is demolished I will
be free, these are the realities of the concrete.”</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I first met Ferrini in 1952, after
my first year in high school, during which I began to write for the school
newspaper, the <i style="mso-bidi-font-style: normal;">Gloucester High School
Flash</i>.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>On one of my regular walks around Rocky
Neck, I had discovered a little magazine for sale on the book and magazine table
at the Doris Hall Gallery, located not far from the marine railways.<span style="mso-spacerun: yes;"> </span>Advertising itself as “germinating from one
of the most famous islands on the globe,” it was called <i style="mso-bidi-font-style: normal;">Four Winds</i>: <i style="mso-bidi-font-style: normal;">A Quarterly of
Arts and Letters</i> and was edited by Vincent Ferrini, David H. Meddaugh, Ilmi
Meddaugh, Mary Shore and Margaret D. Ferrini <b style="mso-bidi-font-weight: normal;">[image.15</b>. <i style="mso-bidi-font-style: normal;">Four Winds</i>]. The
only name on the list I knew was David Meddaugh’s, who taught English at
Gloucester High School. Among the published poets were Ferrini himself and
David Meddaugh, along with Charles Olson, Robert Creeley and Denise Levertov,
who would become three of the most distinguished American poets of our time.<span style="mso-spacerun: yes;"> </span>The list of contributors included Gottfried
Benn, one of Germany’s most important living poets, Cid Corman, who edited <i style="mso-bidi-font-style: normal;">Origin</i>, a seminal journal of new poetry,
and Herbert A. Kenny, a Boston newspaper editor, who lived in Manchester and
had already published a volume of verse.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>I bought the magazine immediately for 75 cents
and took it home to pore over the rest of the day and far into the night.<span style="mso-spacerun: yes;"> </span>There were short stories by Jerre Mangione
and Dan Curly, which I read feverishly, and—a highlight for me— visual art by
Albert Alcalay, Stephen Antonakos, Louis Evan and Tom O’Hara.<span style="mso-spacerun: yes;"> </span>Alcalay, though he had previously visited and
painted on Cape Ann, had not yet begun spending his summers in Gloucester, as
Antonakos and Evan had.<span style="mso-spacerun: yes;"> </span>But I was
familiar with Tom OHara, who taught at the Massachusetts College of Art in
Boston and had been coming to Rocky Neck with his family for some years.</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Four Winds</span></i><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"> gave me precisely what I had been
looking for—new experimental poetry and fiction and stunning visual art, all in
52 pages between tastefully designed covers.<span style="mso-spacerun: yes;">
</span>The magazine was printed in Gloucester.<span style="mso-spacerun: yes;">
</span>Listed among its patrons and supporters were Dr. Bernard Cohen, a local
dentist and art collector, Harold Bell, who would become president of the Cape
Ann Museum, therapist and Lanesville summer resident Dr. Ruth Borofsky,
Rockport artist and poet Kitty Parsons Recchia, and Mrs. Alphonse Lagace, a
prominent Gloucester businesswoman.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">As
soon as the summer ended and school began, I resolved to meet Vincent Ferrini
himself.<span style="mso-spacerun: yes;"> </span>One afternoon on my way home
from classes I stopped at what I knew to be his picture framing shop at 126 E.
Main Street and proceeded haltingly to introduce myself.<span style="mso-spacerun: yes;"> </span>Ferrini instantly knew who I was because he
and his wife Peg, a Radcliff graduate and high school English teacher, came
often to my father’s luncheonette at the corner of Wonson Street and Rocky Neck
Avenue. <span style="mso-spacerun: yes;"> </span>Once I had disclosed the reason
for my visit, Vincent dispensed with formalities, asking me directly what I was
reading.<span style="mso-spacerun: yes;"> </span>When I told him I had
discovered the poetry of William Butler Yeats and Amy Lowell at the Sawyer Free
Library, his face lit up:</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“That’s
a good start,” he said. “But who are you reading who’s living, who’s <i style="mso-bidi-font-style: normal;">alive?”</i></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">When
I hesitated, he reached behind the table saw in his workshop to a shelf full of
books.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">“Let’s
begin,” he said, taking down some volumes of Ezra Pound and William Carlos
Williams.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">This
is how our many years of talk about poetry and art began. Through Vincent I met
the painter Mary Shore, whose two sons I had gone to the Hovey School
with.<span style="mso-spacerun: yes;"> </span>During the coming year I met
English instructor David Meddaugh, another member of the editorial board of <i style="mso-bidi-font-style: normal;">Four Winds</i>, spending time in his room
after school to talk about new poetry and novels.<span style="mso-spacerun: yes;"> </span>The following summer, as a result of my
experience of working at the <i style="mso-bidi-font-style: normal;">Gloucester
Daily Times</i> on the Gloucester High School newspaper, which appeared every
Saturday in its pages, I was asked by editor Paul Kenyon to become the Rocky
Neck correspondent for the paper’s seasonal cultural and entertainment
supplement, the <i style="mso-bidi-font-style: normal;">Cape Ann Summer Sun</i>,
thus beginning my writing career. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">My
friendship with Vincent continued until his death in December of 2007 at the
age of 94.<span style="mso-spacerun: yes;"> </span>Ferrini was not only a friend
but an early and important mentor like Charles Olson, whom I met during the
summer of 1959 at the Rocky Neck home and studio of Albert and Vera Alcalay.<span style="mso-spacerun: yes;"> </span>Many were the talks between Ferrini, Olson
and me at Ferrini’s frame shop [<b style="mso-bidi-font-weight: normal;">image 16.</b>Anastas.Olson.
Ferrini], continuing at night at Olson’s 28 Fort Square apartment, often with
playwright and novelist Jonathan Bayliss, who was then working as a market
analyst at Gorton’s and later to become controller of Gorton’s, and even later
treasurer of the city of Gloucester.<span style="mso-spacerun: yes;">
</span>When I returned to Gloucester from Europe in 1962, Olson had predicted
that I would find graduate school at his kitchen table, and he was right.<span style="mso-spacerun: yes;"> </span>The list of poets, writers, artists and
filmmakers who sat at that table—Jack Kerouac, Ed Dorn, Robert Duncan, Leroi
Jones/Amiri Baraka, Hettie Jones, Diane di Prima, Michael McClure, Ed Sanders, Gerrit
Lansing, Harry Martin, Celia Eldridge, and Stan Brakhage, to name but a few—constitutes
a<i style="mso-bidi-font-style: normal;"> Who’s Who</i> of American avant-garde
culture during the 1962.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Some
have characterized this period, from the late 1950s until Olson’s death in 1970,
as the “golden age” of Gloucester writing.<span style="mso-spacerun: yes;">
</span>Olson was bringing his masterwork, the Gloucester-based epic<i style="mso-bidi-font-style: normal;"> Maximus</i> Poems to a climax; Lansing had
published <i style="mso-bidi-font-style: normal;">The Heavenly Tree Grows
Downward</i>,<span style="mso-spacerun: yes;"> </span>his first collection of poetry;
Ferrini had moved from the proletarian verse of his early phase into a poetry
that combined the personal and the social; Bayliss was at work on his massive
four-volume Gloucester novel; and Garland had written and was just publishing
two of his most important books of local history, <i style="mso-bidi-font-style: normal;">Lone Voyager</i>, the story of Atlantic sailor and tavern keeper Howard
Blackburn, and <i style="mso-bidi-font-style: normal;">That Great Pattillo</i>,
which he wryly subtitled, “The Merry Misdemeanor of a Legendary Gloucester
Fisherman.”<span style="mso-spacerun: yes;"> </span>Garland and Olson, both
historians, had a special if sometimes contentious friendship. And among all of
us, writers and artists alike, there was a collegiality that I, as the
youngest, found exhilarating.<span style="mso-spacerun: yes;"> </span>Our
regular gatherings in places like the legendary Gallery Seven in Magnolia, where
Jonathan and I gave our first readings together at an event presided over by
Olson, inspired me to move from journalism to the short story and novel and
then to my first book, <i style="mso-bidi-font-style: normal;">Glooskap’s
Children: Encounters with the Penobscot Indians of Maine,</i> dedicated to
Olson <b style="mso-bidi-font-weight: normal;">[image 17</b>. <i style="mso-bidi-font-style: normal;">Glooskap’s Children</i>] whose work and
thinking inspired it, and with an epigraph from the poet Allen Ginsberg, who
had been one of the pallbearers at Olson’s funeral along with Ferrini, myself,
and Ed Dorn.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">For
years, when Ferrini operated his picture framing shop I would stop by several
times a week for the bracing conversation one always enjoyed with one of the
most alive people I have ever known.<span style="mso-spacerun: yes;">
</span>Vincent and I also exchanged letters, hundreds of them, which are part
of my archive here. As I re-read then, they seem like a running commentary on
local life and national events.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Joe Garland:</span></b></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
first met Joe Garland [<b style="mso-bidi-font-weight: normal;">image 18.</b>Garland
at wheel of Adventure] at the counter of my father’s Rocky Neck luncheonette
and SS Pierce gourmet grocery store.<span style="mso-spacerun: yes;"> </span>It
was during the early summer of 1962 and I was just back from three years of
studying Medieval Literature at the University of Florence in Italy.<span style="mso-spacerun: yes;"> </span>I had returned with the drafts of several
short stories, a number of which were subsequently published in the usual
short-lived magazines of the time, and the manuscript of my first novel, from
which I read at the Gallery Seven reading I have described.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">My
father had told Joe that I was writing and Joe, on first meeting, offered to do
anything he could to help me.<span style="mso-spacerun: yes;"> </span>It was an
offer I never forgot.<span style="mso-spacerun: yes;"> </span>Joe also
encouraged me to continue my pursuit of journalism, sending me notes and
postcards every time he read a piece of mine he liked in the <i style="mso-bidi-font-style: normal;">Gloucester Times</i> or <i style="mso-bidi-font-style: normal;">North Shore Magazine</i>.<span style="mso-spacerun: yes;"> </span>Joe’s
columns for the <i style="mso-bidi-font-style: normal;">Times</i> during the
1960s and early 70s inspired my own columns from the late 70s into the 90s. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Joe
and I were political allies during the Vietnam years, as members of the
Steering Committee of the Cape Ann concerned citizens, a local peace group, as
well as working locally on the presidential campaign of Senator Eugene
McCarthy.<span style="mso-spacerun: yes;"> </span>I was always impressed by
Joe’s political savvy and organizational sense, gained as a union organizer
during his career in journalism.<span style="mso-spacerun: yes;"> </span>It was
Joe who encouraged Peter Parsons and me to apply for a grant from the city’s
350<sup>th</sup> anniversary committee to prepare an oral history of
Gloucester, writing a letter of recommendation for our project and cheerleading
us on as we shared with him some of the interviews we were conducting with retired
fishing captains, members of the Portuguese and Sicilian fishing community,
lumpers, women who worked on the cutting and packing lines, and residents of
the city’s once traditional neighborhoods, most then lost to urban renewal <b style="mso-bidi-font-weight: normal;">[image 19</b>. cover <i style="mso-bidi-font-style: normal;">of When Gloucester Was Gloucester</i>]</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Joe
was engaged in writing his <i style="mso-bidi-font-style: normal;">Gloucester
Guide</i>, which would also be published for the Anniversary, along with Gordon
Thomas’ history of the Gloucester fishing schooners, <i style="mso-bidi-font-style: normal;">Fast and Able</i>.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
will always be grateful for Joe’s encouragement.<span style="mso-spacerun: yes;"> </span>He read and commented on every one of my
published books in manuscript and he wrote a comment for the back jacket of my
memoir <i style="mso-bidi-font-style: normal;">At the Cut,</i> which put the book
in a perspective I myself had not even imagined <b style="mso-bidi-font-weight: normal;">[image 20</b>.cover of <i style="mso-bidi-font-style: normal;">At the Cut</i>].</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">My
archive contains our correspondence [<b style="mso-bidi-font-weight: normal;">image
21.</b>letters to PA from Garland]. <span style="mso-spacerun: yes;"> </span>I
cannot begin to say how much I miss Joe, as does the city itself.<span style="mso-spacerun: yes;"> </span>He was our conscience, along with Olson and
Ferrini, and a writer of rare power and integrity.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">Peter Anastas</span></b></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">It
was Joe who encouraged me to donate my papers to the Museum.<span style="mso-spacerun: yes;"> </span>He told me that since he and Ferrini had
offered theirs, it was my duty as a Gloucester native and writer to follow in
their footsteps.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
didn’t need much encouragement.<span style="mso-spacerun: yes;"> </span>Having
worked among Ferrini’s papers in 2013, when Greg Gibson and I were preparing <i style="mso-bidi-font-style: normal;">Incredible Dancer</i>, an anniversary volume
of the late poet’s letters and poems to Cape Ann friends, I rediscovered my old
pleasure of being among the documents of a living past—holding, touching, and
reading, letters, manuscripts and newspaper clippings and poring over family
photographs.<span style="mso-spacerun: yes;"> </span>Ever since high school I
had formed the habit of saving everything I had set down on paper, from my
class essays and newspaper columns to letters I had received.<span style="mso-spacerun: yes;"> </span>Every time I moved house, I realized that my
own personal archive was growing.<span style="mso-spacerun: yes;"> </span>In
college I had started keeping a journal, having been inspired by the journals
of the great French writer Andre Gide.<span style="mso-spacerun: yes;">
</span>When I set sail for Italy, in October of 1959, I took with me a black
imitation leather three ring binder that accommodated lined pages 5 ½ by 8 ½
inches <b style="mso-bidi-font-weight: normal;">[image 22.</b> Anastas journal].<span style="mso-spacerun: yes;"> </span>It was in this formal journal that I began in
earnest to write, often daily.<span style="mso-spacerun: yes;"> </span>I wrote
about what I saw and heard, how I felt about what I was experiencing.<span style="mso-spacerun: yes;"> </span>I wrote about the books I was reading and
those I hoped to write, the people I met and the places I visited.<span style="mso-spacerun: yes;"> </span>I returned from Europe with several hundred
pages of journals, placing them immediately in a safe deposit box in one of the
local banks.<span style="mso-spacerun: yes;"> </span>Over the years I have added
to that box and a subsequent locker.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">I
have only published a few excerpts from the journal [<b style="mso-bidi-font-weight: normal;">image 23</b>. Anastas journal from <i style="mso-bidi-font-style: normal;">America
One</i>].<span style="mso-spacerun: yes;"> </span>But friends have told me that
they believe that this record of my own life, lived for 72 years in one place (plus
four years in college and three in Italy), including comments on daily life,
family history, a running commentary on local politics, national and
international affairs, a professional life in teaching, social work and
journalism, could prove of interest for those in the future, who might want to
know what it felt like, from the perspective of one person, to have lived in a
single city through one of the most tumultuous periods in American life—Korea, <span style="mso-spacerun: yes;"> </span>McCarthyism, Vietnam, Watergate, Iran-Contra,
wars in Iraq and Afghanistan, the Middle East in turmoil; not to speak of the
social and cultural upheavals of the 60s and 70s.<span style="mso-spacerun: yes;"> </span>I don’t claim to be an historian like
Garland, but I did try to preserve in writing what I saw and felt, and what I
thought about it. <span style="mso-spacerun: yes;"> </span>I also collected
hundreds of newspaper and magazine clippings, which are also part of my
archive.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">The
journals were safe in the bank, but the rest of my papers—correspondence with
Ferrini, Olson, Garland, and numerous other friends, writers and artists, along
with copies of all the newspaper and magazine articles I had published,
including published and unpublished essays, stories and books—resided in large
plastic bins in our basement.<span style="mso-spacerun: yes;"> </span>As I
progressed into my 70s I realized that this material, whatever its worth,
needed a home outside of my own, a place where it could be filed, cataloged and
possibly be made available to researchers, especially those who have been
working on Olson’s and Ferrini’s years in Gloucester and the history of this
remarkable place. I also felt that my work belonged with that of Ferrini and
Garland, that our writing complimented each other’s, just as we had, for years,
mutually inspired each other.<span style="mso-spacerun: yes;"> </span>With this
in mind, I approached Museum staff about the possible donation of my
papers.<span style="mso-spacerun: yes;"> </span>Not only was my offer graciously
accepted, but librarian and archivist Stephanie Buck asked me if I would like
to catalogue them myself.<span style="mso-spacerun: yes;"> </span>I agreed, if
Stephanie and the staff would teach me how to do it.<span style="mso-spacerun: yes;"> </span>They have, and I am just now in the final
stages of the job.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">What
has this work been like, you may wonder?<span style="mso-spacerun: yes;">
</span>Friends, especially, have asked me what have I learned? <span style="mso-spacerun: yes;"> </span>What does it feel like going over one’s entire
history, literally submerged in the written records of it—high school, college
and graduate school essays and papers, long forgotten (often better forgotten)
newspaper and magazine articles, published and unpublished books, and letters,
hundreds of them, to and from Ferrini, Garland, Olson, Jonathan Bayliss and
dozens of other writers with whom I have corresponded over the years; not to
speak of those journals.<span style="mso-spacerun: yes;"> </span>My life
stretched out on paper in front of me as I tried to make some sense of it.<span style="mso-spacerun: yes;"> </span>I was also amazed to discover what a pack-rat
I had become from eighth grade on!</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;">While
expressing my gratitude to the Museum and Board for accepting my written
legacy, let me affirm that it has been a humbling experience coming to grips
with a life in writing, a life on paper, especially in an age in which paper
and print are giving way to digital technologies and the culture of paper may
be imperiled.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListBullet" style="line-height: 200%; margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 200%;">Looking back through the
pages I have written from high school to the present has been a sobering
experience.<span style="mso-spacerun: yes;"> </span>I realize that I have not
written all that I once dreamed of writing.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>Life intervened—marriage,
divorce, parenting, teaching, social work, local activism, writing when I could
manage it on nights and weekends.<span style="mso-spacerun: yes;"> </span>As
vital as it may seem, youthful ambition comes at an age when we think we know
what we want, but we do not yet know who we are.<span style="mso-spacerun: yes;"> </span>We can hope that writing—and the living
which underpins it—will help to teach us that.<span style="mso-spacerun: yes;">
</span>Though I cut my teeth on experimental fiction, I did not become a
transgressive writer.<span style="mso-spacerun: yes;"> </span>Charles Olson
exhorted me to “stay local,” and local I have remained, writing largely about
my home town in fiction and memoir.<span style="mso-spacerun: yes;">
</span>Living in one place for the better part of one’s life becomes the only
life one knows.<span style="mso-spacerun: yes;"> </span>And yet, the life of a
small town, especially a cosmopolitan community like Gloucester, can be a world
unto itself, as well as being a reflection of the larger one.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In the end, I have written the books I was compelled to
write, books about Native American conflicts in Maine, about the lives of the
disadvantaged in Gloucester, and about the struggle over the soul of my
hometown as it attempts to preserve its gritty blue-collar identity in the wake
of the collapse of the North Atlantic’s fishing stocks.<span style="mso-spacerun: yes;"> </span>This is the work I have done, and I do not
believe I could have done it without the inspiration I gained from working
alongside of Barbara Erkkila at the <i style="mso-bidi-font-style: normal;">Gloucester
Times</i>, or from the friendship and mentoring I received from Vincent Ferrini
and Joe Garland.<span style="mso-spacerun: yes;"> </span>It is humbling to have
my papers included with theirs in the Museum’s archive, and for this I am truly
grateful.</span><br />
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<![endif]-->Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-54619978928223031562017-01-10T12:33:00.000-08:002017-01-10T12:33:59.481-08:00Vietnam: A Political Education<!--[if gte mso 9]><xml>
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<![endif]--><i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">Vietnam veteran Karl Marlantes’ powerful
essay, “Vietnam: The War that Killed Trust,” recently published in the </span></i><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">New York Times<i style="mso-bidi-font-style: normal;"> to mark the 50<sup>th</sup> anniversary of
what the </i>Times<i style="mso-bidi-font-style: normal;"> called “a year that
changed the war and changed America,” has prompted me to post my own response
to those troubled times in the form of a chapter from a memoir-in-progress.</i></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;"><br /></span></i><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">Vietnam:
A Political Education</span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">…burned human flesh</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">is smelling in Viet Nam as I write.</span></i></div>
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<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>--Denise Levertov, 1966</span></div>
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<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I dropped out of graduate school in
June of 1967 at the height of the war in Southeast Asia.<span style="mso-spacerun: yes;"> </span>While the war, which my wife and I had
opposed from the beginning, was not the primary factor in my decision to leave
what I had come to experience as the inhibiting life of academia, it played a
significant role in an act that earned me the disapproval, if not the enmity,
of both of our families.<span style="mso-spacerun: yes;"> </span>Graduate school
was considered by my own immigrant family, as well as Jeane’s family of
scientists and physicians, to be the gateway to a rewarding professional
career; indeed, to a certain level of affluence and social standing.<span style="mso-spacerun: yes;"> </span>I had never sought either, but I’d eagerly
applied three years before because I wanted time to read and write, which I
believed graduate school would offer, just as college had gratifyingly done so
for me.<span style="mso-spacerun: yes;"> </span>My rejection of those
possibilities was a further signal to our families, who were already skeptical
about my responsibility, that I would probably not amount to much, especially
after we told them that I’d relinquished a doctoral program in English and
American literature, with its assurance (at least in those days) of a
tenure-track position, to become a writer with no regular or guaranteed
income.<span style="mso-spacerun: yes;"> </span>The common rationalization that
one could always write and teach was not worth arguing.<span style="mso-spacerun: yes;"> </span>One year in graduate school had been enough
to demonstrate that scholarly and imaginative writing were, at least for me,
mutually exclusive.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">I had no delusions about academic
life.<span style="mso-spacerun: yes;"> </span>I loved teaching.<span style="mso-spacerun: yes;"> </span>I’d been a willing, if conflicted, teacher of
English in Italy and at two senior high schools in Massachusetts.<span style="mso-spacerun: yes;"> </span>But I knew that if I committed myself to
earning advanced degrees, I would need to demonstrate superior scholarly
skills, along with the commitment to a lifetime of teaching and writing about
literature.<span style="mso-spacerun: yes;"> </span>I was confident that I could
lead students through the most demanding texts, but I didn’t really imagine
myself producing works of scholarship or criticism in order to receive tenure,
even if they might be studies of writers like Lawrence or Thoreau, who had always
meant a great deal to me.<span style="mso-spacerun: yes;"> </span>Not that I
couldn’t—I just didn’t want to.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>So I applied for and entered
graduate school with a divided consciousness.<span style="mso-spacerun: yes;">
</span>My love of literature propelled me toward its further study, while my
passion to write imaginatively acted as a brake on my scholarship.<span style="mso-spacerun: yes;"> </span>Even though I threw myself into the study of
American social and intellectual history, British Renaissance drama, the poetry
of John Milton, Puritan theology, and the Transcendentalism of Emerson and
Thoreau with the same enthusiasm that I’d approached undergraduate work,
another part of me dreamed of the next novel I wanted to write.<span style="mso-spacerun: yes;"> </span>Instead of perfecting my critical prose with
papers analyzing the shapes Satan had assumed while tempting Adam and Eve in <i style="mso-bidi-font-style: normal;">Paradise Lost (</i>even as a Poundian I
became fanatical about Milton’s verse), I sketched out short stories in the
quiet of my study on Farrington Avenue, while my wife programmed computers at
Gorton’s so we could make ends meet on my small graduate teaching fellowship.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>From the beginning I was doomed as a
graduate student. Though I made good friends at Tufts like Joe and Lannie
Liggera, who shared my enthusiasm for Thoreau, I was put off by the competition
