May 28, 2013 On the Shelf R.I.P. Mr. Merker, and Other News By Sadie Stein Kim Merker’s edition of “Within the Walls,” by Hilda Doolittle. Image via New York Times. Kim Merker, who hand-pressed beautiful poetry books for decades, has died, at eighty-one. Twenty-five signs you’re addicted to books. (In a whimsical way. Not a My Strange Addiction way.) Can you ever really own an e-book? No. Which doesn’t mean they aren’t big business at Book Expo America. Speaking of BEA … enjoy it from the comfort of your own home!
May 27, 2013 First Person Lay Your Sleeping Head, My Love By Christina Thompson Winslow Homer, Rowing Home Three years before my mother’s final illness she had a major stroke. It was not a typical stroke—more cascade than cataclysm—but when it was over it had laid her low as effectively as a bolt of lightning. At first, we didn’t know if she would live or die. She couldn’t move any part of her body, couldn’t speak, couldn’t swallow. This last was particularly distressing—swallowing is such a primitive function, but the stroke, it seemed, had struck a primitive part of her brain. During those first few nights I sat by my mother’s bed in the dim double ward, the curtains drawn between us and the other occupant, who coughed feebly and rustled like an animal in the walls of a house. My mother breathed quietly, the lights on her monitors blinked and glowed. Occasionally an alarm would go off somewhere down the hall with the high, persistent beeping that hospital staff, remarkably, never seem to notice. I sat there for I don’t know how many hours, drifting in and out of exhaustion and anxiety, and at some point a fragment of poetry came into my mind. “Lay your sleeping head, my love, / Human on my faithless arm . . . ” Over and over it played in an endless loop, while I racked my brains to identify it. It was definitely something I knew, but I couldn’t even think what century it belonged to. For some reason it became incredibly important to me to figure out what it was. Read More
May 27, 2013 Arts & Culture War Memorial By Rebecca Sacks They commute with guns. A lot of Israeli soldiers live at home while they do their mandatory service, and, like me, they take the bus to work every day. I’m a student so for me that means carrying four different translations of the Qumran wisdom texts to the university campus. They carry what I think are semi-automatics. We all take the bus together. There is a language to the army uniform that I cannot read. If you know these things, you can tell what part of the armed forces someone is in by the color of his or her beret. The red ones seem tough, I know that. The uniforms themselves are different colors too: a standard green, a nappy white, a khaki. The grey-blue ones tend to have broad shoulders and handguns tucked into their pants. It took me a long time to realize they had holsters under their trousers: I thought the guns were being held in by their underwear elastics, and could fall any moment. From this information, a literate person lays the bones of their expectations for the soldier they see, if she sees them at all. I think most people don’t even notice them. One thing I cannot get used to in Israel is a kind of suspension of horror: that the mechanisms of danger and violence are laid bare and become mundane. Through what I’ll call a willful innocence, this is something I resist fully. I notice every soldier, every gun. Guns they tote indifferently on the bus, in the mall, getting ice cream, at the beach. Obviously they can’t spend several consecutive years (required service is two for young women, three for men) having anxiety attacks about whether or not it’s emotionally damaging to develop a familiar relationship with weapons. Luckily for them, they have me to do that. The exception to the soldiers’ invisibility is during a series of memorials, which occur in Israel over a period of two weeks. First is Yom HaShoah, or Holocaust Remembrance Day. This is a day of ceremonies: candles are lit, and you will hear testimony from the dwindling population of survivors. This year it was on April 7 (holidays here are kept by the lunar Jewish calendar). It is marked by a one-minute siren at ten A.M. For a memorial siren, everyone stands. No matter where you are, you stop and stand. The entire country has this really effective PA system. It reminds me of that scene in The Hitchhiker’s Guide to the Galaxy before Earth is bulldozed, when every physical object becomes a transmitter. The memorial siren is similar to the siren that sounds when there are rockets falling but it is one single tone instead of a falling and rising pitch. This is so that if rockets fall during the siren, you know to seek cover. A week later is Yom HaZikaron, Memorial Day; this year on April 15. It is in remembrance of Israelis who have died in war and terror attacks. The year’s dead are added to a list. The day starts the evening prior (in accordance with the Jewish calendar), marked with a two-minute siren. At this point, the entire nation gives itself forty-eight hours to focus on the soldiers. The TV stations play a continuous loop of short documentaries on the lives of the dead—heartwrenching tributes with interviews and blurry home-videos. The radio