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A Brief History of Hostility

In view of the current violence unleashed unto the world, whether here or in Eastern Europe, I want to dedicate today’s poem, A Brief History of Hostility, to the victims: in Portland, and likely soon in Ukraine, in Russia. So many families losing loved ones, so many friends losing their allies, so many communities destroyed by wrath, greed and ambition.

Jamaal May’s poem appeared in “The Big Book of Exit Strategies,” published in 2016. Given its purview of themes of war and slavery, it seems a good choice for Black History month, but also relevant during a week where Europe is on the brink of war.

On Saturday here in Portland marchers had planned a protest to remember Amir Locke and Patrick Kimmons, Black men killed by police. Multiple women, directing traffic in preparation of the peaceful demonstration, were gunned down by a man living nearby, who approached them on the street and called them terrorists, killing June Knightly, a 60-year old woman walking with a cane, having just overcome cancer, and severely wounding the others. In the words of one of the victims:

We were unarmed traffic safety volunteers who weren’t with any protestors. Four women trying to de-escalate & he unloaded a 45 into us because he didn’t like being asked to leave and stop calling us terrorist c*nts. We were in high vis and dresses. He murdered a disabled woman.”

The shooter was then shot by someone in the crowd, trying to come to the rescue of the victims. The aggressor’s name has not been released by the police while I write this, 48 hours after the event, and the Portland Police has erected a wall of silence other than calling him a home owner (code for White, or linked to castle doctrine) involved in a confrontation with armed protesters, unaffiliated with any political background. All counterfactual, as it turns out. There was no notification if he was arrested while in hospital, and his apartment was searched only after the FBI stepped in, suspecting a hate crime. Roommates, colleagues and family had testified to his links to the Proud Boys and other alt right forces, his frequent threats to shoot up Black Lives Matter folks, and the possibility that he was running unregistered guns. According to the media, virulent anti-semitic and islamophobic threats had been conveyed earlier to police, with no reaction.

(Update: he is now charged with multiple crimes. A GoPro video of the massacre, viewed by the DA, confirmed that he was the attacker. One of his victims is paralyzed from the neck down and in critical condition at OHSU.)

Meanwhile, on February 21, Russian President Putin basically said Ukraine shouldn’t exist. “A steady statehood didn’t occur.” Almost the same words that Stalin said about Poland in 1939.

He also confirmed he will recognise two breakaway Ukrainian regions as independent, a move that Ukrainian politicians see as “dangerous and a declaration of war.” It is certainly a violation of international law, the Minsk agreement. We will know, when you read this, if an invasion of (all of) Ukraine has begun in earnest. As I write this, military columns are entering Donbass.

I am linking back to an older blog here, that described the ebullient musical comedy of the Ukrainian Teatro Pralnia, a group of young musicians who are on my mind today, wondering what their future holds. You can see their 2018 full show at the Kennedy Center here.

A Brief History of Hostility

Jamaal May

In the beginning
there was the war.

The war said let there be war
and there was war.

The war said let there be peace
and there was war.

The people said music and rain
evaporating against fire in the brush
was a kind of music
and so was the beast.

The beast that roared
or bleated when brought down
was silent when skinned
but loud after the skin
was pulled taut over wood
and the people said music
and the thump thump
thump said drum.
Someone said
war drum. The drum said war
is coming to meet you in the field.
The field said war
tastes like copper,
said give us some more, said look
at the wild flowers our war plants
in a grove and grows
just for us.

Outside sheets are pulling
this way and that.

Fields are smoke,
smoke is air.

We wait for fingers to be bent
knuckle to knuckle,

the porch overrun
with rope and shotgun

but the hounds don’t show.
We beat the drum and sing

like there’s nothing outside
but rust-colored clay and fields

of wild flowers growing
farther than we can walk.

Torches may come like fox paws
to steal away what we plant,

but with our bodies bound
by the skin, my arc to his curve,

we are stalks that will bend
and bend and bend…

fire for heat
fire for light
fire for casting figures on a dungeon wall

fire for teaching shadows to writhe
fire for keeping beasts at bay
fire to give them back to the earth

fire for the siege
fire to singe
fire to roast
fire to fuse rubber soles to collapsed crossbeams
fire for Gehenna

fire for Dante
fire for Fallujah
fire for readied aim

fire in the forge that folds steel like a flag
fire to curl worms like cigarette ash
fire to give them back to the earth

fire for ancient reasons: to call down rain
fire to catch it and turn it into steam
fire for churches
fire for a stockpile of books
fire for a bible-black cloak tied to a stake

fire for smoke signals
fire to shape gun muzzle and magazine
fire to leap from the gut of a furnace
fire for Hephaestus
fire for pyres’ sake
fire licking the toes of a quiet brown man
fire for his home
fire for her flag
fire for this sand, to coax it into glass

fire to cure mirrors
fire to cure leeches
Fire to compose a nocturne of cinders

fire for the trash cans illuminating streets
fire for fuel
fire for fields
fire for the field hand’s fourth death

fire to make a cross visible for several yards
fire from the dragon’s mouth
fire for smoking out tangos
fire to stoke like rage and fill the sky with human remains
fire to give them back to the earth
fire to make twine fall from bound wrists
fire to mark them all and bubble black
any flesh it touches as it frees

They took the light from our eyes. Possessive.
Took the moisture from our throats. My arms,
my lips, my sternum, sucked dry, and
lovers of autumn say, Look, here is beauty.
Tallness only made me an obvious target made of
off-kilter limbs. I’d fall either way. I should get a
to-the-death tattoo or metal ribbon of some sort.
War took our prayers like nothing else can,
left us dumber than remote drones. Make
me a loyal soldier and I’ll make you a
lamenting so thick, metallic, so tank-tread-hard.

Now make tomorrow a gate shaped like a man.
I can’t promise, when it’s time, I won’t hesitate,
cannot say I won’t forget to return in fall and
guess the names of the leaves before they change.

The war said bring us your dead
and we died. The people said music
and bending flower, so we sang ballads

in the aisles of churches and fruit markets.
The requiem was everywhere: a comet’s tail
disappearing into the atmosphere,

the wide mouths of the bereft men that have sung…
On currents of air, seeds were carried
as the processional carried us

through the streets of a forgetting city,
between the cold iron of gates.
The field said soil is rich wherever we fall.

