Don Quixote

Windmills

Windmills

Only the pendulum clock
disturbs the silence
as the slow stars circle
and the moon hides
its face beneath
seven excluding veils.

Tranquility finds me,
seated here, head in hands,
contemplating the complicated
dance steps of a terra-centric
universe where planets weave
an intricate back and forth
to justify the falsehoods
of misguided mistakes.

Men, confident in their wisdom,
know that all is well,
that their faith in the old gods,
the old books, the words
that were written, in stone,
before the modern world began,
need no rethinking.

Those whirling sails,
imprinted on the questing mind,
are a giant’s arms, those sheep
an enemy army cloaked
in dust, coats of arms visible
only to the far-sighted
whose eyes defy vision’s laws.

Right, they were then.
Right they are now.
Nothing changes. Nothing
can possibly change.
Sheep are the enemy
and windmills wait to invade
the unsuspecting mind.

Comment: The history of Don Quixote and its reception in Spain is quite interesting. I was very sorry to read that Cervantes’s language is now considered so antiquated that interpreters are needed. I actually have a cartoon version of his quests – a picture reader, so to speak, very brief, because each picture is worth a thousand words. I have not yet seen the simplified text, rewritten with today’s reader in mind.

Don Quixote still holds many lessons for this modern world of ours and is definitely worth re-reading for, as Soren Kierkegaard (1813-1555) wrote: “There are two ways to be fooled. One is to believe what isn’t true; the other is to refuse to believe what is true.” Don Quixote, the character, threads a narrow path between those two extremes, as do many of the other supporting characters, some of whom use metatheatre for their smoke and mirror Wizard of Oz trickery. And remember, or forget at your peril, nihil sub sōle novum – there is nothing new under the sun. And yes, history does repeat itself, as you will see if you read (or re-read) Cervantes’s master piece.

How would you describe yourself to someone who can’t see you?

Daily writing prompt
How would you describe yourself to someone who can’t see you?
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How would you describe yourself to someone who can’t see you?

Well, that would depend on why they couldn’t see me. “Those who have eyes, but cannot see.” Many have stood beside or before me, looked into my eyes, as I looked into theirs, and never saw me. “The most difficult role in the play is that of the fool,” said Don Quixote, “for he who would play the fool must never be one. So many people saw me deliberately playing the role of the fool and forgot the above quote. They also forgot what Antonio Machado wrote: “The eye you see is not an eye because you see it, it is an eye because it sees you.” And there you have it: why would I bother describing myself to people of that ilk, so stupid and blind with their own limited wisdom, that they couldn’t see me anyway.

Keenan’s Well, by Seamus Heaney, is a wonderful poem. It tells us about Rosie Keenan, his blind from birth neighbor, who played the piano and sang all day. She let them touch her books, like books of wallpaper, and feel the letters of braille by means of which she was able to read. They allowed her to touch their faces with her oh-so-sensitive fingers, and she said she saw them, as well as knowing them by their voices. When he read her a poem about Keenan’s well, she told him that she, blind from birth, ‘could see the sun shining at the bottom of it now.”

How would you describe yourself to someone who can’t see you? I wouldn’t waste my time and energy trying to do so.

A book is a book is a book

A book is a book is a book

“If one cannot enjoy reading a book over and over again, there is no use in reading it at all.” Oscar Wilde

A good friend of mine once told me that her creative writing writing prof in the MFA program told the class: “We are not writers. We are re-writers.” Our mission in life, then, is not just to rewrite, but to think and to revise. The art of writing lies in analysis, research, thought, and thinking carefully about (a) what we are about to write and (b) what we have just written. As a great Spanish writer once said “I write as I speak and when writing I count my syllables.”