and back-biting I observed among faculty and graduate students alike, their
closed-mindedness about the kinds of experimental writing and avant-garde art
that excited me (when I mentioned Olson to one of my teachers, he thought I was
referring to the Chicago academic poet Elder Olson). So as the years went by
and I commuted from Gloucester into Medford, sitting in classes, teaching
freshman composition and introduction to literature, attending faculty
seminars, and studying in yet another great library, I began to plot my
escape.<span style="mso-spacerun: yes;"> </span>Now that I was past my
twenty-sixth birthday, married and with a child, I was exempt from the draft
and, therefore, the war in Vietnam, so I could drop out with impunity.<span style="mso-spacerun: yes;"> </span>I made a deal with myself:<span style="mso-spacerun: yes;"> </span>I would remain a graduate student for as long
as I could stand it.<span style="mso-spacerun: yes;"> </span>I’d write as
rigorous a master’s thesis as I was able to, organizing it so that with the
addition of, say, a further chapter, the essay could also be offered as my
doctoral dissertation, providing I could force myself to complete the requisite
course credits and prepare myself for the comprehensive written and oral
examinations expected of a successful doctoral candidate.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I worked hard for three years,
taking nearly two of those years to complete the master’s thesis on Thoreau and
his relationship to place, in which, under Olson’s influence, I attempted to
analyze Thoreau’s evolving method of living in, learning about and describing
the world around him.<span style="mso-spacerun: yes;"> </span>My advisor, Jim
McIntosh, a Harvard and Yale trained scholar of Thoreau and Dickinson,
despaired at the length of time it took me to prepare for and ultimately
complete the thesis.<span style="mso-spacerun: yes;"> </span>But when it was
done and I had successfully defended it in May of 1967, both Jim and the other
two members of my thesis committee agreed that it had both the rigor and the scope
of a potential doctoral dissertation.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>That was all I needed to hear.<span style="mso-spacerun: yes;"> </span>MA degree with honors in hand, I left
graduate school and prepared for what I hoped would be a lifetime of
writing.<span style="mso-spacerun: yes;"> </span>The reality of how naïve I was
about what lay ahead, or how little I was prepared for the consequences of my
decision, would not catch up with me for some years.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>But it wasn’t simply my conflicted
relationship with academic pursuits or my desire to jettison certainty in order
to write the kinds of books I yearned to write that underlay my decision to
drop out of graduate school.<span style="mso-spacerun: yes;"> </span>The other
motivating factor, as I’ve mentioned, was the war in Southeast Asia, already
some years in prosecution, a war that was convulsing American society and
driving many of its young people to the brink of insurrection in their attempts
to stop the slaughter and to remake a world most of us between the ages of
eighteen and thirty had thought gone crazy.<span style="mso-spacerun: yes;">
</span>It was this war and the growing national and international opposition to
it, not to speak of my own agony about my country’s repulsive behavior in
Vietnam, that made me think seriously about committing myself entirely to
writing as an existential and political act rather than continuing to
teach.<span style="mso-spacerun: yes;"> </span>After years in school and
college, I yearned to live again in the “real world,” or what I believed such a
world to be like, quite apart from the pressures of exams and deadlines for
papers.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I was about to turn thirty when I
left Tufts.<span style="mso-spacerun: yes;"> </span>That was old for what has
been called “the Vietnam generation,” a generation that came of age with folk
and rock music, and with TV and movies, not books.<span style="mso-spacerun: yes;"> </span>In contrast, jazz had been the music of my
connection with the world beyond Gloucester, the culture of race and
transgressive art; and books had been the major sources of my instruction and
inspiration.<span style="mso-spacerun: yes;"> </span>Though we drank in
college—a great deal, I’ve already admitted—we knew nothing of drugs.<span style="mso-spacerun: yes;"> </span>I didn’t smoke my first “joint” until my
brother Tom brought some marijuana back from the road in 1964 for my wife and
me to try, along with Amphetamines and some “downers.”<span style="mso-spacerun: yes;"> </span>My students at Tufts used dope regularly and
many had already experimented with psychedelic substances like LSD, psilocybin,
and mescaline, which I didn’t touch until the Seventies.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>So just as I was in conflict with a
society—The System, as we called it—that had taken us into what so many of us
believed was an unjust and unnecessary war, invading a tiny country that posed
no threat to us and firebombing its people, I was also in potential conflict
with my own students, who were already throwing over their educations (in the
view of some faculty), shutting down classes and entire universities, dropping
out to demonstrate against war and racism, or joining revolutionary groups like
the Maoist Progressive Labor Party, to organize electrical workers, as my best
student Danny O’Neill had done.<span style="mso-spacerun: yes;"> </span>My
students took dope and I didn’t.<span style="mso-spacerun: yes;"> </span>They
listened to Joan Baez and Bob Dylan, while I doted on John Coltrane and Carmen
McRae.<span style="mso-spacerun: yes;"> </span>They read Richard Brautigan’s <i style="mso-bidi-font-style: normal;">A Confederate General from Big Sur </i>and
Richard Farina’s <i style="mso-bidi-font-style: normal;">Been Down so Long it
Looks Like Up to Me,</i> if they read at all; while I was catching up with
Ruskin and Henry James.<span style="mso-spacerun: yes;"> </span>In fact, when I
tried to introduce <i style="mso-bidi-font-style: normal;">The Ambassadors</i>
into our course in basic literary genres, they denounced the novel as an example
of “bourgeois decadence” and refused to read it.<span style="mso-spacerun: yes;"> </span>Worse, they came to class in T-shirts and
cut-offs—some even sported Indian cotton blouses and wooden beads.<span style="mso-spacerun: yes;"> </span>I still wore Italian cut suits and British
ankle boots, and my hair was short.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In the end, it was I who changed,
not them; and it was my students, and my wife, who adored Joan Baez, who were
the agents of my change.<span style="mso-spacerun: yes;"> </span>No, I didn’t
grow my hair out yet, and I didn’t throw away my father-in-law’s 1940s Brooks Brothers
seersucker suits, which I’d had retailored to fit me after his death in
1966.<span style="mso-spacerun: yes;"> </span>I couldn’t bear to go that
far.<span style="mso-spacerun: yes;"> </span>I couldn’t bear to give up Henry
James whom I’d finally come to appreciate, after resisting my teachers at
Bowdoin, who had tried mightily to introduce us to the dense textures of The
Master’s novels and stories.<span style="mso-spacerun: yes;"> </span>Not only
did I read James, I also settled into a intensive study of Henry Adams—and I
forced my students to read <i style="mso-bidi-font-style: normal;">The Education</i>
with me as I exulted in Adam’s ironic condemnation of his own matriculation at
Harvard, which I was certain my students would (and did) relish—“He could not
afterwards remember to have heard the name of Karl Marx mentioned, or the title
of <i style="mso-bidi-font-style: normal;">Capital</i>.<span style="mso-spacerun: yes;"> </span>He was equally ignorant of August Comte.<span style="mso-spacerun: yes;"> </span>These were the two writers of his time who
most influenced its thought.”</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>But the stereotypical beads and the
long hair, the folk music, not even their courageous anti-war beliefs or
political activism—this was not what my students or the rising college
generation were about.<span style="mso-spacerun: yes;"> </span>The kids I knew
and taught, the ones I loved, marched with in Boston Common, sat next to in
teach-ins, and gave higher grades to, hoping to keep them from getting drafted
and killed—these young people were idealistic.<span style="mso-spacerun: yes;">
</span>In 1969, one of their contemporaries had this to say from his Harvard graduation
platform:</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">“For attempting to
achieve the values which</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">you taught us to cherish,
your response has </span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">been astounding. It has
escalated from the</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">presence of the police on
the campuses to</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">their uses of clubs and
gas. I have asked many</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">of my classmates what
they wanted me to say</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">today. “Talk with them
about hypocrisy,” most</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">of them said. “Tell them
they have broken the</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">best heads in the
country. Tell them they</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">have destroyed our
confidence and lost our</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">respect.”</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">My students went off to live in communes or
to organize citizens against the war.<span style="mso-spacerun: yes;">
</span>Others got married and went to graduate school themselves.<span style="mso-spacerun: yes;"> </span>Some even went to war.<span style="mso-spacerun: yes;"> </span>Most simply went to work after college.<span style="mso-spacerun: yes;"> </span>They have become teachers, doctors, lawyers,
famine workers in Africa.<span style="mso-spacerun: yes;"> </span>Mothers, fathers.<span style="mso-spacerun: yes;"> </span>On the whole they are probably more liberal,
and they probably took greater risks than their dutifully bourgeois
parents.<span style="mso-spacerun: yes;"> </span>But none of us were ultimately
able to make a better world, or to stop a criminal war.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">I came home to Gloucester, in a manner of
speaking, because I had lived here since my return to America in 1962.<span style="mso-spacerun: yes;"> </span>I came “home” to write and I tried to put
into practice locally what I’d learned from my students.<span style="mso-spacerun: yes;"> </span>At first I only wanted to write.<span style="mso-spacerun: yes;"> </span>For twenty-five dollars a month I rented an
airless room at the rear of a real estate office in East Gloucester
Square.<span style="mso-spacerun: yes;"> </span>Daily, when the weather was
good, I walked from Farrington Avenue to my office and I wrote until 1 p.m.,
returning home to take over the care of our son Jonathan from his mother, who went
off to work herself.<span style="mso-spacerun: yes;"> </span>Other times I wrote
all day long.<span style="mso-spacerun: yes;"> </span>I finished a novella, <i style="mso-bidi-font-style: normal;">Landscape with Boy, </i>that later appeared
as the inaugural volume in the Boston University Fiction Series.<span style="mso-spacerun: yes;"> </span>I began what I hoped would be a long novel
about expatriation in Europe and political upheaval at home; I wrote a lot of
stories, each more experimental than its predecessor.<span style="mso-spacerun: yes;"> </span>Some of these stories were eventually
published in the usual short-lived little magazines and reviews.<span style="mso-spacerun: yes;"> </span>None brought us any money.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">My political life at home began when a
group of friends organized to fight the proposed placement of a Sentinel
Anti-Ballistic Missile site on Dogtown Common, the rugged, terminal moraine
wilderness at the heart of Cape Ann, where I had been taken as a child by my
grandmother to pick berries.<span style="mso-spacerun: yes;"> </span>If the
Pentagon achieved this goal, we argued, they would be bringing the war in
Vietnam, if not the entire Cold War itself, home to our neighborhoods in
Gloucester.<span style="mso-spacerun: yes;"> </span>The reaction to our campaign
against the missile emplacement, timid as it was—we placed an advertisement in
the <i style="mso-bidi-font-style: normal;">Gloucester Daily Times</i> with a
coupon, which those who agreed with us could clip and send to the mayor’s
office in opposition to the base—was both extreme and edifying.<span style="mso-spacerun: yes;"> </span>We were called “commies,” “traitors” and warned
that if we didn’t want missiles defending us against Russian and Chinese
enemies we should go and live in those countries.<span style="mso-spacerun: yes;"> </span>Some even said they “felt proud” the
government had chosen Cape Ann for a missile base, though one wondered what
suicidal tendencies they harbored.<span style="mso-spacerun: yes;">
</span>“Better dead than Red” was one of the slogans of the time.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">As we leafleted against the proposed
missile base on Main Street or at supermarket plazas, we were dismissed as
“fucking hippies,” though only a couple of us had incipient beards.<span style="mso-spacerun: yes;"> </span>Our group consisted mostly of artists and
teachers.<span style="mso-spacerun: yes;"> </span>My friend Ray Bentley, another
member, was an editor at Beacon Press in Boston.<span style="mso-spacerun: yes;"> </span>Soon, however, we were joined by older and
more prominent citizens, who may not have worried about missiles but who cared
deeply for Dogtown itself as an historic site of early settlement, a wildlife
habitat of rich blueberry barrens, and a place of vernal pools and remarkable
geological formations.<span style="mso-spacerun: yes;"> </span>It was these
members of our group—naturalists Elliott Rogers and John Kieran, MIT scientist
Frederick Norton, and environmentalist and staunch Republican Lloyd Waring—who,
finally, had the financial and political clout to appeal directly to
legislators and administration officials in Washington to get Dogtown
eventually scrubbed from the Pentagon’s list of potential sites. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">As a result of this campaign I met and
joined a group of local anti-war resistors and peace activists that called
itself the Cape Ann Concerned Citizens.<span style="mso-spacerun: yes;">
</span>The war was escalating and our group felt that it was time for new
tactics, though I felt I had learned something from the anti-missile
campaign.<span style="mso-spacerun: yes;"> </span>I’d had a taste of power
politics, when I observed the apparent ease with which those older men had
access to its sources by virtue of their wealth and their connections.<span style="mso-spacerun: yes;"> </span>I also learned that Gloucester, a city that
had, since the American Revolution, sent thousands of its sons and daughters
into war, was a patriotic community, never questioning the reasons for war,
simply doing its duty when the military called for volunteers.<span style="mso-spacerun: yes;"> </span>It became clear to us that beyond
demonstrating we would have to make a more compelling case to our fellow
citizens about why the war was wrong and why America should withdraw from.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Yet
you felt absolutely impotent when all you had to do was turn the television set
on at dinnertime, or before you went to bed, to hear the daily body count.<span style="mso-spacerun: yes;"> </span>You could watch the bombs dropping, the
napalm fire you learned to recognize from its incandescence.<span style="mso-spacerun: yes;"> </span>You could actually hear the screams of Vietnamese
women and children as they ran for shelter, the phosphorescent jelly sticking
to their clothes, searing their skin.<span style="mso-spacerun: yes;">
</span>You heard the rasp of machine gun fire, the dull thudding of
mortars--all the sounds of the engines of death.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The
war got into everything I did, between every line I wrote, until finally its
hyper-reality and my own outrage became so pervasive that I found it impossible
to write fiction.<span style="mso-spacerun: yes;"> </span>No event I could
possibly have imagined; no situation, scene or character I might create, seemed
to have any validity for me after the enormity of Vietnam.<span style="mso-spacerun: yes;"> </span>At one point, without ever having served in
the military myself, I began to draft a story about a veteran returning to his
hometown after the conflict.<span style="mso-spacerun: yes;"> </span>I wrote
about a search-and-destroy mission I'd seen documented on public
television.<span style="mso-spacerun: yes;"> </span>I told about the daily
events in the life of an infantryman, part of whose journal I had discovered a
few days before in <i style="mso-bidi-font-style: normal;">Look</i>
magazine.<span style="mso-spacerun: yes;"> </span>In my story I tried to draw a
parallel between the combat veteran and myself, both of us having come back to
our birthplace to reflect upon our lives so far.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>On
the day I completed my first draft of that story I arrived home from an errand
on Main Street to find my wife on the kitchen floor sobbing uncontrollably, the
news blaring on the radio.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>"I
just can't take it any more," she cried, as I held her to me, scarcely
recognizing her eyes that burned so.<span style="mso-spacerun: yes;">
</span>"I feel like going to the Pentagon and tearing my hair out in front
of them all and shouting MURDERERS! MURDERERS!<span style="mso-spacerun: yes;">
</span>I want to set fire to myself.<span style="mso-spacerun: yes;"> </span>I
want everyone to see my flesh and smell it burning!"</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It
was a ghastly day in December of 1967, dark and unfriendly, with a threat of a
northeaster.<span style="mso-spacerun: yes;"> </span>Bitterly I regretted having
separated Jeane from her friends in Cambridge, and the couples we’d shared
children and anti-war sentiments with at Tufts, to bring her to Gloucester,
where I could work in familiar surroundings.<span style="mso-spacerun: yes;">
</span>Most of that afternoon we lay on our bed in the stucco cottage we had rented
on Eastern Point.<span style="mso-spacerun: yes;"> </span>While our son slept,
we held each other, talked little, both of us wondering what we could do now to
help stop this war.<span style="mso-spacerun: yes;"> </span>What <i style="mso-bidi-font-style: normal;">could</i> two young people like ourselves
manage to achieve against all that power that was destroying a country and a
culture we knew so little about?</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>A
day later, on my way back from the library, I caught sight of a young man in
army field jacket and fatigues leaning against a stone wall while thumbing a
ride to Main Street.<span style="mso-spacerun: yes;"> </span>As I passed him, I
recognized my old friend Bobby Duerdon's little brother Jackie, who was always
butting into our touch football games. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I
wanted to wave to him, but my hand just stuck to the steering wheel of our
VW.<span style="mso-spacerun: yes;"> </span>Home from the war, Jackie was on
crutches, he had only one leg, and he seemed to stare right through me.<span style="mso-spacerun: yes;"> </span>In my rearview mirror I could see that cars
were passing him and no one was offering him a ride.<span style="mso-spacerun: yes;"> </span>He stood, almost at attention, away from the
wall now on his crutches, stiffly, and I knew it was freezing out there.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>When
I got home, I went to my workroom.<span style="mso-spacerun: yes;"> </span>I
took the draft of my war story, tore it into strips and put them into a straw
wastebasket.<span style="mso-spacerun: yes;"> </span>In the back yard I lingered
in the cold air over the incinerator, until I could break up and disperse all
the ashes of the manila manuscript paper.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The
next evening, resolved to do whatever was necessary to stop this horrendous
war, I attended another meeting of our group.<span style="mso-spacerun: yes;">
</span>We voted to create a newsletter to coordinate our anti-war activities
with those of nearby communities.<span style="mso-spacerun: yes;"> </span>We
would call the paper <i style="mso-bidi-font-style: normal;">Soundings</i> and I
was asked to edit it.<span style="mso-spacerun: yes;"> </span>Peter Smith, a
local reprint publisher—and a Republican—agreed to subsidize our efforts.<span style="mso-spacerun: yes;"> </span>He offered his mimeograph machine to produce
the newsletter.<span style="mso-spacerun: yes;"> </span>His office staff would
do the mailing once we established a mailing list.<span style="mso-spacerun: yes;"> </span>Then we decided to create a speaker series,
inviting prominent anti-war activists like Howard Zinn, Noam Chomsky and Jerome
Letvin, to come to Gloucester.<span style="mso-spacerun: yes;"> </span>Perhaps
they could bear witness better than we could, we hoped.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Still,
ours was a diverse and experienced group.<span style="mso-spacerun: yes;">
</span>Rockport painters George and Ellen Gabin, who had founded the Cape Ann
Civil Rights Council and brought with them from New York a long history of
activism, were among the members most experienced in political work.<span style="mso-spacerun: yes;"> </span>They were joined by historian Joe Garland,
the dean of Gloucester writers, who had been a newspaper union organizer after
the war.<span style="mso-spacerun: yes;"> </span>My friend Jay McLauchlan,
cabinet maker, sculptor, and Korean War veteran, came on board, along with Ray
Bentley, who was working at Beacon Press when they published the <i style="mso-bidi-font-style: normal;">Pentagon Papers, </i>which blew the cover
off the entire Vietnam debacle.<span style="mso-spacerun: yes;"> </span>There
was Jay Keyser, who taught linguistics at MIT with Chomsky, librarian Jeff
Gardner and his freelance journalist brother Dave, nurse and activist Rene
Gross, Rockport weaver, Ruth Perrault and her African-American husband Burt
Tinker.<span style="mso-spacerun: yes;"> </span>Our proudest addition, however,
was Johns Hopkins graduate Martin Ray, a former officer in Vietnam, returning
like so many combatants who’d experienced the horror first-hand, to educate the
American people about the wrongness of the war.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>We
leafleted on weekends, we held seminars and meetings.<span style="mso-spacerun: yes;"> </span>Our speaker series drew large crowds, and our
newsletter was quoted in the <i style="mso-bidi-font-style: normal;">Gloucester
Daily Tim</i>es.<span style="mso-spacerun: yes;"> </span>We all took turns
writing editorials and commentaries.<span style="mso-spacerun: yes;">
</span>However, listening to Howard Zinn connect the war in Vietnam to national
liberation struggles the world over, and reading Chomsky’s stunning essay “The
Responsibility of Intellectuals,” in the <i style="mso-bidi-font-style: normal;">New
York Review</i>, I realized that I knew very little about history and less of
politics.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In
1959, I had arrived in Florence as a largely apolitical person.<span style="mso-spacerun: yes;"> </span>More particularly, having met students who
were socialists or young communists and having studied under Marxist
professors, I was introduced to an analysis and a world view that I hadn’t
encountered in college.<span style="mso-spacerun: yes;"> </span>I barely knew it
existed in the sheltered Cold War America of the 1950s.<span style="mso-spacerun: yes;"> </span>But in Italy, politics, <i>la politica,</i>
was part of the total culture. The writers I most admired—Pavese, Moravia, Pasolini,
Morante—were all openly political, mostly on the Left, and political life was
rich and diverse. Workers went on strike at the drop of a hat. You’d see
demonstrations in the streets of Rome and Florence in which communists
contended with neo-fascists, while Christian Democrats and socialists debated
on television. This made me realize how pale and inauthentic political life was
in the United States, how fearful Americans had become of expressing any
opinion they felt would be considered subversive; how bland our news media had
become. It seemed to me then that Italy had emerged from fascism and the war as
a much more vital democracy. Contentious, yes; governments often rose and fell
like the tides. But Italians lived their politics, while with us political life
had devolved into a spectator sport, if that.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I
was in love with a young woman named Rita, who came from the Abruzzo. She was
an ardent communist with coal black hair and riveting eyes, and she was reading
political science at the university.<span style="mso-spacerun: yes;"> </span>We
would go out dancing with a group of friends, architects, painters; or we’d sit
in the cafes of Piazza della Repubblica, or at <i>Rivoire</i> in Piazza
Signoria, drinking <i>espresso</i> or <i>cappuccino,</i> reading French and
Italian newspapers and talking by the hour about the films we’d just seen by
Fellini or Antonioni, the American-influenced novels of Pavese, those
extraordinary narratives of post-war alienation, which the intellectual young
had such a passion for then, and still do, I’m told. (As I’ve written, I first
encountered Pavese just after I arrived in Italy and his books swept me off my
feet. The story of his life—his imprisonment by Mussolini for anti-fascist
activities, his monumental translation into Italian of <i>Moby-Dick, </i>the
prize-winning novels and stories he wrote in a pared down, anti-rhetorical
Italian, his struggle with and eventual abandonment of communism, and finally,
his suicide in a dingy hotel in downtown Torino—is one the great tragic stories
of modern Europe). </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It
was the time of the Algerian uprising, when the French “paras,” who’d been sent
in to quell the insurgency, the violent demonstrations, and to frustrate
further anti-colonial actions, began to perpetrate unconscionable brutality on
the indigenous population. Petitions were being signed all over Europe against
the French response to Algeria’s natural desire to be independent. There were
demonstrations in solidarity with the Algerian people. It was the main topic of
the day. Of course, I had no idea what the struggle was about because I had
never thought about colonialism. Imagine! My own country had fought a
revolution to throw off the shackles of British rule and I couldn’t make the
connection. I even defended the presence of American bases in Germany and
Italy.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>One
day Rita and I were alone. We’d taken a walk along the Arno after classes and
were sitting in a café near Piazza Beccaria, sipping <i style="mso-bidi-font-style: normal;">Punt e Mes</i> under a warm spring sun. The night before we’d been to
see <i>Il bell’ Antonio, </i>with Marcello Mastroianni and Claudia Cardinale.