Aren’t graveyards and battlefields
our most efficient gardens?
Journeys begin there too if the flowers are taken

into account, and shouldn’t we always
take the flowers into account? Bring them to us.
We’ll come back to you. Peace will come to you

as a rosewood-colored road paver
in your grandmother’s town, as a trench
scraped into canvas, as a violin bow, a shovel,

an easel, a brushstroke that covers
burial mounds in grass. And love, you say,
is a constant blade, a trowel that plants

and uproots, and tomorrow
will be a tornado, you say. Then war,
a sick wind, will come to part the air,

straighten your suit,
and place fresh flowers
on all our muddy graves.

Heavy clouds looming.

You have a choice of music today – Bob Dylan’s Talking World War III Blues

or War’s War is coming (Blues Version)

Word/Play

It will come as no surprise to you that I am hooked on word games like the NYT’s Spelling Bee and Wordle. The newest one that I can highly recommend – an exercise in finding synonyms – is called Wordy Bird. Try it and rip your hair out.

Today is all about words, then. Words (and phrases) photographed across years, usable as guides to deal with stressors of the moment. For balanced reporting, however, today is also about numbers. Go figure.

Words by clever wordsmiths can be found beyond shop boards….

Take these, for example, attributed to Lewis Carroll.

A Square Poem.

I often wondered when I cursed,
Often feared where I would be—
Wondered where she’d yield her love,
When I yield, so will she.
I would her will be pitied!
Cursed be love! She pitied me …

Read the lines in the normal way, then read it in columns – either way, it reads the same! words, with some quick math thrown in!

And talking about numbers:

((12 + 144 + 20) + (3 × √4)) ÷ 7 + 5 × 11 = 9² + 0

A dozen, a gross, and a score,
Plus 3 times the square root of 4,
Divided by 7,
Plus 5 times 11,
Is 9 squared, and not a bit more.

This Limerick is believed to have been written by British mathematician Leigh Mercer, known for inventing the famous palindrome “a man, a plan, a canal—Panama!” in 1948.

Tired?
Stand here and activate your super powers

And then there is Miles Kington, who got away with two lines, making my morning:

A Scottish Lowlands Holiday

In Ayrshire hill areas, a cruise, eh, lass?
Inertia, hilarious, accrues, helas! 

This is a holorime, where both the last syllable of a pair of lines of verse rhyme with one another, as do the entire lines themselves. Best read out loud.

Finally we get to this: for some unrelated reason I slogged through a scientific article on word prevalence norms – i.e. how many people know the meaning of a given word. 5 million pages and a headache later I learned that more men know the words on the left hand of the table, more women the ones on the right. Surprise!

Of course, you could have asked your grandma. She would have been perfectly able to predict and verify the statistical pattern… Do we really need the scientific seal on this kind of common cultural knowledge? Of course we weren’t taught words that did not pertain to our spheres, still rigidly divided by gender in so many areas.

One of my favorite neighborhood signs of all times in Hamburg a decade ago: Nothing works here (In German that has more than practical implications)

Hope the music delivers free happy for the weekend with every word and/or number.

First a classic: Tom Lehrer.

Then something pretty (if not entirely accurate) about π.

And here are some smart kids helping us to remember the challenges of calculus…

Of Books and Jailers

When I came across Isobelle Ouzman’s project of cutting and drawing in old books my immediate association was one of contraband. Prison administrations have always claimed that drugs, cell phones, cigarettes and the like were smuggled into prison by friends and relatives, some via books, even though the evidence suggests that it is mainly prison staff who brings these things in and sells for a mighty profit (Here are the newest data.) So let’s look at prisons and books.

In case you missed it: Reading and other educational opportunities in prison reduce the likelihood of recidivism and increase the likelihood of gainful employment once you’re no longer incarcerated. Good news.

Likely you missed it: Not just prisoners, literature is locked up as well. There is an increasing trend across states to ban books in prison, often on arbitrary grounds, or make them available only at considerable cost. I am summarizing today what I learned from a PEN America report and an overview article about the state of censorship in U.S. state and federal prison. Another good source is the Marshall Project‘s collection of links to topics around book banning. Bad news.

Isobelle Ouzman Morning Raven (2020) Discarded hardback novel, 260 pages. Watercolour pencils, colour pencils, Micron ink, glue.

Here is the long and the short of it. Prisons claim security concerns as the reason to ban books, and not just those with explicit sexual or violent content. Evidence that books are used to smuggle contraband is, as I said, sketchy at best. Nonetheless, over the last 5 years, many state and federal prison administrations have banned family members, charities and other outside parties from donating books, any books at all. Used books are completely prohibited. Only approved vendors can sell, and their offerings are arbitrarily restricted by decree from administrators.

With free books banned, prisoners are forced to rely on the small list of “approved vendors” chosen for them by the prison administration. These retailers directly benefit when states introduce restrictions. In Iowa, the approved sources include Barnes & Noble and Books-a-Million, some of America’s largest retail chains—and, notably, ones which charge the full MSRP value for each book, quickly draining prisoners’ accounts. An incarcerated person with, say, $20 to spend can now only get one book, as opposed to three or four used ones; in states where prisoners make as little as 25 cents an hour for their labor, many can’t afford even that

With e-books, the situation is even worse, as companies like Global Tel Link supply supposedly “free” tablets which actually charge their users by the minute to read. Even public-domain classics, available on Project Gutenberg, are only available at a price under these systems—and prisons, in turn, receive a 5% commission on every charge. All of this amounts to rampant price-gouging and profiteering on an industrial scale.”

If that wasn’t bad enough, prison library budgets have also been cut increasingly, making it ever more difficult for prisoners to access literature.

Isobelle Ouzman Ghosts (2018) Donated hardback novel, 290 pages. Watercolour pencils, colour pencils, Micron ink, glue.

