Nothing about the food, the wine, the subjects
Of that night’s passions. Nothing even about
The weather—rain most likely, the damp seeping
Under doors. Just those two words for a night
When everything else slipped into the vacancies
Of the unrecorded. That’s all that’s left. We know
Now the more complete story that Boswell chose
Not to tell: the good doctor’s wearied martyr’s gaze
As he walked the alleyways where the poor remained
Poor, the blind, blind, where the only lesson learned
From suffering was how much better it would be
Not to suffer. We know, too, that Johnson wanted
About this time to rest in God and yet could not
Imagine how to surrender himself to a future
He couldn’t anticipate; he couldn’t help but believe,
To his dismay, that all life needed to go wrong was
The hope it would go right. Too many could not see
How evil fouled the gears of the century’s benign God.
He was headed for another breakdown; Mrs. Thrale
Had already been secretly entrusted with a padlock
And chain to restrain his fits when the time came.
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “Dear Someone,” a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
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