Based on a novel by Vitaliano Brancati, the film is about a young upper class
Sicilian, who makes love easily with working class women but becomes impotent
with women of his own circle. After some strained talk about the film, during
which Rita tried to help me see how Antonio’s dilemma was a metaphor for class
struggle in Italy, she turned to me. By then we’d only kissed on park benches,
or fondled each other fleetingly on the couch in my room in Via dei Servi,
always attentive to the presence of my landlady on the other side of the wall.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“I
like you, Pietro,” Rita said. “And it’s fun spending time together. But you
remind me of myself when I was in <i>liceo</i>. We’re miles apart politically,
and you’re still very young emotionally.” </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Like
Rita, the Italian students I met during those years were quite mature; and they
were very serious, serious about their studies and serious about politics,
about the world. I was serious about literature, about things intellectual, but
in retrospect it’s clear to me that I didn’t know how to be in a mature
relationship. And I was in kindergarten politically. I’d never really thought
through the myths we were conditioned to accept in school and college; the
often-repeated propaganda that the United States is the great bearer of democracy,
that our intentions toward the world are always honorable, that we are
committed to protecting the weak. Though they were grateful to us for our war
efforts and for the Marshall Plan that followed, Europeans remained skeptical
about our intentions. My Italian friends used to say: “Never mind American
rhetoric, just look at your government’s behavior!” And when I heard stories
about OSS agents with suitcases full of dollar bills buying votes for the
Christian Democrats after the war, when it looked as if the Italian Communist
Party might actually come to power, the scales began to fall from my eyes,
though they didn’t fall completely until Vietnam, which, as I’ve said, was the<i>
</i>turning point. After all the outrages—the charade of the Tonkin Gulf
Resolution that allowed Lyndon Johnson to go to war in the first place; the
secret wars we later waged in Laos and Cambodia; the napalm; the burning of
villages; the massacre at My Lai of women and children by American soldiers;
the lies about the body counts and about our reasons for intervening—I never
felt the same about my government again or about America. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Rita
broke up with me. We saw each other from time to time, but it was clear she’d
drawn a line. The fact of the matter was that I needed to grow up. I needed to
grow up emotionally and I needed to come to some mature understanding of
political life, especially if I wanted to write.<span style="mso-spacerun: yes;"> </span>That didn’t happen immediately.<span style="mso-spacerun: yes;"> </span>During the years in which I taught or
attended graduate school my focus was still on literature, but once I became
involved in the anti-war movement, once I tried to place the war in Vietnam in
the larger context of colonialism and imperialism, as Zinn and Chomsky were
helping us to do, I realized that I needed to educate myself politically.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I
began reading the major political and social theorists of the 19<sup>th</sup>
and 20<sup>th</sup> centuries: Marx, Engels, Bakunin, Kropotkin, Herzen, Lenin,
and Trotsky, supplemented by Edmund Wilson’s <i>To the Finland Station,</i> C.
Wright Mills’ critiques of American capitalism, and Herbert Marcuse’s <i style="mso-bidi-font-style: normal;">Eros and Civilization </i>and <i style="mso-bidi-font-style: normal;">One-Dimensional Man.</i><span style="mso-spacerun: yes;"> </span>I immersed myself in Arthur Schlesinger’s
three-volume study of the nation under FDR and Isaac Deutscher’s equally
illuminating life of Trotsky. I scoured the major books on the Russian Revolution,
from John Reed’s <i>Ten Days that Shook the World</i> to Adam Ulam’s <i>The
Bolsheviks</i>. I read a number of significant American proletarian novels,
books like Mike Gold’s <i style="mso-bidi-font-style: normal;">Jews without Money
</i>and Jack Conroy’s <i style="mso-bidi-font-style: normal;">The Disinherited</i>
that had never appeared on my college syllabi; and I studied the Sacco and
Vanzetti case, which transformed my view of American justice. During this time
I continued reading left-leaning political analysts like Dwight MacDonald and
Richard Rovere, while also seeking out some of the major thinkers on the right
like James Burnham and Eric Hoffer.<span style="mso-spacerun: yes;"> </span>As a
result of this reading I no longer viewed the world through purely literary
eyes, and no longer did I trust anything on its face.<span style="mso-spacerun: yes;"> </span>I’d finally become a skeptic, which is what
my teachers at Bowdoin had always exhorted us to become. Most of all, I came
away from my reading in history and politics with a profoundly tragic view of
life. What I’d only understood intellectually from studying Shakespeare and the
Greeks, that life is essentially transitory in nature and human beings seem
doomed to repeat their mistakes, I now experienced viscerally.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>As
for Vietnam, it didn’t appear that our small local group had much impact on
public consciousness.<span style="mso-spacerun: yes;"> </span>A few kids from
high school and college joined us, including our anti-war pediatrician’s son,
David Lacey, a promising poet.<span style="mso-spacerun: yes;"> </span>Bright
and idealistic, they would have come to an understanding of the utter futility
of the war on their own; but we loved their energy and their youthfulness, as
we marched together, sometimes renting buses to transport the group to Boston
or Washington to join the hundreds of thousands of citizens, who were now
protesting not only the war in Vietnam, but the secret incursions into Laos and
Cambodia.<span style="mso-spacerun: yes;"> </span>We didn’t shun the political
process either.<span style="mso-spacerun: yes;"> </span>Some of us worked in
Senator Eugene McCarthy’s campaign for the Democratic presidential nomination
against Lyndon Johnson, a campaign that drew thousands of young people and
ultimately forced Johnson to drop out of the race.<span style="mso-spacerun: yes;"> </span>Spurred by McCarthy’s victories, Bobby
Kennedy entered the race as well.<span style="mso-spacerun: yes;">
</span>Chastened by the murders of his brother and Martin Luther King, Jr.,
Kennedy reached out to the poor and disenfranchised before he, too, was killed.<span style="mso-spacerun: yes;"> </span>On top of the war, those murders were almost
too much to bear.<span style="mso-spacerun: yes;"> </span>Yet somehow we
revived, throwing our energy behind Michael Harrington, a bright, young,
Harvard educated lawyer from Salem, who ran as a peace candidate for the Sixth
congressional seat in Massachusetts, beating the Republican candidate by a
landslide.<span style="mso-spacerun: yes;"> </span>Once in Congress, Mike kept
his promise, voting to defund the war and against every measure that would have
continued it. Equally, Mike exposed the complicity of the Nixon administration
and the CIA in the overthrow of the democratically elected government of
Salvador Allende in Chile.<span style="mso-spacerun: yes;"> </span>So there was
some small sense of being able to effect change, though the war continued.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Ultimately,
the public tired of the war, turning against it not because it was wrong or
illegal, hardly because of the immorality that lay behind our prosecution of
it.<span style="mso-spacerun: yes;"> </span>The public turned against it, even
as they elected Richard Nixon whose “surge” widened the war, because they felt
it had become too costly, too much of a liability.<span style="mso-spacerun: yes;"> </span>They’d also gotten tired of watching it every
night on TV, while the Media, through its constant distortion and
sensationalization of the anti-war movement, turned the nation against us,
too.<span style="mso-spacerun: yes;"> </span>So in the end, nobody won and the
country was more polarized than ever. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In
place of a national dialogue we were left with what the Right called “Vietnam
Syndrome,” a function of the anger and frustration of having lost a war,
followed by recriminations, and a determination on the part of ruling elites
that such a loss would never happen again.<span style="mso-spacerun: yes;">
</span>In other words, revenge and retribution instead of understanding,
acceptance, and a desire to learn from our mistakes.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In
the end, after the actual horrors of killing and atrocity, it was the loss of
my innocence that affected me most.<span style="mso-spacerun: yes;"> </span>I
had loved my country, not uncritically, though I hadn’t up till then realized
how conditioned I’d been by education, Second World War propaganda, local
patriotism, family values, and personal idealism to believe that America was
the light of the world, a beacon of freedom and tolerance.<span style="mso-spacerun: yes;"> </span>Vietnam ripped those scales from my eyes; so
violently, I came to realize, that my loss of innocence was as much a trauma to
me as the war itself had been.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>My
wife went back to school, eventually earning a doctorate that led to a
distinguished career in teaching and research.<span style="mso-spacerun: yes;">
</span>She joined a consciousness raising group and became deeply involved in
the women’s movement.<span style="mso-spacerun: yes;"> </span>I continued to
write.<span style="mso-spacerun: yes;"> </span>I completed a novel I couldn’t
sell about an anti-war activist who returns combatively to college for his
tenth-year class reunion; I wrote more stories, some of which were
published.<span style="mso-spacerun: yes;"> </span>I also composed essays, book
reviews and newspaper columns.<span style="mso-spacerun: yes;"> </span>Finally,
with the help of Ray Bentley, I signed my first publisher’s contract, receiving
an advance from Beacon Press for a book about the struggles of the Penobscot
Indians of Maine against the pressures and demands of acculturation.<span style="mso-spacerun: yes;"> </span>My friend and college classmate Mark Power
agreed to do the photographs for it.<span style="mso-spacerun: yes;">
</span>Like Blacks and women, Native Americans were asserting their rights, not
only to participate in a society that had marginalized them, but also to
practice their own politics and spirituality without government restraint.<span style="mso-spacerun: yes;"> </span>As I worked on the book, spending longer
periods of time among Indians I came to love and respect, my marriage
unraveled, ending in divorce just as the book was published.<span style="mso-spacerun: yes;"> </span>For whatever it was worth, I had finally
become a writer, though I wouldn’t, or couldn’t, write fiction for another
twenty years; and I was to have enough of that “real world” I’d so desired when
I left graduate school as anyone could possibly bear.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"> (This is a chapter from my memoir-in-progress, <i>From Gloucester Out.) </i></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal">
<br /></div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-44738761928483668622016-12-03T15:09:00.000-08:002016-12-03T15:18:01.618-08:00Animated Landscape by Robert Gibbons: A Review<!--[if gte mso 9]><xml>
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<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="font-family: "cambria" , "serif";"> </span>Speaking
recently at the Gloucester Writers Center, poet and Olson scholar Don Byrd
advised poets who are inspired by Charles Olson not to attempt to follow him
because Olson was uniquely unfollowable.<span style="mso-spacerun: yes;">
</span>Rather, Byrd said, they should attempt to move beyond Olson with their
own work, as the poet himself had done with respect to his masters, Pound and
Williams.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;">
</span></span>
<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">Among
poets who have learned from Olson while forging their own unique path, Robert
Gibbons stands out.<span style="mso-spacerun: yes;"> </span>Though widely
published and admired among poets, scholars of poetry, critics, and curators of
contemporary art, Robert Gibbons has been less known to discerning readers of new
American poetry.<span style="mso-spacerun: yes;"> </span>This is about to change
with the publication by BlazeVox of <i style="mso-bidi-font-style: normal;">Animated
Landscape</i>, Gibbon’s major new collection of poems.<span style="mso-spacerun: yes;"> </span>Those who care about the life of poetry in a
time when there are many MFAs in verse but fewer poets who appeal directly to
the human condition should attend to what Richard Deming calls Gibbons’
“universal and inclusive vision.”<span style="mso-spacerun: yes;"> </span></span></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;">
</span></span>
<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">Gibbons’
poetry is informed not only by the crucial texts he’s read and internalized—Kristeva,
Davenport, Olson himself— but also by the music and visual art that has animated
his life and work—the jazz of Coltrane, the inventions of Bach, the paintings
of Clyfford Still (about whom he has written incisively in <i style="mso-bidi-font-style: normal;">Olson/Still: Crossroad</i>)—along with the walks he has taken daily in
the places he’s lived—Gloucester, Salem, Washington, DC, Boston, Portland,
ME, and now Denver—bringing them to life and into his pages through
conversations with those he has encountered going about their daily business,
as Gibbons has gone about his as both secret sharer and astute observer.<span style="mso-spacerun: yes;"> </span>His is a poetry that is as intensely lived as
it is informed by a poised intelligence; a poetry of the heart and mind, where
intellect and feeling do not conflict but, instead, fuse into incandescence, as
Gibbons writes: “where senses reach an/intoxicated height, where air alone
is/magic, silence music, touch between/us dispelling all dread.”</span></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;">
</span></span>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;">In his
comments on the book’s jacket Richard Deming observes equally that Gibbons
“carries Olson’s excavations into the present tense…in his own measure of
music, personal and specific, yet universal and inclusive.”<span style="mso-spacerun: yes;"> </span>Thus Gibbons has lent important credence to
Don Byrd’s advice to move beyond Olson, while, at the same time, paying homage
to his teacher, as Olson did to his:</span></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt; line-height: 115%;">
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">No, not surprising to
find</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">Olson equating the cave
with our own</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">internal “maze,” our
bodies with geography.</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">say kidneys as sea, or
spine as mountain range,</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">brain as Arctic, coccyx Antarctic,
heart solar system,</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">lung valley of breath,
preferring stone, wood clay to iron,</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">brick, steel, glass,
copper, or plastic, those basics to any manmade</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">transformation, &
feeling inside himself there in the cave, or geography,</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">creatures that came
before us,</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 12.0pt;">horses rearing up.</span></div>
</span></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"> </span><br />
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"> (This review appeared in <i>Dispatches </i>on 12/1/16)</span></div>
</div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-48527114373011083882016-10-04T13:13:00.002-07:002016-10-15T14:20:54.219-07:00The Unknown Henry Miller--A review<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
Unknown Henry Miller: A Seeker in Big Sur</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">,
by Arthur Hoyle</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A Review by Peter Anastas</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">(Arcade Publishing, 2014, 416 pp., $27.95)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">We are being stifled and smothered
by our creature comforts, by our fear of change, our fear of adventure, but
above all by our fear of ideas….But the struggle of the individual to
emancipate himself, that is to liberate himself from the prison of his own
making—that is for me the supreme subject</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">.”<span style="mso-tab-count: 3;"> </span>--Henry Miller</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-top: 12.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-top: 12.0pt; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Major
biographies of two representative American writers, Henry Miller and John
Updike, recently appeared within a month of each other.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Unknown Henry Miller: A Seeker in Big Sur,</i> by Arthur Hoyle, was published
in March 2014, followed in April by Adam Begley’s <i style="mso-bidi-font-style: normal;">Updike</i>.<span style="mso-spacerun: yes;"> </span>While Begley’s
well-publicized life was widely reviewed in the US and UK within a week of its
publication, Hoyle’s biography has only received a handful of reviews beyond
the usual notices posted by <i style="mso-bidi-font-style: normal;">Kirkus </i>and
<i style="mso-bidi-font-style: normal;">Library Journal</i>.<span style="mso-spacerun: yes;"> </span>The most significant appeared in <i style="mso-bidi-font-style: normal;">TLS, </i>which commended Miller for his “</span><span style="font-family: "cambria" , "serif";">commitment to a rare aesthetic and
philosophical vision,”</span> <span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">and the <i style="mso-bidi-font-style: normal;">Santa Barbara Independent</i>, where reviewer Brian Tanguay described
Hoyle’s biography as “the perfect trailhead…</span><span style="font-family: "cambria" , "serif";">for the seeker bold enough to venture beyond the boundaries
of convention.”<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "cambria" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">It’s understandable
that an eagerly anticipated initial biography of Updike would excite interest;
but one would think that the first new approach to the life and work of Henry
Miller to have been published in 23 years would rate more than the cursory notices
it has so far received.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-top: 12.0pt; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Though
it could be argued that both writers had sex as a central concern and were also
said to have been essentially autobiographical in terms of the sources of their
work; and while it could equally be said that Updike could not have addressed
the question of sexuality as directly and candidly as he did without Miller’s
having first smashed the taboos against explicit sexual representation, as
Lawrence had previously opened the way for Miller, at bottom no two American
writers were as dissimilar.<span style="mso-spacerun: yes;"> </span>Miller was Whitmanian
in the expansiveness of his language, the freedom of his expression, and the
experimentalism of the structure of his books, just as Jack Kerouac later
was.<span style="mso-spacerun: yes;"> </span>Attracted to Emma Goldman’s
anarchism at an early age, he spent his life outside of accepted social and
political systems, his formal education as spotty as his reading was wide.<span style="mso-spacerun: yes;"> </span>Updike, instead, a self-described small town
boy as against Miller’s Brooklyn and Paris-rooted urbanism, favored a highly
controlled and intensely literary approach, gained from studying with Harvard
professors, who were steeped in the myth<span style="font-family: "times new roman" , "serif";">ological</span>, allegorical and symbolistic
imperatives of the New Criticism, their world view—and his by extension— framed
by conservative Cold War politics.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-top: 12.0pt; text-indent: .5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Brian
Tanguay begins his review of Hoyle’s book by agreeing with its author that </span><span style="font-family: "times new roman" , "serif";">Henry Miller is </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">“one
of the most neglected American writers — overlooked by the finest universities
in the country, very few of which teach Miller, and excluded from the canon of
American literature.”<span style="mso-spacerun: yes;"> </span>He also agrees
with Hoyle that that Henry Miller “deserves a place in the pantheon of American
writers, and to be taught in our universities.” <span style="mso-spacerun: yes;"> </span></span><span style="font-family: "times new roman" , "serif";"><span style="mso-spacerun: yes;"> </span>It is with this in mind, he writes, that “</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Hoyle
sets himself the prodigious task of introducing Miller to a new generation
of readers.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Most of my friends who were reading
Henry Miller’s <i style="mso-bidi-font-style: normal;">Tropic of Cancer</i> and <i style="mso-bidi-font-style: normal;">Tropic of Capricorn</i> in the mid-fifties
obtained these banned books from tourists or members of the military, who had
smuggled them into the country from France.<span style="mso-spacerun: yes;">
</span>After which they were passed secretly from hand to hand, often losing
their bright red and green paper covers like the discarded pulp novels they
were erroneously accused of being.<span style="mso-spacerun: yes;"> </span>Instead
of reading Miller’s ground-breaking novels under the table, I was fortunate to
have discovered them in the rare book room of the Bowdoin College Library as
part of</span><span style="font-family: "courier new"; letter-spacing: -0.15pt;"> </span><span style="font-family: "times new roman" , "serif"; letter-spacing: -0.15pt;">a</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"> collection that contained copies of most of the major
avant-garde books of 20<sup>th</sup> century European art and literature, bequeathed
to the College by an alumnus and rare book collector, Robert L. Swasey, who had
been Henry Miller’s friend and patron.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The</span><span style="font-family: "courier new"; letter-spacing: -0.15pt;"> </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;">Swazey collection was of particular importance to me
because it contained not only Miller’s<i style="mso-bidi-font-style: normal;">
Tropics,</i> in their original Obelisk Press editions, as published in Paris in
1934 and 1938 by Jack Kahane, but the privately printed <i style="mso-bidi-font-style: normal;">Black Spring</i>, <i style="mso-bidi-font-style: normal;">The World of
Sex</i> and <i style="mso-bidi-font-style: normal;">The Colossus</i> of <i style="mso-bidi-font-style: normal;">Maroussi</i>, one of Miller’s greatest books
and of utmost significance to me as a young writer of Greek-American heritage,
planning his first trip to Europe.<span style="mso-spacerun: yes;"> </span>Exile
and expatriation had emerged as significant themes for me from when I’d first
started to read about the Lost Generation in Malcolm Cowley’s <i style="mso-bidi-font-style: normal;">Exiles Return</i> and John Aldridge’s <i style="mso-bidi-font-style: normal;">After the Lost Generation</i>.<span style="mso-spacerun: yes;"> </span>Thereafter, Miller’s own saga of abandoning
New York in 1930, followed by years of penury and artistic struggle in Paris,
culminating in the publication of the <i style="mso-bidi-font-style: normal;">Tropics</i>,
his life-affirming stay in Greece just before the war, and his return to travel
in America, as chronicled in <i style="mso-bidi-font-style: normal;">The
Air-Conditioned Nightmare</i>, was an enormous inspiration to me, both as a
writer and prospective traveler.<span style="mso-spacerun: yes;"> </span>Of
equal importance to me was the fact that Miller idolized D. H. Lawrence, about
whom I was writing my senior thesis, having written a major study of Lawrence’s
novels which, except for excerpts, remained unpublished until after his death,
in 1980.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I like
to think that my first response to Miller’s work wasn’t merely prurient.<span style="mso-spacerun: yes;"> </span>I was twenty years old in 1958, innocent of most
of the sensual experience Miller catalogued in his novels, so I would not be
truthful if I said I hadn’t been drawn into their erotic dimensions.<span style="mso-spacerun: yes;"> </span>Nevertheless, I saw that Miller was no
pornographer; nor was what he had achieved formally and linguistically in those
ground–breaking novels anything close to the “smut” he had also been labeled as
purveying.<span style="mso-spacerun: yes;"> </span>It was clear to me that
Miller was a serious American writer in the vein of Whitman, Thoreau, Mark
Twain and Jack Kerouac, whom he had clearly inspired, if not influenced.<span style="mso-spacerun: yes;"> </span>These were among the writers I most admired,
those who spoke in their own voice, who recounted to you, as if in intimate
conversation, what they were thinking and feeling about what they had seen and
done.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>At the
time I was an undergraduate there was an enormous struggle underway in both the
academic and literary worlds, centering on the importance and value of “open”
as against “closed” forms in poetry and prose.<span style="mso-spacerun: yes;">
</span>The New Criticism, under which we, like Updike, were principally being
