CORNFIELDS+PHOTO ESSAYS+MINI VANS

A quick update: I'm excited to share that the new season of readings at NYU will launch on January 31 with the beloved Lorrie Moore. I can't believe I'm going on five years coordinating these readings, while surrounded by all of these remarkable people. (I never imagined, as a kid raised in the cornfields of Ohio...)
    Did I say remarkable? Strike that, I meant fabulous. Check out this photo essay of a day in the life of professor and writer Darin Strauss. I wonder if his talent and photogenic quality will just sort of ... rub off on me? Sink in via osmosis? 
    Speaking of talent, I've recently hired Bianca Stone to illustrate my first book cover. That process is in early stages, and as we know, anything can happen--but it's not too early to laud her gorgeous illustration for Ana Bozicevic's book.  
     A fun and nervy part of working on a first book is asking  for blurbs. "I read the whole thing" would be fine (takers? Mom?). I want to ask my dream blurb-er, Li-Young Lee, who is teaching at this year's Kundiman Retreat. (What? He's what, where?) I remember clutching a copy of "Rose" at his reading in San Francisco, circa 1994. Years later, I drove him around in a mini van when he read at University of Maryland. 
    Do writers remember their groupies van drivers? 
    Finally, I want to congratulate my coworkers for their new writing projects unveiled this week. Adam Soldofsky is the author of pamphlet #49 published by Greying Ghost Press, and Zachary Sussman launched his website The Verbose Vine, which compiles his prolific work as a wine writer. Happy reading! 

HE DIED IN HIS APARTMENT, NOT FOUND FOR DAYS

St. Anthony, patron saint of lost souls.

He was that guy. The weird guy on the second floor of my apartment building. In his 50s or 60s, hard to tell, bent over, his arms always held oddly a few inches away from his body, like a pigeon about to take flight. Shuffling the hallway in dirty sweats, socks, flip-flops. I’d pass him on my way down five flights of stairs.  He’d be sitting on the stairs, drinking beer out of a round Tupperware container, smoking a cigarette. Damn, I’d think, and call the landlord, indignant. More “No Smoking” signs were hung, up high out of the reach of graffiti and angry pens. But no matter, every few days the smell of smoke wafted up the stairwell. I'd tell myself it was the price of having a rent-stabilized studio. I'd try to remember all of the great things about my place, my neighborhood. I soon stopped calling the landlord as annoyance faded into pity. 

Over the two-and-half years I've been living in my building, I started hearing rumors about the guy. He’d lived there for 33 years, enabled by rent control and a disability check. Once, he’d harassed a gay man who had lived in the building, leaving threatening Post-it notes on his front door. I decided upon a simple, yet self-protective modus operandi whenever I saw him: I said hi, half-smiled, and scurried away. 

We exchanged few words, and always random: once, he was reading a thick novel while he sat in usual his spot on the stairs, the Tupperware of beer close by. He looked up at me and said, “Did you know surgery was invented in the war? That’s right, on the field they had to learn how to operate on wounded soldiers.” “Really?” I said, “that makes sense.” Another time, I had my dog as well as my neighbor’s dog in tow. “They multiplied,” he said, expressionless. “Um, yeah!” I’d say, in that forced-cheerful tone, “Have a good one!” 

A few months ago, he posted in the lobby a meticulously hand-written list of items for sale. It went something like this:

            4 UNICYCLES good cond.

            5 BICYCLE INNER TUBES

            1 TRUMPET

            1 OBOE

            2 CLARINETS

            3 RECORD PLAYERS

3 TOASTERS

5 TEN SPEED BICYCLES need repair

1 SNOW SHOVEL

1 AQUARIUM

LOTS OF BOOKS AND RECORDS

Later, when someone—probably the cleaning crew--had taken it down, he reposted the list, with a note added on top: IF YOU TOUCH THIS YOU DESERVE TO DIE PIECE OF SHIT HAVE SOME RESPECT FOR PROPERTY ITS U.S. of A LAW CODE 11.89123.1. 

More recently, a few Dilbert cartoon clippings from 1994 were pasted to the elevator wall next to the buttons. I thought it might be his doing, though I can't be sure. It was as if someone was communicating in code. 

