Literature

Literature

The Island (Fiction)

The Island

By Ashton Politanoff

From Oedipus Rex by Pier Paolo Pasolini

From Oedipus Rex by Pier Paolo Pasolini

From the mainland, he’d been searching for the island’s coastline day after day. Some mornings he could see it, depending on the smog. He wanted to escape the hustle, the bustle, so he looked at the boat schedule and made a reservation. He’d go for the day.   

The morning of, he arrived at the harbor near the port and parked his car under the green bridge. A section of bridge was being repaired. Every time a car drove overhead, he’d hear a loud clatter coming from the steel plates. 

After picking up his ticket at will-call, he took a seat under the sail tent. The speaker above his head played swing. He took a Dramamine and as other people showed, he placed his bag next to him so no one could sit too close. There were several boats in the fleet and he was hoping for the catamaran—that boat, he knew, could slice through chop like butter. Instead, when the crew called for them to stand in a line and split their tickets, they were directed to the old mono-hull. He swallowed a second Dramamine and walked across the gangplank. He mounted the stairs of the ship to the upper deck. He tested the white aisle bench with his finger and used the back of his backpack to soak up the cool morning dew. Then he sat down facing the front of the boat. A tall woman in a peach dress sat directly across from him. She had leathery skin and two earrings in each ear—a hoop and a diamond. She already had a drink, a Bloody Mary, and sucked it through a straw. When she was done, she removed the pickled green bean and ate it, showing her front teeth with each bite. 

What are you doing on the island? she asked. 

Getting away, he said. 

Oh, she said.

When he didn’t say anything else, she said, Well I’ll be eating and drinking. 

That’s nice, he said. I’ll be getting off on the second stop. 

He was thankful when the boat finally started to move, and when a family of four had crowded next to them—he wouldn’t have to talk to her anymore. The father of the family told his children about the sea life they would see, and the animals on the island. Buffalo, he said. A red fox.

A red fox? the young towhead with neon green shoelaces asked. 

Yes, the father said. A red fox. No one knows how it got there, the man said, but it lives on the island. 

Through the harbor, the boat passed a container ship with scrapings on the side.

From going through the Panama Canal, he heard the father say. 

They passed the prison. He couldn’t get a view of it, just the watchtower. Abandoned warehouses stood nearby. In the dark water, a seal popped up and then took a dive. 

Soon they were at the break wall, and once they emerged through the passage known as Queen’s Gate, into the open ocean, the boat sped up. The water was no longer calm, the wind blowing. A swell coming from the west pushed against them, the boat lifting and lurching. He steadied his eyes on the horizon line and zipped up his windbreaker. He raised the hood and wore it, pulling the drawstrings tight to create a hole with just enough space for his nose and eyes. With his fingers, he slowly and carefully tied a square knot. 

As they approached the leeward side of the island, the water calmed. The island was mountainous coastline peppered with sandy coves with yachts in each. Some coves had cabins or yacht clubs. Others had quarries. The air was cleaner here. He could finally see the sky’s ceiling, the low clouds that were starting to burn off. 

The first stop was in the touristy section where there was a casino and shops that sold trinkets. The boat slowed and briefly docked and the woman got off without saying goodbye. The family left too, as did most people. The next stop—his—didn’t have a hotel. The only passenger in sight was a man holding blue prints. He wanted to burn the man’s blue prints. 

Out in the ocean again, they climbed north for close to twenty minutes before turning into the intended harbor, a place known as the isthmus—another harbor was just on the other side. The neighboring mountains dipped down creating a flat strip of land. From a distance, it looked like two separate islands. He could feel the wind blowing across from the windward side as they approached the pier. 

Tied up, they disembarked starboard. He had four hours before the boat would come back again to take them home.  

The town itself had one bar, a diner, and a general store. There was a shower for those who had been at sea, but it required eight quarters for three minutes and twenty seconds of usage. 

At the diner he ordered a bagel sandwich and a large cup of coffee. The chair he sat on had a cushion that deflated. He tried another with the same result. Plants hung from the ceiling and a spinning fan wobbled a little. It looked like it could break off and fall any second. The diner started to get packed. He felt elbows, smelled odors. He ate quickly and didn’t finish his coffee.

Outside, after, he headed to the beach with the imported silica sand, the palapas available for rent. But there were kids and families with dogs and a group of teenagers, girls and guys, with floaties and blue cups that concealed alcohol. Yes, the water was clear, but people were in it with their kayaks and stand-up paddleboards or snorkels. So he walked to the other end that was cobblestone instead of sand. There was only one person there, a thin man in a Speedo. The man was lounging in a beach chair, taking sun with his eyes closed. 

With mask and snorkel, he butterflied around finless. The water was colder than expected—he should have brought a wetsuit top. He saw the orange Garibaldi, the clingfish. He took a deep inhale and dove to the bottom, running his fingers through the eel grass swaying from side to side. When he breached the surface, he blew the water out of his snorkel with a burst and lifted his mask. The man in the Speedo waved and smiled. 

He got out of the water and gathered his things. He didn’t wait to dry off, to heat up again in the sun. He just left, until he was on the oiled dirt road that led to the windward side, the other harbor. He only saw one car, a van with taxi written in the dust of the rear windshield. He wasn’t sure if this was a real taxi or not. 

He appreciated the natural flora and fauna surrounding him, the leaning foxtails, cacti, the sticker bush. There were tall bundles of eucalyptus that looked like giant bouquets in the clearing. A wooden swing hung from one of the trees. There were dwarf palm trees scattered about too. 

The other harbor was less busy; there were only a few vessels, sails down, and a woman rowing in her shore boat. He could see people hiking on a ridge, but they were far off—it would take them hours to reach him. But then, two elderly women claimed a nearby bench. He hadn’t seen them coming.

He left the main road into the clearing, walking until he settled on a breezy meadow. There, he pulled out his Mexican blanket and rolled it out on the dirt to lie down. The dry grass tickled his face, his bare arms, his feet. It was nice. He felt things in his hair but didn’t care. Through a squinted gaze, he watched a cloud drift. 

           

The peel of three loud horns woke him and he found this appealing at first. He checked his watch and saw the time. It was his ship, about to back out of the dock, he knew. He shot up and grabbed his bag, but felt a tug of something else, a red flash in his periphery. He craned his neck and saw the bushy tail high and the erect ears, frozen still. He let go of his bag and ducked down until he himself was on all fours, peeking above the grass. 

He set his face forward, unblinking, and sniffed before plunging deeper into the meadow, for what he wasn’t sure. 


Ashton Politanoff lives in Redondo Beach, CA. His writing has appeared in NOON, Golden State 2017, Sleepingfish, Hobart, Vol. 1 Brooklyn, Green Mountains Review, and elsewhere.  

Literature

The Strange World of Willie Seabrook (Excerpt)

The Strange World of Willie Seabrook

By Marjorie Worthington

“Another Toulon Day”

It was about ten o’clock when we reached the hotel. That was pretty early for Toulon, but the big yellow Victorian palace of a place, with ornate chandeliers and Brussels carpeting, seemed very quiet. We almost tiptoed to the door indicated to us, and knocked. A voice asked who was there, and when Willie answered, “Seabrook,” there was a happy laugh and the command, “Entrez.”

It was not a suite, but just one enormous bedroom, with lots of chairs around, a fireplace, and a bar set up on an ormolu cabinet. The princess had expensive tastes and an income much more modest than that of her friends, and she must have been in one of her economy streaks. 

She was wearing a silk pajama suit, the kind that was worn for afternoons and evenings in the South of France at that time. Her bed was fully made, and she was lying on top of the creamy satin spread. At one side of the bed was a table on which was laid a lacquered tray containing all the paraphernalia for smoking opium: a small spirit lamp, a sticky lump of black stuff, and a long, ivory-colored pipe with a small cup-like thing near one end. The little lamp was lighted and she was rolling some of the black gum into a ball, or pill.

“Make yourselves drinks,” she said, waving to the bottles and glasses with her free hand. “Then come and sit near me and tell me what wonderful and scandalous things you have been doing. I am starving for news of you.”

We did as we were told, and Willie talked, telling marvelous tales, some of them true, most of them not. I sat quietly drinking my drink and listening some of the time, and thinking my own thoughts; but mostly I watched the princess, who spent so much time preparing her pipe for what amounted to one deep puff. Being a rather lazy person, I wondered what there was in that puff to make it worth such a long and complicated process. I decided not to find out.

The room became filled with an acrid-sweet smell that mingled with the fumes of the cognac in the glass I held in my hand. Willie had joined the princess on the bed and she was teaching him to fill a pipe. I felt very drowsy. There was a chaise longue in the room, and I settled myself upon it and waited. A musical clock on the mantel chimed the hours of twelve . . . one . . . two . . . three. . . . 

I remember making, or being asked to make, a pot of tea. I found what looked like a solid gold teapot and put it over the alcohol lamp I found near it, and lit the wick. When I remembered about the tea again, the whole beautiful little gold teapot had melted down into a nugget. Evidently I had forgotten to put any water in it. I was very sad about the teapot and told the princess so, but she was off in some exalted region with Willie tagging behind on his own cloud. And it didn’t matter.

The clock went on ringing out the intervals of hours. Through the cracks in the venetian blinds I could see daylight. The murmur of voices had been going on forever: Princess Telle describing her childhood, then her marriage and her happiness, and then her sorrow. I slept through most of it, almost as drugged, by the fumes, as they were by their pipes. And then it was six o’clock, and Willie was standing up and telling me we must go.