trained to read, viewed the novel or the poem as closed systems of symbols and
myths, which were to be decoded in both literary and religious, especially Christian,
terms.<span style="mso-spacerun: yes;"> </span>There was also a political
dimension to this system, as I’ve said, not lost on those of us who experienced
the Cold War obsessed times we were living in as equally closed and
repressive.<span style="mso-spacerun: yes;"> </span>The American publication of
Miller’s <i style="mso-bidi-font-style: normal;">Tropics</i> and Lawrence’s <i style="mso-bidi-font-style: normal;">Lady Chatterley’s Lover</i>, by Grove Press,
in the early 1960s, would become a major catalyst of change, moving us further
away from the closed society to a more open and permissive one, literature in
some cases leading the way.<span style="mso-spacerun: yes;"> </span>The prose
that had helped to precipitate these changes, along with Miller’s, included
Jack Kerouac’s <i style="mso-bidi-font-style: normal;">On the Road</i> and William
Burroughs’ <i style="mso-bidi-font-style: normal;">Naked Lunch,</i> both of which
had clearly been inspired by Miller’s novels, while Allen Ginsberg’s <i style="mso-bidi-font-style: normal;">Howl</i> and Charles Olson’s <i style="mso-bidi-font-style: normal;">Projective Verse</i>, helped to liberate
poetry from the sterile formalism of the New Critics and their practitioners. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Naturally,
our teachers excoriated this “New American Writing,” warning us that it would
be our moral and writerly outdoing were we to be unduly influenced by its “formlessness,”
not to speak of its “decadence.”<span style="mso-spacerun: yes;"> </span>We, as
equally natural rebels, rushed toward Miller, when we could find his books,
while Kerouac’s emerging Beat novels like <i style="mso-bidi-font-style: normal;">On
the Road</i> and <i style="mso-bidi-font-style: normal;">The Subterraneans</i>,
along with the stories of Michael Rumaker, the novels of Douglas Woolf,<i style="mso-bidi-font-style: normal;"> </i>and the equally enthralling fiction and
drama of the British Angry Young Men, gripped our imaginations in ways that
American mainstream fiction, like the then popular novels of James Gould
Cozzens, did not, except for books we had discovered on our own like Dos
Passos’ <i style="mso-bidi-font-style: normal;">USA</i> or Wright Morris’ <i style="mso-bidi-font-style: normal;">The Field of Vision, </i>which were
decidedly not taught in the classroom.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It is
difficult to explain the literary situation I’ve been describing to younger
generations of writers and scholars, who have come of age in a practically
censorship-free age; indeed, a time in which topics like oral sex are
graphically discussed in the national media and pornographic novels like <i style="mso-bidi-font-style: normal;">Fifty Shades of Gray</i> are widely read and
have sold many more copies than Miller’s <i style="mso-bidi-font-style: normal;">Tropics</i>.<span style="mso-spacerun: yes;"> </span>Nevertheless, this situation, while
potentially marginalizing pioneers like Lawrence and Miller, could also offer
new readers a greater opportunity to discover these seminal writers in a less
clandestine, heated and compromised atmosphere than the one in which they
originally emerged.<span style="mso-spacerun: yes;"> </span>In fact, it would
seem to me that there is no better time to encounter Miller as writer in a more
global sense—a Miller who not only used his own experience in fictively
experimental ways, but also wrote some of the finest essays of his time,
touching not only on personal and literary issues, but also describing his
lifelong spiritual quest. </span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It is
this Henry Miller, the writer and spiritual seeker, that Hoyle gives us in his
gripping and deeply-researched biography, a book which Miller’s own son Tony,
who grew up in Big Sur with his parents, calls “the best book ever written
about my father.”<span style="mso-spacerun: yes;"> </span>Having read three
previous biographies of Miller by Jay Martin, Robert Ferguson and Mary
Dearborn, each of them worthy in its own way, I tend to agree with Tony.<span style="mso-spacerun: yes;"> </span>Instead of beginning with Miller’s birth and
upbringing in Brooklyn, as the other books do, Hoyle jumps ahead to the Paris
years, the years in which Miller came into his own as a writer.<span style="mso-spacerun: yes;"> </span>Though he later, and quite artfully, circles
back to Brooklyn, the site of Miller’s troubled relationship with his parents,
his decision to view Paris and Big Sur as nodal points in the growth of
Miller’s artistry as well as his spirituality, gives the book a more
concentrated and therefore more dramatic focus than the earlier studies, which,
being chronological, tend to gloss over the more epiphanic and therefore more
significant points in Miller’s never unadventurous life.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Miller’s
life may be seen as a continual spiritual quest, not for a deity or a form of
belief but for a way of relating to creation itself, through the discovery of a
way of being in the world “as a vital singing universe, alive in all its
parts,” as Miller describes it.<span style="mso-spacerun: yes;"> </span>Hoyle
maps this quest through a sensitive examination of Miller’s reading.<span style="mso-spacerun: yes;"> </span>Like many autodidacts—Eric Hoffer comes to
mind—Miller’s reading was wide, deep and extremely eclectic, running the gamut
from Emerson and Thoreau to Louis-Ferdinand Celine, little known when Miller
began to read him in the 1930s, but now considered to have been one of the
major stylists in French literature. <span style="mso-spacerun: yes;"> </span>He
wrote an entire book about it, <i style="mso-bidi-font-style: normal;">The Books
in My Life</i>, which is as fascinating to read as Miller’s fiction.<span style="mso-spacerun: yes;"> </span>To become immersed in Miller’s enthusiastic
accounts of how he found a certain book or discovered a particular author is to
understand yet another dimension of how Miller came at life.<span style="mso-spacerun: yes;"> </span>Of the books that most delighted and
instructed him, he writes, “They were alive and they spoke to me.”<span style="mso-spacerun: yes;"> </span>The same could be said of the people in his
life, those he met in Brooklyn, Paris, or Athens and has written so animatedly
about, or the places like Big Sur, which he spent much of the latter part of
his life in and made his own in books like <i style="mso-bidi-font-style: normal;">Big
Sur and the Oranges of Hieronymus Bosch</i>.</span></div>
<div class="MsoNormal" style="line-height: 200%; mso-hyphenate: none; tab-stops: -.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; letter-spacing: -0.15pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>There
is much to commend in this fine biography of one of the most misunderstood and
yet most American of our writers.<span style="mso-spacerun: yes;"> </span>To
rectify that lack of understanding and to have as clear an introduction to
Henry Miller’s mind and art as Arthur Hoyle has given us, I know of no better
place to begin than with this illuminating book.</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span><br />
<div style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"><span style="font-family: "times new roman" , "serif";">(This re<span style="font-family: "times new roman" , "serif";">view appear<span style="font-family: "times new roman" , "serif";">ed</span> in <i>B</i><span style="font-family: "times new roman" , "serif";"><i>eat Scene</i><span style="font-family: "times new roman" , "serif";"><span style="font-family: "times new roman" , "serif";">,</span> UK,</span> #83, L<span style="font-family: "times new roman" , "serif";">ate Summer <span style="font-family: "times new roman" , "serif";">2016</span></span></span></span></span>) </span></span></div>
<div style="text-align: center;">
<br /></div>
</div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-54137113390291838452016-08-03T06:38:00.000-07:002016-08-07T06:10:49.178-07:00A Great Novel Restored<div class="separator" style="clear: both; text-align: center;">
</div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">The Rack, </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">by A. E.
Ellis (Derek Lindsay)</span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">Restored Edition, published by Ashgrove
Publishing/Zephyr Books, UK, 2016</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">Peter Anastas</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #3f3f3f; font-family: "cambria" , "serif"; font-size: 12.0pt;">“There
are certain books we call great for want of a better term, that rise like
monuments above the cemeteries of literature: <i><span style="font-family: "cambria" , "serif";">Clarissa Harlowe</span></i>, <i><span style="font-family: "cambria" , "serif";">Great Expectations</span></i>, <i><span style="font-family: "cambria" , "serif";">Ulysses</span></i>. <i><span style="font-family: "cambria" , "serif";">The
Rack</span></i> to my mind is one of this company.” </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #3f3f3f; font-family: "cambria" , "serif"; font-size: 12.0pt;">– Graham Greene</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "cambria" , "serif"; font-size: 12.0pt;"></span></b></div>
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<br /></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Some
books remain with us.<span style="mso-spacerun: yes;"> </span>Even after
subsequent readings they amplify rather than shrink our understanding of
them.<span style="mso-spacerun: yes;"> </span>One such novel is <i style="mso-bidi-font-style: normal;">The Rack</i>, published in London by William
Heinemann, Ltd., in 1958.</span></div>
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<br /></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>I discovered the 1961 Penguin Modern Classics
edition of <i style="mso-bidi-font-style: normal;">The Rack</i> in its
characteristic orange and white jacket in the bookstall of the railroad station
in Florence, Italy.<span style="mso-spacerun: yes;"> </span>It was December,
shortly before Christmas, and I was on my way to England.<span style="mso-spacerun: yes;"> </span>Opening the first pages, I learned that <i style="mso-bidi-font-style: normal;">The Rack</i> was a novel about a young
Oxford student and former captain in the British Army during the Second
War.<span style="mso-spacerun: yes;"> </span>I also discovered that the
protagonist, Paul Davenant, was suffering from tuberculosis and was traveling
with a group of British students to a sanatorium in the French Alps, where they
were to be treated under the auspices of an international student
organization.<span style="mso-spacerun: yes;"> </span>This brought to mind <i style="mso-bidi-font-style: normal;">The Magic Mountain, </i>Thomas Mann’s novel
of life in a Swiss sanatorium<i style="mso-bidi-font-style: normal;">. </i><span style="mso-spacerun: yes;"> </span>However, once I began to turn the pages, I
found myself in the hands of a far different writer from Mann: a writer whose
first sentences were as sharp and clear as the air his protagonist and I were
soon to breathe on our very different passages through the mountains.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>I
had been ill during the unusually cold and wet Florentine winter.<span style="mso-spacerun: yes;"> </span>Though I felt well enough to travel, and
would by no means have given up my first opportunity to experience London, I still
felt feverish in the overheated train compartment I occupied, especially after
I began reading about the state of health of the British students making their
way to the mountains.<span style="mso-spacerun: yes;"> </span>Paul Davenant, who
was among them, was scarcely able to get around he was so incapacitated by the
disease he hoped to get some respite from in the French sanatorium.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>I
was drawn equally into the obsessive routines of temperature taking and sputum
checking, as, having settled into san<span style="font-family: "cambria" , "serif";">a</span>t<span style="font-family: "cambria" , "serif";">o</span>rium life, the patients shuffled from
their rooms to the <i style="mso-bidi-font-style: normal;">service medical </i>for
their x-rays. <span style="mso-spacerun: yes;"> </span>Reading further, I would
learn more about the array of interventions available to tuberculosis patients
at the time, each stage of which became potentially more painful and, all too
often, less effective.</span></div>
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<br /></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>By
the time we had reached the Italian-Swiss boarder I simply could not put the
book down. <span style="mso-spacerun: yes;"> </span>As novelist Alan Wall writes
in his superb introduction to this restored edition of the novel, for whose
important restorations he is also responsible, <i style="mso-bidi-font-style: normal;">The Rack</i>, “is the greatest novel of medical confinement in the
English language.”<span style="mso-spacerun: yes;"> </span>Even without coming
to that conclusion during my reading in the stifling compartment, I clearly
felt the sense of the novel’s projection of confinement, not only between the
walls of the sanatoria where the patients were confined, but also in the book’s
interconnected stories about several of the patients, many of whom represent
the major countries of Europe not long after the close of the war.</span></div>
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<br /></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>And
the war itself is not far from the confines of the hospital, or the lives of
its inmates.<span style="mso-spacerun: yes;"> </span>Each in some way, including
Paul, has suffered from the conflagration.<span style="mso-spacerun: yes;">
</span>Paul, who saw combat as a captain, might well be suffering from
Post-Traumatic Stress as much as from the effects of TB.<span style="mso-spacerun: yes;"> </span>It could also be ventured that his physical
illness is a function of his depressed emotional state, which often causes him
to strike out verbally against the person he most loves and to express his own
growing self-hatred.</span></div>
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<br /></div>
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<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>While
I concur with Wall’s discerning introduction that the subject is confinement in
all of its senses (one can actually feel claustrophobic reading about the
characters who spend their days in bed, or navigate the narrow hospital
corridors in shabby robes and slippers), I also feel that the trope of
confinement, along with novel’s multiple images of malaise, can be extended to
Europe itself after a war believed by many to have brought on the collapse of
the Old World order.<span style="mso-spacerun: yes;"> </span>In other words:
Europe has become the sanatorium and its people are now patients in an uneasy
post-war recovery.<span style="mso-spacerun: yes;"> </span>In fact, some, like
the Dutch inmate and <span style="font-family: "cambria" , "serif";">fant<span style="font-family: "cambria" , "serif";">a<span style="font-family: "cambria" , "serif";">sist</span></span></span>, Delmuth, also have <span style="font-family: "cambria" , "serif";">troubled </span>consciences<span style="font-family: "cambria" , "serif";">, which </span></span><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="font-family: "cambria" , "serif";">may well <span style="font-family: "cambria" , "serif";">be emb<span style="font-family: "cambria" , "serif";">lematic of a</span></span> general European guilt over the war and its exterminations.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Nevertheless,
Paul’s case is central to the novel’s development.<span style="mso-spacerun: yes;"> </span>He will learn that he is a very sick
man.<span style="mso-spacerun: yes;"> </span>We already know, and will learn
more, about his early life as an orphan, about his shifting residence from one
family member to another, about his having been bullied at a provincial public
school, and his underachieving years as an Oxford undergraduate, all
contributing to his depressive state, as does his physical illness.<span style="mso-spacerun: yes;"> </span>We will also learn that he is a reader, when
he is well enough to be; and that his preferences are for Stendhal, Dostoevsky
and Proust, especially Proust.<span style="mso-spacerun: yes;"> </span>One
wonders if these writers are not also the preferences of the novelist himself,
and if he is not signaling to us his influences in composing a novel that while
eminently contemporary in subject, tone and language, also pays homage to those
19<sup>th <span style="font-family: "cambria" , "serif";"></span></sup><span style="font-family: "cambria" , "serif";">and early 20th c</span>entury novelists of the grand subject—war, the conflict within
the human soul, and life in society as it etiolated (Proust), told by a writer
who had been an invalid himself. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">Like the classics with
which it has been compared, <i style="mso-bidi-font-style: normal;">The Rack</i>
is one of those novels that continue to yield rewards upon each successive
reading.<span style="mso-spacerun: yes;"> </span>Subtleties of characterization
emerge, especially the dynamics among the doctors in charge of treatment, along
with the politics of the sanatorium culture of Brisset, the Alpine mountain
community where the sanatoria are located, and the conflicts among the patients
themselves.<span style="mso-spacerun: yes;"> </span>At the vital center of the novel,
whose narrative tensions can often feel excruciating, is the story of Paul and
the woman he comes to love and will sadly lose, the young Belgian patient
Michelle Duchene.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Doomed by deteriorating health, their age
differences, and Paul’s diminishing prospects, yet alive to each other in the
ways only young people in love can be, their story, narrated in unsparing and
utterly unsentimental detail, takes its place among the great love stories of
contemporary literature.</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Shortly after the publication of the
first British edition, Atlantic Monthly Press issued an American edition,
followed by a larger format Penguin Edition with a cover illustration from a
1926 painting by Ubaldo Oppi of three surgeons standing austerely in white
coats.<span style="mso-spacerun: yes;"> </span>The illustration itself is
reflective of the three often competing doctors, who attempt unsuccessfully to treat
Paul’s condition. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">The new Ashgrove/Zephyr
edition restores 25,000 words from the original manuscript, cut by the book’s
first editor, James Mitchie, who hoped to present a novel in the
“existentialist” mode, in keeping with Continental fiction of the era.<span style="mso-spacerun: yes;"> </span>A decidedly existentialist cast to the novel
remains, even as restored, reflecting the underlying hopelessness and despair
in Europe after the war, growing anxiety about the emerging Cold War, and the
very real fear of nuclear holocaust.<span style="mso-spacerun: yes;">
</span>Though these concerns may lie under the surface of the narrative they
are often acted out by the characters.<span style="mso-spacerun: yes;"> </span>It
is my belief that the restored edition presents the novel as Ellis/Lindsay
originally wrote it and would have wanted it to appear, in the same way that
the restorations to the texts of D. H. Lawrence’s major novels in the Cambridge
University Press editions give Lawrence to us undiluted and in all his narrative
and linguistic brilliance.</span></div>
<div class="MsoNormal" style="line-height: normal; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Alan
Wall’s judicious restorations present us with a more ample narrative, a deeper
sense of characterization, a comic spirit, often black but still bracing, and a
more discerning sense of place; for place itself, not only in the confinement
of the two sanatoria in which Paul becomes a patient, but also in the
surrounding mountains, and the town of Brisset itself, is as much a character
in the novel as are Paul and Michele, the other patients we come to know and
care about, and the attending doctors, Vernet, Bruneau, Dubois and Roussel,
whose bravado may often exceed what we view as their competence.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Then
there is the disease itself, barely able to be confined if not cured, even as
the new antibiotics, in the form of streptomycin, are beginning to be tried and
tested,<span style="font-family: "cambria" , "serif";"> </span>only to discover that the subjects of the trials are often resistant
to them.<span style="mso-spacerun: yes;"> </span>Amply documented from the
author’s own suffering are the horrors of the other modes of intervention,
under oddly aseptic names like <i style="mso-bidi-font-style: normal;">pneumothorax<span style="mso-spacerun: yes;"> </span></i>or <i style="mso-bidi-font-style: normal;">plombage.</i></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>The
new edition itself is in an attractive paperback format, designed by its
publisher Brad Thompson, and illustrated with a front cover portrait that might
well be Paul Davenant himself, hand on book, eyes on the surrounding mountains,
the two poles of his life, inside and outside, confinement and freedom, the
life of the mind and that of his gradually diminishing body constantly
oscillating under his, and our, anxious gaze.</span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "cambria" , "serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Derek
Lindsay (1920-2000), did not publish another novel during his lifetime, though
he is said to have been at work on a sequel to <i style="mso-bidi-font-style: normal;">The Rack, </i>and also to have written plays.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>While
one might have wished for more from this clearly major novelist, it is enough for
him to have written a single masterpiece. </span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<i><span style="font-family: "cambria" , "serif"; font-size: 14.0pt;">(I wish to thank publisher Brad Thompson for
providing me with a copy of the novel soon after publication and for his
assistance in helping me to understand the extent, nature and importance of
Alan Wall’s restorations to the original text)</span></i></div>
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Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-63947790188170216652016-05-02T09:06:00.002-07:002016-05-02T09:21:14.108-07:00Proud to be Greek<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoeKgUsdCyks8X-Hbvba8QAHltU7qhuGWJcZzeIpnRJalSVqO85CJLsEh6lHs2Q-StzSgBzMlx9ru2tJ1kQPF588gxhF4JfVFAWyqMAq0ULoizVH-6-8MSef7KDQwUesv2QXusccRseQ/s1600/Polisson+family.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoeKgUsdCyks8X-Hbvba8QAHltU7qhuGWJcZzeIpnRJalSVqO85CJLsEh6lHs2Q-StzSgBzMlx9ru2tJ1kQPF588gxhF4JfVFAWyqMAq0ULoizVH-6-8MSef7KDQwUesv2QXusccRseQ/s400/Polisson+family.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>(Polisson-Anastas family, October 27, 1946, 3 Perkins Road, Gloucester, 50th anniversary celebration for Angel and Angelica Polisson.)</b></div>
<br />
<br />
You gotta love it. Due to the success of the Academy Award-nominated
film, “My Big Fat Greek Wedding,” Greeks suddenly found themselves to
be “in.” According to the <i>New Yorker</i>, Greeks, who once rushed
to Americanize themselves, were “now adding syllables back to their
names.”<br />
<br />
So, in keeping with this new ethnicity, let me tell you a
secret. My real name isn’t Anastas, it’s Anastasiades. Yes, there
really were a couple of syllables dropped from our original family name.<br />
It happened to my father like it did with so many other Greeks. Upon
his arrival at Ellis Island in 1908 at the age of nine, the immigration
authorities couldn’t handle Dad’s given Greek name, Panos
Anastasiades. So they changed it to Peter Anastas. My actual first
name is Panayiotis, which means “little Peter” or “junior.” But my
parents only used that for my baptism, after which they reverted to
Peter, like my dad.<br />
<br />
If you are wondering what Anastasiades means, let me explain.
Anastas is the past participle of both the ancient and demotic, or
modern, Greek verb “anisto-anastasis,” which means “to stand up, rise or
be resurrected.” So Anastas means “having stood up” or, like Christ,
“having risen.” The final syllables, “iades,” stand for “the son of,”
like the Russian suffix “ovich.” Therefore, my name literally means
“son of the one who stood up” or “son of the arisen.” Not bad for the
child of an immigrant, who arrived in America at the age of nine wearing
his mother’s shoes.<br />
<br />
Ah, but it wasn’t “in” to be Greek in 1908, anymore than it was hip
to be Italian or Jewish. When my father arrived in Lowell to join his
father as a laborer in the Massachusetts Cotton Mill, he witnessed some
horrendous battles between the newly arrived Greeks, the
French-Canadians and the Anglo-Americans, who made up the primary
workforce. They were turf battles that later became labor struggles,
eventually driving many immigrants to other towns, or even back to the
“old country,” as the Greeks called home. In fact, my father, whose own
father had actually died before Dad arrived, soon left Lowell to sell
newspapers and shine shoes in downtown Boston, where he remained until
his induction into the army during World War I.<br />
<br />
From boyhood I heard these stories about my father’s arrival and
subsequent life in America, stories which I’ve passed down to my own
children. Dad’s story is the story of many Greeks, who came here
penniless or orphaned, went to work, educated themselves, and eventually
started their own businesses, not untypically lunch rooms or grocery
stores.<br />
<br />
Some immigrants, like my uncle Cyrus Comninos, who was a physician,
or the sculptor George Demetrios, whom Dad knew when they were both
young men in Boston, became successful in the professions or the arts.