So can the same principle be applied to reading? In my undergraduate poetry courses, one of my wiser profs announced that “It is better to read one poem a hundred times, than a hundred poems once.” Is re-reading better than reading? Good question. But it is what I call a swimming pool question: it has shallow ends and deep ends. Joke – it depends, you see, upon the quality of the material one is reading. For example, does a single reading of the Bible suffice? I read it through, page by page, when I was twelve years old. Was that it? No, I still return to it – the good book – from time to time, selecting, remembering, checking, looking for comfort, advice, or sometimes, pure joy in the sound of the language – King James version, of course.

What other books have I read and re-read? Lazarillo de Tormes, Don Quixote, The Hobbit, The Lord of the Rings, The first book in the Harry Potter series – it reminded me of elements of my own childhood, especially the cupboard under the stairs. Been there, done that, got the tee shirt. The Wind in the Willows, Gongora’s Polifemo, Quevedo’s Metaphysical Poems and his Cycle to Lisi. Octavio Paz’s Sunstone / Piedra de Sol, Lorca’s Romancero Gitano, his Poet in New York, and his plays. Platero y yo. Charlotte’s Web. Several of Shakespeare’s plays, including McBeth, Henry V, King Lear, and a couple more. Rudyard Kipling’s Kim and Stalky and Co. Mary Gentle’s Golden Witchbreed. Robert Bly’s Morning Poems, Iron John, The Sibling Society. Unamuno’s The Tragic Sense of Life and his Niebla. Enough, no more. It is not as sweet now as it was before. And there are so many more to which I have returned, again and again.

So, think about all the time wasted on trivial books, books that remained unfinished, books that have never been opened. One person’s vegetarian or vegan’s fare is a carnivore’s poison [sick]. Sometimes a book mirrors our thoughts. Sometimes it challenges us to rethink our lives and our philosophies. Sometimes it comforts us or takes us back into our childhood. And sometimes it just bores us and we cannot finish it.

A rose is a rose is a rose. A book is a book is a book. Or is it? We are not readers – we are re-readers. And if we aren’t, we ought to be. Think about that. Carefully.

Poetry or Prose?

Poetry or Prose?
Wednesday Workshop
22 September 2021
Patos de setiembre.

When I write, I do not distinguish between poetry or prose. More often than not I think in terms of the rhythm and musicality of the words I am using, if the words sound right, when read out loud, they probably are. Here is a prose poem, Cage of Flame. It is written in prose, but it’s meaning is dependent on imagery, metaphors, associative fields, and musicality. Read it as you would any piece of prose, in sentences, following the guidance of the grammar. Read it two or three times quietly to yourself then, when you have grasped the poem’s rhythms, try reading it out loud. If you want to know how I would read this poem, check my recorded readings on my blog, Spotify or SoundCloud.

Cage of Flame

Now you are a river flowing silver beneath the moon. High tide in the salt marsh: your body fills with shadow and light. I dip my hands in dappled water. Twin gulls, they float down stream, then perch on an ice-floe of half-remembered dreams. Eagle with a broken wing, why am I trapped in this cage of flame? When I turn my feathers to the sun, my back is striped with the black and white of a convict’s bars. Awake, I lie anchored by what pale visions fluttering on the horizon? White moths wing their snow storm through the night. A feathered shadow ghosts fingers towards my face. Butterflies stutter against a shuttered window. A candle flickers in the darkness and maps in runes the ruins of my heart. Eye of the peacock, can you touch what I see when my eyelids close for the night? Last night, the black rock of the midnight sun rolled up the sky. The planet quivered beneath my body as I felt each footfall of a transient god.

Clearly the above is prose because it has no line breaks. But what happens when we break that prose into shorter lines and turn it into a poem?

Cage of Flame

Now you are a river flowing
silver beneath the moon.
High tide in the salt marsh:
your body fills with shadow and light.
I dip my hands in dappled water.

Eagle with a broken wing,
why am I trapped in this cage of flame?
When I turn my feathers to the sun,
my back is striped with the black
and white of a convict’s bars.

Awake,
I lie anchored by what pale visions
fluttering on the horizon?
White moths wing their snow
storm through the night.
A feathered shadow ghosts
fingers towards my face.
Butterflies stutter against
a shuttered window.
A candle flickers in the darkness
and maps in runes the ruins of my heart.