This past Tuesday, a neighbor I'm friendly with called me at work. The guy had died inside his apartment. No one had known he was missing until people noticed an awful smell. Tuesday morning, police and firemen and EMTs flooded our building. He had been dead for three, four days. ODd on heroin. The fellow who lives below him, a kid in his 20s, said blood seeped through the ceiling, for reasons no one's yet confirmed. The photo on his cell phone is out of a horror movie, red dripping down a wall. He was the first to call the super. Some neighbors hadn't known the dead man's name. A few folks who’ve been in the building for decades said he’d once been a teacher, accomplished jazz musician, a decent guy. One warm-hearted woman from my floor said he’d been trying to redeem himself in the past year, was funny and kind to her 4-year-old. Someone else said, maybe now he’s in a better place. 

His name was Mike. 

MUSINGS ON "JONAH" AND OTHER POEMS BY TOMAZ SALAMUN

Jonah

how does the sun set?
like snow
what color is the sea?
large
Jonah are you salty?
I’m salty
Jonah are you a flag?
I’m a flag
the fireflies rest now

what are stones like?
green
how do little dogs play?
like flowers
Jonah are you a fish?
I’m a fish
Jonah are you a sea urchin?
I’m a sea urchin
listen to the flow

Jonah is the roe running through the woods
Jonah is the mountain breathing
Jonah is all the houses
have you ever heard such a rainbow?
what is the dew like?
are you asleep?

I first read Tomaz Salamun in graduate school at UNC Greensboro. My favorite writers then were Robert Hass, Raymond Carver, Milan Kundera, Vladimir Nabokov, the dead Russians; I was easily influenced by what my teachers taught and my friends liked. One day, a fellow student, frustrated with our workshop's narrative, predictable, linear, very 90s poems (it was the early 90s, after all) brought in a pile of poems that included Salamun's "I Have a Horse" and "History":

Tomaz Salamun is a monster.
Tomaz Salamun is a sphere rushing through the air.
He lies down in twilight, he swims in twilight.
People and I, we both look at him amazed, 
we wish him well, maybe he is a comet.
Maybe he is punishment from the gods,
the boundary stone of the world.
Maybe he is such a speck in the universe
that he will give energy to the planet
when oil, steel, and food run short.
He might only be a hump, his head
should be taken off like a spider's.
But something would then suck up
Tomaz Salamun, possibly the head.
Possibly he should be pressed between
glass, his photo should be taken.
He should be put in formaldehyde, so children
would look at him as they do foetuses,
protei, and mermaids.
Next year, he'll probably be in Hawaii
or in Ljubljana. Doorkeepers will scalp
tickets. People walk barefoot
to the university there. The waves can be
a hundred feet high. The city is fantastic,
shot through with people on the make,
the wind is mild.
But in Ljubljana people say: look!
This is Tomaz Salamun, he went to the store
with his wife Marushka to buy some milk.
He will drink it and this is history.

I was in love. I had that Emily-Dickinson-quote feeling, the top of my head coming off: “If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?" 

"History and "I Have a Horse" I think are better poems than the first one here, "Jonah." But somehow Jonah became one of my favorite poems, part of my blood and bone. It felt familiar and strange, its simplicity and tender voice refreshingly transparent, earnest, sweet, at a time I was trying to wrap my mind around, say, Jorie Graham's poems, or prying my eyes open through a 18th-century British literature class (the mention of "Clarissa" is like Ambien to this day). In an Irish literature class I was gulping down quantities of Yeats and yet remained stubbornly attached to his early sentimental pieces, "He Wishes for the Cloths of Heaven" and "When You Are Old and Grey." They reminded me of the very first literary poem I remember loving, Wordsworth's "Daffodils." I didn't understand the complexities of Irish history, didn't care for Yeats's creepy seances and communing with afterlife, just as, I confess, I'm still shaky on the Eastern European history informing Salumun's poems. Being versed in the historical contexts of these writers' lives would only deepen my appreciation for their poems, but I don't think the poets would disapprove of my limited knowledge of politics. The language alone offers abundant beauty and lasting resonance. 

I remember running to the Poets House in the mid 90s for a reading by Salamun, that feverish feeling of anticipation, the thrill of hearing the word live. I've kept the poster for that reading the way a Deadhead would keep a bumper sticker of dancing bears. The poster is in a box of keepsakes in my closet, along with ticket stubs for Pavement and Yo la Tengo, a map of Greensboro, xeroxes of poems, dog-eared and coffee-stained. Ah, grad school.

 

Katherine Mansfield said, “To be alive and to be a writer is enough.” To be a reader--a close second indeed. Tomaz Salalmun reads on Friday, October 12, 5pm at NYU Creative Writing Program.