Yet, while Greeks, like Theodoros Stamos, have become major painters in
America, and Harry Mark Petrakis has written powerfully about Greeks in
Chicago, we have not produced a novelist of the stature of Jewish
American writers like Saul Bellow and Philip Roth, or the Italian
American novelist Pietro di Donato, whose <i>Christ in Concrete</i> is
one of the great novels of immigrant experience in this country. But
look how long it took for Greek American life to make its way into the
movies!<br />
<br />
For all its popularity, which led the <i>New Yorker</i> to compare
the film unfairly to a sit com, “My Big Fat Greek Wedding” is a
remarkable picture of Greek American life, pitting first generation
children like me against their foreign-born parents. On the afternoon I
happened to be seeing it, the audience was comprised mostly of Greek
Americans. There were a lot of little old ladies in black dresses,
whispering to each other in Greek before the film began. And once it
started, I listened with delight as many in the audience anticipated the
words before they had even come out of the mouths of the characters,
especially the father, who, naturally, owns a restaurant at which the
entire family works.<br />
<br />
“Oh, God, how I know that world!” I exclaimed during the film, tears
of recognition streaming down my face. Tears, too, of immense sadness
because the father, who is constantly reminding his children of their
Greek heritage, was so like my own father, now dead.<br />
<br />
Of course, the power of the film, and, indeed, its immense appeal, is
not only because it’s about an ethnic group that many Americans know
very little about. It’s also because the film depicts family dynamics
that we all share—a child’s need to separate herself from an
overprotective family, a traditional father’s conflict with modernity,
and the terrible difficulty we all experience in letting go, no matter
what our ethnic backgrounds may be.<br />
<br />
If anything, the film’s sequel, “My Big Fat Greek Wedding 2,” just
released in time for Greek Easter, is even more relevant, as it explores
the relationship between the teenage daughter, Paris, and her mother,
Tula, who, in the first film, was struggling to individuate from her Old
World parents. In choosing to leave Chicago for college at NYU, Paris separates herself from her loving, if often stifling, Greek family; but in the process she learns that they will always be part if her life.<br />
<br />
And, yes, even for the strength of their critical insights into the
crippling aspects of Greek American culture that so many in my
generation tried to escape from, these two films, which I highly
recommend, still made me proud to be Greek.<br />
<br />
<b><img alt="Peter at Museum (1)" class="alignleft wp-image-33 size-thumbnail" height="150" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-1.jpg?w=185&h=225" width="123" />Peter Anastas, </b>editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in the <i>Gloucester Daily Times</i>.Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-46707184461963829072016-04-14T14:54:00.000-07:002016-05-01T17:46:24.681-07:00Night Train at Wiscassest Station<br />
<br />
<br />
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_2132" style="width: 675px;">
<img alt="Showdown at Roundhouse Corral, (Boston Railyard) © 2000 ~ David Tutwiler (b. 1952)" class="wp-image-2132 size-large" height="261" src="https://enduringgloucesterdotcom1.files.wordpress.com/2016/04/showdown-at-roundhouse-corral-boston-railyard-david-tutwiler-b-1952.jpg?w=669&h=438" width="400" /><br />
<div class="wp-caption-text">
<i>Showdown at Roundhouse Corral, (Boston Railyard) © 2000</i><br />
<i>David Tutwiler (b. 1952</i>)</div>
</div>
<br />
I come from the era of trains. As a child during the war, I would
lie in bed on Perkins Road listening to the shrill whistle of the Boston
& Maine’s Gloucester Branch crossing the trestle over the
Annisquam River. Ever since then I have associated trains with the
mystery of travel. I could never get enough of them, pestering my
grandfather Angel Polisson to take my brother and me to the station in
Gloucester to see the trains arrive. I especially loved it when we
could watch the passengers getting off and I could only imagine where
they had been or where, if the train was about to depart, they might be
headed.<br />
<br />
As we got older, our mother took us to Boston on the train, when she
went shopping at Jordan Marsh’s or Filene’s. I’ll never forget the time
I got separated from her in Filene’s basement. I went screaming up and
down the aisles of bargain clothing piled on tables that women fought
over, cursing each other, sometimes tearing the garments to shreds in
their furious attempts to possess them. After that incident, my mother
took to pinning a name tag on my brother and me, so that if we got lost
or separated from her the clerks would know whom to page. Luckily, it
never came to that, and we quickly learned how to navigate our way
around the big department stores, or the Peabody Museum in Salem, where
our mother also took us so we could look at the ship models that
fascinated us, or the life-like local birds and mammals that the
taxidermists had exhibited in large glass cases.<br />
<br />
Recently I thought of those cities I came to know in wartime when the
gasoline ration prohibited travel by car—Boston, Salem, even New York
when we got older—and the trips on trains it took to get to them. I was
on the train to New York again, racing along the Connecticut coast, in
and out of harbors and across russet colored fields on the way to see my
new grandson in Brooklyn. The train was packed, the early spring day
was bright, and I felt like a child again on an adventure.<br />
<br />
It was the way I felt in Europe, where I took the train everywhere,
never thinking of schedules or reservations. If you wanted to go
somewhere, you showed up at the station and there was a train waiting or
about to arrive. One night a group of us were sitting over dinner at
the Buca Niccolini, on Via Ricasoli in Florence, just behind the Duomo.
It had been a grand meal, well moistened with the local red wine the
Florentines call “vino nero.” We were about to order desert when
someone suddenly suggested, “Let’s go to Vienna for desert!”<br />
<br />
We jumped up, settled the check and set out for the railroad station,
a short walk from the restaurant. The Brenner Express was about to
depart. We knew we would never get to Austria for desert, but we did
arrive in time for one of those marvelous Viennese breakfasts. We took a
spin around the city and got back on the train, arriving in Florence in
time for dinner.<br />
<br />
Naturally, this was the kind of gambit you engage in when you are
young—we were in our early 20s, students: Americans, English and
Italian. I never did it again, but I took the train at every
opportunity—to Bologna for lunch (best pasta ever); Pisa for a run up
the steps of the Leaning Tower with my high school classmate Bob
Stephenson; Viareggio to get my beach fix when I missed Gloucester.<br />
<br />
Trains were even more important for me before I lived in Europe. I
went to college in Maine and most of the time I took the train to
Brunswick or back home. I’d hop on a Gloucester train to North Station,
where the Flying Yankee left for Portland, Bangor and points north.
There was a club car serving beer and other alcoholic beverages all the way to Portland, where it was
uncoupled before the train left for Brunswick. On many a night we
could be seen stumbling up to our rooms from the Brunswick railroad
station.<br />
<br />
At midnight the mail train stopped in Brunswick, allowing those who
had girlfriends in Boston to post letters that would be delivered to
them that morning. I can see myself hastily typing a letter, throwing
on parka and boots, and trudging through the snow from my room on
Federal Street down to the railroad station on Maine Street, often
getting there just as the train was about to pull out. The guys in the
mail car knew us. Obligingly, they would lean out of the doors to
accept our letters on the fly.<br />
<br />
At four a.m. every morning the Milk Train coming through from Northern Maine to Boston woke up those of us who lived near the railroad bridge on Federal Street. If I was reading or studying late, I knew that its whistle in the dead of night was the sign for me to go to bed. But the big event of the day was the non-stop rush through Brunswick of the freight train. Imagine an engine pulling 100 or more cars all the way from Aroostook County tearing through the center of town, the late afternoon traffic sometimes halted for close to 30 minutes. Our philosophy professor told us that if we still believed in the non-existence of un-thinking matter we should stand next to that freight train as it roared through town each afternoon.<br />
<br />
While some students had their own cars, most of us depended on the
train for a fast getaway to Portland to see a movie or to eat Chinese
food. Often enough we traveled north to Rockland, and sometimes
further Downeast, stopping at Wiscasset on the way to Rockland, Camden
or Belfast. There was something special about Wiscasset, a sense of
arriving in a small riverine town with redbrick buildings, the train
pausing, it seemed, until the very last passenger appeared out of the
dark, the conductor waiting with his lantern and finally shouting, “All
aboard, all aboard,” as the train pulled slowly out of the station. I
can still hear the chugging of the steam engine, the way the wheels
clicked on the tracks, and the eerie whistle as the train plunged into
the darkness.<br />
<br />
It is the image of that night train at Wiscasset Station that remains
with me above all others, a sense of the isolation of the station
itself and the deserted town, the slowly diminishing sound of the
whistle and the rhythmic clicking of the wheels on the tracks, the
lights from the cars gradually becoming bright points in the darkness
and then disappearing altogether as the train itself faded into the
night. It is an image that takes me back to the boy awake in his bed
on Perkins Road, listening attentively each time for the train to cross
the trestle over the river, imagining what it might be like to travel on
it, to arrive in unknown places, connected only by the trains
themselves, the infinite network of tracks, as they raced through the
vast spaces of the night.<br />
<br />
<b><img alt="Peter at Museum (1)" class="alignleft wp-image-1554 size-thumbnail" height="150" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=185&h=225" width="123" />Peter Anastas, </b>editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in the <i>Gloucester Daily Times</i>.Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-4296225650628234162016-03-27T08:50:00.001-07:002016-04-07T13:14:42.381-07:00The Consequences of Unplanned Growth<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxJIBN6ExcWfYUj6nM_lZ1pJ0xxgffRl9Pji38X7ICCs63IYyyBFlKuoTVFJhxoAv61lZ_bsY8pcKYww8eXa1VkV8-9j5s6Cwi0wa8GeGRxNILrw9SuLlVnfT-F7O-f2ZPR4HzAvlwQ/s1600/hopper-prospect-street.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxJIBN6ExcWfYUj6nM_lZ1pJ0xxgffRl9Pji38X7ICCs63IYyyBFlKuoTVFJhxoAv61lZ_bsY8pcKYww8eXa1VkV8-9j5s6Cwi0wa8GeGRxNILrw9SuLlVnfT-F7O-f2ZPR4HzAvlwQ/s320/hopper-prospect-street.jpg" width="320" /></a></div>
<b>Prospect Street, Gloucester. 1928 Hopper, Edward (1882-1967)
<span style="font-size: large;"> </span></b><br />
<br />
<div style="text-align: center;">
<strong><em>“Stop this renewing without reviewing.”</em></strong></div>
<div style="text-align: center;">
–Charles Olson, “A Scream to the Editor”</div>
<br />
<span style="font-size: large;">What do the proposed “Soones Court” Back
Shore luxury housing project and the recently floated ideas for the
development of Ten Pound Island have in common, aside from the fact that
they have provoked vociferous public opposition?</span><br />
<div style="text-align: left;">
<span style="font-size: large;"><br /></span></div>
<span style="font-size: large;">These are projects that have no foundation in planning. They were
neither anticipated nor considered as part of an overarching plan for
the growth and development of Gloucester or the protection of our
natural resources. Why is this? Simply put, it is because the city
effectively does not have a Master Plan that is currently valid. Our
Master Plan is neither valid nor relevant because, having last been
drafted and voted upon in 2001, it is fifteen years out of date. As
such, it does not—and did not—anticipate major projects like Gloucester
Crossing or the Beauport Hotel on the Fort, both of which also stirred
divisive public opposition.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The purpose of good planning is to avoid such controversies as much
as possible and make clear in a democratically created document what is
needed for the orderly growth and development of the community; in other
words, what should be built in the future and where it should be
built. Such a plan also provides for what the community wishes to
preserve in terms of landforms, historic sites and buildings,
neighborhoods, or cherished places— iconic locations like the shore side
of our Back Shore, Ten Pound Island, Dogtown, or the Magnolia Woods.
It is possible through planning to set aside such “magical places,” as
Janice Stelluto, who shepherded Plan 2001 from the talking stages
through to its completion, called them, so that they would remain
undisturbed to be enjoyed by future generations of Gloucester citizens
and visitors drawn to the natural beauty of our city.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Good planning also anticipates the impact on the economic and social
well- being of the city of foreseen growth; for as a community considers
what it hopes to live with in the present—which amenities it needs,
what kinds of new business might be provided to create necessary jobs,
how new growth and development will affect tax base—it also looks at
what is not wanted. It provides for the preservation of what is valued
like the untrammeled view out to Thatcher’s Island from the Back Shore,
or Ten Pound Island left in its natural state for students to study its
geology and birdlife.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Plan 2001 did not call for a shopping plaza adjacent to the Fuller
School, nor did it consider the marine-industrial Fort as an ideal
location for a “boutique” hotel or conference and function center
These were not developments growing out of the community’s pressing
desire to have them (there was consensus about a downtown hotel but not
on the Fort); they were developer-driven projects, coming, as it were,
from a vacuum created by a lack of planning. Taken by surprise, as the
community was when these unanticipated and unplanned for projects first
surfaced, many in the community reacted like we all do when we are
confronted with the unexpected. There was anger, frustration and,
naturally, resistance, creating rifts in the city, which deepened as one
unanticipated and unplanned for project followed another.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">To be sure, the planning process cannot anticipate or parry in
advance every controversy; nor can it satisfy all sectors of the
community. But it can help us to avoid the divisive acrimony we now
experience in Gloucester with the concomitant anger against and distrust
of government and public officials, neither of which help to promote or
sustain our wellbeing as a people, collectively hoping for a deserved
quality of life in the place we call home.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Without good planning a city is helpless in the face of the
relentless drive to develop that we and many seaside communities like
Gloucester are facing, just as a family that does not budget its
finances or plan for the future is stymied when there is job loss or
catastrophic illness. Good planning can help to avoid the raucous
public hearings that have been a sad feature of local life, pitting
neighbor against neighbor and ward against ward, only fueling the enmity
and distrust of government that have come to characterize national life
as well. Good planning can also help the community avoid costly
litigation that drains both public coffers and private citizens of funds
that could be more wisely and creatively spent.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">So, before we get into another battle royal over the next development
proposal to come down the pike (and there will be many), would it be
too much to ask if we, as a community, could take that superannuated
Master Plan off the shelf and revise it? Or better: couldn’t we begin
again, utilizing all the experience we have gained during the past
fifteen fractious years, and write a new one? Call it a roadmap for
the present, or a GPS helping us to navigate our way through the complex
terrain of the future. Call it what you will, but for the sake of all
of us let’s not move forward without knowing what’s ahead.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>(On Thursday, March 4, 2016, the Gloucester Planning Board said
“No” to preliminary plans for Soones Court. Shortly afterwards, it was announced that Save Our Shores Gloucester had entered into an agreement with the developers to purchase the site for $75,000.</i></span><br />
<span style="font-size: large;"><br /></span>
<i><span style="font-size: large;">On Monday, March 21, a community meeting was hosted by
Ward One city councilor Scott Memhard, at the Rocky Neck Cultural
Center, 6 Wonson Street, at 7 p.m., to discuss “Ten Pound Island:
Recognizing its Past, Planning its Future.” The consensus was that the island should be left in its natural state.)</span> </i><br />
<br />
<b><img alt="Peter at Museum (1)" class=" wp-image-1554 alignleft" height="121" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/01/peter-at-museum-11.jpg?w=149&h=182" width="99" /><span style="font-size: small;">Peter Anastas, </span></b><span style="font-size: small;">editorial director of Enduring Gloucester<b>, </b>is a Gloucester native and writer. His most recent book, <i>A Walker in the City: Elegy for Gloucester,</i> is a selection from columns that were published in the <i>Gloucester Daily Times</i>.</span>Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-27437663814328711162016-01-10T12:23:00.000-08:002016-01-10T12:36:24.970-08:00Toward a Vision for the City's Future<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwu6ses_dPRySfhxlWenriDsqHeT2c0o3qVlEapw-rW6l8pSVOHBq4Vb67KWkFESS1nKcrHUbPK7bdMFEqEkpOcjgHxW_0Otlrrk1bVW3pw6Hkok9SApzzGUejnK8Kd15PuHFSoOHc6Q/s1600/Peter+and+Sefatia+at+Gloucester+House.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwu6ses_dPRySfhxlWenriDsqHeT2c0o3qVlEapw-rW6l8pSVOHBq4Vb67KWkFESS1nKcrHUbPK7bdMFEqEkpOcjgHxW_0Otlrrk1bVW3pw6Hkok9SApzzGUejnK8Kd15PuHFSoOHc6Q/s320/Peter+and+Sefatia+at+Gloucester+House.jpg" width="320" /></a><b><span style="font-size: x-small;"> </span></b><br />
<br />
<b><span style="font-size: x-small;">With Mayor Sefatia Romeo Theken, Inauguration Day, January 1, 2016, City Hall</span></b><br />
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The American Heritage Dictionary</i> defines
inauguration as “to induct into office by a formal ceremony” or “to cause to
begin, to dedicate, to consecrate.”<span style="mso-spacerun: yes;"> </span>Our
Gloucester High School Latin teachers, Josephine P. Ray and Vincent Elmer, would
have taken pains to point out the Latin root “augurare,” “to presage, to
foretell, to look ahead.”<span style="mso-spacerun: yes;"> </span>This gave us
the Italian “augurio,” “to wish, to be of good omen, to give one’s best wishes,”
as in <i style="mso-bidi-font-style: normal;">auguri.</i><span style="mso-spacerun: yes;"> </span>So, in effect, we are here today not only to
celebrate the induction of Sefatia Romeo Theken into her first full term as
mayor of Gloucester, we are also gathered to look ahead, to consecrate
ourselves and the city we love to a future of good omen, to wish our new mayor
and her administration, our new city council and school committee—the community
itself— <i style="mso-bidi-font-style: normal;">tanti auguri</i> for the New Year
ahead and for our hoped for future.</span></div>
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<br /></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Before
I speak of that bright future we richly deserve, I’d like to look back for a
moment, to pay tribute to those who have made it possible, particularly our
parents and grandparents; and for Sefatia, her mother and father, Rosalia and
Enzo Giambanco.<span style="mso-spacerun: yes;"> </span>Enzo Giambanco, was
president of the Board of Directors at Action, Inc., Gloucester’s antipoverty
agency, when I first went to work there in 1972.<span style="mso-spacerun: yes;"> </span>I found in Enzo not only a mentor but a
person of deep compassion for the low-income families we were serving,
including out-of-work fishermen, children who needed a pre-school education
their parents could not afford, people who did not have health insurance, and
elders who were torn between paying rent and utility bills and eating.<span style="mso-spacerun: yes;"> </span>As an immigrant he understood what it felt
like to be on the outside, whether you spoke a different language or your customs
differed from those of the community. <span style="mso-spacerun: yes;"> </span>Along with Executive Director Bill Rochford,
Enzo helped to steer the agency through some of its most challenging times,
while never abandoning those who depended on our services, whether it was help
with fuel bills, home care, or after-school care for the children of working
mothers.</span></div>
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<br /></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt;">I will never forget the
time when, after the construction of the O’Maley middle school, the city was
deciding what to do with the suddenly empty Central Grammar School with its
beautiful WPA murals, where many of our parents had gone to high school and my
generation had spent our 7<sup>th</sup> and 8<sup>th</sup> grade years.<span style="mso-spacerun: yes;"> </span>Action proposed a reuse of the stately
building for apartments for the elderly; but there were questions about the
need for such housing and the ability of an agency like Action, which had never
done bricks and mortar, to undertake such a project.<span style="mso-spacerun: yes;"> </span>A public hearing was to be held at City Hall
to determine which direction the city would move, and it was necessary to show
support for the agency’s plan to create quality housing for our senior
citizens.<span style="mso-spacerun: yes;"> </span>Enzo told Bill not to worry. <span style="mso-spacerun: yes;"> </span>And that night he arrived with 500 elders and
their families, filling city hall auditorium and convincing the council of public
support for the project.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The present Central Grammar Apartments not
only met a crucial need in the city, it became a pioneer project in the
regional movement to adapt former schools into much needed housing.</span></div>
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<br /></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Sefatia
learned these innovative and caring ways from the cradle.<span style="mso-spacerun: yes;"> </span>She has spent her entire life helping the
people of Gloucester as one of the city’s hardest working councilors and as a
health care advocate and human services liaison at Addison Gilbert
Hospital.<span style="mso-spacerun: yes;"> </span>During her tenure as interim
mayor, Sefatia again demonstrated her skills at reaching out to citizens across
the entire social and economic spectrum of the city, listening compassionately
to their concerns, hearing the ideas they shared, and making decisions in a
thoughtful and intelligent manner, while relating to all of us in an open,
caring and humane way.<span style="mso-spacerun: yes;"> </span>When you are
hugged by Sefatia you know she means it.</span></div>
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<br /></div>
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Sefatia has roots that run deeply
into the community and its history.<span style="mso-spacerun: yes;">
</span>She’s gone to school and raised a family here.<span style="mso-spacerun: yes;"> </span>She can walk down the street and recognize
everyone she meets. <span style="mso-spacerun: yes;"> </span>She can tell you
who lived on which street, who worked where, and what happened to them if they
got laid off.<span style="mso-spacerun: yes;"> </span>This kind of knowledge
that comes from growing up in one place and feeling it in your blood is
indispensable when it comes to understanding the needs of neighborhoods and
their residents, no matter which part of the city they are located in.<span style="mso-spacerun: yes;"> </span>A public official who is not deeply in touch
with the culture of the community he or she hopes to serve is already at a
disadvantage.</span><br />
<br />
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">We need a mayor
who encourages our community to engage in the kind of constructive dialogue
that is the cornerstone of our democracy, a mayor </span><span style="font-family: "Cambria","serif"; font-size: 14.0pt;">who will lead us toward
a more vital sense of community in education, civic responsibilities,
historical awareness, fiscal prudence, economic and social self-sufficiency,
and love of place. <span style="mso-spacerun: yes;"> </span>We particularly need
a mayor who understands and cares deeply about our fishing industry and the
importance of our working waterfront and the innovative Blue Economy.<span style="mso-spacerun: yes;"> </span>I believe that Sefatia will be this kind of
mayor.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Just as we need to move ahead, we equally need
to maintain our roots as a city of families and neighborhoods, where everyone
has a place at the table and everyone’s<span style="mso-spacerun: yes;">
</span>voice is listened to and respected.<span style="mso-spacerun: yes;">
</span>There is a yearning all over America for the sense of place, of shared
history, of <i style="mso-bidi-font-style: normal;">belonging,</i> that we in
Gloucester are fortunate to enjoy in abundance.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Gloucester has always been a city of
ethnic and economic diversity—and this diversity has been one of our greatest
strengths.<span style="mso-spacerun: yes;"> </span>We live in dangerous times and
we need the peace and comfort that a community like ours affords.<span style="mso-spacerun: yes;"> </span>It is through community that we learn
together and grow together, as we help our children and grandchildren grow and
prosper. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Concretely we must address the
following issues as we look to the city’s future:</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--We need a revised and updated
Master Plan so we can best manage growth and know where to build and what to
preserve.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--We must recommit ourselves to our
embattled fishing industry and to the working waterfront itself, continuing our
long history of adaption to change</span> <span style="font-family: "Cambria","serif"; font-size: 14.0pt;">with the creation of a strong seafood innovation
cluster economy and the good local jobs it will create.<span style="mso-spacerun: yes;"> </span>We are also a great boating community and
while we work to make our waterfront a more welcoming place for recreational boaters,
we must not forget the importance of community boating facilities for our own
residents.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--We will need to look newly at
tourism and its impact on the city’s life and infrastructure (traffic, the
harbor, the beaches, the land), with a special conversation about the role of a
smart,<span style="mso-spacerun: yes;"> </span>human-scale visitor-based
economy, the corner stone of which should be cultural and eco-tourism.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--We need to continue our
conversation around the development of a public arts policy with added
discussion on the place of the arts in local life and the visitor-based sector.<span style="mso-spacerun: yes;"> </span>Essential to the future of the city as a
magnet for the arts is the development of live-work housing for local artists,
who constitute a bridge between the life we all enjoy here and what we want to
offer to those we welcome into our community.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--Essential also is an initiative to
involve more citizens in public life, volunteering for boards and commissions.<span style="mso-spacerun: yes;"> </span>We must especially nurture a new generation
of engaged citizens: our democracy will depend on it.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--As for schools, plant is important,
but what happens in the classroom is paramount.<span style="mso-spacerun: yes;">
</span>We must transcend the tyranny of standardized testing, reasserting the
primary role of the imagination, critical thinking and creativity in art,
music, drama, science and the humanities.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>--We must do everything to keep our
city beautiful, not only for those who wish to visit but for those of us who
live here year round.<span style="mso-spacerun: yes;"> </span>The restoration of
Stacy Boulevard, Gloucester’s crown jewel, is long overdue.<span style="mso-spacerun: yes;"> </span>Dogtown is our refuge for hiking, cross
country skiing, berry picking, and the exploration of nature.<span style="mso-spacerun: yes;"> </span>Let us continue to support the work that
volunteers are engaged upon in preserving this treasure and keeping Dogtown
unspoiled for future generations.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">What we especially need, along with careful