Eye of the peacock,
can you touch what I see
when my eyelids close for the night?
The black rock of the midnight sun
rolled up the sky.

Last night, the planet quivered
beneath my body and I felt
each footfall of a transient god.

            It seems to be the same text, but is it? And what happens if we change those line breaks? It will change the external structure of prose > to poem > to new poem, but it will not alter the internal structures that survive all format changes. Does the rhythm stay the same in both cases? It certainly does when I read it, but how about you? Poetry or prose? And what’s the difference anyway if the words roll off your tongue and metaphors, mystery, and magic rule?

Comment:
Clearly poetry and prose are not interchangeable, for they both fulfill different functions. The classical difference is often said to lie between history, what actually happened, and poetry, the formal arrangements of words in song. This seemingly simple definition becomes blurred, of course, when history, written in prose, is confused with epic, the retelling of history in poetic form. Prose fiction is a much later development and it is Miguel de Cervantes who gives us, in Don Quixote, his own Renaissance solution: “La épica también puede escribire en prosa” / the epic can also be written in prose. The mingling of poetry and prose underlines the use of rhetorical tropes in writing. Later, Baudelaire will offer us us his Petits poèmes en prose thus gifting the world with prose poems. Much of what I write is prose poetry or poetry in prose. Rhythm, metaphor, allusions, alliteration, similes, intertextuality all combine to decorate my writing. And yes, I am very clear about what I am trying to do.

International Book Day

23 April 1616 > 23 April 2021
International Book Day.

Today we celebrate the anniversary of the deaths of three great writers: el Inca Garcilasso de la Vega (Comentarios Reales, Peru), William Shakespeare (poetry and plays, England), and Miguel de Cervantes (Don Quixote and so much more, Spain).

Our hibiscus decided to issue its first official blossom of the year, just to help us all celebrate this day.

CV-19 Week 3 Day 2

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CV-19 Week 3 Day 2
Reading in Multiples

Legend tells us that Francisco de Quevedo possessed a revolving book stand-cum-lectern. He placed this on his table at meal times and he would have four books open at the same time, moving rapidly in his reading from one to another. I have always liked this idea. As a result, I am now doing something similar.

I began by taking out Don Quixote, which I am once again reading in Spanish. The adventures of our Ingenious Gentleman are a delight and this time, the slowness of my 28th reading of the 1605 text allows me to taste every word, to roll the syllables round the tongue, and to savor every word. With CV-19 on the loose, there are no deadlines, no use by dates, and nothing to prevent me from delaying the full enjoyment of each word of the text. Equally important, there is no class preparation, no waiting audience, just me, an old man now, following the thoughts and adventures of an old man as written by an old man, Miguel de Cervantes, way back when.

I have the Collected Poems of Phillip Larkin on the table beside me. What a different world. What depth of insight and observation. What a bearing of witness to the follies and foibles of an England that I left behind so long ago, much of it vanished now, along with the old choir stalls and the hedgerows, the cuckoos and the skylarks. I read and re-read The Old Fools and realize just how close I am to that cliff edge, that precipice, that Alpine peak, beneath which I shelter and seek succour. Then I turn to This be the Verse and I start to laugh at this portrayal of middle-class parental pretensions. This is Larkin’s open wit, but his sly wit, like that of Cervantes, but more bitter, creeps up on you and catches you unawares, unless you know how and where to look for it.

At my left elbow, Juan Ramón Jiménez’s Platero y yo awaits my attention. No children’s book this, but a wonderfully poetic recounting of a poet’s observations of Moguer, a small seaside town in Andalusia. This too is a book to read slowly, to savour, to taste each word, each story. This too is prose poetry at its best. Cervantes wrote that ‘epic poetry can be written in prose’ / la épica también puede escribirse en prosa‘. JRJ might equally well have written that ‘poetry can also be written in prose’ … an edict that I have tried to follow in my own writing.