In states where there are no general, content-neutral bans on book donations there are still arbitrary restrictions of what type of materials are allowed in. Or perhaps not so arbitrary after all. There are blanket restrictions on books that concern Black culture, urban novels that concern African-American crime and intrigue, comics and cartoons like MANGA, and literature on the Civil Rights movement. Toni Morrison’s The Bluest Eye and Alice Walker’s The Color Purple, which won a Pulitzer Prize are banned in several states, Hitler’s Mein Kampf is not. Censored also are multiple books about learning Arabic, Japanese and American Sign Language, instruction manuals about learning to be an electrician or computer programmer. (Here is a typical list of all the technical materials Oregon prisons prohibit, Windows 10 for Dummies included.)

Many states do not give access to their ban lists, unless you fight for them under the Freedom of Information Act. But we do know that Texas, for example, has a list of 15.000 titles by now, Florida banned over 20.000 books, a stunning number. Racially motivated restrictions are widespread. The New Jim Crow by civil rights lawyer Michelle Alexander, for example, examines the phenomenon of mass incarceration and argues that our incarceration practices represent a continuation of our country’s racist policies of the past. After its release, the book was banned in prisons in North Carolina, Florida, Michigan, and New Jersey. Two years ago, Arizona banned Chokehold: Policing Black Men, a book on racial injustice in the criminal justice system, written by Georgetown Law School professor Paul Butler. Prison Nation, a book examining the prison-industrial complex, was banned for “security threat group/white supremacy.” The Factory: A Journey Through the Prison Industrial Complex, about a formerly incarcerated person’s time behind bars and the school-to-prison pipeline, was banned for “encouraging activities that may lead to group disruption.” Blood in the Water, a Pulitzer Prize-winning book about the Attica uprising, was banned for “security concerns-encouraging group disruption. I’m certain, the 1619 project will be next on the list.

Isabelle Ouzman Sleep (2021) Reused, altered journal. Watercolour, colour pencils, Micron ink, glue, art knife.

Here is something we can do: the American Library Association keeps a list of donation programs that send books into prison libraries where still allowed.

https://libguides.ala.org/book-donations/bookstoprisons

Contributing to one, any one, is a form of mutual aid and solidarity we can all practice.

Unless we agree with ever curmudgeon-y Philip Larkin, who had nothing better to do with his Oxford degree in English Language and Literature than to write this…

A Study Of Reading Habits

When getting my nose in a book
Cured most things short of school,
It was worth ruining my eyes
To know I could still keep cool,
And deal out the old right hook
To dirty dogs twice my size.

Later, with inch-thick specs,
Evil was just my lark:
Me and my cloak and fangs
Had ripping times in the dark.
The women I clubbed with sex!
I broke them up like meringues.

Don’t read much now: the dude
Who lets the girl down before
The hero arrives, the chap
Who’s yellow and keeps the store
Seem far too familiar. Get stewed:
Books are a load of crap.

By Philip Larkin

Music today from the Prison Music Project. Individual tracks I particularly liked: here and here.

Perception of Time

Today’s post is dedicated to my grandfather Eduard (1894 – 1977) a musician, bird lover and gentle soul. His birthday was yesterday.

Canada Geese

Buckle up folks, it’s going to be all over the map today.

It all started with a reminder notice that one of the strangest pieces of music, John Cage’s ORGAN2/ASLSPAs SLow aS Possible – was about to change to a different tone on February 5, 2022. The longest composition ever – duration 639 years, you read that right – started in 2001, with a seventeen month-long pause before the first tone of the organ, especially built for the performance of this piece, was to be heard. Here is a video clip that shows the special organ in a small church in Halberstadt, Germany.

One particular tone emanates continually, and is changed at irregular time intervals according to the composer’s instructions. (Here is a calendar that shows the me changes and tone variations.) The current sound will last 2 years. This announcement had me wonder:

While we had to wait for more than 6 long years for the 14. sound change in 2020 , the next one is occurring only a few months hence, on February 5th. Quite a challenge for a subjective sense of time to get the hang of this. For those clinging to their subjective sense of time we might mention that the new sound will last exactly 24 months. Could very well be that those months will pass in a flash.

Honestly, I could not tell if this was meant seriously or ironically – probably a combination of my addled brain and being German. But be that as it may, it reminded me of a dominant topic in my current conversations. How is our sense of time shaped by the pandemic, the isolation, the sameness of the days and, admittedly, by aging?

Snowgeese yesterday

Snowgeese from other years

Cage’s composition was not the only reminder of the languid, unending spread of hours and days that I – many of us – feel, like time stalling. (This stands, of course, in extreme contrast to young families for whom the double burden of professional work and unrelieved childcare at home leads to a sense of having not enough time ever, time on 3x speed fast forward.)

One of the best cinematic experiences I’ve had in these last months also managed to capture a sense of time that is altered, aided by the elongated storytelling formats of TV series—those time-indulgent, episodic ways to weave a tale, unhurried by a two-hour time limit of movies. And no one knows how to unfold a plot in slow-mo better than the modern Korean film makers.

Steller’s Jay yesterday – Grey herons from other years

In Beyond Evil (directed by Shim Na-yeon, available on Netflix) it’s not just about the tempo of the narrative, though. Time itself seems to stand still in a small town haunted by age-old murders and secrets, with an unlikely coupling of 2 unmatched policemen churning the dregs and bringing new sorrow. It is not a serial murder case in the traditional sense, but rather a psychological study of a variety of characters stuck in time as flies are on those strips hanging in country kitchens. The protagonists are honing their compulsions, tending to their losses, and deciding what to sacrifice to remain on the ethical side of things. I know, does not sound enticing, but honestly, it was brilliant.

Sandhill Cranes yesterday

Sandhill cranes from other years

So, I thought, perhaps we should delve into the scientific psychology of time perception, since a lot of research has happened in the field lately. Nah, you can read up on it here. I much rather learn from poets than deal with my own field today.

Hawk from yesterday
Harrier Hawk
Redtail Hawks from other years

Both of the poems below managed to drag me away from moping about the altered sense of time’s passing, the feeling of being hermetically closed off from a perception of forward movement. They helped me, pushed me towards remembering what I sort of know but always forget: what matters is attention to the moment, the noticing and processing of what is afforded to you by grace of nature or the kindness of others or the tasks that give you pleasure or a sense of having something gotten done or the simple acknowledgment you’re still functioning reasonably.