stations play only sad, traditional music. At 11 A.M. on the day-of, there is a second two-minute siren. There are ceremonies that evening and, at the end of the memorials, Yom HaAtzmaut (Israel Independence Day) begins immediately: whiplashing the nation into July Fourth mode. Opinions on this model, and the sudden change in attitude (grievance to celebration) are mixed in Israel. My friend just left the army, after six years of service. He asked that I call him Ido instead of using his real name, and who am I to argue. So: Ido. This was Ido’s first post-army Yom HaZikaron. He said this year he was in his car, driving, when he realized the siren would go momentarily. Perhaps they said something on the radio. He pulled over, with every other car on the road, got out, and stood by his car, with the door open. He probably ended up in a Reuters photograph. He said it was strange to be in civilian clothes, to be a civilian, on that day. When you are a soldier, everyone looks at you on Yom HaZikaron: you are at the center of something that now he felt slightly peripheral to. In the past, during the siren, he has raised his hand in salute (a gesture exclusive to officers during the siren); this year he has stood with his hands folded by his car. I asked where he would look (I was never sure where to look during the sirens) in those days. “At the flag,” he said. Read More
May 24, 2013 Arts & Culture A Visit with Patrick Leigh Fermor, Part 2 By Ben Downing P.L.F. on Ithaca, 1946. See part 1 here. Already familiar as I was with the main events of Paddy’s military career, I asked him to fill in the gaps. What had he done while in Cairo? “My first leave from Crete, after many months in the mountains, was at the time of the Italian surrender in September 1943. I had managed, by devious means, to persuade the Italian general commanding the Siena Division to escape from the island with some of his staff, and I accompanied them. When they’d been handed over in Cairo, I found myself quartered in rather gloomy billets known as Hangover Hall. There I became great friends with Bill Stanley Moss, on leave from the Third Battalion of the Coldstream Guards, and later my companion on the Kreipe expedition. Couldn’t we find more congenial quarters? Almost at once Billy found a positive mansion on Gezira Island, which we shared with a beautiful Polish countess called Sophie Tarnowska—she and Billy were married later on—her Alsatian, two mongooses, and a handful of close SOE friends, also on leave. “Tara (as we named the house) was an immediate triumph. With its ballroom and a piano borrowed from the Egyptian Officers’ Club, and funded by our vast accumulations of back pay, it became famous—or notorious—for the noisiest and most hilarious parties in wartime Cairo. At one of these, fired by the tinkle of a dropped glass, everyone began throwing their glasses through the windows until not a pane was left. “It was to Tara that we returned after the Kreipe expedition. But the rigors of a year and a half of Cretan cave life, it seems, suddenly struck me with an acute rheumatic infection of the joints, akin to paralysis. After two months in a Cairo hospital—where King Farouk once kindly sent me a magnum of champagne—I was sent to convalesce in Lebanon. I stayed at the British summer embassy at Aley, above Beirut, with Lady Spears, who was the well-known American writer Mary Borden, and her husband, Sir Edward Spears, our ambassador there. We had all met in Cairo, which at that time was one of the most fascinating gathering points in the world. “But I was itching to get back to Crete. By the time I managed to return, in October 1944, the entire German force had withdrawn to a small perimeter in the west of the island. The outcome was a foregone conclusion, and the Germans made only occasional sorties. With their imminent surrender in view, it wasn’t ‘worth the bones of a single Pomeranian grenadier,’ as Frederick the Great said—or of a single mountaineer or Allied soldier, for that matter. Read More
May 24, 2013 Look Do Not Eat Library Paste By Sadie Stein Deeply tragic, deeply instructive. Via Dangerous Minds.
May 24, 2013 This Week’s Reading What We’re Loving: Boar Hearts, Panic, and Shirley Jackson By The Paris Review Laurel Nakadate, Kalispell, Montana #1, 2013. I stayed up much too late finishing Shirley Jackson’s newly reissued Hangsaman—and then was so spooked it took me another two hours and a warm milk to finally fall asleep. The novel, loosely based on the unsolved 1947 disappearance of Bennington College student Paula Jean Welden, is as scary as The Haunting of Hill House, as chilling as “The Lottery,” and as weird as We Have Always Lived in the Castle. (And that’s saying something!) Perfect reading for a gloomy weekend, if not a work night. —Sadie Stein “Head shot for boar! Open him up! There’s no taste like live boar-heart while it’s still beating in your hand!” Thus Hermann Göring in The Hunters of Karinhall, a movie script by Terry Southern. The script was never produced, oddly enough—but it is newly excerpted in Hot Heart of Boar & Other Tastes, a little chapbook of Southern snippets and outtakes and put-ons that had me laughing before my second cup of coffee. —Lorin Stein Read More