We went out very softly; the hotel was not awake. But as we walked down through the city, people began to sweep the sidewalks before the shops and caf.s, and some of them greeted us with a polite “bonjour,” to which we responded. We reached our studio somehow, I leading a remote Willie by the hand most of the way. I didn’t know how many pipes he had smoked, but I knew they were too many for a neophyte. I was worried enough to become heroic and attack the primus stove by myself. I made a large pot of coffee and kept pouring cup after cup until he had drunk enough, I thought, to counteract the opium. Then we slept for a while, and then we woke up and went to our respective typewriters. Another Toulon day had begun.


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Literature

Case Nine from Psychopathia Sexualis (Text)

Case Nine from Psychopathia Sexualis

By Richard von Krafft-Ebing

Self-portrait by Austrian painter Richard Gerstl (1883—1908)

Self-portrait by Austrian painter Richard Gerstl (1883—1908)

“He found it absurd, and did not repeat it”

F.J., aged nineteen, student; mother was nervous, sister epileptic. At the age of four, acute brain affections, lasting two weeks. As a child he was not affectionate, and was cold toward his parents; as a student he was peculiar, retiring, preoccupied with self, and given to much reading. Well-endowed mentally. Masturbation from his fifteenth year. Eccentric after puberty, with continual vacillation between religious enthusiasm and materialism — first studying theology, then natural sciences. At the university his fellow students took him for a fool. He read Jean Paul almost exclusively, and wasted his time. Absolute absence of sexual feeling toward the opposite sex. Once he indulged in intercourse, experienced no sexual feeling in the act, found it absurd, and did not repeat it. Without any emotional cause whatsoever, he often had thoughts of suicide. He made it the subject of a philosophical dissertation, in which he contended that it was, like masturbation, a justifiable act. After repeated experiments, which he made on himself with various poisons, he attempted suicide with fifty-seven grains of opium, but he was saved and sent to an asylum.

Patient was destitute of moral and social feelings. His writings disclosed incredible frivolity and vulgarity. His knowledge had a wide range, but his logic was peculiarly distorted. There was no trace of emotionality. He treated everything (even the sublime) with incomparable cynicism and irony. He pleaded for the justification of suicide with false philosophical premises and conclusions, and, as one would speak of the most indifferent affair, he declared that he intended to accomplish it. He regretted that his penknife had been taken from him. If he had it, he would open his veins as Seneca did — in the bath. At one time a friend had given him, instead of a poison as he supposed, a cathartic. Instead of sending him to the other world, it sent him to the bathroom. Only the Great Operator could eradicate his foolish and fatal idea with the scythe of death, etc. 

The patient had a large, rhombic, distorted skull, with the left half of the forehead flatter than the right. The occiput was very straight. Ears far back, widely projecting, and the external meatus forming a narrow slit. Genitals very lax; testicles unusually soft and small. 

The patient occasionally suffered from onomatomania. He was compelled to think of the most useless problems, give himself over to interminable, distressing and worrying thoughts, and become so fatigued that he was no longer capable of any rational thinking. After some months the patient was sent home unimproved. There he spent his time in reading and frivolities, and busied himself with the thought of founding a new system of Christianity, because Christ hd been subject to grand delusions and had deceived the world with miracles (!). After remaining at home some years, the sudden occurrence of a maniacal outbreak brought him back to the asylum. He presented a mixture of primordial delirium of persecution (Devil, Antichrist, persecution, poisoning, persecuting voices) and delusions of grandeur (Christ, redemption of the world), with impulsive, incoherent actions. After five months there was a remission of this intercurrent acute mental disease, and the patient then returned to the level of his original intellectual peculiarity and moral defect.


The unabridged Psychopathia Sexualis by Richard von Krafft-Ebing is listed here, and it is available to purchase new via Bloat Books.

Literature

People in General (Fiction)

Short Story from “People in General”

By John Colasacco

Pennsylvania_Station,_NYC,_Waiting_Room,_Cassatt_Statue.jpg

Once I tried to imagine what it would be like to have to say something to my best friend if she were dead. I spent the whole night by the open window, getting dressed and undressed, and it was almost as though many years had passed. After a while I no longer felt qualified to say anything. When I caught a glimpse of myself in the mirror there was something awkward about my body, the way it looked and moved. I used to know what it was but the rain made me forget it. In the morning I went to school, and I moved through the crowd with a piece of fruit in my hand, looking for a table with an empty seat. When I found one I sat down and put the fruit on the table next to me. Suddenly it flew apart, disintegrating into a million little pieces. I listened to the voices all around me; some were laughing, and others were angry, or pretending to be. I asked someone what time it was, and they told me it was only nine o’clock. It felt like I was snowing inside myself. Now I am sitting in the train station again. My hands are freezing cold and I have a stranger sitting near me kicking his feet against the legs of his chair. A minute ago he leaned in close to me, as though he wanted to whisper something private in my ear. Am I thirsty? he wanted to know. I have the same few words going through my head over and over, he said. It’s maddening, but it’s how I learned to speak. I stayed very still and rigid while he told me this, never flinching or turning to acknowledge how close to me he was. Out of the corner of my eye I saw that he was holding something, and from the way he cupped it in his hands I knew that it was probably a lighter and a pack of cigarettes. Sure enough, a second later he settled himself back into his own seat and began tapping the pack against his palm. He peeled away the cellophane and opened up the box, then pulled the foil wrapper out and immediately crumpled it up. I kept waiting for him to put the piece of foil in his pocket or get up to throw it away. He never did though; he’s still holding it now, kicking his feet, with a very faint rumbling sound coming from the back of his throat. Oh, I see, I think to myself, noticing the huge globes of light on top of the old fashioned street lamps standing in the open waiting areas of the station. People file by on their way to the coffee shops and souvenir stands that line the edges of the concourse under these huge, swollen lamps, which don’t need to be as intense or beautiful as this. It reminds me of being home, and leaving the door to the attic open for just second or two, and in that moment while my back is turned feeling certain that one of the cats has just slipped upstairs.

Just then I see a little girl in a pink jacket standing by a white mannequin that’s been stripped of all its clothes. Her feet are pointing in one direction but the rest of her is turned toward me, and she’s looking at me with big, unfocused eyes. I stare back at her for a while, then I stop looking at her, and in my head I see the train station the way it was before it filled with people. There’s moonlight on the floor, pouring down from the skylights, and the huge antique clock on the wall says that it’s 2:40 a.m. There are a few passengers here and there, none of them close by. I watch them moving slowly toward the far end of the terminal. One is a blind man in a heavy winter coat being led by a service dog. When he disappears around a corner I realize that over the past few minutes I’ve gradually become afraid of something. The inside of my mouth hurts, and my hands are so cold now that I wish I’d brought gloves. Just when I feel like I can’t stand it anymore, I look up at the hole in the wall that I thought was a clock, and the last thing I notice is the smell of rice cooking.


John Colasacco’s books include Antigolf, The Information Crusher, Two Teenagers, and the forthcoming The Wagners. Other excerpts from the manuscript People in General can be found in Enclave’s #finalpoems and Dennis Cooper’s blog. Anyone interested in written/artistic collaboration can email at jacolasa@syr.edu.

Literature, Publishing

THE STRANGE WORLD OF WILLIE SEABROOK

COMING IN FALL 2017:
MARJORIE WORTHINGTON’s Memoir

This is the somber, quietly stunning account of American author Marjorie Worthington’s life and relationship with William Seabrook. 

A bestselling writer on the exotic and the occult, Seabrook was an extraordinary figure from the 1920s to the 1940s who traveled widely and introduced voodoo and the concept of the “zombie” to Americans in his book The Magic Island

In 1966, years after his death from suicide, Worthington, a novelist and Seabrook’s second wife, cast her eye on their years living in France as lost-generation expatriates; their time traveling in the Sahara desert (where Seabrook researched his book The White Monk of Timbuctoo); their friendships with Aldous Huxley, Gertrude Stein, and Michel Leiris; and the gradual erosion of their relationship. 

Worthington was with Seabrook in France and later New York when his life became consumed by alcohol, and he took the drastic step of committing himself to a mental institution for a cure; though he wrote about the institution in his book Asylum, he remained an alcoholic. He was also fixated by sadistic games he played with women, which he and the surrealist Man Ray photographed, and which he later viewed as a way to initiate altered psychological states through pain.

The Strange World of Willie Seabrook is an intimate look at the complicated, torturous relationship of two writers. Seabrook was a sadist, yet to Worthington he was also enthralling; he was an alcoholic, but she believed she could protect him. Even after he had hurt her emotionally, she stayed near him. In brilliantly depicted moments of folie à deux, we watch Worthington join Seabrook in his decline, and witness the shared claustrophobic, psychological breakdown that ensues.

Literature

Sand (Short Story)

Sand
by Rav Grewal-Kök

johnbrianking-sickcity

For eight years, or ten, the world outside her apartment was a stage. In the subway, people looked at her with envy or admiration—her slender ankles and wrists, her beautiful hair. At work, her colleagues listened for her voice in the hallways. Strangers held doors for her and offered their seats. Bartenders didn’t let her wait when she raised her hand at the counter. She led the kind of city life a teenager in a dying town might recognize from a television show, and want for herself.