Bald Eagle from yesterday

Baldies from other years

With Forever- is composed of Nows – Emily Dickinson celebrates recurrence, sameness, un-differentiation, all the while she spent her life in something akin to self-imposed lockdown.

Hummingbird (in February!) from yesterday
Kingfisher from other years

Seems like good advice. I figured I’d drag a series of “nows” out of the archives, selecting samples of the last 5 years of early February photographs all taken without travel, in my immediate vicinity (2021 excluded since it was spent in hospital…) The same ducks and geese, sandhill cranes and variety of raptors, the same small folk and an occasional outlier (elk!) thrown in – a forever of joy from repeat excursions, the last one just yesterday afternoon. It helps to live in Oregon, one of the most beautiful places imaginable.

Elk from other years

You can slow down time as much as you want, if you ask me, if it still contains the possibility of momentary encounters, anchoring us in the NOW. Even robins, bushtits, woodpeckers and sparrows in the yard suffice.

Golden Crowned sparrow from yesterday

Robin and Bushtit from other years

Forever – is composed of Nows –

BY EMILY DICKINSON

Forever – is composed of Nows –
‘Tis not a different time –
Except for Infiniteness –
And Latitude of Home –

From this – experienced Here –
Remove the Dates – to These –
Let Months dissolve in further Months –
And Years – exhale in Years –

Without Debate – or Pause –
Or Celebrated Days –
No different Our Years would be
From Anno Dominies –

Rufus Towhee from yesterday
Downy woodpecker from other years

With Clocks, Carl Sandburg extends a warning that a focus on the measurement of time can distract us from using or enjoying the one we still have, since we don’t know when time will be cut short for good. Don’t focus on the perception of passage then, but what you can do to fill time with. (Never mind that that opens another problem set during a pandemic…)

Clocks

by Carl Sandburg

HERE is a face that says half-past seven the same way whether a murder or a wedding goes on, whether a funeral or a picnic crowd passes. 
A tall one I know at the end of a hallway broods in shadows and is watching booze eat out the insides of the man of the house; it has seen five hopes go in five years: one woman, one child, and three dreams. 
A little one carried in a leather box by an actress rides with her to hotels and is under her pillow in a sleeping-car between one-night stands. 
One hoists a phiz over a railroad station; it points numbers to people a quarter-mile away who believe it when other clocks fail. 
And of course … there are wrist watches over the pulses of airmen eager to go to France…

White throated sparrow from yesterday

Sparrows from other years

And for good measure, let’s throw in the advice of Vietnamese Buddhist master Thich Nhat Hanh who died last month:

“While washing the dishes one should only be washing the dishes, which means that while washing the dishes one should be completely aware of the fact that one is washing the dishes.” Why? If we are thinking about the past or future, “we are not alive during the time we are washing the dishes.” (from The Miracle of Mindfulness.)

Told you, it would be all over the map. Off to wash the dishes now.

Sandhill from yesterday. Music today in honor of my Opa who played the stand-up bass in a small-town orchestra named Fidelio. Here is a creative – and timely – version by the Washington National Opera of Beethoven’s Fidelio, with an explanation of how the new version came to be. Fidelio is a story of hope and resilience, a more desirable focus than speed of time…..

The Real Trial Lies Ahead.

The Sparrows of Butyrk

by Irina Ratushinskaya

Now even the snow has grown sad –
Let overwhelmed reason go,
And let’s smoke our cigarettes through the air-vent,
Let’s at least set the smoke free.
A sparrow flies up –
And looks at us with a searching eye:
‘Share your crust with me!’
And in honourable fashion you share it with him.
The sparrows – they know
Who to ask for bread.
Even though there’s a double grille on the windows –
And only a crumb can get through.
What do they care
Whether you were on trial or not?
If you’ve fed them, you’re OK.
The real trial lies ahead.
You can’t entice a sparrow –
Kindness and talents are no use.
He won’t knock
At the urban double-glazing.
To understand birds
You have to be a convict.
And if you share your bread,
It means your time is done.

Translated by David McDuff

It was one of those weeks where I seriously wondered if I should throw some crockery through a window or not leave bed ever again. Didn’t know whether to scream or to cry. I can only acknowledge helplessness in this never ending cycle of bad news or anxiety-inducing ventures into a seriously restricted world. The way we process death from Covid – or refuse to – by thinking of the thousands of daily victims as poor or POC (if you are a Trumpist) and thus not counting, or unvaccinated (if you are not a Trumpist) and thus somehow deserving, was just one of the things that had me upset.

My usual distraction, filling my eyes and brain with images of nature, did not exactly work out either. Having driven for over 40 minutes to the spot where birds of all kinds are usually guaranteed, I found none, well, just a few ducks and geese. It was as if all, in view of the ominous skies, had decided to leave or hide, exactly the hint I did NOT need. No hawks, no herons, no raptors of any kind, no shorebirds, zip.

Except a few sparrows, immature gold-crowned ones, I believe, but what do I know. Which led to locating the poem by Russian dissident Irina Ratushinskaya, imprisoned for years in a hard labor camp South East of Moscow, until she was released early for strategic reasons to affect the Reykjavik summit between then US president Ronald Reagan and then Soviet leader Mikhail Gorbachev.

Ratushinskaya, trained in physics and mathematics, had signed appeals and demonstrated for the exiled Sakharov in 1981, and was again arrested in 1982, tried in 1983 and punished with a severe seven-year labor camp and subsequent five-year internal displacement sentence. It was assumed that the persistent Christian voice in her ever more prominent poetry led to the harshness of the sanctions. After her release she joined her husband in exile in England, and later spent two yeas as poet in residence at NorthWestern University. Eventually, with Russia now led by Yeltsin, they returned to Moscow to raise their sons there. She died of cancer in her early 60s in 2017.

The poet came to mind not just because of her sparrow poem; she wrote a goose-bump-producing book on prison conditions and interactions with other political dissidents and comrades, Grey Is the Colour of Hope (1988.) That was in the 1980s. Now we have again a situation where famous people like opposition leader Aleksei A. Navalny are imprisoned (and as of Monday put on the terrorist list,) but also where an increasing number of opposition allies, rights activists and independent journalist have to choose between potential prison and exile (if they are still lucky enough to choose at all.)