For my more serious reading, I am dipping into the late Roger Scruton’s A Short History of Modern Philosophy (from Descartes to Wittgenstein). This is heavier reading, in some senses, yet the parallels between Descartes philosophical observations and Cervantes’s literary ones are well worth considering, for Cervantes often offers the practical where Descartes puts forward the theoretical.

I will be adding more titles to my reading as I progress. Needless to say, I am also wandering through the labyrinth of my own earlier writings, and they are so much fun to revisit too. I will add more on this topic, as our enforced enclosure progresses.

Comment: These visitors came to my garden last summer. It is a delight to offer my photographs of them as a counter to CV-19 for these butterflies symbolize the brevity and the beauty of our lives. Butterflies on a rock: poetry and literature in Canada, and even more fragile in these times of utmost fragility. Keep well, keep safe, and keep in touch with your loved ones by telephone, Skype, Messenger, e-mail, and keep everything safe.

Intertextuality

Zeitgeist 1-10

Intertextuality

Intertextuality is the dialog that takes place between texts or as Merriam-Webster explains it: “the complex interrelationship between a text and other texts taken as a basic to the creation or interpretation of the text.”

Often we write from an intertextual perspective when we respond to other writers and their thoughts and imagery. This is why, in the creative process, reading can be as important as writing. Reading expands our vocabulary. It reinforces some of our own opinions and challenges others. Without reading, we are lonely rocks in sunless seas.

To be creative, we need to be aware of what others are writing and how they view the world we inhabit. When we read creatively we read with an eye to improving our creativity and our structures. We look for new ideas, new images, new words, new ways of expressing our thoughts.

Often we think we are being original when in fact we are re-processing, just as I am now, the ideas of other people. Given the nature of modern media, we are not always aware of all the multiple sources of our material: telephone, twitter, blogs, radio, television, newspapers (less and less), books, chapbooks, magazines, e-sources, lectures, chat groups, Facebook, and general conversations with other people who are also unaware of their sources. Thus ideas abound, float in the air, circulate and recirculate, submerge and resurface, shift their shapes and colors.

As writers we dip into that enormous moving mass of current and past culture and creativity and we choose our narrative lines, our characters, our structures, our images, our metaphors. As Jean-Baptiste Poquelin, better known as Molière, once wrote, “Mes idées? Je les prends où je les trouve.” My ideas? I take them from wherever I find them.

Imitation is the best form of flattery. Indeed it is. We cannot, however, borrow wholesale and just copy. Miguel de Cervantes borrowed the first five chapters of Don Quixote (the first sortie) from an earlier entremés entitled El Entremés de los romances. For a very long time, critics thought that Cervantes was the author of both pieces: they are very similar. However, even a quick analysis also shows that they are very different. The language of the entremés is much older while the conversion of theatre into narrative distinguishes them at a very basic level. Cervantes borrowed: but in borrowing, he adapted, he changed, he took the old form and converted it into something new and completely original. Nevertheless, we are still aware of the origins of the great novel that has many other borrowings woven into its fabric.

So, we indulge in intertextuality when we engage in a dialog with other texts and ‘borrow’ from other authors. To be original, we have to take that borrowing and turn it into something entirely different, something that becomes a part of ourselves and no longer exists as a part of that other text. Intertextuality is not copying. If we take a text in its entirety, if we ‘copy’, then we must acknowledge the source. However, when we indulge in a dialog with a text, when we transform a text, when we are ourselves transformed by a text, then that is a totally different situation. Think of the links between Akira Kurosawa’s 1954 film, The Seven Samurai, and its offspring, the 1960 western entitled The Magnificent Seven. They are very similar in so many ways … and yet they are so very different.

While intertextuality refers more to the larger elements of character and narrative structure, it also exists at the level of metaphor and image. Sometimes, without thinking, we use metaphors that we have heard before. Often we like the sound of a group of words, shuffle them around, and come up with a new meaning for them, a new metaphoric reality. This too is intertextuality.