Each August she left the city to go to the shore with a man. Often she didn’t know the man very well, but for two weeks they spent their days next to each other on plastic chairs on the sand wearing almost nothing. They read intelligent magazines, sipped fruit-flavored cocktails, rubbed lotion onto each other’s backs, and talked about the delightful weather. Twice each day during those two weeks—once in the morning and once in the afternoon—the woman walked from her plastic chair to the water’s edge. She let the waves lap over her toes but went no farther. At night the woman and man ate dinner at a restaurant. They drank another cocktail, shared a bottle of pink wine, and talked about the weather they hoped for the following day. Then they returned to their hotel room, took off all their clothes, and got into bed.

After these vacations, what the woman remembered most fondly was not the sun, the water on her toes, the cocktails, wine, food, or bed, and certainly not the man, but her walks from the plastic chair to the surf and back. Sometimes she slipped off her shoes while she sat at her desk and imagined that she was once again at the shore. She loved the fact that sand wasn’t anything more than rocks that had crumbled into dust. And she loved that when she walked on sand she sank only a little with each step, before the softness turned to steel under her feet.

• • •

One year, to her surprise, there was no man to go with her to the shore. So she went by herself to sit almost naked on a plastic chair on the sand. At first, she walked twice each day to the surf and back, as she’d always done. But with no one waiting for her in a plastic chair of his own, she began to wander. Soon she circled the beach for an hour at a time. Her mind was clear now that she was alone. As the days passed, she set aside her cocktails, lotion, and intelligent magazines. She realized that since walking on sand was the best part of her vacation, she should do more of the walking, and less of everything else.

The next year she signed up for a hiking tour of the desert near the city where she lived. The sand in this desert wasn’t as pure as the sand at the shore—it was marked by cactuses, boulders, and even the occasional coyote skeleton—but she was happy there was so much of it. Still, the other hikers distracted her with their chatter. She couldn’t keep her mind clear. On the third day of the tour, as she walked behind a man and two women who were talking about musical theater so loudly they were almost shouting, she decided she needed to visit a desert in a foreign country whose language she didn’t know.

A year later she flew to such a country and joined a tour through a desert much larger than the one near the city where she lived. This desert was flat and without shade. It would have been dangerous for tourists to walk under all that sun, so they rode camels instead. The other tourists talked among themselves. They gestured, laughed, and posed for pictures. One man sang arias from beneath a wide-brimmed hat. The animals emitted a terrible stench. Despite all this, the woman passed her first day in a state that was almost tranquil. Because she didn’t understand what the tourists were saying or singing, she found it possible to ignore them. After she sprayed perfume on her scarf, she could forgive her camel its smell. When the group stopped for the night, and while the guides boiled lentils and barbecued a goat, the woman took off her shoes to walk around the campsite. It was only then that she realized she hadn’t yet found the right desert. The sand was full of hidden rocks and even beetles.

For her next vacation, she planned a trip to the biggest desert she could find on the globe she kept on her bookshelf. She arranged for someone to meet her at an airport on the desert’s edge. She stepped out of the plane into a vast but empty terminal. A man in a blue jacket and cap stood waiting with a sign that had her name on it. She followed him to his car. Silently, he drove out of the airport and onto a highway that, within minutes, was empty of traffic. The sun dropped behind them. The land turned red, then black. The woman fell asleep.

She woke up the next morning with the sun in her eyes. They had stopped where the highway stopped, at the foot of a dune that seemed to her as tall as a mountain. The driver, who was already standing outside the car, held the door open. The woman got out, took off her shoes, and began to walk. The sand still held the night’s coolness. It was smoother and softer than any she had stepped on before. She had walked only a few yards from the car when she found herself sinking to her ankles. With each step of her climb she sank deeper. Soon the sand reached her knees. She was halfway up the dune when she realized that this desert—the greatest desert, formed of the purest sand—was an ocean. She hoped to reach the top, and to see it all, before she plunged beneath.


Rav Grewal-Kök’s stories and essays have appeared in the New England Review, Missouri Review, Michigan Quarterly Review, Gulf Coast, Hunger Mountain, online at The White Review, and elsewhere. He was a National Endowment for the Arts fellow in 2016. He is a fiction editor at Fence and lives in Los Angeles, where he is working on a novel.

Featured image from the series “Sick City” by John Brian King.

Publishing, Photography, Literature

Portraits of Spurl

Portraits of Spurl

Andy Adams @FlakPhoto

Andy Adams @FlakPhoto

Kim Cooper @kimcooper / Larry Edmunds Bookshop @LarryEdmunds1

Kim Cooper @kimcooper / Larry Edmunds Bookshop @LarryEdmunds1

Edward Carey @EdwardCarey70 / bought at @MalvernBooksTX

Edward Carey @EdwardCarey70 / bought at @MalvernBooksTX

Naomi Fry @frynaomifry

Naomi Fry @frynaomifry

Stephen Sparks @rs_sparks / Point Reyes Books @PointReyesBooks

Stephen Sparks @rs_sparks / Point Reyes Books @PointReyesBooks

Alex Maslansky / Stories Books @StoriesEchoPark

Alex Maslansky / Stories Books @StoriesEchoPark

Kliph Nesteroff @ClassicShowbiz

Kliph Nesteroff @ClassicShowbiz

Grafiche Morandi

Grafiche Morandi

Clare Kelly @NewAgeSext

Clare Kelly @NewAgeSext

Denise Enck / Empty Mirror @EmptyMirror

Denise Enck / Empty Mirror @EmptyMirror

John Coulthart @johncoulthart

John Coulthart @johncoulthart

Kathleen Graulty and Julian Lucas / Mirrored Society @MirroredSociety

Kathleen Graulty and Julian Lucas / Mirrored Society @MirroredSociety

Small Press Distribution @spdbooks / New Museum @newmuseum

Small Press Distribution @spdbooks / New Museum @newmuseum

John Coulthart @johncoulthart

John Coulthart @johncoulthart

J. M. Schriber @roughghosts

J. M. Schriber @roughghosts

Ed Turner / Biblioklept @biblioklept

Ed Turner / Biblioklept @biblioklept

Thank you to all of the wonderful, sensational artists who have taken part in PORTRAITS OF SPURL, and who are are not ashamed to read and sell our misfit books!

Literature

Some Perspective (Short Story)

Some Perspective

By Ari Braverman

The jet arcs over the plains, carrying the woman toward her family obligation. The closer she gets to her native geography the more raw and receptive she becomes.

Once, years ago, her English teacher said, “If you poke me, do I not squeak?”

It’s like that, the woman thinks, except it’s the world poking, and she’s in public so she can’t make a sound. This is perhaps a side effect of contemporary living: she, a human animal, was never meant to travel so quickly.

Now everything hurts and feels good at the same time.   

The woman interprets the interior of the plane as a vast, communal living room.

Right before takeoff, a young man in a cropped Capote coat had sauntered toward her down the aisle. His khaki-colored hair swept back toward his crown. The passenger drew herself up taller in her seat, prepared to make conversation because his beauty convinced her he was a good person. But he had swung into row seven and the woman walking behind him—effortless, long-limbed, dark, chic even in sweatpants—folded herself into the same compartment. When she pulled a handful of natural hair out of her collar and pushed it over her shoulder, the woman could smell her perfume.

“Yeah, babe, you’re right as per usual,” said this other passenger. “But the point is that I didn’t know that I didn’t know those things. So how could I have done differently?” And she leaned over to kiss the handsome man with her whole mouth.

Hearing an admission of such a human foible from someone so glamorous, the woman decided she adored them both.

Now, twenty-thousand feet over the surface of the earth, instead of reading her book, she watches them cuddle and share a water bottle. From behind, she can almost believe their cheekbones convey a moral message. It is obvious they have money but it doesn’t matter whether it is earned or inherited; their grace remains the same.

After a while they settle down into a single shape, sharing a long gray scarf like a blanket.

With only thirty minutes from touch-down, they still haven’t moved. The passenger retrieves two mandarins from her carry-on, peels and eats them both, feeling furiously, swallowing the seeds.

Back home, she lives with her own lover in a small house on a cul-de-sac. She thinks of his small teeth and predictable sense of humor. Of his reliability and scrotum. Her phone contains a message in which he bids her a safe flight, as though his courtesy could prevent a plane crash.

Still staring at the couple in row seven, the passenger considers that such a finale might be the best way to go. The least-lonely option. A surge of filial adoration warms the inside of her body. She thinks about the community the three of them might make among themselves, if only they knew she was there, behind them, brimming with love. She imagines touching their bodies as the plane tumbles out of its trajectory, the imminence of death obliterating the personal boundaries that have always disappointed her.

She’d tell them: “I very much believe in God, but only when things are going bad for me,” and afterward her heart would be light. Her new companions would nod silently, thrust beyond language by the extremity of their situation, grateful for her honesty. The woman might smooth the hair away from her temples, or push a tear away from the bridge of her nose. She thinks of their arms around her amidst all the noise, the rushing air, the alarms, the nausea, the crying, the ugliness in everyone’s face.

Her row-mate, a fat person whose elbow has colonized the armrest for an hour, does not factor into this fantasy because it is erotic.

The peels have become sticky in the passenger’s fist but she can’t drop them onto the floor and won’t allow herself to hide them in the chair pocket at her knees. The barf-bag is long gone; she needs a trashcan.