And if you are still rolling your eyes over the likes of Newt Gingrich in this country threatening the members of the January 6th commission with jail time if – or when – the GOP wins the midterms, I’d advise to look at what is happening in plain sight. Independently of what the committee has – or has NOT – accomplished so far (overview here) there are real-time attacks on its members or people who favored an investigation. The Virgina attorney general, for example, just fired Tim Heaphy, University of Virginia’s counsel and member of the committee, from his post. In Texas, U.S. Rep. Van Taylor, R-Plano, is facing an unexpected number of powerful primary challenger angry over his simple vote to investigate the insurrection. I could go on.

I would not dismiss the idea of jailing opponents as a, if not plausible, at least possible fact of life under new management in 2024. After all, we have history as a guide. Which brings me back to throwing things or crawling under the covers for good. Or maybe I, too, should jump into a puddle. Which shall it be?

Alternatively, I might just run to the hills. Here are Scottish composer Sally Beamish’ Hill Stanzas. She has also set some of Ratushinkaya’s words to music, but I could not find those pieces.

Pipe Dreams

Looking into the endless gray this week, all I wanted was color. The rain hammered on my roof during the nights, with leaf-stuffed gutters overflowing, water gushing by my window. Of course! Drainpipes! The solution to filling my eyes with color and pattern and my brain with delightful memories of prior travels. Thus today’s barrage of photographs, since pipes held my interest for years on end, always with faint plans to use them eventually for abstract montages.

Of course you don’t get away today with just admiring rusting pipes. Too pressing the problem – in Portland and elsewhere – of health issues associated with lead in the water.

The nation, for the most part, knows about Flint, MI and the water troubles they experienced. The crisis there has become synonymous with environmental disaster. Turns out, Portland is worse.

Since the late 1990s, samples have shown Portland exceeding the federal safety threshold for lead 11 times. In 2017, after Portland had once again surpassed that threshold, OHA required the water bureau to build a corrosion control treatment facility, according to Salis’ letter. Water from the Bull Run watershed is naturally corrosive, which can cause lead from copper plumbing and fixtures to leech into people’s homes. By building a facility to make Portland’s water less corrosive, the bureau expects to reduce the amount of lead dissolving from old plumbing into stagnant water. The facility is slated to be completed by April. (Ref.)

Here is the water bureau’s January 2022 response after decades of complaints:

Some of the actions the Water Bureau is taking include:

  • Treating the drinking water to reduce lead and copper;
  • Offering free lead-in-water testing to all residential customers and childcare providers;
  • Increased education and outreach to customers through mailings to multifamily residences and all homes built between 1970 – 1985; 
  • Actively managing drinking water in the distribution system to maintain the effectiveness of corrosion control treatment; And
  • Proactively partnering with the Oregon Health Authority and Multnomah County Health Department.

I leave it to you to assess the quality of government/management in this city when you consider this problem was known for 30 years now.

In case you’re worried: The water bureau offers free lead-in-water testing to all residential customers and childcare providers. People can contact the LeadLine at leadline.org or 503-988-4000 to receive a free lead-in-water test.

And since we are in a practical mood today, here are 9 gutter fails that are slowly killing your house….only half joking, a beloved neighbor of ours had utterly expensive damage from rain water making its way into the walls and house foundation.

Children are, of course, the ones most at risk. They are often exposed to multiple sources of lead contamination: the water they drink, the dust they inhale from the paint used in older houses or contaminated soil in poorer neighborhoods often build adjacent to industrial sites. Parents who work in certain industries – automotive repair shops for example – can inadvertently bring lead particles home on their clothing. Kids are also surrounded by toys that expose them to lead:

“Lead softens the plastic and makes it more flexible so that it can go back to its original shape. It may also be used in plastic toys to stabilize molecules from heat. Lead dust can be formed when plastic is exposed to sunlight, air, and detergents that break down the chemical bond between the lead and plastics.” The CDC recommends to keep plastic toys away from young children who put their hands in their mouths after or during play.

Lead poisoning has serious consequences, developmental delay and learning difficulties included. Here is a link to the Mayo Clinic site that describes what to be on the look-out for symptoms.

And if all this is not enough justification to dig into my drainpipe archives, then maybe this is: Drainpipes are having a moment after homophobic Politician arrested at Gay Sex Party. (A right-wing Hungarian politician tried to avoid being arrested at a party in Belgium during lockdown by climbing out of the windows and down a drain pipe.) Everything that puts shade on the ruling Fidesz party is welcome….. (a rival lawmaker in Hungarian parliament, Zoltán Varga, reportedly brought a drainpipe to the floor of the legislature to use as a prop in a recent speech railing against the ruling Fidesz party’s hypocrisy.)

And here is a piece of music that captures sounds of rain and multiple rhythms when it runs, or dips or plops or gushes down the pipes…beautiful composition by John Luther Adams (2009.)

Let’s end with Ford Maddox Ford. (The entire wonderfully snarky poem can be read here.)

In the Little Old Market-Place

(To the memory of A. V.)

It rains, it rains,
From gutters and drains
And gargoyles and gables:
It drips from the tables
That tell us the tolls upon grains,
Oxen, asses, sheep, turkeys and fowls
Set into the rain-soaked wall
Of the old Town Hall.

Here’s to the next 8 days that are supposed to be entirely dry!

Tu B’Shevat

Today I want to introduce the poetry of someone my US readers will likely be unfamiliar with. I chose the poet and the (excerpted) poem because they represent so much of what I admire: a review of both, the good and the bad that surrounds us, a strong desire for justice or the fight for it. A will to remember history, awe of nature, and pleasure derived from language that uses patterns related to science while sounding lyrical as we expect from poetry.

It also fits with last Monday’s Jewish holiday of Tu B’Schevat, the Festival of the Trees. It’s not a biblical holiday but marks the beginning of the annual agricultural cycle for trees (and tithing.) Starting with the 17th century, the date was celebrated with a Seder meant to repair our standing in the earthly and spiritual realm. Four cups of wine are offered, from white to shades of red symbolizing different levels of creation. Foods are served that remind us of the complexity of our existence. The first fruits and nuts have inedible shells, like pomegranates or almonds, and represent the physical world in which protection and defenses are necessary. Then fruits with inedible cores like apricots or olives, to recall both physicality and inner emotions that need protection. The third group are fruits like figs or blueberries that can be fully eaten. They stand for the highest level of physical and spiritual perfection achievable in the corporeal world. The final “fruit” is not physical and cannot be eaten, standing in for the spiritual realm.