planning to account for inevitable change, is a land ethic, a way in which we
view the land and its uses beyond mere profit-taking and commercial
development.<span style="mso-spacerun: yes;"> </span>We must build what we need,
but we must do it in a way that does not destroy the unique character of
neighborhoods or disrupt human and natural ecologies.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>We must plan regionally as well as locally, always with a
sense of preserving the character and integrity of particular communities; for
I believe that only those places which are sensitive to their uniqueness will
survive.<span style="mso-spacerun: yes;"> </span>Without an informed, coherent
and humane vision of ourselves in relation to our environment we will not
survive as a community, let alone as a planet or a species.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>So as we inaugurate our new mayor and congratulate the
city councilors and school committee members we have elected to represent us,
let us re-commit ourselves to working together, to building “not only for today
alone but for tomorrow as well.” If we expect it of <i style="mso-bidi-font-style: normal;">ourselves,</i> those who come after us will thank us for our vision,
our imagination, and especially for our commitment.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Thank you <i style="mso-bidi-font-style: normal;">e tanti
auguri a` tutti </i>for the New Year and for Gloucester’s future.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">(This speech was delivered
at City Hall, on January 1, 2016, at the inauguration of Sefatia Romeo Theken
as Mayor of Gloucester)</i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-18709843148493648022015-06-18T13:52:00.000-07:002015-06-18T13:54:15.558-07:00Isaac's First Fiesta<br />
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<span class="date"><a href="http://enduringgloucester.com/2015/06/18/isaacs-first-fiesta/" rel="bookmark" title="Permalink to Isaac’s First Fiesta"><time class="entry-date published" datetime="2015-06-18T07:02:00+00:00">Enduring Gloucester, June 18, 2015</time></a></span><br />
<div class="entry-meta">
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<span class="comments-link"></span>
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<div class="entry-content">
Peter Anastas<br />
<br />
<b><i>St. Peter’s Fiesta, which opens its 88<sup>th</sup> year with
music on Wednesday, June 24, at St .Peter’s Park and concludes on Sunday
night, June 28, with a procession through the Fort, is Gloucester’s
most meaningful celebration of our collective identity. Watching the
lights and the altar go up this week and feeling the excitement in the
air of impending carnival, which so many of us have experienced since
childhood, I couldn’t help but remember the first time I took my
grandson to Fiesta…</i></b><br />
<b>
</b>
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1203" style="width: 675px;">
<a href="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-and-papou-st-peter-2.jpg"><img alt="Isaac and Papou.St. Peter (2)" class="wp-image-1203 size-large" height="499" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-and-papou-st-peter-2.jpg?w=1208&h=908" width="665" /></a><br />
<div class="wp-caption-text">
<b>Isaac and “Papou” go to Fiesta</b></div>
</div>
<br />
<i> </i>It was June of 2009. My son Ben and I were taking his
19-month-old son Isaac to his first St. Peter’s Fiesta. My mother had
accompanied my brother and me when Fiesta started up again after the
war, and I, in turn, took Ben and his two siblings, beginning in the
1960s. If you count the fact that my mother, who was born in Gloucester
in 1910, had attended the earliest Fiestas, beginning in 1927, four
generations of our family have been celebrating the Feast of St. Peter
with our Italian friends and neighbors.<br />
<br />
Though a bit overwhelmed by the crowds along the midway, the music
from the rides, and the amplified voices announcing games of chance, my
grandson seemed to take to Fiesta. Eyes shining with wonder, he refused
to be carried by his father or me, rushing instead among the legs of
those on their way down Beach Court to where we could watch the seine
boat races and greasy pole contest from the shore.<br />
<br />
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1204" style="width: 624px;">
<a href="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-at-greasy-pole-2.jpg"><img alt="Isaac at greasy pole (2)" class="wp-image-1204 size-full" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-at-greasy-pole-2.jpg?w=665" /></a><br />
<div class="wp-caption-text">
<b>Isaac with “Papou” and his dad watching the greasy pole contest</b></div>
</div>
<br />
Returning to Commercial Street, we decided to walk to Fort Square for
a better view of the events and so that Isaac, who loves to play in the
sand boxes of Brooklyn’s city parks, where he lives, could fully enjoy
Pavilion Beach. On the way there I pointed out the old Birdseye plant
with its iconic white tower to Ben, where, from 1928, his grandmother
had worked as Clarence Birdseye’s secretary. On our way back to Fiesta
we walked around Fort Square to Charles Olson’ house, where we took a
picture of Ben, Isaac and me in front of the commemorative plaque to
Gloucester’s great poet.<br />
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<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1205" style="width: 675px;">
<a href="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-at-olson-house-2.jpg"><img alt="Isaac at Olson house (2)" class="wp-image-1205 size-large" height="451" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/isaac-at-olson-house-2.jpg?w=1208&h=820" width="665" /></a><br />
<div class="wp-caption-text">
<b>Isaac points to the memorial plaque for Charles Olson at 28 Fort Square</b></div>
</div>
<br />
That afternoon we covered the entire Fort, from Beach Court to Fort
Square. We shared fried dough and Ben shot a few baskets to see if he
could win a stuffed animal for Isaac. What came home to me during our
walk, along with the powerful sense of attraction I’ve always had for
Fiesta and for the Fort itself, where I once worked on fish, was an
increased concern that if a proposed hotel were to be built at the
Birdseye there could be unforeseen consequences. Prospective developers
had already expressed reservations about this traditional marine
industrial neighborhood (one was quoted in the <i>Gloucester Times</i> as having said, “When our guests arrive we want them to know they’ve arrived <i>somewhere</i>”—as if the historic Fort were <i>nowhere</i>!);
and one wondered how many of their guests would spend a lot of money to
stay in a busy neighborhood full of trailer trucks and early risers.
What would be the impact of the new hotel on Pavilion beach, which was
public and protected as such? And while I could imagine some hotel
guests enthralled by Fiesta, would others on vacation be annoyed by the
noise, the crowds, or the smells from the working waterfront—the engines
of the fishing vessels, the early morning activity of taking on ice?<br />
<br />
<br />
During our walk I tried to envision the Fort with a fancy upscale
hotel in its midst. All I could think of was that the hotel might
ultimately displace the neighbors, the neighborhood, the Fiesta, and all
the traditional kinds of single and multi-family housing on the Fort.
Once the hotel was in place, there was certain to be greater pressure
for upscale housing or condos. Then, quite covertly, we would have the
beginnings of Newport right in the heart of the waterfront.<br />
<br />
I was especially concerned about the potential for “collateral damage”
in the neighborhood as a consequence of outsize development, especially
if traditional fishing industry businesses were pushed out, and
long-term residents with them. These thoughts troubled me as I walked
with my little grandson and his father—three generations of Anastases
enjoying Fiesta (and a fourth if my mother, who first took me, were
still alive)—and suddenly a great sadness came over me, followed by a
profound sense of loss.<br />
<br />
What should ultimately have been an occasion of joy with my family,
my grandson’s first Fiesta, prompted a bittersweet reverie, in which I
could imagine all that has meant so much to our family and every other
Gloucester family of Fiesta and of the Fort itself, taken from us were
we not vigilant about protecting our heritage and the very places in
which it lives and breaths.<br />
<br />
Today the hotel, so utterly alien to everything the Fort has stood
for, is fast becoming a reality, and we can only hope that Fiesta, along
with the Fort itself, will not be swept away by this new wave of urban
renewal called gentrification.<br />
<br />
<b><i>Viva San Pietro!</i></b><br />
<br />
<div class="wp-caption aligncenter" data-shortcode="caption" id="attachment_1176" style="width: 594px;">
<a href="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/ernie-fiesta-1.jpg"><img alt="Ernie.Fiesta.1" class="wp-image-1176 size-full" src="https://enduringgloucesterdotcom1.files.wordpress.com/2015/06/ernie-fiesta-1.jpg?w=665" /></a><br />
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Photo courtesy Document/Morin</div>
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<h5>
<b><span style="font-weight: normal;">Peter Anastas is Editorial Director of Enduring Gloucester</span></b></h5>
</div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-37052027256958699722015-05-25T12:11:00.000-07:002015-05-25T12:14:09.268-07:00Kenneth Warren (1952-2015)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlmi1Lnd2Xfg1NQM6Z7ZUCQqj_7xtTvNbP-zmenLCKx3xNuOOEt7QS_ppGNykEqn0YqjxX-BqPrZFnB_XolmrItx8jvwiwmEwKWuHQpUKS8Sy4hesAj2Mk8fIiW5C3wkpSzCc0SRpQQ/s1600/Kenneth+Warren.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlmi1Lnd2Xfg1NQM6Z7ZUCQqj_7xtTvNbP-zmenLCKx3xNuOOEt7QS_ppGNykEqn0YqjxX-BqPrZFnB_XolmrItx8jvwiwmEwKWuHQpUKS8Sy4hesAj2Mk8fIiW5C3wkpSzCc0SRpQQ/s400/Kenneth+Warren.1.jpg" width="276" /></a></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Kenneth Warren was a rare public
leader who knew when/how to push the envelope of public discourse, to seek and
participate in deep, locally defined values in an era nonetheless when the
local is being uprooted in favor of global development. He was a man dedicated
to finding the deeper currents that might drive a community, and thus a world,
forward into a brighter and more humane future of greater good</span></i><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 5;"> </span>--Daniel
Slife</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The
sudden death of writer, critic, editor, Jungian scholar and astrologist Kenneth
Warren has a special poignancy for his friends in Gloucester.<span style="mso-spacerun: yes;"> </span>Many of us first met Ken when he and Fred
Whitehead were editing <i style="mso-bidi-font-style: normal;">The Whole Song, </i>the
landmark volume of selected poetry by Lynn native and Gloucester poet laureate
Vincent Ferrini, published in 2004 by the University of Illinois Press.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Ken visited Gloucester frequently,
reading at the Writers Center, where he was an advisory board member, and The
Book Store. <span style="mso-spacerun: yes;"> </span>He also spoke at the
centenary celebrations for Ferrini and Charles Olson, about whom Ken was
working on an important series of essays in <i style="mso-bidi-font-style: normal;">House
Organ</i>, the quarterly publication of contemporary poetry and prose he edited
and published, first from Lakewood, Ohio, where Ken was library director for 25
years, and later from his home in Youngstown, NY.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Ken was that rarest of critics, who
could write about avant-garde poetry, Punk Rock, the interface of astrology and
the arts, and the complexities of Jungian analysis, often in the same
review.<span style="mso-spacerun: yes;"> </span>To read his 2012 collection of
essays, <i style="mso-bidi-font-style: normal;">Captain Poetry’s Sucker Punch: A
Guide to the Homeric Punkhole, 1980-2012</i>, is to gain a sense of one of the
most original and capacious minds of our time.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Yet Ken was far from
self-involved.<span style="mso-spacerun: yes;"> </span>As editor and publisher
of<i style="mso-bidi-font-style: normal;"> House Organ, </i>he sought out a
stunning array of contributors, from former Black Mountain, Beat and New
American poets to those who<span style="mso-spacerun: yes;"> </span>were young
and unpublished, to review some of the most exciting experimental writing in
print and to submit their own poetry and prose.<span style="mso-spacerun: yes;">
</span>To experience a single issue of the magazine that appeared in one’s mail
box punctually each season, in its idiosyncratic 4 by 11 inch format, was to
have an entrée into some of the most exciting work in poetry and personal and
critical prose of our time.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Speaking for myself, it was a
privilege to be asked by Ken to submit work he’d heard about, or to have been
sent a series of remarkable collections of poetry or prose to review.<span style="mso-spacerun: yes;"> </span>His editorial style was supportive rather
than intrusive.<span style="mso-spacerun: yes;"> </span>He let his writers be themselves,
and in the process I believe we all flourished. <span style="mso-spacerun: yes;"> </span>In asking me to contribute to <i style="mso-bidi-font-style: normal;">House Organ</i>, Ken literally gave me a
second career as a critic and essayist, one that I would not have enjoyed
without Ken. Ken also published Gloucester poets Melissa de Haan Cummings and
Josie Schoel.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Ken and I did not meet frequently,
but when we did the talk was incandescent—largely from Ken’s side.<span style="mso-spacerun: yes;"> </span>I would always leave with lists of books to
read or new writers to discover.<span style="mso-spacerun: yes;"> </span>With
Ken one did not need to take a post-graduate course in innovative writing; one
simply listened to him talk or read his extraordinary study of the work and
thought of Ferrini and Olson that had been appearing serially in <i style="mso-bidi-font-style: normal;">House Organ</i>. </span></div>
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<br /></div>
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In writing to tell me about Ken’s
death, our mutual friend, novelist and critic Bob Buckeye, described the void
created by his leaving: </span><br />
<br />
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“</span><span style="font-family: "Cambria","serif"; font-size: 14.0pt;">We have suffered a great loss. Something
has stopped and I don't know if it can start up again.”<span style="mso-spacerun: yes;"> </span></span></div>
<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;">Andre
Spears, a member of the board of directors of the Gloucester Writers Center,
wrote:</span></div>
<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;">“Ken
Warren departed the planet on Thursday (May 21), as the sun was transiting from
Taurus into Gemini. He was, and remains, a beautiful spirit, particularly open
to the world, and he leaves behind, in the singular poetic community he made
cohere, a terrible absence that only time, sooner or later, will erase."
<span style="mso-spacerun: yes;"> </span></span></div>
<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt;">Ken
loved Gloucester.<span style="mso-spacerun: yes;"> </span>He knew the city from
his deep immersion in the poetry of Olson and Ferrini and from his own time spent
here absorbing the look and feel of the place, its history.<span style="mso-spacerun: yes;"> </span>Ken understood community and how it could be
uprooted by gentrification and unwarranted development.<span style="mso-spacerun: yes;"> </span>As his friend Daniel Slife wrote:<span style="mso-spacerun: yes;"> </span>“H</span><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">e was a man dedicated
to finding the deeper currents that might drive a community, and thus a world,
forward into a brighter and more humane future of greater good.”</span></div>
<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Goodbye, Ken.<span style="mso-spacerun: yes;"> </span>We will miss you sorely.</span></div>
<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Peter Anastas</span></div>
<div style="text-indent: .5in;">
<br /></div>
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">(This tribute was
originally written for and posted on the blog</span></i><span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> Enduring
Gloucester)</span><span style="font-family: "Cambria","serif"; font-size: 14.0pt;"></span><br />
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Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-43342514866012042802015-04-02T09:36:00.003-07:002015-04-02T09:36:59.062-07:00Un-American Activities: A Review<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Benjamin Hollander<i style="mso-bidi-font-style: normal;">, In the House Un-American,</i> (Clockroot
Books, 2013), pp.150, $15.</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Carlos ben
Carlos Rossman, Benjamin Hollander’s alter ego in his account of discovering
what it is to be, or not to be, an American, describes his father, “a Jew
hiding in plain sight,” as living “between false options: as a worker among
workers speaking outside his class, or as the quiet American hiding the
languages he knew they distrusted, since they insinuated, in phrase or condition,
heard or unheard, ‘the un-American,’ the un-welcomed.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I
spoke Greek before I spoke English.<span style="mso-spacerun: yes;"> </span>It
was the language of our home, the one I absorbed from the cradle, spoke with my
parents and my grandmother, who never learned English.<span style="mso-spacerun: yes;"> </span>But when I went to school, one day in second
grade (this was during the early years of WWII), our teacher Miss Parks asked each
one of us to tell where our parents were born.<span style="mso-spacerun: yes;">
</span>When I offered that my father came from Sparta, Greece, a girl piped
up—Marie Byrnes: how can I ever forget her name?<span style="mso-spacerun: yes;"> </span>“Sounds like a can of grease,” she said.<span style="mso-spacerun: yes;"> </span>From then on my brother and I were called
“Grease Balls” or “Greasy Greeks.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I
went home crying.<span style="mso-spacerun: yes;"> </span>As soon as my father returned from work at the corner store he owned, I explained to him what had
happened.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“You
tell those kids you’re proud to be Greek,” he said. “Tell them that the Greeks
invented the democracy they live in!” </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Of
course, my father was right to comfort me, giving me an argument for my
defense.<span style="mso-spacerun: yes;"> </span>But my brother and I knew that such
a response would only lead to more derision, if not physical retaliation.<span style="mso-spacerun: yes;"> </span>For in those xenophobic war years in Gloucester,
Massachusetts it was the Greeks and Jews against the Italians, Portuguese and
Irish, who had arrived in America before our grandparents and staked out their
claims earlier as Americans.<span style="mso-spacerun: yes;"> </span>As a
consequence, my brother and I never spoke Greek again.<span style="mso-spacerun: yes;"> </span>We literally expunged our mother tongue from
our consciousness for the rest of our lives.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>No
wonder I can relate to Hollander’s harrowing account of his own, his family’s,
his friends’ and immigrants like them as they attempted not just to live in
this country but to <i style="mso-bidi-font-style: normal;">become </i>Americans.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cut
to a 1947 hearing of the House Un-American Activities Committee in Washington,
before which Bertolt Brecht is questioned about his possible ties to the
Communist Party, by definition believed to be un-American:<span style="mso-tab-count: 1;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“Now
Mr. Brecht, what is your occupation?”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“I
am a poet and a playwright.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“A
poet and a playwright?”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“Yes.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“Where
are you presently employed?”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“I
am not employed.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>About
poetry Hollander writes:</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“[It] comes like
this kind of underwater English to one who speaks like this, because poetry is
already the sounding of a second language within an American culture that does
not count it among its facts, its culture of evidence.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Equating
poetry and alienation, exclusion—poetry and anti-intellectualism, Hollander
continues:</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“This
is what the un-American feels, his condition, if you care, is that he appears
to others like a poem, quizzical, without much use, just standing around.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>But
Hollander, to his credit, does not stop with “the role of the Un-American
Committee in determining political alliances or questioning who among the
native-born or naturalized among us was or was not a patriot.” <span style="mso-spacerun: yes;"> </span>He brings us immediately to the present: “Just
as today FBI counter-terrorism media consultant Brad Garrett can warn us about
the thoughts of a Muslim citizen of America, who, himself, may not be capable
of being a threat to the country, but. . .may be drawn to the ‘bad guys’ who
are not citizens but bomb-capable, which is why we have to be in a state of
vigilance towards the un-American American’s ‘bad thoughts.’”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>So
not only in America do we police what we fear may be potential actions of the
putatively “un-American,” we also strive to monitor their thoughts or what we
think may be their thoughts from their ethnic and cultural origins, or from
those of the individuals or groups they may be associating with.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>It’s
an old story for anyone who grew up during the McCarthy anti-communist hysteria
of the 1950s, or who knew people whose phone calls were monitored, mail read,
and movements recorded; yes, and whose family members lost their teaching jobs,
as Vincent Ferrini’s Radcliffe honors graduate wife Peg did (a brilliant
teacher, incidentally, who had a school building named for her after she was
“allowed” to return to teaching).<span style="mso-spacerun: yes;"> </span>And it
hasn’t ended but only continues with our phone calls and emails collected and
stored today, potentially to be used against us, for communicating with each
other.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Hollander’s
narrative—part memoir, part fiction, part history and part documentary—is so utterly
relevant as to have been written tomorrow. <span style="mso-spacerun: yes;"> </span>For <i style="mso-bidi-font-style: normal;">In
the House Un-American</i> is not only an account of an immigrant’s voyage of
self-discovery as he uncovers the very nature of belonging “in an exceptional
country that makes no exceptions,” Hollander writes. <span style="mso-spacerun: yes;"> </span>There is also sharp social criticism here,
much of it as biting as it is humorous, as Hollander skewers the sentimentality
that papers over every national excess: “When in America did this start, this
ritually honored public sentimentalism as a form of redemption for your
violence?”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I
want to conclude with language because language is at the heart of Hollander’s
inquiry (or should I say <i style="mso-bidi-font-style: normal;">inquest?</i>)—
the languages our families arrived speaking, the languages they adopted or
abandoned.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The
Dartmouth-educated son of a Jewish immigrant of my father’s generation once
accused my father of “murdering the English language” as he claimed his own
father did.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>“I’d
like to know what you would do,” my father retorted, “alone in a strange
country, with no one to understand you and not a soul to turn to.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>That
pretty much encapsulates the condition Hollander opens his account by describing.<span style="mso-spacerun: yes;"> </span>I know it well from growing up caught between
two languages.<span style="mso-spacerun: yes;"> </span>I saw how my father
struggled to make himself understood in his second language, and how my mother
and her siblings, all well-educated, tried to transcend their own embarrassment
at their parents’ imperfect and accented English.<span style="mso-spacerun: yes;"> </span>My brother and I joked about how our father
called the World Series “the World Serious,” but beneath our laughter was our
own fear that we too, even though we could speak the native tongue, did not
belong.<span style="mso-spacerun: yes;"> </span>To this day I do not feel that I
belong.<span style="mso-spacerun: yes;"> </span>And yet I wonder, as Hollander calls
into question, do any of us belong in a culture that is more fable than
reality?</span></div>
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<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">(This review appeared in the Spring 2015 issue of <i>House Organ</i>, edited by Kenneth Warren) </span></div>
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<![endif]-->Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com1tag:blogger.com,1999:blog-3615090486175644658.post-16435119055517155432015-01-10T14:49:00.001-08:002015-01-10T15:00:28.383-08:00Olson in Love: A Review<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">After
Completion: The Later Letters of Charles Olson and Frances Boldereff</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">, edited by
Sharon Thesen and Ralph Maud, (Vancouver: Talonbooks, 2014), pp. 294, $24.95</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Charles Olson had things to say and he
said them compellingly, but he was also a private person.<span style="mso-spacerun: yes;"> </span>He compartmentalized his friendships, so that
one friend or group of friends, though aware of the existence of others, was
often kept in the dark about the nature of conversations that passed between
them, either directly or in the form of letters, which Olson favored as much as
the spoken word.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>However, none of Olson’s friends
were apparently aware of the poet’s correspondence— or, indeed, his intimate
personal relationship—with the Pennsylvania-born artist, book designer, writer
and independent scholar, Frances Boldereff, until George Butterick, curator of
the poet’s papers at the University of Connecticut at Storrs, discovered their
letters during a preliminary cataloging of Olson’s papers at the poet’s 28 Fort
Square apartment, in Gloucester, two years before his death, in 1970. <span style="mso-spacerun: yes;"> </span>Tom Clark’s 1991 biography, <i style="mso-bidi-font-style: normal;">Charles Olson: The Allegory of a Poet’s
Life,</i> disclosed the existence of this crucial relationship.<span style="mso-spacerun: yes;"> </span>But it was Butterick who initially reached
out to Boldereff, whose letters from Olson he was given permission to photocopy
for the archive at Storrs, where Clark was then allowed to consult them before
meeting personally with Boldereff, in January of 1987 (Boldereff’s papers
subsequently became part of the Archives and Special Collections at Storrs).<span style="mso-spacerun: yes;"> </span>In 1999, Wesleyan University Press published <i style="mso-bidi-font-style: normal;">Charles Olsson and Frances Boldereff: A
Modern Correspondence,</i> a major compilation of letters from 1947 to 1950, edited
by Olson scholars Ralph Maud and Sharon Thesen, followed in 2014 by <i style="mso-bidi-font-style: normal;">After Completion: The Later Lettters of
Charles Olson and Frances Boldereff</i> (Talonbooks), which collects the
remainder of the correspondence, from late 1950 to 1969, just before Olson’s death
from liver cancer (Boldereff died in 2003).</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It is especially intriguing to
consider that Olson began his two most extensive and important correspondences,
the one with Boldereff and the other with poet Robert Creeley, within three
years, between 1947 and 1950, and though Olson spoke about Creeley to Boldereff,
he appears never to have mentioned Boldereff to Creeley.<span style="mso-spacerun: yes;"> </span>According to Creeley’s biographer Ekbert
Fass, “Olson never once in his voluminous correspondence with Creeley referred
to his epistolary muse and lover… In turn, he was hesitant to talk to her about
his new male associate with whom, before long, he began to exchange letters at
a rate exceeding those he traded with her.” <span style="mso-spacerun: yes;"> </span>Such was the extent of Olson’s ability—and
need—to compartmentalize.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Who was Boldereff and precisely what
is the nature of her importance to Olson?</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>To answer this question, there are
no better authorities than Thesen and Maud, whose two exemplary volumes of this
correspondence add more to our understanding of Olson, especially during his
formative years as a poet, than any biography or previous scholarly work.