She decides to take her refuse to the bathroom in order to walk past the couple, up and down the aisle, to force them, gently, to contend with her presence as she has contended with theirs. A tiny reckoning. To know for certain if she could ever belong to their little family, if only for the duration of the crash.

Standing, though, she can see their eyes are closed. She sits back down.

Looking out the porthole window, the passenger believes she can comprehend the vastness of the North American continent. Frontage roads parcel the winter farmland into squares, where thicker lines indicate an occasional highway, all of it bound by a single unknown county.

When she looks up again, the couple in row seven has shifted positions and she can see their hands again. The man’s wedding ring—big, custom-made—glitters in the overhead light. The passenger takes a photograph of it on her phone.

The voice, when it comes to her, resonates with the round tones of her own heritage.

“Cute, aren’t they?” he says.

“I’m sorry?”

“It’s nice, right? Seeing a happy couple. It’s a rare thing, anymore.”

“What?”

“Would you like something to drink? Coffee, tea, pop?” This final word strikes her. She wants to laugh until her jaw falls off. Pop. Pop!

“I have these.” Her voice cracks and she shows the flight attendant her sticky handful.

“I’m sorry, hon, I’m only doing beverage service right now,” he says. Wrinkles frame his mouth and deepen when he smiles. The skin along his jaw looks loose, like her mother’s. Is he laughing at her? She wants to touch his hand, explain herself and the photo, but says instead “Well I’ll probably be here when you come back.”


Ari Braverman is from Iowa City and Denver by way of New Orleans. She was awarded a 2015 De Alba Fellowship from Columbia University, was a semi-finalist in the 2016 American Short(er) Fiction Contest, and was nominated for a 2016 Pushcart Prize. Some of her recent stories have appeared in BOMB, in the newest issue of Tammy Journal and at SmokeLong Quarterly. She is an assistant editor for Conjunctions and lives in Harlem, New York.

Literature, Publishing

Two Reviews of Michel Leiris

Two Reviews of Nights as Day, Days as Night
By Michel Leiris

In her article titledNocturnal Disturbances in Diabolique Magazine, Samm Deighan gave Nights as Day, Days as Night a fascinating (rave!) review. 

A book that largely resists classification, this is a combination of surrealist autobiography (literally, in the sense that is was written by a leading Surrealist and figuratively in the sense that it is predictably and wonderful surreal), prose poem (which is how translator Richard Sieburth refers to it), and dream journal. Anyone who has a fascination with the Surrealists or 20th century Paris will find much to love and the work’s appealing strangeness certainly lingers in the memory — I can’t stop thinking about it.
Spurl’s new volume captures the poetry, absurdity, and beauty of Leiris’s book thanks to a translation from Richard Sieburth. A comparative literature professor at New York University, Sieburth specializes in writing about and translating German and French literature; perhaps I’m biased, because he has translated a number of some of my favorite authors, from Walter Benjamin and Georg Büchner to Henri Michaux, as well as Nerval, and I suspect his knowledge of the latter assisted him here. Regardless, he does Leiris proud.

And in The Pepys of Sleep (in Strange Flowers), Berlin-based writer/translator James Conway talks about dreams and literature; Michel Leiris, Raymond Roussel, and André Breton; and the real-life dream of an Italian game show. A highly recommended read.

As language rests from its customary labours, Leiris takes words apart, comparing them, rearranging them, rousing the associative logic slumbering in their syllables.

You can also read an excerpt from Nights as Day, Days as Night online at The Brooklyn Rail. 

Literature

Lost De Quinceyean Dreams (Prose Poems)

Lost De Quinceyean Dreams

By Matt Schumacher

Illustration by Zhenya Gay of Thomas de Quincey’s Confessions of an English Opium-Eater

Illustration by Zhenya Gay of Thomas de Quincey’s Confessions of an English Opium-Eater

LOST DE QUINCEYEAN DREAM NUMBER ONE

The 1821 revised Confessions were to contain “the crowning grace” of twenty to twenty-five dreams, but nearly all these prose poems were burned or lost. In one of these, De Quincey’s nightmare exiles him to a solemn, ruinous city.  Gargoyles guard its arched entrance, inscribed with a slogan from Ovid: Dolor Ipse Disertum Fecerat. The streets abandoned save for the sense no one lives here. Just when he’s sure no one’s about, a pallid gaunt man in a top hat and long black trenchcoat hurries out a small door and proceeds briskly toward the poet with pure purpose. The pale stranger nears, gray eyes staring maliciously into De Quincey’s. Then, like opiumsmoke, walks right through him.

A SECOND LOST DE QUINCEYEAN DREAM

Le flâneur magnifique, De Quincey dreams that, while walking down Parisian streets, he’s truly gliding backwards. The dream soon has him rushing faster in reverse, then flying head over heels, sire of some cyclonic gyre, flown down and swallowed by a south pole Symmes Hole, tumbling into hollow earth. Shivering high diver into stalictite caverns. Traveler, his sieve-like vessel leaking flames on subterranean rivers of fire. He wakes in the tower of Remedios Vara’s painting Embroidering the Earth’s Mantle. It’s frightening to be suddenly blinded by the glare of his threadbare suit, an incandescent gold. To see his shirtsleeves, now lava flows. His coattails fulgurite. And what a hat! An ash cloud plume, rising from the brim to sublime heights of cumulus. The crown stitched here and there with lightning.

LOST DE QUINCEYEAN DREAM NUMBER THREE

De Quincey dreams of sleeping cities long before electricity exists, cities whose steeples truly knew the moon. Cities seemingly deeply asleep, save for a scant lantern swaying down an alley, or a single flickering, candlelit room. He dreams of sleeping cities, silent cities which won’t let a rustle, not one whisper, slip. Not one hum from Northumbrian lowlands. With closed eyes like locked apothecary doors. A flock of insomniacs resume their posts as woe’s own nightwatchmen. He dreams of passengers restlessly sleeping on trains, perturbed, yet failing to complain, keeping to themselves. He dreams of sleep deprivation’s selling its last estate, sits betwixt narcoleptic auctioneer and hypnogogue who, drifting off, forgets to bid. Cities slide by in shimmering nightclothes, slow Barcelonas, languid Madrids, embark in darkness’s black fabric. De Quincey dreams of new dreams silently settling in, like a scarlet ibis retires to its nest. Strange visions dilate strange eyes, open the white flower of so many nightblooming minds beneath so many thousand eyelids.

THE FIFTEENTH LOST DE QUINCEYEAN DREAM

He dreams he’s a jockey galloping ahead of all of the other thoroughbreds on a steed named Celestial Hallucination, one of hundreds of horses the Zetas race in the United States to launder millions in fiendish proceeds. The horse gallops faster and faster, murdering the competition, then leaps steeplechase-style over the track and fence, metamorphosing beneath De Quincey into a manyheaded beast. Sudden heads of sabertoothed tigers and tyrannosaurus rex crane their necks to salivate on him. Their gleaming teeth can’t quite reach him. Burying his face in its mane, he grips the chimera tighter. Glancing down, he sees his legs and arms have fused into the beast. His limbs belong to the wild scaffolding and bellows of its wings, hot and loud as a jet engine, part of this monstrosity flying higher into the air, this thing shapeshifting all the while with fangs gaping, slavering jaws wide, soaring somewhere in the stratosphere, trying to eat him alive.

From Matt Schumacher’s unpublished collection A Missing Suspiria de Profundis


Matt Schumacher's collections of poetry include Spilling the Moon, The Fire Diaries, Ghost Town Odes, and favorite maritime drinking songs of the miraculous alcoholics. Managing editor of the journal Phantom Drift, he lives in Portland, Oregon.

Literature

The Fall (Short Story)

The Fall

By Virgilio Piñera

We had scaled the three-thousand-foot mountain. Not to bury a capsule there at the peak, nor to raise the flag of the bold alpine climbers. After a few minutes, we began the descent. My companion followed me, bound, as is usual in these situations, by the same rope that ringed my waist. I figure we had descended exactly ninety-eight feet when one of my companion’s cleated boots glanced off a rock, causing him to lose his balance and somersault ahead of me. Since the rope wound between my legs, it jerked me hard, and to avoid being tossed over the edge, I had to twist around backwards. He, in turn, directed his fall to the spot I had just occupied. His decision was neither ridiculous nor absurd; on the contrary, he was responding to a profound understanding of those situations still unlisted in the manuals. The force of his movement caused a slight adjustment, and I suddenly saw my companion passing like a meteorite between my legs, and then the jolt from the rope—fastened, as I mentioned, to his back—turned me around into my original position of descent. He, undoubtedly obeying the same physical laws as I, and having traveled the distance permitted by the rope, was flipped over backwards, which naturally brought us face to face. We didn’t say a word, but both of us knew that the headlong fall was inevitable. And so it happened that, after an indefinite period of time, we began to fall. Because my sole concern was to avoid losing my eyes, I put all my effort into preserving them from the terrible effects of the fall. As for my companion, his only worry was that his beautiful beard—colored an admirable gray like gothic glass—reach the plain intact, not even slightly dusty. So, with utmost determination, I covered the bearded portion of his face with my hands; he, in turn, placed his hands over my eyes. Our velocity was increasing by the second, as is required in these cases of bodies falling through space. Suddenly, I looked through the slight spaces between his fingers and saw a sharp rock raze the top of his head. Suddenly, I had to turn my own head to confirm that my legs had been separated from my torso by a rock, possibly of calcareous origin, whose serrated edge severed anything that came against it with the perfection of a saw used in the construction of ocean liners. With some effort, it is only fair to admit, we were saving my companion, his beautiful beard, and me, my eyes. It is true that now and then—every fifty feet or so, as I calculate it—a part of our bodies would be separated from us. For example, during five such intervals, we lost my companion, his left ear, his right elbow, a leg (I don’t remember which), his testicles, and his nose; I, the upper part of my thorax, my spinal cord, my left eyebrow, my left ear, and my jugular vein. But this is nothing compared to what followed. A thousand feet above the plain, all we had left respectively was the following: my companion, his two hands (only to the carpal bones) and his beautiful gray beard; I, my two hands (also only to the carpus) and my eyes. A slight fear began to possess us. What if our hands were torn away by another boulder? We kept falling. Approximately ten feet above the plain, a pole left out by a worker capriciously caught the hands of my companion. Seeing my orphaned eyes left totally unprotected, I must confess with eternal, unforgettable shame, I withdrew my hands from his beautiful gray beard to protect my eyes from any impact. I was unable to cover them, for my hands were immediately caught in the same fashion by another pole pointing in a different direction from the aforementioned pole, at which point we were separated from each other for the first time during the entire descent. But I couldn’t complain; my eyes landed safe and sound on the grassy plain and could see, a little ways off, the beautiful gray beard of my companion, shining in all its glory.