At its best it is a very valuable addition to our creative tool kit.

While on the topic of creativity, let us spare a thought for our needs for creative time and space. We cannot create when we lack the blessings of time and space. Creativity is greatly hindered when we go hungry and need to complete back-breaking work just to sustain our lives and feed our families. Our relative wealth and leisure is a blessing: without them, we would be floundering in the pre-industrial world of subsistence farming, working at manual labor from dawn to dusk.

Let us spare a thought too for those oral societies that existed when people could not write. Or those early societies in which only the few, the happy few, were educated to the level at which they could actually read and write.

Intertextuality is a blessing, not a curse. Use it wisely, use it well.

Comment: I would like to thank Meg Sorick who suggested that I expand an earlier conversation that we had on the topic of Intertextuality.

Footsteps

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Footsteps
(23 April, 1616 AD)

rain fills the sky
mizzle and mist
low clouds
raindrops

a touch of snow
on trees grass
steady this
accumulation

where now
their warm hearts
their word-wealth

memories wrap
a warm scarf
around your neck

books beckon
let us now
talk with our eyes
to writers

Cevantes Shakespeare
El Inca Garcilaso
and many others
long since dead
though thought and word
their footsteps linger on

Comment:

Today, 23 April 2019, is international book day. We celebrate the works of Cervantes, Shakespeare, and El Inca Garcilasso, all of whom died on this date in 1616. Given the two different calendars, Gregorian and Julian, they actually died ten days apart, but the date was the same. We also support and celebrate all other others on this date, so Happy International Book Day, everyone, and keep writing.

Last Legs

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Last Legs

A wooden carving of Don Quixote stands guard over the mini-carnation pinks that have now lasted for 23 days. Alas, they are now suffering and several are ready to bow their heads and take their leave. They have done marvelous service. Arriving on December 21, a present from Gwen and Victor, these flowers have graced our house and table for over three weeks: a singular service in this age of rapid floral turnovers. We have looked after them, talked to them, cared for them, tended them, given them fresh water and sweet music. They have responded by filling our days with color and charm.

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Here they are in the early morning sunshine casting a shadow onto the wall behind them. So beautiful, the play of the early morning sun, through glass and water. Even the shadows are filled with tiny bursts of light. They were never heavily scented, these pinks, and their beauty lay more in their color and their longevity.

“Gather ye rosebuds while ye may.” Well that’s one way of putting it. But the roses, regal as they are, break down so quickly, while these little fellows have hung on and on. What a pleasure to count the days and watch them flourish. “Gather ye mini carnation pinks,” I say, for they last longer and their love is more constant.

What joy, to rise in the morning and to know they will still be there. But now their days are numbered. My birthday draws near, and our Christmas flowers oh so rarely last through into mid-January. Perhaps I should crowd source and get a host of flowers, tossing their heads in sprightly dance, sent to me through e-mail. Now that would really be fun.

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“Forget us not,” they whisper to me through their leaves. “You’ll never be forgotten,” I murmur back. A sense of light and warmth wraps itself round me and now I can face whatever the future brings with joy in my heart.

 

 

Twits, Tweets, and Twitter

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Twits, Tweets, and Twitter
aka
Bits and Bytes

After a very cold and snowy December, with low temperatures, way below average and dropping at times to -24C, with snow on the ground almost all month, and all this in the fall, aka autumn, since winter didn’t officially begin until 6 pm yesterday, December 21, it was a real shock and surprise to listen to the rain fall and high winds batter the windows all night as the overnight temperature rose to +14C and we received 40 mms of rain. As a result, we awoke to warnings of flash floods from melting snow and an influx of rain as winter has begun with a more of a whimper and a watery splash rather than with a flash freeze and a bang as your bottom hits the ice. I wonder what the deer think as they paddle through the puddles on their way to and fro from the water-logged feeders. I know what I’m thinking: ‘thank heavens we don’t have to shovel it’, but it will be a totally different story when it all freezes over, the road are like bottles, and we descend the hill in first gear with an ever-present fear of a much too welcoming ditch.

