{"id":110335,"date":"2017-04-27T09:21:28","date_gmt":"2017-04-27T13:21:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110335"},"modified":"2017-04-27T10:31:03","modified_gmt":"2017-04-27T14:31:03","slug":"the-ancient-mariner-of-the-future-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/27\/the-ancient-mariner-of-the-future-and-other-news\/","title":{"rendered":"The Ancient Mariner of the Future, and Other News"},"content":{"rendered":"<div id=\"attachment_110336\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110336\" class=\"wp-image-110336\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore.jpg\" width=\"1000\" height=\"773\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore.jpg 2614w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore-300x232.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore-768x594.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/dore-1024x792.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110336\" class=\"wp-caption-text\">An illustration by Gustave Dor\u00e9 for \u201cThe Rime of the Ancient Mariner.\u201d<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Ask anyone: poets are time travelers. They\u2019ve got that thousand-yard stare; that glimmer of psychosis in the face; those penetrating, gnomic utterances. It\u2019s because they\u2019re literally living in the future. <em>Literally<\/em>\u2014<em>the future<\/em>. Don\u2019t believe me? The critic Malcolm Guite has marshaled an impressive array of evidence to claim that Samuel Coleridge wrote \u201cThe Rime of the Ancient Mariner\u201d as an \u201cinvolucrum\u201d: a howling vision of his future self in all its psychic anguish. Kelly Grovier explains: \u201c<a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/rime-without-reason-coleridge\/\" target=\"_blank\">Guite contends that the true source for the Mariner\u2019s arduous odyssey\u2014from degradation to redemption after committing the cosmic crime of killing the albatross that had guided his imperiled ship through the Antarctic mist and ice\u2014was, in fact, the physical, spiritual and psychological torments that Coleridge himself would suffer in the years and decades\u00a0<em>after\u00a0<\/em>he wrote the poem when he was just twenty-five years old<\/a>. It is Guite\u2019s belief, not that the poet lived his poem after composing it between the autumn of 1797 and spring of 1798; rather, that Coleridge\u2019s work is based on mysterious foreknowledge of his future self. Line by line, symbol by symbol, Guite painstakingly traces the ghostly congruities between the Mariner\u2019s ordeals and its author\u2019s own subsequent travails.\u201d<\/li>\n<\/ul>\n<ul>\n<li>At the Japan Society, an exhibition of Edo-era woodblock prints captures the phenomenon of the <em>wakashu<\/em>, a kind of male adolescent whose extreme youth and beauty constituted a third gender. Claire Voon writes, \u201c<em><a href=\"https:\/\/hyperallergic.com\/367604\/the-hidden-history-of-wakashu-edo-era-japans-third-gender\/\">Wakashu <\/a><\/em><a href=\"https:\/\/hyperallergic.com\/367604\/the-hidden-history-of-wakashu-edo-era-japans-third-gender\/\" target=\"_blank\">referred specifically\u00a0to males who had yet to go through the traditional Japanese coming-of-age ceremony known as\u00a0<\/a><em><a href=\"https:\/\/hyperallergic.com\/367604\/the-hidden-history-of-wakashu-edo-era-japans-third-gender\/\">genpuku<\/a><\/em>. Although they did not carry\u00a0the social responsibilities of adults, they were considered sexually mature. Their most discerning\u00a0feature is their hairstyle: a slightly shaven crown flanked by side locks. (To signify having reached adulthood, a man\u00a0would shave his entire crown, leaving a bald area with side locks intact.) This is best observed in a print on view by Hosoda Eisui of a\u00a0<em>wakashu<\/em>\u00a0holding an ornate shoulder drum. Hairstyles may seem, today, like a\u00a0trivial way to understand\u00a0gender, but they\u00a0comprised\u00a0an essential visual code in traditional woodblock prints. Combs and hairpins were shown to identify\u00a0young women, and females, in general, had very elaborate hairdos \u2026 Interior views of brothels and private parlors, as seen in erotic prints known as\u00a0<em>shunga<\/em>, illustrate how these relationships adhered to established societal attitudes: While same-sex relations between two adult men or two\u00a0<em>wakashu<\/em>\u00a0were not condoned, adult men and\u00a0<em>wakashu<\/em>\u00a0were allowed to be together due to their age difference, which bred a particular sex and gender regime.