1944


This story is an excerpt from Cold Tales, by Virgilio Piñera, translated by Mark Schafer.

Virgilio Piñera (August 4, 1912, Cárdenas, Cuba—October 18, 1979, Havana) was a playwright, short-story writer, poet, and essayist who became famous for his work as well as for his highly bohemian lifestyle. His best collections are Cuentos Fríos (1956, Cold Tales) and Pequeñas maniobras (1963, Little Maneuvers). Piñera’s stories blend the fantastic with the grotesque, with touches of paranoia, and even with madness. [via Britannica

Mark Schafer has translated poetry, novels, short stories, and essays by many Latin American authors, including Alberto Ruy Sánchez, Virgilio Piñera, Jesús Gardea, Antonio José Ponte, and Sonia Rivera-Valdés.

Featured image from the series “Sick City” by John Brian King.

Literature, Publishing

Amsterdam, 1900 (Essay)

Amsterdam, 1900: Guided by Monsieur de Bougrelon

By Sander Bink

This essay first appeared in Dutch at rond1900.nl.

In a decadent villa in Amsterdam North, on our crowded desk at the rond1900 offices, for a while a nice little book was waiting for us to review: Monsieur de Bougrelon by Jean Lorrain, for the first time in English translation. You, the well-read Decadent, of course already know of this gem of a novella, which was first published in 1897 and is set in fin-de-siècle Amsterdam. If you are a good Decadent you have read it in the original French in a first or early edition, or otherwise you might have read it in the 1978 Dutch translation Denkbeeldige genietingen (Imaginary Pleasures). Although this translation by Jeanne Holierhoek is, as far as we can judge, quite good, it was still made some forty years ago and a new translator might do it just a little differently today, thus keeping the text alive for a new generation of readers. Unfortunately in our small country it seems to be quite uncommon to translate classic French Decadent writers, let alone translate one of their texts anew. Dutch literary publishers seem to have very little interest in the French Decadents in general, despite their lasting modernity and literary value.

So we recommend that you buy this recent edition by the delightful new independent publisher Spurl, to keep your Lorrain collection up to date but also because it is a good-looking book and the modern translation keeps the text fresh and sparkling. Their site also links to the justly unanimous rave reviews of Bougrelon, which contains a detailed afterword by the translator Eva Richter.

And since quite useless details are our specialty here at rond1900, we wish to add something to that already-quite-interesting afterword. As you might know, Lorrain is one of our favorite writers, whom we wrote about earlier. But the reason for this review’s delay is that we wanted to tell you all about Lorrain’s stay in Amsterdam and to what extent he fictionalized this experience in his novella. That Lorrain visited Amsterdam in 1896, together with Octave Uzanne, is a fact, but we would like to know in which hotel he stayed, with whom he had contact, which places he visited exactly. Did he, for example, visit our decadent Amsterdam North? In Bougrelon the North Holland Canal is mentioned, as well as Monnikendam, and did Lorrain himself visit the nowadays-very-hip Tolhuistuin, which is mentioned in Chapter Six? That would be a nice literary coincidence, as about the same time Gerard van Hulzen immortalized this location.

That Lorrain must have at least had some Dutch connections we hope to have shown in a previous article about Wilde’s favorite painter Leonard Sarluis for The Oscholars (no direct link available). Lorrain was part of a Dutch-French social circle that must have included Alfred Jarry, Carel de Nerée, Antoon van Welie, Louis Couperus, and Sarluis. Unfortunately we have not found any documents or letters that could have shed more light on Lorrain’s stay in Amsterdam and his possible (literary) connections there. Some of his stories were translated for the avant-garde periodical De Kroniek, so he was possibly in touch with main editor P. L. Tak.

But we did find, thanks to the digitized historical newspapers, a very curious case of the reception of Jean Lorrain in the Netherlands. In or around 1900, Van Holkema and Warendorf published an Illustrated Guide to Amsterdam and Environs. Its anonymous author appears to have been a great fan of Monsieur de Bougrelon but deems it necessary to introduce the work to his readers, as apparently it was not that well-known.

This guidebook, nowadays a rare book itself, is one of the earliest Dutch mentions of Lorrain’s masterpiece. Maybe even the very first, but regardless it is the most extensive mention.

In Chapter Nine the author takes the liberty of borrowing Lorrain’s character to guide the reader to some of Amsterdam’s hot spots, like Kalverstraat and Buffa the art dealer’s gallery. It makes for some interesting and amusing reading. For your reading pleasure, we here translate and quote the first part of that chapter. The entire book can be read (in Dutch) here.


Illustrated Guide to Amsterdam and Environs

Chapter Nine

Walks through Amsterdam
Guided by Monsieur de Bougrelon.

Do you happen to know the hero of the amusing little book that Jean Lorrain wrote about Amsterdam and which bears its hero’s name as the title, Monsieur de Bougrelon?

As I look at you, rows of national tourists seeking joy as well as comfort, who each year set out to see the world’s eighth wonder, which is to be found in the world’s ninth – our great capital, right? – and if I would browse through your city bags, purses, suitcases, florid valises, travel baskets, German baskets, coffrets, sacks, pompadours, satchels, and bahuts with the curiosity of a landlady looking through the belongings of a new tenant who is already a month behind on the rent, then I would probably find a copy of Warendorf’s Travel Library, which you have been reading as compensation for the monotony of the journey, or an illustrated magazine like Die Woche, but I won’t even find mention of Monsieur de Bougrelon’s name in the newspaper that is wrapped around your “sandwich for the road,” a sandwich that is a symbol of the tenderness of a mother, sister, wife or girl, but which is nevertheless doomed to never reach its destination.

The “sandwich for the road” has become like the Chinese man’s prayer, which keeps existing but has no more meaning. Like the tragic remains of ancient times, of carriages and track boats, it has survived, a gray old man with a wrinkled face, a stranger amid modern comfort and modern luxury. The “E pluribus unum” of each station has become an epitaph for that “sandwich for the road,” as Amsterdam offers so many opportunities for one to refresh oneself well and at little expense that you are right to offer it to the boy who sells you The Nieuwe Rotterdamsche, Weekblad, Telegraaf, and Handelsblad, thus stopping his vocal trumpet. You are right to rush to a restaurant as soon as you arrive. Well, no, you are not right: why would you want to do that without our great friend, Monsieur de Bougrelon?

Look at him standing there in his long fitted frock coat, a large top hat bought at Meeuwsen’s Hat Shop rather crooked on his head, a truncheon-like walking stick in his hand, a pretty scarf tied around the most gracious of collars, a pair of Dent’s gloves from Mr. Sinemus’s store on Leidsestraat, and with a face you swear you have seen someplace before.

He already took hold of us, already joined us, already introduced himself, already pointed out the way around the tunnels of the Central Station to us, which is built too high, as compared to the museum, which is built too low.

Monsieur de Bougrelon, placing his walking stick with force into the ground that comes from the seas, leads the way to the Hotel Van Gelder on Damrak. This is quite a suitable place for you to stay, as your fellow Dutchmen possess three characteristics that make them excellent for hotels: they are solid, simple, and tidy. Look here, does not everything shine brightly? Look at this glassware, washed the way it should be, with a cold bath afterward, to get the pure lucidity that reminds one of jewelry. Ah, decency is the sister of tidiness! Really, you could swipe a finger underneath the cabinet and the bed and then swipe it on the white sheets without sullying them.

Rising already, Bougrelon glances at a large collection of bottles of “Kaiserbrunnen,” the most excellent of mineral waters, which had just arrived at the hotel again, and then you are obliged to follow him down Damrak, across Dam Square to Kalverstraat while he unfortunately only verbally burns down the new Stock Exchange and lavishes praise on the Royal Palace, whose silvery chimes ring out above the head of the lonely virgin who, he thinks, has done wisely by turning her back to all the ugliness that is behind her.

“The aorta of the city,” he says, “this Kalverstraat, which is only narrow so that no modern electrical tram shall disfigure it with its rows of gallows, whereupon beauty has been hung by executioners. We do not need a tram in this street. One walks through it like one walks through a beautiful and interesting book, and it is over before you realize it.”