Today’s poem includes numerous fruits and trees and certainly thinks through how we can integrate, change or repair the many layers that make up our existence.

Danish writer Inger Christensen was one of Europe’s leading contemporary poets until her death in 2009. (Here is a link to a great overview of her approach to life and work.) A staunch progressive and a visionary, she focussed on community over individualism and encouraged all of us to act on our beliefs. In my more blasphemous moments I think of her as the Hannah Arendt of poetry.

I am currently reading a brilliant collection of her essays, The Condition of Secrecy, that was published posthumously. For today, though, I offer a long-form poem based on the alphabet and the pattern of the Fibonacci sequence of numbers (each number the sum of the two previous ones.) Yes, by definition it gets long – and no, I am not posting all 76 pages of it – but also ever more inclusive of the many aspects of our world. The alphabet pattern is slightly lost in English translation (a superb one) – it’s simply not possible to maintain the beginning letters. I don’t speak Danish, but I can “hear” the pattern. Here is the comparison for one of my favorite sections:

5

efteråret findes; eftersmagen og eftertanken
findes; og enrummet findes; englene, 
enkerne og elsdyret findes; enkelthederne 
findes, erindringen, erindringens lys;
og efterlyset findes, egetræet og elmetræet 
findes, og enebærbusken, ensheden, ensomheden 
findes, og edderfuglen og edderkoppen findes,
og eddiken findes, og eftertiden, eftertiden

5

early fall exists; aftertaste, afterthought;
seclusion and angels exist;
widows and elk exist; every
detail exists; memory, memory’s light;
afterglow exists; oaks, elms,
junipers, sameness, loneliness exist;
eider ducks, spiders, and vinegar
exist, and the future, the future

The poem gives me goosebumps every time I read it, with its intricate world-building, its ability to conjure the beauty of nature and the horror of our human potential for destruction, often in the same breath. Published in 1981, the psalm-like verses include the terror of nuclear annihilation, but the vision beneath it all really speaks to timeless ways of mankind endangering itself (and the planet) in our struggle for riches and power. It also reminds us of all that exists independently of us, to be cherished and protected.

My photographs are of some of the plants and trees she mentions.

Alphabet

(Excerpt)

by Inger Christensen

translated by Susanna Nied (1-8) and Pierre Joris (9-end)

1

apricot trees exist, apricot trees exist



2

bracken exists; and blackberries, blackberries;
bromine exists; and hydrogen, hydrogen





3

cicadas exist; chicory, chromium,
citrus trees; cicadas exist;
cicadas, cedars, cypresses, the cerebellum





4

doves exist, dreamers, and dolls;
killers exist, and doves, and doves;
haze, dioxin, and days; days
exist, days and death; and poems
exist; poems, days, death





5

early fall exists; aftertaste, afterthought;
seclusion and angels exist;
widows and elk exist; every
detail exists; memory, memory’s light;
afterglow exists; oaks, elms,
junipers, sameness, loneliness exist;
eider ducks, spiders, and vinegar
exist, and the future, the future




6

fisherbird herons exist, with their grey-blue arching
backs, with their black-feathered crests and their
bright-feathered tails they exist; in colonies
they exist, in the so-called Old World;
fish, too, exist, and ospreys, ptarmigans,
falcons, sweetgrass, and the fleeces of sheep;
fig trees and the products of fission exist;
errors exist, instrumental, systemic,
random; remote control exists, and birds;
and fruit trees exist, fruittherein the orchard where
apricot trees exist, apricot trees exist
in countries whose warmth will call forth the exact
colour of apricots in the flesh





7

given limits exist, streets, oblivion

and grass and gourds and goats and gorse,
eagerness exists, given limits

branches exist, wind lifting them exists,
and the lone drawing made by the branches

of the tree called an oak tree exists,
of the tree called an ash tree, a birch tree,
a cedar tree, the drawing repeated

in the gravel garden path; weeping
exists as well, fireweed and mugwort,
hostages, greylag geese, greylags and their young;

and guns exist, an enigmatic back yard;
overgrown, sere, gemmed just with red currants,
guns exist; in the midst of the lit-up
chemical ghetto guns exist
with their old-fashioned, peaceable precision

guns and wailing women, full as
greedy owls exist; the scene of the crime exists;
the scene of the crime, drowsy, normal, abstract,
bathed in a whitewashed, godforsaken light,
this poisonous, white, crumbling poem




8

whisperings exist, whisperings exist
harvest, history, and Halley’s

comet exist; hosts exist, hordes
high commanders, hollows, and within the hollows
half-shadows, within the half-shadows occasional

hares, occasional hanging leaves shading the hollow where
bracken exists, and blackberries, blackberries
occasional hares hidden under the leaves

and gardens exist, horticulture, the elder tree’s
pale flowers, still as a seething hymn;
the half-moon exists, half-silk, and the whole
heliocentric haze that has dreamed
these devoted brains, their luck, and human skin

human skin and houses exist, with Hades
rehousing the horse and the dog and the shadows
of glory, hope; and the river of vengeance;
hail under stoneskies exists, the hydrangeas’
white, bright-shining, blue or greenish

fogs of sleep, occasionally pink, a few
sterile patches exist, and beneath
the angled Armageddon of the arching heavens, poison,
the poison helicopter’s humming harps above the henbane,
shepherd’s purse, and flax, henbane, shepherd’s purse
and flax; this last, hermetic writing,
written otherwise only by children; and wheat,
wheat in wheatfields exists, the head-spinning

horizontal knowledge of wheatfields, half-lives,
famine, and honey; and deepest in the heart,
otherwise as ever only deepest in the heart,
the roots of the hazel, the hazel that stands
on the hillslope of the heart, tough and hardy,
an accumulated weekday of Angelic orders;
high-speed, hyacinthic in its decay, life,
on earth as it is in heaven



