Posts Tagged ‘Summer’
July 4, 2014 | by Dan Piepenbring
I always thought it was the best day of the year. It was in the middle of the summer, to begin with, and when you got up in the morning someone would almost surely say, as they did in those times, that it was going to be a “true Fourth of July scorcher.” School had been out long enough so that one was conditioned for the great day. One’s feet were already leather-hard, so that striding barefoot across a gravel driveway could be done without wincing, and yet not so insensitive as to be unable to feel against one’s soles the luxurious wet wash of a dew-soaked lawn in the early morning. Of course, the best thing about the day was the anticipation of the fireworks—both from the paper bag of one’s own assortment, carefully picked from the catalogs, and then, after a day’s worth of the excitement of setting them off, there was always the tradition of getting in the car with the family and going off to the municipal show, or perhaps a Beach Club’s display … the barge out in the harbor, a dark hulk as evening fell, and the heart-pounding excitement of seeing the first glow of a flare out there across the water and knowing that the first shell was about to soar up into the sky.
—George Plimpton, Fireworks
July 2, 2014 | by Sadie Stein
July 2 is the midpoint of the year—we’re 182 days into 2014 with 182 to go. This is obscurely depressing, although there is something neat about its falling on a Wednesday. It’s all downhill from here, you might say—although sometimes people use that expression as a positive, meaning smooth sailing, so take it as you will.
Everyone finds New Year’s Day dreary. But summer, for all its promise of leisure and romance and ease, has an urgency that is sad in its own way. From the moment it starts, it’s on the wane—days ever shorter, relentlessly shifting sands in a Wizard of Oz–style hourglass. Outside my window, someone is actually playing “Summertime” on a saxophone. He’s probably thinking that we are in New York in hot weather, and it is iconic. The pressure is immense. The high-pressure weather is stifling.
Ashbery touched on it. “Soonest Mended” is about much more than the mundane, although it conjures the mundane vividly. Amidst the dissection of proverb—and allusions to pressures of art, and youth, and time—he manages to put into words the particular melancholy of the midpoint.
Alas, the summer’s energy wanes quickly,
A moment and it is gone. And no longer
May we make the necessary arrangements, simple as they are.
Our star was brighter perhaps when it had water in it.
Now there is no question even of that, but only
Of holding on to the hard earth so as not to get thrown off
With an occasional dream, a vision: a robin flies across
The upper corner of the window, you brush your hair away
And cannot quite see, or a wound will flash
Against the sweet faces of the others, something like:
This is what you wanted to hear, so why
Did you think of listening to something else? We are all talkers
It is true, but underneath the talk lies
The moving and not wanting to be moved, the loose
Meaning, untidy and simple like a threshing floor.
June 19, 2014 | by Ross Kenneth Urken
Sleep-away camp revisited.
Five miserable summers straight, I made the trek to Camp Saginaw, a.k.a. Camp Saggyballs. The cornpone setting in Oxford, Pennsylvania, was the backdrop for my induction into the myth and ritual of the camp, whose songs and traditions served mostly to perpetuate the philosophy that this was the best place on Earth. It was not—what with the mediocre campfires, the soggy waffles, the deflating banana boat on the murky lake.
Still, I attended until I had earned the only slightly coveted green Old-Timer shirt, affixed with an Indian chief insignia; until I’d scraped my knuckles raw enough times at the gaga court to develop permanent scars; and until I no longer became teary-eyed when “Total Eclipse of the Heart” played at the roller rink while the girl I crushed on slow-skated by with another boy.
Most important, I attended until, at long last, I successfully snuck to Girls’ Camp at midnight.
How many nights over multiple summers my bunkmates and I had stayed up plotting Project Angel Raid! We dressed in all black or navy blue, talking with our flashlights pointed up to the rafters, only to fall asleep in our sweatpants and hoodies. Come morning we hit our mattresses with a heavy fist—yet another failed mission …
But there was an added incentive the summer I turned twelve: I met Jill, she of the freckled cheeks and strawberry blonde hair. So what if she wore corrective glasses because she was slightly cross-eyed? She had taken a shine to me, and it was important for me to demonstrate my devotion with the type of bravado brandished only during a caper. Read More »
June 3, 2014 | by Robert Lynd
From “Why We Hate Insects,” an essay by Robert Lynd, collected in his 1921 book, The Pleasures of Ignorance.
It has been said that the characteristic sound of summer is the hum of insects, as the characteristic sound of spring is the singing of birds. It is all the more curious that the word “insect” conveys to us an implication of ugliness. We think of spiders, of which many people are more afraid than of Germans. We think of bugs and fleas, which seem so indecent in their lives that they are made a jest by the vulgar and the nice people do their best to avoid mentioning them. We think of blackbeetles scurrying into safety as the kitchen light is suddenly turned on—blackbeetles which (so we are told) in the first place are not beetles, and in the second place are not black …
There are also certain crawling creatures which are so notoriously the children of filth and so threatening in their touch that we naturally shrink from them. Burns may make merry over a louse crawling in a lady’s hair, but few of us can regard its kind with equanimity even on the backs of swine. Men of science deny that the louse is actually engendered by dirt, but it undoubtedly thrives on it. Our anger against the flea also arises from the fact that we associate it with dirt. Donne once wrote a poem to a lady who had been bitten by the same flea as himself, arguing that this was a good reason why she should allow him to make love to her. It is, and was bound to be, a dirty poem. Love, even of the wandering and polygynous kind, does not express itself in such images. Only while under the dominion of the youthful heresy of ugliness could a poet pretend that it did. The flea, according to the authorities, is “remarkable for its powers of leaping, and nearly cosmopolitan.” Even so, it has found no place in the heart or fancy of man. There have been men who were indifferent to fleas, but there have been none who loved them, though if my memory does not betray me there was a famous French prisoner some years ago who beguiled the tedium of his cell by making a pet and a performer of a flea. For the world at large, the flea represents merely hateful irritation. Mr W. B. Yeats has introduced it into poetry in this sense in an epigram addressed “to a poet who would have me praise certain bad poets, imitators of his and of mine”: Read More »
February 7, 2014 | by Sadie Stein
The summer before I started college, I worked part-time in an antique linens shop in an East Coast vacation town. The owner, Theresa, was a warm, elegant woman who taught me not just how to do bookkeeping and how to tell the difference between point lace and Valenciennes, but a great deal about how to treat other people, too.
The rest of the time, I worked as a waitress at a nearby restaurant. My fellow employees included a shifty-eyed Hare Krishna named Heather, a bartender called Kenny who liked to try to shock me, and a thirtysomething bodyworker, Julia, who had the unfortunate habit of telling people on the slightest pretext that she had attended “a little school in New Haven.”
At the linens shop, I helped iron and fold the stock and assisted customers. Mostly, Theresa and I would talk: about her family leaving Havana after the revolution; about the history of the town; about her dashing husband and how they met when she was a receptionist at a clinic. (He’d had a dislocated shoulder and she let him jump the line.) “Always spend more on flowers than on food,” she once told me. “Good for the soul, better for the waistline.” Read More »
July 2, 2013 | by Clare Fentress
Henri Cole contributed two poems to our Summer issue, “Self-Portrait with Rifle” and “Free Dirt.” They pair well; both wrestle with the baseness humanity is capable of, and particularly with the surprise we feel when we find such baseness in ourselves. “Self-Portrait with Rifle” illustrates this shock with a jarring scene: a man holding a gun, indignant at his victims—innocent deer—for yielding their lives to his misplaced violence.