Monsieur de Bougrelon suddenly stops in front of one of the big plate-glass windows of a stately house with a high façade.

“Beauty originates in the south. Here you are standing in front of the art trader Buffa’s gallery, one of the great attractions of your capital. The De Medicis brought the fine arts from Italy into my beloved France. But the Italians traveled farther north and it is the Lurascos, the Cossas, the Grisantis, the Boggias, the Valciollas, and the Buffas who brought art to your ancestors at the beginning of the nineteenth century, which was badly deteriorated by then. The Buffa brothers originally traveled to fun fairs with their etchings. The Venice of the North appealed to them and they settled here, on the Weesper Square, right near the Amstel. The sons expanded their father’s business and soon Buffa and Sons was of eminent importance in Amsterdam.

In 1836 the firm came into the hands of another son of the land of Dante and Petrarch, Mr. Caramelli, and today Mr. J. Slagmulder and Mr. P. J. Zúrcher are the owners of this booming art gallery, built across three houses on Kalverstraat.

“But you need not stand outside merely looking at the windows displays, although there is plenty of beauty to find there already. The rooms inside are free for anyone to enter and give an overview of the most beautiful and best Dutch painters, old and young, and more; beside the Israelsen, Marissen, Mesdags, Voermans, Witsens, and Mauves, you will see Daubignys, Montecellis, Daumiers, Henners, Ziems, Decamps, Millets.

“Quite often, when my old heart longs for the art-loving shores of the Seine, in whose wide stream the Louvre is reflected, I wander in front of this sanctuary of the arts and never do I leave unconsoled.”

(pp. 143-146)


Sander Bink is a Dutch scholar on fin-de-siècle art and literature, specializing in Decadence and Symbolism. He is the main contributor to rond1900.nl. He is currently working on a full biography of the Dutch Symbolist/Decadent artist Carel de Nerée (1880-1909).

To read more by Sander Bink, check out his articles on Jean Lorrain, Gerard Van Hulzen, and Jean Lorrain in the Netherlands in Dutch, as well as his piece on Carel de Nerée and Oscar Wilde in English.

Literature, Publishing

French Writers We Love (Art by Félix Vallotton)

Thank you for making 2016 a very decadent year for us!

We released Jean Lorrain’s fever dream of a novella, Monsieur de Bougrelon
“A singular and intoxicating experience” – James Conway
Barbara Payton’s absurdist, seedy memoir I Am Not Ashamed
“A dime store (in the best sense of the term) Notes from Underground – the bellowing of the underground woman” – Kim Morgan
And John Brian King’s arresting second photography collection Nude Reagan
“Both a grotesque imposition and an ugly seduction” – Moze Halperin

And in March 2017, we will publish a brilliant work by French God-of-letters Michel Leiris:
Nights as Day, Days as Night
Translated by Richard Sieburth, with a foreword by Maurice Blanchot

See you in 2017!


Authors pictured from left to right, top to bottom: Comte de Lautréamont, Alfred Jarry, Auguste Villiers de l'Isle-Adam, Félix Féneon; Jean Lorrain (the man himself), Joris-Karl Huysmans, Rachilde, Jules and Edmond de Goncourt; Pierre Louÿs, Stendhal, Honoré de Balzac, artist Félix Vallotton. – Illustrations by Félix Vallotton (1865–1925). 

Literature

The Autopsy (Short Story)

The Autopsy

by Georg Heym

The dead man lay alone and naked on a white table in the big room, in the oppressive whiteness, the cruel sobriety of the operating theatre, where the cries of endless torments still seemed to tremble.

The midday sun covered him, and awakened the death-spots on his forehead; it conjured a bright green out of his naked belly and blew it up like a big water-bag.

His body was like a giant shimmering calyx, a mysterious plant from the Indian jungles, which someone had nervously laid at the altar of death.

Splendid red and blue colours grew along his loins, and in the heat the big wound under his navel slowly split like a furrow, releasing a terrible odour.

The doctors came in. Two friendly men in white coats with duelling scars and golden pince-nez.

They approached the dead man, and looked him over with interest, talking in scientific terms.

The took their dissecting equipment out of the white cupboards, white boxes full of hammers, bone-saws with strong teeth, files, gruesome batteries of forceps, small sets of giant needles like crooked vultures’ beaks forever screaming for flesh.

The began their ghastly handiwork, looking like fearsome torturers, with blood streaming over their hands. They delved ever deeper into the cold corpse, and brought forth its inside like white cooks disembowelling a goose.

The intestines wound around their arms, greenish-yellow snakes, and the excrement dripped onto their coats, a warm, foul fluid. They punctured the bladder; the cold urine shimmered inside like yellow wine. They poured it into large bowls; it had a sharp, biting stench like ammonia.

But the dead man slept. He patiently allowed himself to be torn at and pulled about by the hair, this way and that; he slept.

And while the hammer-blows rang down on his head, a dream awakened in him, a remnant of love which shone into his light like a torch.

Outside the big window, a great wide sky opened up, filled with little clouds swimming in light in the stillness of the afternoon, like small white gods. And the swallows circled high above in the blue, shimmering in the warm July sun.

The black blood of death ran over the blue decay of his forehead. It evaporated in the heat into a horrible cloud, and the dissolution of death crawled with its gaudy claws all over him. His skin began to fall apart. His belly grew as white as that of an eel under the greedy fingers of the doctors who dipped their arms elbow-deep in his wet flesh.

Decay pulled the dead man’s mouth apart, he seemed to be smiling; he was dreaming of a glorious star, a sweet-smelling summer evening. His decomposing lips trembled, as if touched by a fleeting kiss.

“How I love you! I have loved you so much. Shall I tell you how I love you? As you moved through the fields of poppies, yourself a flame-red fragrant poppy, the whole evening was swallowed up in you. And your dress, which billowed around your ankles, was like a wave of fire in the setting sun. But your head bent in the light, and your hair was still burning and flaming from all my kisses.

“So you went on your way, turning all the time to look at me. And the lantern swayed in your hand like a glowing rose far off into the twilight.

“I shall see you again tomorrow. Here under the chapel window, here where the candlelight falls from within, turning your hair into a golden wood, here where the narcissi brush your ankles like delicate kisses.

“I shall see you again every evening at twilight. We shall never leave each other. How I love you! Shall I tell you how I love you?”

And the dead man trembled softly with happiness on his white table, while the iron chisels in the doctors’ hands broke open his temples.


This story is an excerpt from The Thief and Other Stories, by Georg Heym.

Georg Heym (1887–1912) was the son of a Prussian military lawyer and rebelled against his conservative family to become one of the outstanding poets of the Expressionist generation in Germany. His first volume of poetry, Der ewige Tag, was published in 1911 to great acclaim. In January 1912 Georg Heym drowned when he fell through the ice while skating on the Havel river in Berlin.

Susan Bennett is a freelance filmmaker, writer, and translator.

Literature, Publishing

A Dandy in Aspic: Review of “Monsieur de Bougrelon”

Contemporary caricature of Jules Amédée Barbey d’Aurevilly by “L’Héritier” (Romain Thomas)

Contemporary caricature of Jules Amédée Barbey d’Aurevilly by “L’Héritier” (Romain Thomas)

Head on over to STRANGE FLOWERS for James J. Conway’s remarkable writing on the most “eccentric, extravagant and extraordinary” personalities of the last 200 years. One of these extravagant dandies is Jean Lorrain, author of Monsieur de Bougrelon. Conway has written about Lorrain before, and his review of Spurl’s forthcoming translation is both insightful and entertaining:

But as his siècle hastened to its fin, Lorrain wasn’t going to cede the floor before offering a minor (and perhaps not even that minor) masterpiece: Monsieur de Bougrelon.
Monsieur de Bougrelon is the original dandy in aspic. Lorrain’s book is an archive that arrests life at its moment of greatest beauty, preserved in vitrines, suspended in solutions, arrayed in filigree caskets like saintly femurs and the many foreskins of Christ.
It is a reliquary, in other words, and this is precisely the term that the astute Rachilde, loyal companion to Lorrain and fellow adherent of Barbey d’Aurevilly, applied to Monsieur de Bougrelon. The Decadent’s very vocabulary is a collection of lexical curios, recherché jewels here lovingly transferred to an English setting.
It’s a singular and intoxicating experience that ends all too soon. When the ‘old puppet’ departs the stage, you may well elect, as I did, to leaf straight back to the Café Manchester and wait for his silhouette to fill the doorway once more.

And of course we love this sentiment about our books: “These prose works come with the thick black frame of a cigarette health warning or Sicilian funeral notice.

“Caveat lector.”

Monsieur de Bougrelon by Jean Lorrain
$14.00

Trade paperback, 128 pages. ISBN: 9781943679034.

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Publishing, Literature, Photography

Gifts from Spurl Editions

Get excited, because now you can show the world how refined your taste is in literature while looking stunning at the same time! Our store features a screen-printed tote bag so that you can carry your books to the French château you live in with panache, and an I AM NOT ASHAMED t-shirt that will quickly take over as your one true vestiary love.

I Am Not Ashamed T-shirt
$18.00

This glamorous unisex t-shirt from Spurl Editions features the cover of Barbara Payton’s I Am Not Ashamed on the front, and the Spurl logo on the back. It was screen-printed locally by Windmill City Screen Printing on Next Level-brand shirts. Wear this shirt, and announce to the world: YOU ARE NOT ASHAMED.