I have just read an interesting article on how, accustomed as we are to Twits and Tweets, many of us are no longer capable of unravelling a long interesting sentence that rambles on and on and refuses to make an immediate Twitter Point, usually underlined by the use of CAPITAL letters for KEY WORDS and all of this for a sound byte audience that is becoming less and less literate as social media proliferates and news is telescoped into tiny jam jars of meaning that are spread around with an illiterate spoon and many exclamation marks. There: you have just read a 96 word sentence. I wonder how you did with it? Did you persevere? Did you give up half way through?

In my former life, when I encouraged young people to read Miguel de Cervantes’s Don Quixote from cover to cover (and they did), I was surprised to discover the difficulties they had with his long sentences, some so long that they continued for a whole paragraph or a full page. I was also surprised to discover that many Spanish speaking people are now incapable of reading Don Quixote in the original Spanish as it is too complicated for them and too difficult in meaning and structure. I have cartoon versions of Cervantes’s master-piece, but have always found them to be simplistic and undignified. I have read the original, in Spanish, twenty-seven times, usually in the Martin de Riquer edition, and have never found the language to be a problem. Indeed, it is refreshing to enter the labyrinth of a long sentence and to struggle for a little while with the exact meaning of a complicated structure that offers so many multiple readings that no single meaning can easily be extricated, if at all, and so the mind wanders on and on in the Cervantine maze spun by a spider-web pen and a brilliant mind, now no longer accessible to the multitudes: a paradise now closed to so many, a garden open to a only a select few / Paraíso cerrado para muchos, jardines abiertos para pocos.

The spirit of Cervantes, the creator, appeared to me last night in a dream. ‘Rogelio,’ the master said. ‘Spare me and spare my creation.’ ‘Don Miguel,’ I mumbled sleepily, ‘here sit beside me on my bed. Welcome to my humble home.’ ‘I am not don Miguel,’ Cervantes replied. ‘I never was a don and I never will be one. I am humble Miguel, writer, poet, and son of a vagabond surgeon who, like father, like son, often entered the debtor’s prison’. ‘That same debtor’s prison where the history of your hero was engendered,’ I replied. ‘So they say, but I am not here for that. I have come for you to save me.’ ‘How, my Lord, how can I save you?’ ‘Rogelio, I am not a Lord, but a rumor has reached me in my after-life, that they have modernized my knight, given him a car, not a horse, set the Civil Guard against him, ridiculed him with condoms that he blows up like balloons, sent him to Salamanca, and Galicia, where he never went, continued his adventures, reborn, in a foreign language that I loathed …’ ‘That is bad, my Lord, I mean don Miguel, I mean Miguel …’ ‘Worse is to come.’ ‘Worse? How can it get worse?’ ‘Indeed, it arrived at my ears, you might say a little bird told me, that they are releasing my book in a series of 240 word tweets on a thing called Twitter that speaks like a Jesuit with false flickering words.’ ‘But you were brought up by the Jesuits …’ ‘That’s how I know of what I speak. This cannot be, the history of my knight reduced to episodes of 240 words, the whole 124 chapters, 1000 pus pages of finely scrawled ink, reduced to tweets on twitter by some poor twit … you must stop this nonsense. I and my knight depend upon you.’ ‘How can I stop it, don Miguel?’ ‘Charge the windmills of Twitter. Attack the falsehoods of Tweets. Stand up for the long, soulful sentence that will withstand the winds of time …’ ‘As your book has withstood, until now, the literary storm that is about to engulf it in an Alfred Hitchcock swarm of wild birds that is poised to twitter and tweet you to your doom?’

The ghost of Miguel de Cervantes vanished with a howl, only to be replaced by that of Pierre Menard, Borgian author of the renewed Quixotic page. ‘To tweet,” the ghost whispered in a thin, shrill voice, ‘or not to tweet, that is the question, and therein lies the Cervantine rub.’