According to the editors, Boldereff, who, on November 22, 1947, initiated the
correspondence by writing Olson an enthusiastic response to his first book, <i style="mso-bidi-font-style: normal;">Call Me Ishmael</i>, “believed she had found
not only a kindred spirit but a lifeline, a persona, a twin.”<span style="mso-spacerun: yes;"> </span>And to Olson, who responded with equal
enthusiasm, “Frances became muse, sibling and Sybil.”<span style="mso-spacerun: yes;"> </span>Thus began a correspondence as intense as it
was to become sizable, interspersed with assignations, missed or postponed trysts
(“stonewalling,” a frequently stood-up Boldereff would call it), and encounters
of equally erotic and frustrating nature.<span style="mso-spacerun: yes;">
</span>As the editors write, “This was the voltage that charged Olson’s writing
at the time,” when he had completed “Projective Verse,” but not yet begun work
on the <i style="mso-bidi-font-style: normal;">Maximus Poems.” </i>But what this
correspondence “with its responses and challenges” demonstrates, they <span style="mso-spacerun: yes;"> </span>stress, “is that an intimacy of two strong
minds helped to engender <i style="mso-bidi-font-style: normal;">Maximus.</i>”<span style="mso-spacerun: yes;"> </span>So that, in concert with his sexual desire for
his correspondent, Thesen and Maud contend, “[Olson] desired her insight,
acumen, scholarship, curiosity and canny knowledge of the direction of the underground
stream of his thought,” adding, “there was no one else like Boldereff in
Olson’s life.”</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Furthermore, according to Thesen and
Maud, “it was Boldereff who encouraged Olson in the notion of a poem as a “construct
of energy,” and, therefore, Boldereff who stands behind the ideas in
‘Projective Verse.’”<span style="mso-spacerun: yes;"> </span>Learning of
Boldereff’s inspiration and the impact of her thinking on Olson at the time
does not diminish the poet’s own struggle to come to terms with both a new and
open poetry (“stay OPEN at all costs,” Olson wrote Boldereff on October 5,
1950, “stay OPEN and IN”), and, equally a way <i style="mso-bidi-font-style: normal;">out</i> of what Olson called “the old soul,” another term for the “humanism
and its errors” he and Boldereff<span style="mso-spacerun: yes;">
</span>believed had been rendered obsolete by the horrors of the war,
ultimately leading to “the deadness of American postwar culture;” not to speak
of the debasement of language through propaganda on the part of both the Allies
and their Axis enemies, manipulations Olson knew well from his work in the
Office of War information.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It is this struggle to achieve new
cultural terms, for “something in poetry,” the editors write, “that [Olson]
believed had either been hidden or taken from it;” indeed, a revolutionary new
world view, that had occupied the correspondents separately before they met and
with renewed engagement as their correspondence and their intimate relationship
progressed.<span style="mso-spacerun: yes;"> </span>Such is the burden of the
initial volume of letters, as Olson became the poet we would know him to be and
Boldereff continued to elaborate her “utopian feminism” of “joy not possession,”
underpinned by “the gendered gestures that compose an archaic world view,” as
the editors characterize what Boldereff <span style="mso-spacerun: yes;"> </span>herself referred to as “the task of modern
woman.” It was this, along with her powerfully original scholarship on Joyce,
that resulted in her groundbreaking 1959 study, <i style="mso-bidi-font-style: normal;">Reading Finnegans Wake.</i></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>By the time we approach the bulk of
the letters in <i style="mso-bidi-font-style: normal;">After Completion,</i> much
has happened to the two correspondents, personally and intellectually.<span style="mso-spacerun: yes;"> </span>Olson and his first common-law wife Constance
had moved from Washington, D.C. to Black Mountain College, where Olson was to
teach and eventually lead the experimental community until the college closed
in 1956.<span style="mso-spacerun: yes;"> </span>They had a daughter Kate and
then separated.<span style="mso-spacerun: yes;"> </span>Meanwhile, Olson had
begun a relationship with Betty Kaiser, a Black Mountain music student and the
mother of his son, Charles Peter, moving to Gloucester and then to Buffalo,
where he taught at the state university and where, in 1964, Betty died in an
automobile accident, after which Olson moved back to Gloucester, from where he
traveled to London, Rome, Spoleto, and Berlin as his fame grew.<span style="mso-spacerun: yes;"> </span>As Olson’s star was in its ascendency,
Boldereff, never affluent, endured serial job loss and excruciating
poverty.<span style="mso-spacerun: yes;"> </span>While still engaged in major
work on Rimbaud and Joyce, she relocated from Woodward, Pennsylvania to Brooklyn,
back to Pennsylvania then to Lawrenceville, New Jersey and back to Woodward,
re-marrying in the process. <span style="mso-spacerun: yes;"> </span>During
these years after Olson’s return to Gloucester, the <i style="mso-bidi-font-style: normal;">Maximus Poems</i> entered their major phase and Boldereff<span style="mso-spacerun: yes;"> </span>published<i style="mso-bidi-font-style: normal;">
Reading Finnegans Wake</i>, followed by what was to become her masterwork, <i style="mso-bidi-font-style: normal;">Hermes to his Son Thoth: Being Joyce’s Use
of Giordano Bruno in Finnegans Wake (</i>1968), both of which books, lovingly
inscribed to Olson, remained in his library.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Reading these letters, which are as
erotically charged as they are intellectually engaged, one might wonder why
Olson and Boldereff never made the move to live together, though they spoke of
it often.<span style="mso-spacerun: yes;"> </span>In fact, when Boldereff
suggests they have a “closer relationship,” Olson demurs, the editors write,
concerned that “moving it forward…into closeness,” they quote Olson, would
endanger “the depth & power of letters between us, the imaginative wildness
of the communication would be disturbed.”<span style="mso-spacerun: yes;">
</span>Trenchantly, Thesen and Maud conclude: “Fearing the consequences of a
domestication of his relationship with Boldereff, Olson is also trying to
protect his marriage—at this point to Connie Olson and then later to Betty Olson—from
his attachment to Boldereff,” adding that “the possibility that they might live
together was broached and rejected later on, by each of them in different ways
and under different circumstances.”<span style="mso-spacerun: yes;"> </span>And
yet, paradoxically, Olson could write Boldereff in 1958: “I have loved you the
whole time—and have hung myself<span style="mso-spacerun: yes;"> </span>(not to
speak of Con and now, Bet) believing, the whole time, I would one day live with
you, at least give over to the love, and let it have life to live itself in,
instead of staying bottled up in me, and thus doing the harm such wrong does
do.”</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>It is possible that Olson, who appeared
to be the least domestic of men, felt safer in his marriages, especially from a
lover like Boldereff, who challenged him intellectually at every point—and may
also have challenged him sexually—a woman who had clearly read as deeply and
extensively as Olson had and wrote with equal brilliance. <span style="mso-spacerun: yes;"> </span>There were a couple of trysts after Betty’s
death, the editors report, “but it seems the lovers decided it was as it had
always been: that to live apart was the more productive thing.” <span style="mso-spacerun: yes;"> </span>After one particularly difficult rendezvous in
New York toward the end of Olson’s life, “where he talked all through the
night,” Boldereff remembered to Tom Clark: “He was in terrible psychic
suffering, but I couldn’t respond. There was no contact between us. I felt,
there’s no human being there, just a husk.<span style="mso-spacerun: yes;">
</span>He was experiencing a real loss of his own identity, which he was hoping
to get back through me. Alas, it did not work.”<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The former lovers and correspondents
of twenty-two years would never see each other again; and yet Olson was to
write Boldereff, on May 28, 1969, seven months before his death: “My dear sweet
Frances—Just in another burst of love for you (they come in such gusts my whole
nature at this moment (as I write) bursts on you)<span style="mso-spacerun: yes;"> </span>Love, Charles<span style="mso-spacerun: yes;"> </span>PS I adore you”</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>With Connie remarried and Bet dead,
a bereft Olson, while assuring Boldereff of his undying love during the final
years of their correspondence, is nevertheless engaged in an intense
correspondence with a much younger scholar and poet, Joyce Benson, enlivened by
assignations <span style="mso-spacerun: yes;"> </span>with her in Gloucester and
elsewhere, according to Clark.<span style="mso-spacerun: yes;"> </span>There is
another affair, conducted mostly in London, with an American heiress, who had
important ties to Beat and Black Mountain writers, and a relationship in
Gloucester, his final, it appears, with a young poet, who shared his Fort
Square apartment and continued to live in it after Olson’s death.<span style="mso-spacerun: yes;"> </span>While having struggled successfully to
integrate his poetic and historical vocations in the<i style="mso-bidi-font-style: normal;"> Maximus Poems</i>, and his politics through concerted local activism,
Olson appeared never to have been able to achieve a lasting union, remaining,
at best, conflicted and ambivalent about love, though there is no question that
he experienced powerful moments of ecstasy with Boldereff.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>By this time Olson’s health was
seriously failing.<span style="mso-spacerun: yes;"> </span>A year earlier, during
the summer of 1968, after Olson had reported illness, Boldereff had written
with concern: “Please tell me what your doctor says; what can he <i style="mso-bidi-font-style: normal;">do; </i>what can’t he do?”<span style="mso-spacerun: yes;"> </span>Blithely, Olson had replied. “and though I
have still to ‘behave’ (the problem seems simply to be to take care to be taken
care of—food & that stuff; and equally not ‘socialize’ too much!”)<span style="mso-spacerun: yes;"> </span>But those of us who were close to Olson at
the time, knew it was more than lack of proper nourishment (when he was not
binging late at night in local restaurants, he often ate his food directly from
a can—and even wrote about it in a letter to the editor of <i style="mso-bidi-font-style: normal;">the Gloucester Times</i>), or Olson’s heavy drinking, that constituted
the problem.<span style="mso-spacerun: yes;"> </span>Olson suffered from
emphysema, yet he continued to smoke; and though often surrounded by friends at
home or visitors from many parts of the globe, there was a deep loneliness in
the poet, which is evident from the final <i style="mso-bidi-font-style: normal;">Maximus
Poems,</i> in which he describes walking disconsolately up and down the seaside
Boulevard of a community he had once loved and had great hopes for, but which
had become, as he wrote in another letter to the editor, a “city of mediocrity
and cheap ambition,” in its apparent rejection of its marine industrial
heritage, while attempting to chase the tourist dollar: <span style="mso-spacerun: yes;"> </span>“destroying/ its own shoulders its own back
greedy present persons/stood upon.”<span style="mso-spacerun: yes;"> </span>The
dejected poet, who left Gloucester for Connecticut in September of 1969, may well
have also been fleeing death, for he was soon to be diagnosed with inoperable
cancer, dying six weeks later in New York.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>As much as the drama of this unique
relationship grips the reader—and the letters are as full of the sting and bite
of disappointment as they are of the elation of eroticism—there is something
about them that transcends the merely relational.<span style="mso-spacerun: yes;"> </span>As writing, they are often incandescent, as
Olson, goaded by Boldereff, challenged equally by her ardent correspondent,
hones his projective, propulsive prose to perfection.<span style="mso-spacerun: yes;"> </span>His essay on Lawrence, “The Escaped Cock:
Notes on Lawrence and the Present, or, the Real,” developed during their exchanges,
can be taken as a trope for the dialectic at the heart of this correspondence,
just as it proposes a revolutionary view of the narrative.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Olson writes: “I take it that
CONTEST is what puts drama (what they keep harping on still as story, plot)
into the thing; the writer’s contesting with reality—to see it, to SEE; that
climax is not what happens to the characters or things (which is, even at the
finest, a rigged puppet-demonstrandum) but is, instead what another, my peer,
called “a broken stump,” this contest and its issue, the ISSUE of the man who
writes. <span style="mso-spacerun: yes;"> </span>The issue is what causes CHANGE
(the struggle inside, the contest there, inside, <i style="mso-bidi-font-style: normal;">exhibited). </i><span style="mso-spacerun: yes;"> </span>At root (or
stump) what <i style="mso-bidi-font-style: normal;">is,</i> is no longer THINGS
but WHAT HAPPENS BETWEEN THINGS, these are the terms of the reality
contemporary to us—and the terms of what we are.”<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>This,
then, is “no bare incoming of novel abstract form,” as Olson wrote in “Letter
27” of <i style="mso-bidi-font-style: normal;">Maximus</i>, but instead what was
powerfully enacted in the letters themselves, what the two lovers grappled with
as they engaged each other to the limit of their abilities, contesting and
thereby changing.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><i>(This review appeared in the Winter 2014 issue of </i>House Organ,<i> edited by Kenneth Warren)</i></span></div>
<i>
</i><br />
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span></i></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span style="mso-tab-count: 1;"> </span></span>Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0tag:blogger.com,1999:blog-3615090486175644658.post-15453078323521695702014-10-23T16:11:00.003-07:002014-11-13T16:44:31.806-08:00Becoming an Old Man: Thoughts on Turning Seventy-Seven<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfZqBwjQpVFjPelHwt9e9PcCgJ_jUQt-fehjm5jg8bvEdbLykVMi51qJcSAbq5fhBfnEAQxoDE30C4yqAdqr2rxn2mu7X24SqRXv7RN1fYiT8G75GRBYu6HwISltXm9lCqmH4I9f7eQ/s1600/Peter.Bowdoin.1959.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfZqBwjQpVFjPelHwt9e9PcCgJ_jUQt-fehjm5jg8bvEdbLykVMi51qJcSAbq5fhBfnEAQxoDE30C4yqAdqr2rxn2mu7X24SqRXv7RN1fYiT8G75GRBYu6HwISltXm9lCqmH4I9f7eQ/s1600/Peter.Bowdoin.1959.jpg" height="220" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwBXJK-quhwhz45b0DJOpn_I9b_BTk4LJVIXQuLRtM2kdEf0mSwLnrBf6luS7RoRKBNLIrPa9RVI1Lw-Rd0_2jQgDMvUZHNbvPv20xpEJZ-YU770fNcvzyKX5augHxPmSiko6vxCLHA/s1600/panastas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwBXJK-quhwhz45b0DJOpn_I9b_BTk4LJVIXQuLRtM2kdEf0mSwLnrBf6luS7RoRKBNLIrPa9RVI1Lw-Rd0_2jQgDMvUZHNbvPv20xpEJZ-YU770fNcvzyKX5augHxPmSiko6vxCLHA/s1600/panastas.jpg" height="261" width="320" /></a><br />
<b> (<span style="font-size: x-small;">The aspiring author, Bowdoin College, 1959, and the aging writer today)</span></b><br />
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<![endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">While
shaving one morning recently, I looked at myself in the mirror to discover that
I have become an old man.<span style="mso-spacerun: yes;"> </span>Since I will
soon be 77, I suppose it's only natural to face the reality of aging, though
even during these past few years there have been warning signs, like the
inability to understand words or phrases uttered at a certain pitch, or a
stiffness in my legs that makes getting in and out of my car painful.<span style="mso-spacerun: yes;"> </span>Not to speak of the increased difficulty of walking
the several miles I once covered easily every day.</span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span> I may look old, but I do not feel
old.<span style="mso-spacerun: yes;"> </span>I don’t feel cognitively impaired, yet it takes me much longer to absorb a page of densely argued prose and
remember the argument.<span style="mso-spacerun: yes;"> </span>In fact, I
sometimes have to strain to recall just where in the narrative I left the novel
I had been reading the night before. Though my former wife claimed that I could
remember every meal I had ever eaten, it is now a strain to recall last night’s
dinner.<span style="mso-spacerun: yes;"> </span>Typically, I forget the name of
the most recent film I’ve seen or, more embarrassingly, the author and title of
the novel I’d just read a review of in <i style="mso-bidi-font-style: normal;">TLS.</i></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> Fortunate as we are to have vital information at our fingertips via the Internet, and in
a matter of seconds I can retrieve what I often strain to recall that was once
second nature to me, I do miss the fluency of thought I once possessed, or the
store of facts and figures, that made argument easier.<span style="mso-spacerun: yes;"> </span>During
discussions with friends, I’m much slower on the uptake; and I fear it would be
harder to teach literature again because I can’t remember the scores of poems or
lines of verse I used to enjoy sharing with my students, along with the facts
about writers’ lives that help readers to place themselves in the poems.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>What hurts me—or my vanity— the most
is that I now look like the old men I used to shrink from as a child on the
Boulevard or on Main Street, the ubiquitous elders, who tipped their caps to
our mothers and smiled at us through their dentures, men who seemed so old as
to have been living in another time; yet they could not have been much older
than I am now.<span style="mso-spacerun: yes;"> </span>Though retired from post
office or bank they seemed always “dressed up” to us kids, many, like our family’s
lawyer Elliott Rogers, wearing Tattersall shirts and knitted woolen neckties,
while today I and my contemporaries slouch about in worn jeans and ball caps,
which, as a high school student in those adamantly hatless days, I would not
have been caught dead wearing.<span style="mso-spacerun: yes;"> </span>Are we
trying to appear younger, dressed like the kids, or is it merely the fashion of
the less formal 21<sup>st</sup> century?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I wear a beard cut closely to my
face and I shave my head, which I suppose made me look younger, until the
wrinkles of my facial skin and the wattles of my throat became more noticeable.<span style="mso-spacerun: yes;"> </span>Judy, my partner of 28 years, tells me I
could stand up straighter and walk without dragging my heels.<span style="mso-spacerun: yes;"> </span>She’s right, of course, though it has been
hard to let go of that slouching walk we all emulated growing up in
Gloucester.<span style="mso-spacerun: yes;"> </span>I will never forget when one
of my college roommates, who lived in Manhattan, had agreed to meet a
Gloucester friend, who was visiting the city.<span style="mso-spacerun: yes;">
</span>Though they did not know each other, my New York friend reported to me
that he recognized my pal from home immediately.<span style="mso-spacerun: yes;"> </span>“He walks just like you do!” he said.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I now pay more attention to children
than I did after my own children grew up, and I am absolutely soppy around
babies.<span style="mso-spacerun: yes;"> </span>This may partly be due to the
fact that I have grandchildren, whom I love and whose growth and development
constantly interest me—the way they speak, what they notice, and how they
describe it.<span style="mso-spacerun: yes;"> </span>I also believe that as I
approach the end of life I feel closer to those at its beginning, if, as a
consolation prize for aging, we have been granted a pipeline back to
youth.<span style="mso-spacerun: yes;"> </span>While I’m drawn to my grandchildren's openness
to experience, their joy and wide-eyed attention to everything around them, I
am fearful of their entry into an increasingly volatile world.<span style="mso-spacerun: yes;"> </span>I’m wakeful at night worrying about how they
will grow up in a society that spends so much less on education, while placing
undue emphasis on materiality rather than on critical thinking or transcendent
values.<span style="mso-spacerun: yes;"> </span>Mostly, I fear a world of
perpetual war.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Still, my forgetfulness is a concern.<span style="mso-spacerun: yes;"> </span>I walk into a room in search of something
only to wonder what I am there to retrieve.<span style="mso-spacerun: yes;">
</span>I forget where I’ve parked my car.<span style="mso-spacerun: yes;">
</span>Worse: the words don’t come the way they used to, especially the precise
names of objects or phrases that were once on the tip of my tongue.<span style="mso-spacerun: yes;"> </span>This worries me because my mother suffered
from dementia, which began to express itself when she turned 86 and could not
remember where she had placed the keys to her car, finally losing the car itself
when she went to the super market. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>My primary care physician tells me
not to worry, I’m in good shape.<span style="mso-spacerun: yes;"> </span>A
neurologist friend advises me not to be concerned about the loss of
details.<span style="mso-spacerun: yes;"> </span>“Your brain is more global
now,” he says. “All the better to grasp the big picture.”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The fear of aging brings deeper,
more existential worries, less about my physical wellbeing and more about
mortality.<span style="mso-spacerun: yes;"> </span>I worry not so much about
dying as about not being able to complete my work through debility.<span style="mso-spacerun: yes;"> </span>I’m haunted by the books I have not yet read
and I’m equally fearful about those I still want to write.<span style="mso-spacerun: yes;"> </span>How is it that the life of my mind has come
into such focus as I never experienced when I was younger?<span style="mso-spacerun: yes;"> </span>Is it true that the fear of death
concentrates one’s attention?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>When I was in college I hoped to
become a writer like D. H. Lawrence or Henry Miller.<span style="mso-spacerun: yes;"> </span>I did not see myself as a mainstream author
(my early reading of <i style="mso-bidi-font-style: normal;">On the Road</i> and
subsequent engagement with the Beat and Black Mountain writers put an end to
that), and I did not look forward to fame or material success, unlike my
classmates, who hoped to become doctors, lawyers or CEOs.<span style="mso-spacerun: yes;"> </span>Inspired by Lawrence, I wanted to travel to
the American Southwest or live in Europe, writing on the wing or in rented farm
houses in the Tuscan countryside (both of which I ultimately did).<span style="mso-spacerun: yes;"> </span>Miller’s adventurous life in books inspired
me to read beyond the canon.<span style="mso-spacerun: yes;"> </span>Since I
spent my final years in college living off-campus in unheated attic rooms, buying
books with what scant money I earned working at the library or playing piano
at fraternity parties, I had learned to live on little.<span style="mso-spacerun: yes;"> </span>I wore second hand clothes and let my hair
and beard grow long, staying up all night to read novels by Robert Musil and Hermann
Broch that were not in the curriculum, while working on stories for the college
literary magazine.<span style="mso-spacerun: yes;"> </span>I even sent one to
the <i style="mso-bidi-font-style: normal;">New Yorker, </i>receiving my first
rejection.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>But I knew that I was not a<i style="mso-bidi-font-style: normal;"> New Yorker</i> writer.<span style="mso-spacerun: yes;"> </span>Neither did I want to write like Saul Bellow