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This tote bag from Spurl Editions features a quote from Jean Lorrain’s Monsieur de Bougrelon on one side, and the Spurl logo on the other side. It was screen-printed locally by Windmill City Screen Printing. Carry this bag and announce to the world that you are a DECADENT MARVEL.

I am an idea in an era that has no more of them.

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Literature

The Seven Madmen (review)

The Seven Madmen, by Roberto Arlt

a review by Matthew Spencer

Now might be a good time to talk about Roberto Arlt. New York Review of Books recently published a translation of the Argentine’s second novel, The Seven Madmen, giving present-day students of the confidence game a rich source for comparative historical analysis.

Bamboozle an entire nation: that’s the mission Remo Erdosain (cuckold, small-time embezzler) sets for himself. The scheme proceeds by its own tortured logic. First, Erdosain must kidnap his wife’s cousin, Gregorio Barsut, and extort his life savings from him. Then, with the money as a seed investment, Erdosain will found a secret society under the direction of a man named The Astrologer, his patron and confidant.

Like many of the novel’s characters, The Astrologer simply appears in the narrative, with no other introduction than an epithet. His relationship to Erdosain is obscure. He lives at a weekend ranch on the outskirts of Buenos Aires, meeting with fellow charlatans and reactionaries. He occasionally does an astrological chart. For whom? That goes unsaid. Arlt’s characters do what they do without any apparent motivation but the will to power.

As Julio Cortázar points out in his introduction, the parallels between the author and his creation are salient. Born to an immigrant family in the slums of Buenos Aires, Arlt lived a life radically removed from mandarin contemporaries like Silvina Ocampo or Jorge Luis Borges. Without critical acclaim, inherited wealth, or a government sinecure, he struggled his whole life to achieve financial stability and the esteem of others.

Failure is palpable from the first sentence: “As soon as he opened the frosted glass door to the manager’s office, Remo Erdosain wanted to turn back; he realised he was a lost man, but it was too late.” Today, someone might use the term “radical vulnerability” to describe the near-constant soul baring that happens in The Seven Madmen. But the world Erdosain lives in has no reward for weakness. It crushes it, without pity. One can reasonably assume this was the case for Arlt as well.

In an early chapter, as Erdosain’s wife is about to leave him for her lover, Erdosain describes how his father instilled a lifelong sense of humiliation in him.

“When I was ten and I had done something wrong, he would say to me: ‘tomorrow I’m going to thrash you.’ That’s what he always said: ‘tomorrow.’ What d’you think of that? Tomorrow…so that night I would sleep awfully, like a sick dog, waking at midnight and staring fitfully at the window to see if it was already day, but when I saw the moon clipping the transom I would force my eyes shut, and tell myself ‘there’s a long time to go yet.’”

The omnipresence of failure seems to be drawn from Arlt’s own life. Finding little success in literary ventures, Arlt sought, like his creation, to make his fortune by patenting different inventions. When he died of a heart attack, at age 42, Arlt was working on a formula for run-free women’s stockings.

The novelist’s life as a part-time crank shows up again and again in The Seven Madmen. Erdosain has a scheme to make money by coating flowers with galvanized metal. He enlists a poor family to manufacture these tchotchkes, fully aware that they will probably lose everything for believing in him. As the novel closes, Erdosain visits them at their shack on the outskirts of Buenos Aires. He reacts with disgust at their state—the father Eustaquio is deaf and dying of tuberculosis, the daughter Luciana is in love with the feckless inventor. “I hope they all croak and leave me in peace,” Erdosain says to himself.

None of the conspirators really believes in what they are doing. Yet all are confident that events will play in their favor, perversely upending the famous dictum of Marxist politician and intellectual Antonio Gramsci: “pessimism of the intellect, optimism of the will.” This shared delusion is the glue that holds Erdosain’s would be revolutionary cell together. Each member believes that he stands to gain more than the man sitting next to him. In the end, little is accomplished except for a kind of collective self-mugging.

Does it need to be said that this novel, written in 1929, presaged a great deal? Only a year later, a coup d’état was staged against the President of Argentina, Hipólito Yrigoyen, ushering in what came to be known as the Infamous Decade: years of violence, corruption, and economic crisis. This is to say nothing of Fascism and the horrors of the Second World War. Now, with almost ninety years of history behind the novel, a reader can see the rise of demagogic movements through its oracular lens. But this is a stupid way to think about Arlt’s work.

The Seven Madmen succeeds precisely because it cannot offer the illusions of moral clarity that hindsight gives us. The narrative is just as constrained as its characters, just as subject to the same impersonal forces. Erdosain is benighted and Arlt forces us to live in the dark with him. Now, when moral righteousness is both the substance and currency of cultural politics, Art’s novel inspires empathy and contempt in equal measure, understanding and rejection, a feat that seems beyond the ken of today’s politically engaged writers.


Matthew Spencer is a writer and visual arts curator based in Seattle, Washington.

Literature

Oh Serafina! A Fable of Ecology, Lunacy, and Love (Fiction)

Excerpt from Oh Serafina!

by Giuseppe Berto

translated by Gregory Conti

From CHAPTER THE FOURTH

In which, as Signora Palmira
remains rather frustrated,
another character leaves us.

He left, as is only natural, for his wedding journey. He had told the bride that, for their honeymoon, they would be going to the city of the Saint, and she had asked him if by chance he was referring to Padua, the city of Saint Anthony, which she had never seen but which she didn’t have much desire to see, and he had replied that it wasn’t Padua, and so she, a bit audaciously, had thought of San Remo, where at that very time they would be holding the Song Festival that ever since she was a little girl she had watched on TV, all three nights, before some obscure oversight committee had imposed on an entire country to do without two of the three. There, she thought, her strange and in many ways gloomy husband, by taking her to San Remo for the Festival, was fighting the arrogant callousness of people who, their own hearts having hardened, wanted everyone else’s to harden too. Fascists, Palmira called them, even though now, by matrimony and wealth, she was no longer a proletarian.

But, instead of San Remo, the city of the popular songs, Signora Palmira came to find herself in the city of Saint Francis of the downtrodden, Assisi, where, shit, there was a festival of sacred music going on.

However, it wasn’t for the sacred music that Augustus the Second had made the long journey to a place that was, all in all, out of the way, nor for the olive trees that “made the slopes pallid and smiling with sanctity,” nor for the clear sky and breathable air. He had pushed himself all the way there for the sole purpose of admiring, in person and up close, the famous painting by Giotto whose photographic reproduction he had hung in the Administration, on the wall opposite his desk.

Indeed, upon their arrival in the town so sweetly perched on its hills, Augustus the Second, even before going to drop their bags at the “Sister Moon” pension, where he had reserved a double room with bath, ran, holding his recent bride by the hand, to steal his way into the Upper Basilica, where he effortlessly discovered his painting. Nobody had ever told him so, but he knew that it was right there where indeed it was.

He stood before it, immediately fascinated, but then also a bit amazed and bewildered, not so much because of the extraordinary nature of the deed represented, for to him there was nothing extraordinary about it, but rather because, voila!, through the art of a consummate painter, something so fundamentally normal as chatting with a few songbirds was portrayed as sacred, or even miraculous, and in the end he felt, not without trepidation, caught up in the sacredness. And as this sort of spiritual uplift pervaded him, he kept on holding his recent bride by the hand, maybe out of distraction, or maybe because unconsciously he was hoping that even she, perhaps helped in some way by the flux of emotion that he himself was undoubtedly emanating, would rise to the sphere of superior perception and supernatural relation that we are accustomed to calling mysticism. But Signora Palmira, on account of her nature and constitution, was not cut out for such celestial journeys, and anyway the thing couldn’t even get off the ground due to the intervention of a humble Franciscan friar who came to say, so the lady was dressed in a way that was a bit too revealing, fine; so instead of praying she was constantly working her chewing gum, fine; but the transistor radio, crackling with the silly songs of that profane festival, had better be turned off.

“If that’s the way it is, we’ll go outside,” replied Palmira, full of decorum, and she put the accent on “we” so the little friar would understand that she would also be depriving the cult of Saint Francis of her husband who, if he had married her without so much as discussing it, must be the kind of jerk who did everything other people wanted him to do.

But her husband, without taking his eyes off of the sacred painting, replied, “You go outside, and don’t break my balls.”

Signora Palmira looked at him, at first incredulous but then very quickly indignant, hating him more than she had hated him up to that moment, because she could see perfectly well that the jerk would not be moved. So she stiffened her back and, still working her gum and listening to the radio, went out to the square in front of the church where, little by little, her anger waning but her self-pity waxing, she began to think that their marriage, which she had firmly desired not to say plotted for, might actually be a calamity if the man she married, instead of taking her to the San Remo Festival, had brought her to this place for losers that made her feel so sad.

Eight days they stayed in Assisi, and she never again set foot in the Basilica, where that friar had treated her so discourteously. She stayed in bed with her trusty radio and her thoughts, or, still listening to the radio but with fewer bad thoughts, she would go sit in the sun at a table in some outdoor café.