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>James Somers on the fizzled promise of Google Books, which only a few years ago seemed like it could be the Alexandria of our time\u2014just, you know, with a lot more copyright lawyers: \u201c<a href=\"https:\/\/www.theatlantic.com\/technology\/archive\/2017\/04\/the-tragedy-of-google-books\/523320\/\" target=\"_blank\">When the library at Alexandria burned it was said to be an \u2018international catastrophe.\u2019<\/a> When the most significant humanities project of our time was dismantled in court, the scholars, archivists, and librarians who\u2019d had a hand in its undoing breathed a sigh of relief, for they believed, at the time, that they had narrowly averted disaster \u2026 It\u2019s been estimated that about half the books published between 1923 and 1963 are actually in the public domain\u2014it\u2019s just that no one knows which half. Copyrights back then had to be renewed, and often the rights holder wouldn\u2019t bother filing the paperwork; if they did, the paperwork could be lost. The cost of figuring out who owns the rights to a given book can end up being greater than the market value of the book itself.\u201d<\/li>\n<\/ul>\n<ul>\n<li>\u00c1lvaro Enrigue on Calle Viena, a quiet residential street in Mexico that so happens to have Leon Trotsky\u2019s grave at the end of it, hammer and sickle and all: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/04\/25\/the-street-with-trotskys-bones-la-calle-mexico\/\" target=\"_blank\">Although it holds Trotsky\u2019s bones, the street of Viena is short and unremarkable, except maybe for its jacaranda trees, which bloom in late February and produce a hallucinatory purple carpet of dead flowers<\/a>. It was not until I returned to visit my parents, after I moved out of Mexico long ago, that I learned the street contained meanings beyond my experience of it\u2014that it hosted ghosts more important than that of Navarro, my high school classmate who committed suicide by overdose, just before <small>AIDS<\/small> became an illness with which you could live; or the carcass of the abandoned Cinema Coyoac\u00e1n, where I received my sentimental education watching low-budget Mexican comedies and second-run Hollywood blockbusters. Maybe the best way to describe the spirit of El Carmen is through our relationship to film: our neighborhood got to watch\u00a0<em>Raiders for\u00a0the Lost Ark\u00a0<\/em>so late,\u00a0<em>Indiana Jones and the Temple of Doom\u00a0<\/em>was already running in the movie theaters of the more prestigious parts of the city.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Richard Brody on <em>Bush Mama<\/em>, Haile Gerima\u2019s 1975 film about the despair of a black neighborhood: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/richard-brody\/bush-mama-a-landmark-film-and-a-reminder-of-cinemas-exclusionary-history?intcid=mod-latest\" target=\"_blank\">Gerima\u2019s great achievement is to compose a cinematic style that\u2019s simultaneously observational and subjective, dramatic and internalized<\/a>. Dorothy is both the film\u2019s protagonist and its central consciousness, its main character and a witness to the lives of her neighbors, all of whom are black \u2026 Gerima dramatizes systemic trouble\u2014at the racist oppressions of the police force, the judicial system, and the penal system, as well as discrimination in employment, segregation in housing and education, and a fundamental and barely reconcilable distrust of white society on the basis of the unredressed history of slavery, Jim Crow, and its tributaries\u2014from an intimate, inner perspective as well as from an observational one.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: a scholar contends that Coleridge was a great prognosticator; woodblock prints capture Japan\u2019s third gender; and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[28555,28553,601,8705,675,3205,28556,28550,28554,3286,81,165,2047,11714,537,28552,28551],"class_list":["post-110335","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-bush-mama","tag-calle-viena","tag-copyright","tag-films","tag-gender","tag-google-books","tag-haile-gerima","tag-japan-society","tag-leon-trotsky","tag-mexico","tag-movies","tag-poetry","tag-poets","tag-samuel-taylor-coleridge","tag-the-future","tag-wakashu","tag-woodblock-prints"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Did Coleridge See His Own Future in \u201cThe Rime of the Ancient Mariner\u201d?<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: a scholar contends that Coleridge was a great prognosticator; 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