or William Styron, though I still have a warm spot for the extraordinary prose
in Styron’s first novel, <i style="mso-bidi-font-style: normal;">Lie Down in
Darkness</i>, which I read during a long winter night, as the snow blew against
my windows on Federal Street in Brunswick, Maine and I kept warm in a bathrobe
and under a blanket.<span style="mso-spacerun: yes;"> </span>My dream was to
publish in the <i style="mso-bidi-font-style: normal;">Evergreen Review</i>
alongside of Michael Rumaker and Douglas Woolf.<span style="mso-spacerun: yes;">
</span>As for European writers, Sartre became my idol for his political
engagement, while Moravia’s analytical depiction of sexual entanglements showed
me how one could write about two people and derive a world.<span style="mso-spacerun: yes;"> </span>And once I’d discovered Beckett’s novels and
plays I could not get enough of them.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I loved Sherwood Anderson equally
for the flatness of his descriptions, not unlike those mid-western landscapes from which his characters were so alienated; and there was always Hemingway.<span style="mso-spacerun: yes;"> </span>I had never encountered prose like that of
the early stories, “Up in Michigan,” “In Another Country,” or “Soldier’s Home,”
or novels like <i style="mso-bidi-font-style: normal;">The Sun Also Rises</i> and
<i style="mso-bidi-font-style: normal;">A Farewell to Arms, </i>which I have read
and re-read over the years, as much for what they taught me about writing as
for how those later readings took me back to the original ones and to the
person I had been when I first opened their pages.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>There was Joyce, of course:
unforgettably.<span style="mso-spacerun: yes;"> </span>Though I read the major
books, except <i style="mso-bidi-font-style: normal;">Finnegans Wake,</i> in
college, my real encounter with Joyce occurred when I was living in Florence,
where I read Richard Ellmann’s magisterial biography, which led again to <i style="mso-bidi-font-style: normal;">Ulysses</i> and to a study of the role
Joyce’s life in polyglot Trieste played in its composition.<span style="mso-spacerun: yes;"> </span>It was in Italy that I also began to read the
novels of Cesare Pavese, who became the single most important influence on my
fiction during those years.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>But I do not intend to write about my reading
here—I have written at length about that elsewhere.<span style="mso-spacerun: yes;"> </span>I mention it only to describe the range of
models that were available to a writer coming of age in the 1950s in terms of
technique and style and the sense of possibility they offered.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In the end, I did not become the
writer I dreamed of becoming, the author of big, complex novels about the human
condition, like Malcolm Lowry’s <i style="mso-bidi-font-style: normal;">Under the
Volcano</i>.<span style="mso-spacerun: yes;"> </span>The human condition itself
intervened—marriage, divorce, parenting, teaching, social work, writing when I
could manage it.<span style="mso-spacerun: yes;"> </span>Though I have published
several books, I approach my 77<sup>th</sup> birthday with a sense of incompletion
and the wish that I could have more time.<span style="mso-spacerun: yes;">
</span>I understand from my long immersion in the lives of writers, that each
one of us has his own path.<span style="mso-spacerun: yes;"> </span>There are those,
like John Horne Burns, who start with a flash and burn out quickly, just as
there are those like Thomas Mann, who begin writing early and continue to write
well into old age. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">As
vital as it may seem, youthful ambition comes at an age when we think we know
what we want, but we do not yet know who we are.<span style="mso-spacerun: yes;"> </span>We can hope that writing—and the living
which underpins it—will help to teach us that.<span style="mso-spacerun: yes;">
</span>Though I cut my teeth on avant-garde and experimental fiction, I did not
become a transgressive writer.<span style="mso-spacerun: yes;"> </span>Instead,
my politics and my temperament have made me a social realist, influenced more
by the Proletarian novelists of the 1930s than by what David Foster Wallace
called “The Great Male Narcissists” of the second half of the 20<sup>th</sup>
century. <span style="mso-spacerun: yes;"> </span>My friend Charles Olson
exhorted me to “stay local,” and local I have remained, writing largely about
my home town in fiction and memoir.<span style="mso-spacerun: yes;"> </span>I do
not regret this.<span style="mso-spacerun: yes;"> </span>Living in one place for
the better part of one’s life becomes the only life one knows.<span style="mso-spacerun: yes;"> </span>And yet, the life of a small town, especially
a cosmopolitan community like Gloucester, can be a world unto itself, as well
as being a reflection of the larger one.<span style="mso-spacerun: yes;">
</span>No one has yet produced the vibrant novels about Gloucester that Jack
Kerouac wrote about Lowell, though several of us have tried, especially the late
Jonathan Bayliss whose “Gloucesterman” tetralogy may be one of the great
American novels.<span style="mso-spacerun: yes;"> </span>Those who have best
captured the complex nature of America’s oldest seaport have been the
poets—Olson himself, Vincent Ferrini, Gerrit Lansing, and Linda Crane.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>So what is left to me as I age?<span style="mso-spacerun: yes;"> </span>I have completed a novel set in Italy and a
sequel to <i style="mso-bidi-font-style: normal;">At the Cut</i>, my earlier
memoir of growing up in Gloucester in the 1940s. <span style="mso-spacerun: yes;"> </span>I’m at work on another novel set in
Gloucester.<span style="mso-spacerun: yes;"> </span>It will be the last novel I expect
to write, encompassing what I have come to know about my hometown and much of
what I have learned about the craft of fiction.<span style="mso-spacerun: yes;"> </span>I have not written the kinds of novels I
envisioned myself writing as an undergraduate. <span style="mso-spacerun: yes;"> </span>Instead, I have written the books I was
compelled to write, books about Native American conflicts in Maine, about the
lives of the disadvantaged in Gloucester, and about the struggle over the soul
of my hometown as it attempts to preserve its gritty blue-collar identity in
the wake of the collapse of the North Atlantic fishing stocks.<span style="mso-spacerun: yes;"> </span>In my final years I would like to concentrate
on essays and reviews, believing that these shorter forms will lend themselves
more readily to the literary and political issues I still feel pressed to write about. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
want to live long enough to see my grandchildren graduate from high school, and
hopefully even college.<span style="mso-spacerun: yes;"> </span>I want to enjoy
the continued successes of my own children.<span style="mso-spacerun: yes;">
</span>I want to travel—I hope especially to return to Florence, where I spent
three of the defining years of my life.<span style="mso-spacerun: yes;">
</span>But mostly I want to end my days quietly reading and writing in my
journal and walking with Judy on our beloved Plum Island.<span style="mso-spacerun: yes;"> </span>I ask for no more. For I have just about
everything I could want for a sufficient life—love, a comfortable place to work,
and family I adore.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">(October
23, 2014)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com11tag:blogger.com,1999:blog-3615090486175644658.post-36152040489108616752014-09-21T10:55:00.001-07:002014-09-28T12:45:28.888-07:00Growing Up on Stacy Boulelvard in the 1940s<div class="separator" style="clear: both; text-align: center;">
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<br />
<span style="font-size: x-small;"> (Charles Olson and Ann Charters walking on the Boulevard in 1967)</span><br />
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<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">And as I go down</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">the boulevard toward</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">town …</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">the bridge sounds</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">rising like</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">a light thunder…</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">and bang</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">as I go by the Fisherman’s </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">statue</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">the bridge gates open</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">again</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">the last sound I shall hear </span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">& here report</span></i></div>
<br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Charles
Olson, “Oceania,” <i style="mso-bidi-font-style: normal;">The Maximus Poems</i></span><br />
<span style="font-size: x-small;"></span><br />
<div class="MsoNormal">
<span style="font-size: x-small;"><br /></span></div>
<span style="font-size: x-small;">
</span>
<br />
<br />
<span style="font-size: x-small;"></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">When I walk along the Boulevard these
days, I have a sense that I’m moving in two directions.<span style="mso-spacerun: yes;"> </span>One is forward through the present and into
the hoped for future of Gloucester’s sadly neglected crown jewel.<span style="mso-spacerun: yes;"> </span>The other is backward in time into my
childhood and pre-adolescence, when life on the Boulevard, the city’s major
entrance and community gathering place through every season, was the focus of
the only life we knew.</span>
</span></div>
<span style="font-size: x-small;">
</span><span style="font-size: x-small;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Between the Tavern, once Gloucester’s
premiere lodging and restaurant, to the pumping station near the Blynman Bridge,
men fished from the railings that lined the waterside concrete walkways.<span style="mso-spacerun: yes;"> </span>If you weren’t fishing you were watching to
see who caught what, usually the ubiquitous perch, which natives called
“cunners.”<span style="mso-spacerun: yes;"> </span>Mothers wheeled baby
carriages or strollers, stopping to exclaim over how big their children had
grown from winter to spring, as the sun reflected off the water of the outer
harbor brightening the facades of houses that lined Western Avenue in that
vanished era “when Gloucester was Gloucester and all the houses were white and
green,” as an old fisherman told Peter Parsons and me; the green, I suspect,
relating to the shutters.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I was born at the Addison Gilbert
Hospital in November of 1937 and was taken immediately to 3 Perkins Road, where
I remained until I turned 13, the front windows of our second floor apartment
facing Ten Pound Island.<span style="mso-spacerun: yes;"> </span>My father owned
the Boulevard Sweet Shop, on the corner of Western and Centennial avenues.<span style="mso-spacerun: yes;"> </span>There was variety store a block away toward
Main Street, Nick’s Grocery, owned by another Greek, Nick Cocotas.<span style="mso-spacerun: yes;"> </span>Irving Morris’ First National Store was on
the corner of Western Avenue and Perkins Road, a few steps from the bridge.<span style="mso-spacerun: yes;"> </span>Our mothers did not have far to go to shop,
unless they went “upstreet,” as we called the trip from our house to Saul
Bloch’s National Butchers on Main Street, next to Henry the Hatter’s, where my
mother bought the meat—when there <i style="mso-bidi-font-style: normal;">was</i>
any during the war; or at Shepherd’s Market, which was part of Brown’s, even
further upstreet, a store of unimagined delicacies like tomato aspic, pickled
chestnuts, and sardines in mustard sauce.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The Boulevard was a microcosm of
city life.<span style="mso-spacerun: yes;"> </span>As we lived our lives daily
in its precincts we came to know the city of our birth in the variety of its
ethnic residents, the panoply of languages we heard around us from Sicilian and
Greek to Finnish.<span style="mso-spacerun: yes;"> </span>The Bloch brothers
spoke Yiddish to each other as they cut my mother’s lamb chops behind the
counter in the store whose floors were strewn with sawdust to keep them
dry.<span style="mso-spacerun: yes;"> </span>On the Fort, where my grandfather
Angel Polisson took my brother Tom and me to watch the fishing vessels being
unloaded, everyone spoke the Teresinian dialect. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">My grandfather, who had attended
seminary in Greece before eloping to America with my grandmother, first to
Lowell and then to Gloucester, read and wrote Greek, English and French,
picking up Italian and Portuguese from the customers in his shoe repair shop on
Stoddard Lane (I still have his Greek and English dictionaries and his Bible in
Greek).<span style="mso-spacerun: yes;"> </span>They called him “The Consul,” because
he was often asked to write letters for those who could not read and write.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">It was a cosmopolitan world, the one I
grew up in on the Boulevard, although there were some in that xenophobic war
era, who did not like what Gloucester had become, among them old Mr. Henderson,
whose family had founded the Henderson and Johnson Paint Company, on Duncan
Street, near what is now called Harbor Loop.<span style="mso-spacerun: yes;">
</span>He referred to my brother and me and the Bloomberg brothers, who lived
in the big stucco apartment house on the corner of Centennial and Western
avenues as “those goddamned Greeks and Jews,” and he refused to enter my
father’s store, though his grandson, Russell Baxter Henderson, our best friend
and the neighborhood trickster, did not share those prejudices, openly
flaunting his friendship with us, the Bloombergs, and little Joey Nicastro, who
died of “ammonia” when we were in second grade.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Not that our own families were without
prejudice.<span style="mso-spacerun: yes;"> </span>My brother and I were not
allowed to visit the homes of our Catholic friends, as if once inside our own
strange (to us) Greek Orthodox beliefs would either be threatened or expunged
.<span style="mso-spacerun: yes;"> </span>Of course, we paid no attention to our
mother, freely entering the houses of our Italian friends to eat the meatballs
and anis cookies whose aromas tempted us daily on the way to and from the Hovey
School.<span style="mso-spacerun: yes;"> </span>Naturally we walked to school in
those days, rain or shine, twice a day: home for lunch and back to school—I do
not remember too many overweight kids.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">We got to learn the routine of life on
the Boulevard, not just mothers and baby carriages or the fishermen who
preempted the railings along the concrete walk; painters painting during the
summer, and the Coastguardsmen drilling in formation during the war.<span style="mso-spacerun: yes;"> </span>We played up and down the river bank and at
Newell Stadium, watching the fishing vessels, glazed with ice in winter,
negotiating the way through the canal. We even had two beaches, Pavillion at
the Fort and a smaller beach to the right of the canal, which everyone called
Crab Beach because of the profusion of crabs in its tidal pools. As soon as we
got older we were allowed to walk to Stage Fort Park, where we swim at Half
Moon Beach or Cresseys.<span style="mso-spacerun: yes;"> </span>The Park was
also the place for carnivals, which returned after the war, and a real circus,
with a parade down Main Street and along the Boulevard.<span style="mso-spacerun: yes;"> </span>You can imagine our excitement when we
actually saw real elephants and lions!</span></div>
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</span>The neighborhood men gathered at the Blynman Bridge House to keep the bridge
tenders company with games of cards or listening to ballgames on the radio, or
even more essentially the <i style="mso-bidi-font-style: normal;">talk</i>, we
kids who always eavesdropped, could not get enough of: stories about the
fisherman who had killed his wife and cooked her liver in a skillet; Irving
Morris mugged on Middle Street, on the way home with the day’s proceeds from
his market; the city worker whose leg was mangled by the snow removal machine
(we rushed upstreet to see the blood, still on the snow banks); or, during the
war, the nighttime monkey-business of the sailors billeted at the Tavern that
had been taken over by the Coastguard .</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">It was the war especially that left its
mark on us Boulevardiers.<span style="mso-spacerun: yes;"> </span>Everyone whose
house faced the water was required to have black shades to be pulled down at
night so that not even a slit of light was showing.<span style="mso-spacerun: yes;"> </span>If the helmeted air raid wardens, who roamed
the Boulevard and Perkins Road each night, saw any infractions, they
immediately knocked on your door.<span style="mso-spacerun: yes;"> </span>The
point of the shades and the doused street lights was not to allow potential enemy
subs or planes to see exactly where the city lay.<span style="mso-spacerun: yes;"> </span>Threats of planes and subs were real, as was
the war itself we saw on the newsreels at the Stand and North Shore theaters
during Saturday matinees: troops storming the beaches of Normandy or the
Pacific, planes dropping bombs—the sounds of explosions, the smoky air. <span style="mso-spacerun: yes;"> </span>German submarines <i style="mso-bidi-font-style: normal;">had</i> been spotted off Cape Elizabeth, Maine or from fishing vessels
closer to Gloucester, the thought of which terrorized us kids, so that each
night we hid under our blankets in rooms so dark that you could not see your
hand in front of your face.<span style="mso-spacerun: yes;"> </span>To this day
I can only sleep in a pitch black room and I still have nightmares of objects
falling on me from the sky.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">The
war’s end was celebrated by two parades along the Boulevard, on VE, or Victory
in Europe Day, May 8, 1945, followed by VJ Day, August 15, 1945, the day to
celebrate the end of the war in the Pacific.<span style="mso-spacerun: yes;">
</span>Soon our uncles who had been fighting those wars came home and went back
to work, and life seemed a lot brighter along the Boulevard.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">On
Sunday strolls people wore new clothes for the first time in years. </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">They’d be snapping pictures with
their “Brownie” box cameras.<span style="mso-spacerun: yes;"> </span>Or they’d
be getting their own pictures taken by Louis Blend, who held onto his post in
the circle in front of the Fisherman’s Monument until the days grew cold and
the rains washed down Stacy Promenade, and the wind blew the leaves out of all
the trees along Western Avenue.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">Louis would snap your picture—it
couldn’t have cost more than a quarter in those days—and the most fun would be
watching him develop it right there, dipping the print into a little tank of
chemicals, washing it off (you could smell the “hypo”), and handing to you in a
stiff gray cardboard “Souvenir of Gloucester” frame.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">How
many of us have had our childhoods recorded in a series of images by
Gloucester’s only street photographer?<span style="mso-spacerun: yes;">
</span>Can you see yourself now in bathing suit or shorts, or even in your
Easter finery, in front of the statue, the backdrop always a row of Western
Avenue houses?</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">To
look through Louis’s pictures today would reveal a Boulevard life that is not so
terribly different from the era I am describing.<span style="mso-spacerun: yes;"> </span>Though the people we knew and who knew us and
watched over us as closely as our parents would—Gardiner Deering, the
Blatchfords, the Crowells, the Wallaces, Doc Barron, Larry and Merille Hart,
old Doc Pettingill, who lived on the bottom floor at 103 Western Avenue, where
the Barrons and the Harts also lived, the Perrys next door—are gone today,
along with our parents, and even some of the kids we grew up with, the
atmosphere of the Boulevard seems hardly to have changed.<span style="mso-spacerun: yes;"> </span>It is still the city’s principal place to
take the air or to walk your dog.<span style="mso-spacerun: yes;"> </span>Kids
play catch and toss Frisbees, old timers, like myself now sitting on the
benches when not exercising.<span style="mso-spacerun: yes;"> </span>Who could
have imagined those of us who laughed at our grandparents’ impaired mobility
now making our way along that same Boulevard at a far slower and more laborious
gate, with canes even!</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">The
Boulevard is the place of my first socialization.<span style="mso-spacerun: yes;"> </span>It is the larger neighborhood where we
learned what it felt like to live beyond the confines of our family homes—the
place where, to us at least, a more ample life was being lived, especially
after the war.<span style="mso-spacerun: yes;"> </span>A place, too, where
events happened, where people said and did things that shaped our lives, remaining
forever in our memories.<span style="mso-spacerun: yes;"> </span>Like the day
when Russell Baxter Henderson, my brother Tom and I wandered off Centennial
Avenue into Mrs. Anderson’s back yard by the incinerator, where everyone in the
neighborhood burned their trash. <span style="mso-spacerun: yes;"> </span>Hanging
on her clothesline to dry were her girdle and an enormous white brassiere.<span style="mso-spacerun: yes;"> </span>Immediately Russell took them down and began
to put them on.<span style="mso-spacerun: yes;"> </span>Just then Mrs. Anderson,
who only had one arm, appeared at her back door.<span style="mso-spacerun: yes;"> </span>She waved that single right arm in the air
and began shouting our names. <span style="mso-spacerun: yes;"> </span>Leaning
against the side of her brown clapboarded house were three pairs of stilts that
belonged to her grandsons.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">“Let’s
get out of here,” Russell yelled, mounting a pair.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">I
grabbed another and my brother Tom took the last pair of stilts.<span style="mso-spacerun: yes;"> </span>Quickly we followed Russ out of the yard and
onto Centennial Avenue.<span style="mso-spacerun: yes;"> </span>With Mrs.
Anderson chasing us, we started clopping up the street on the stilts.<span style="mso-spacerun: yes;"> </span>At the sound of the commotion some of the
other neighbors came out onto their porches. By that time we were well ahead of
Mrs. Anderson, who was clearly out of breath.<span style="mso-spacerun: yes;">
</span>Russ held the lead dressed in Mrs. Anderson’s girdle and bra.<span style="mso-spacerun: yes;"> </span>Tom and I followed, and the neighbors stood
there watching.<span style="mso-spacerun: yes;"> </span>Then Russ turned the
corner across from my father’s store onto Western Avenue.<span style="mso-spacerun: yes;"> </span>People in cars stopped to stare at this kid
on stilts wearing old ladies’ underwear over his T-shirt and jeans.<span style="mso-spacerun: yes;"> </span>All the traffic along the Boulevard was held
up, as Russell danced and pranced on those stilts all the way up Western
Avenue, finally turning into Babson Court near Nick’s grocery store, where he
disappeared among the narrow houses.</span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(This
is the text of a talk delivered on September 20, 2014 at the Cape Ann Museum as
part of a program celebrating the Stacy Boulevard.)</span></i></div>
</span><br />
<br />
<br />
<br />Peter Anastashttp://www.blogger.com/profile/08372139385565530486noreply@blogger.com0