9

ice ages exist, ice ages exist,
ice of the arctics and ice of the kingfisher;
cicadas exist, chicory, chrome

and the chrome yellow iris, the blue iris; oxygen
indeed; also ice floes in the arctic ocean,
polar bears exist, as fur inscribed
with an individual number he exists, condemned to his life;
& the kingfisher’s mini-drop into the ice-blue rivers

of mars exists, if the rivers exist;
if oxygen in the rivers exists, oxygen
indeed; exists indeed there where the cicadas’
i-songs exist, there indeed where chicory
heaven exists blue dissolved in

water, the chrome yellow sun, oxygen
indeed; it will exist for sure, we will
exist for sure, the oxygen we breathe exists,
eye of fire crown of fire exist, and the heavenly
inside of the lake; a handle infolded
with bulrushes will exist , an ibis exists,
and the movements of the soul inhaled into clouds
exist, like oxygen storms deep inside Styx
and in the heart of wisdom’s landscape ice-light,
ice identical with light, and in the inner
heart of the ice-light emptyness, live, intense
like your gaze in the rain, that fine life-
iridescent rain where gesture-like
the fourteen crystal lattices exist, the seven
crystalline systems, your gaze in mine,
and Icarus, impotent Icarus exists;

Icarus swaddled in melting waxwings
exists; Icarus pale as a corpse in
civvies exists, Icarus all the way down where
the pigeons exist; dreamers, dolls
exist; the dreamers’ hair with cancerous tufts
torn out, the dolls’ skin pinned together
with nails, rotting wood of the mysteries; and smiles
exist, Icarus’ children white as lambs
in the gray light, will indeed exist, indeed
we will exist, and oxygen on oxygen’s crucifix;
as hoar-frost we will exist, as wind we will exist,
as the rainbow’s iris, in the shining shoots of
mesembryanthenum, in the tundra’s straw; small

we will exist, as small as bits of pollen in peat,
as bits of virus in bones, as swamp pink maybe
maybe as a bit of white clover, vetch, a bit of chamomile
exiled to the lost again paradise; but darkness
is white say the children, the darkness of paradise is white,
but not white as a a coffin is white,
that is if coffins exist, and not
white as milk is white,
that is if milk exists; white is white,
the children say, darkness is white, but not
white as the white existing
before fruit trees existed, their flowering so white,
darkness is whiter, eyes melt




10

june night exists, june night exists,
sky finally as if lifted up to celestial
heights and simultaneously pushed down as gently as when
dreams are visible before being dreamed; a space like
swooned, like saturated with whiteness, a timeless

knell of dew and insects, and nobody in this
gossamer, nobody understands that
autumn exists, that aftertaste and afterthought
exist, only these restless lines of fantastic
ultrasounds exist and the bat’s
jade-ear turned towards the ticking fog;
never was the globe’s inclination so beautiful,
never were the oxygenated nights so white,

so dispassionately dissolved, softly ionised
white, and never was the limit of invisibility so nearly
touched; june, june, your jacob’s ladders
exist your sleeping beasts and their dreams of sleep
exist, a flight of galactic germs between
the earth so earthy and heaven so heavenly,
the calm of the valley of tears, so calm and the tears
sunk back, sunk back in like groundwater again
underground; earth; the earth in its revolution
around the sun exists; the earth in its itinerary
through the milky way exists; the earth on its way
with its load of jasmin, and of jasper and iron,
with its curtains of iron, its portents of joy and random Judas
kisses and a virgin anger
in the streets, jesus of salt; with the jacaranda’s shadow
on the waters of the river, with falcons and hunters
and january in the heart, with the well of Japoto della Quercias
Fonte Gaia in Sienna and with july
as heavy as a bomb; with tame brains,
with heart jars or heart grass or berries,
with the roots of ironwood in the exhausted earth

the earth that Jayadeva sings in his mystic
12 century poem; the earth with its coastline
of conscience, blue and with nests
where the large heron exists, with its neck curved
blue-gray , or the small heron exists, mysterious
and shy, or the night heron, the ash-colored heron exist
and the degrees of wing beats of sparrows, of cranes
and pigeons; the earth with Jullundur, Jabalpur and
Jungfrau exists, with Jotunheim and the Jura
exists, with Jabron and Jambo, Jogkarta
exists, with earth-swirls and earth-smoke exists
with water masses, landmasses, earthquakes exists,
with Judenburg, Johannesburg and the Jerusalem of Jerusalems




*

atombombs exist

Hiroshima, Nagasaki

Hiroshima 6
august 1945

Nagasaki 9
august 1945

140.000 dead and
wounded in Hiroshima

about 60.000 dead and
wounded in Nagasaki

frozen numbers
somewhere in a distant
and ordinary summer

since then the wounded
have died, many at first, indeed
most, then fewer, but in the end

all; in the end
the children of the wounded,
stillborn, dying,

many, continuously,
some, finally the
last ones; in my kitchen

I stand and peel
potatoes; the faucet
runs and nearly
covers the noise of the
children in the yard;

the children yell and
nearly cover the noise
of the birds in
the trees; the birds
sing and nearly

cover the murmur
of the leaves in the wind;
the leaves murmur
and nearly cover
the silence of the sky,

the sky which is light
and the light which since
then has nearly
resembled the fire
of the atom bomb

Here is a musical rendition on Soundcloud. It might cut off if you don’t have an account, alas.

As an alternative, we can listen to Danish composer Carl Nielsen’s 4th symphony, The Inextinguishable, celebrating “the elemental will to live” against the backdrop of WW I. It feels weird to write this while by all reports Scandinavian and Baltic nations are standing their defense forces at attention giving the developing situation with Ukraine.

Discovery

Discovery

I believe in the great discovery.
I believe in the man who will make the discovery.
I believe in the fear of the man who will make the
…. discovery.

I believe in his face going white,
his queasiness, his upper lip drenched in cold sweat.

I believe in the burning of his notes,
burning them into ashes,
burning them to the last scrap.

I believe in the scattering of numbers,
scattering them without regret.

I believe in the man’s haste,
in the precision of his movements,
in his free will.

I believe in the shattering of tablets,
the pouring out of liquids,
the extinguishing of rays.