He, on the other hand, outfitted with a hunting stool he had bought for himself, spent the whole day, until the light grew too dim, sitting in front of his fresco, apparently a dullard but actually searching, although confusedly and at bottom without a lot of torment, a more uplifting justification for having found himself in the world talking to birds. Who knows, maybe he would have managed to find that more uplifting justification, or rather, in plain words, he might at least have gotten closer to his own state of holiness, but for the fact that in him, as in any other being, but in a form certainly more exalted and distinct, there was both good and evil, the wolf and the little boy, so that, after all that daytime uplift, when darkness fell, in a sort of schizophrenic dichotomy, he was overcome with lust and wantonness. So, in the double-room with bath at the pension “Sister Moon,” he threw himself like a mad man on the body of his bride.

He relished that body to the point of delirium, not only its perfectly modeled buttocks, but also everything about it that was soft and curvaceous. And there was plenty to relish. Abundant, firm breasts, round tummy, raised pubic mound, glorious hips, shoulders and arms and feet. He gazed at it, caressed it, kissed it, licked it, all the while emitting sounds of sensual gratification.

The bride, gum in her mouth and radio at her ear, let him do as he wished. Only sometimes, when it seemed to her that he was dragging things out a little too much, she would intervene to ask, “But when are we going back home? We can’t spend all this time away from the factory!”

“Signorina Rosa will look after the factory,” he answered, still grazing.

And she took offense. “She’s deaf, blind, old, and brainless. What do you mean she’ll look after the factory.”

“She’ll look after it. She knows how things were done in my grandfather’s time, bless his soul.”

Signora Palmira would have liked to tell him exactly what she thought about his blessed grandfather and his entire family of nut cases, but she held back, waiting for a more opportune time. She felt, how to put it, as though she were expanding.

Anyway, the time eventually came for them to head home.

As soon as they arrived, Augustus the Second went to the door of the bedroom where his mother had shut herself in, and said, “I’m back, Mama. Everything went fine.”

He got, obviously, no response.

Signora Belinda, as everyone knew by now, was not doing well at all. Her personal physician, Doctor Bardi, had come to examine her a few days ago and he was worried. Unable to come up with a diagnosis, he had advised hospitalization, but the patient had said no, and had refused to allow the doctor to examine her again. So her personal physician was kept outside the door too, asking her questions that never got an answer: Had she had a bowel movement? Did she have a fever? Feel pain, nausea, dizziness? Nothing.

A few days later, however, she sent for her son. She didn’t even look at him. She waited for him to come to the side of the bed, and said to him, “You’re the one who wanted me to die.”

Augustus the Second did not comment.

After a long pause, Signora Belinda added, “Your father was a halfwit, you’re a total nitwit, and your wife is a whore.”

Even then Augustus the Second made no comment.

Signora Belinda let an even longer silence go by, summoned her energies, and concluded, “The child that will be born is not yours. The father is Carlo Vigeva. And now, get out of here, let me die in peace.”

She died during the night, without any further disturbance.


Giuseppe Berto (1914-1978) started writing novels when he was a prisoner of war in Hereford, Texas, from 1943 to 1946. He went on to write some seven novels, as well plays and many screenplays, including several based on his own novels. He won all of Italy’s major literary awards, two of them in the same year for his masterpiece Il male oscuro (1964). All of his novels except La gloria (1978) and Oh, Serafina! (1973) have also been published in English.

Gregory Conti recently translated The Fault Line: Traveling the Other Europe, From Finland to Ukraine, published by Rizzoli Ex Libris. In addition, Conti has translated works by Rosetta Loy, Mario Rigoni Stern, Tiziano Scarpa, and Alessandro Barbero. After growing up in Pittsburgh and studying at Notre Dame (B.A. in American Studies, 1974), at Yale (M.A. Am. Studies, 1976), and at Yale Law School (J.D., 1980), he immigrated to Italy and now teaches at the University of Perugia. Follow his work on his website

Literature

The Black Sheep (Fiction)

The Black Sheep

by Gaurav Monga

I remember him sitting on a rock. We spent our shortened childhood among the poplar trees—features of an anonymous landscape so natural to a fabricated environment like the short story.

Our love for each other had not so much to do with any particular interest or affinity we shared but with the fact that we had the same nose, lips, cheeks, buttocks, although people, friends, would often say that he looked better than me.

I was the black sheep and I made sounds like one when I laughed. It has become increasingly difficult to refer to him when he is not around, which is why I have begun to draw pictures of him.

The person who has the same nose as me grew like a beanstalk in the same room I grew up in. I tucked him in the warm quilts of winter while he was asleep.

He has been away for many, many years, which is why I carry this image with me everywhere I go, because when I start speaking about him, no one, except for childhood friends and cousins who visited us in our room and played with our toys, knows whom I am talking about.

He sent me a telegram only yesterday saying that he was coming back home but that itself might take many, many years.

In the meantime there is a lot to do here, while waiting for him in the neighborhood. I must spread rumors about myself, showing photographs to even the old. I showed them his image. Then a photograph of me.

How is it that people who speak the exact same language don’t know each other already? We talk to each other as if we don’t know each other from a long, long time ago, speaking in the same language.

The man with the stick nose who grew up in the same room looks like me. Do you think we look alike because we grew up in the same room? A room is composed of matching furniture.

When he returns, he will carry on his face all the rooms he has been shacked up in. He will speak in a language I don’t understand.

 

He arrived yesterday afternoon at the doorstep of our house while I was looking for something. I was upset—I have spent much of my life looking for things and being upset—and could not give the attention I always wanted to give to this moment. What a stupid way of arriving. Should I have forgotten all about what I was looking for or should I have forgotten that he had arrived.

I continued looking but, distracted, forgot what it was.

I hopped around the porch while this tall, thin giant, whose nose had been pulled out even further, stood towering over my head in silence.

The moment was almost over, could have already been over, had we not suspended it so stupidly.

 

It was already morning and the image of our little blue house was now comprised of two noses sticking out of the windows on either side. Our mother had given birth to us on this bed. We still kept the same sheet, which both of us were born into, in one of the closets.

The umbilical cords were withering in my father’s drawers—as children we used to blow hot air into them—along with pens, visiting cards, pipes, pipe cleaners and dust. He spent the whole day inspecting the house, its articles, and didn’t pay attention to me. He stuck his nose into everything. He was probably wondering why nothing had happened here. 

Had it not changed at all?

Why did he not inspect me instead?

Did he not want to ask me how things were going with my new girlfriend?

Long noses are symbols of arrogance, everyone knows that. My grandfather had a squashed nose and was an extremely modest chap.

This man who grew up like a beanstalk in the same room as me began raising his voice and puffing hot air out of his nose and finally spoke, but his speech was soon disturbed by a burst of hiccups.

Before leaving, he loitered about on the front doorstep uselessly while I was busy looking for something.


Gaurav Monga studies East European cultures and Jewish studies at the University of Basel and teaches at the International School Basel. For the last five years he taught creative writing at schools and universities across South Asia. This current work is a part of a collection entitled Raju and Kishore. Some of his other work can be read at Birkensnake, Zero Ducats, Juked and Philistine Press. He has forthcoming work in the Fabulist and Hardly Doughnuts. He is the founder of a fledgling publishing house called Pan’s Library that specializes in books that explore the diverse relations between text and image and can be reached at panslibrary@gmail.com.

Featured Image: Two Children in Blue, attributed to Mary B. Tucker, American, 19th century, about 1840, Watercolor and graphite

Literature, Publishing

A Vertiginous Decline: Minor Literature[s] Reviews “I Am Not Ashamed”

Thom Cuell wrote a phenomenal review of Barbara Payton’s I Am Not Ashamed in Minor Literature[s] that is sure to get you excited about this unique autobiography. He emphasizes the way that Payton talks about sexuality and subversiveness in Hollywood:

The idea that female sexuality is transgressive and deserving of punishment is a long established trope of Hollywood film-making, satirised by Wes Craven in Scream (1996) which codified the unwritten law, ‘you may not survive the movie if you have sex’. For Payton, this fictional conceit became a reality: ‘I had a body when I was a young kid that raised temperatures wherever I went. Today I have three long knife wounds on my solid frame’. No stunt doubles or prosthetics here, the wounds are written on her body.

She learned early that her body was a saleable asset, and this coloured her view of relationships. It is no surprise that she uses the language of economics to describe her love life: ‘I sold, they bought, and for years the demand was way out ahead of the supply’. At first, this exchange was transacted on an unofficial basis, with her affections bought by extravagant gifts or favours. Later, as her erotic capital began to decline, the arrangement became more formalised: ‘It’s funny how supply and demand, sex appeal and talent regulate a girl’s price. I found out soon enough that my price was a hundred dollars and not a cent more’. Perhaps unsurprisingly, her most treasured relationship did not involve sex: ‘I once loved a man who was impotent and I was faithful to him. He left me after a while saying it was unfair to me. But it wasn’t and I would have loved him for the rest of my life’.

Cuell also remarks upon Barbara Payton’s wretched end, and her take on her own decline:

Payton quotes ‘a kind of saying among the hip set in Hollywood that if the pressures don’t get you the habits will’. There’s plenty of evidence to suggest that the pressures and the habits haven’t changed too much in the fifty-odd years since she wrote I Am Not Ashamed. She wasn’t the first starlet to come to a disreputable end, and there have been more since (although few suffered quite such a vertiginous decline in fortunes). Ultimately, there’s a lot to be said for the lack of regret or hypocritical self-flagellation which normally characterises the Hollywood exile’s memoir. And at least she doesn’t try vaginal steaming.