I am convinced this will end well,
that it will not be too late,
that it will take place without witnesses.

I’m sure no one will find out what happened,
not the wife, not the wall,
not even the bird that might squeal in its song.

I believe in the refusal to take part.
I believe in the ruined career.
I believe in the wasted years of work.
I believe in the secret taken to the grave.

These words soar for me beyond all rules
without seeking support from actual examples.
My faith is strong, blind, and without foundation.

by Wistlawa Szymborska
from 
View With a Grain of Sand
Harcourt Brace 1993

translation: Stanislaw Baranczak and Clare Cavanagh

I wonder if this poem seeded the idea of a book, a remarkable book that looks at the consequences – intended and unintended- of scientific discoveries. Benjamin Labatut’s When We Cease To Understand The World is a small volume describing mathematical and scientific research, ruminating about the psychological states of those engaged in the work, and weaving fact and fiction in ways that meander between horror story and lyric poetry.

The last time I felt like this when reading a novel grounded in history, was decades ago when I couldn’t put Pat Barker’s Regeneration trilogy down, never mind babies screaming for attention, house wanting to be cleaned, lectures needing to be written and exams to be graded. Both authors share the skill of sending readers on two parallel paths, leaving it to us to drop and pick up the strands where truth ends and imagination begins, where facts are overshadowed by psychological analysis or feelings discarded in the light of facts. Both also excel in alternations of intensity and subtlety, in itself a weird combination.

Barker succeeds in sustaining our attention to history, social structures, identity (before that became a political concept) across three complex volumes, never letting up tangential brilliant confabulation,. She thinly veils her portraits of historical people behind pseudonyms and graphically imparting on us the horrors of World War I and what they did to the soul of artists.

Labatut, in contrast, keeps it short – perhaps aware of contemporary attention spans. His subjects are famous scientists, although the pages are sprinkled with some names less familiar, and some characters are completely made up. He has a knack to impart scientific facts in ways that do not frighten even the math- or physics-phobic reader, partly because the narrative swings endlessly back to the human interest story at the heart of the tales – how do you accept the fact that your discovery brings suffering and ruin to the world? Do you continue to proceed?

Both authors do not shy away from delving into details of horrors, yet the texts themselves have a certain serenity as if we are watching our own history unfold from the safe location of a distant star. That in itself is, of course, a trick, since it indirectly suggests that our own responsibilities need not be considered when focused on those who wreaked the actual havoc, or do they? The wishful thinking of Szymborska’s lines (admitted to be without justification in fact,) should it not be headed by us, in the ways we should be willing to obstruct, to risk, to endanger our standing by unpopular but necessary actions?

Szymborska’s “I believe in the refusal to take part” is less wish than command. One that is faintly echoed in the last chapter of Labatut’s work which introduces us to a night gardener, a former mathematician who has given up on the world, too clear-eyed about the catastrophes awaiting us, in a society that uses the principles of quantum mechanics without ever truly understanding them. The very last parable of the book describes the final demise of lemon trees cut down by their own excess riches. It somehow all came together, and I felt humbled by it.

Szymborska, again, sarcastically:

“I am convinced this will end well,
that it will not be too late,”

How many more reminders do we need by brilliant writers that clinging to this belief simply won’t do?

On a more upbeat note, here is a fun compilation of unintended, positive consequences of scientific discoveries.

Music today by Bartok who was enchanted with mathematical principles and symmetry, particularly the Golden Mean. The ratio appears in this piece. Give it a chance, it grows on you.

Geopolitical Primer

In January 2020 I wrote about my foreboding regarding a recently emerged virus no-one had ever heard of. Maybe my sense of unease had to do with the fact that the Chinese government put millions of people on strict lockdown – it HAD to be serious to justify such intense reaction, hadn’t it? Last weekend I had similar disquiet about what is unfolding in Kazakhstan; let’s hope I am wrong this time and there will be no comparable consequences. Doesn’t hurt, though, to try and understand the situation.

Kazakhstan is a huge country (the size of Europe, basically) bordering on both Russia (as former part of the Soviet Union) and China. Both, Russia and China have major interests in maintaining and/or expanding their grips on the country, for political and economic reasons. So does the West, for that matter (bitcoin bros who do a lot of mining there, included.) (I am summarizing today what I learned from several sources here, here and here, from the progressive to the conservative spectrum. The most easily read overview was found here.)

The country, after achieving independence from Russia, was governed for the longest time by an autocratic ruler, former President Nursultan Nazarbayev. In a surprise move to avoid democratic elections, he appointed a successor, Kassym-Jomart Tokayev, in 2019, who seems to be now in a power struggle with the old guard, trying to wrest influence from their hands. The country had opened up its vast resources (it contains 60% of all the mineral sources of the former Soviet Union) to Western investment right after 1990. The incoming riches were not spread evenly, though, with kleptocracy being a major problem. The population suffered from increasing debt and poverty after the 2008 financial crash. Repercussions of the MG17 flight disaster followed, since Western sanctions against Russia hit Kazakhstan equally hard as member of a customs union with Russia.

Then came Covid and killed not only huge numbers of people, but left many more in financial ruin. When gasoline prices were increased at the beginning of the year and inflationary pressure rose, anger erupted and large protests rose in Almaty and spread to other large cities, challenging the ruling party. As I write this, over 160 people have been killed, thousands wounded and close to 10 000 arrested. Government buildings have been destroyed, the airport shortly occupied, and the security forces were given orders to “shoot to kill without warning.” Just 3 days in, Tokayev’s government called on the “Collective Security Treaty Organization,” the Russian-led equivalent of NATO, to send troops to quell the unrest. It’s the first ever CSTO intervention, and it’s based on the accusation of a foreign attack on the sovereignty of Kazakhstan.

Russia immediately sent 3000 paratroopers (including some from Belarus and Armenia) who Putin says will stay “as long as needed,” but are now expected to be withdrawn within the week. Russia has multiple, important reasons for intervention. For one, Russia’s nuclear fuel cycle depends on Uranium from Kazakhstan, with their own companies mining it there and enriching it in Novouralsk, Russia. Also, the Baikonur Cosmodrome in Kazakhstan was the heart of the Soviet space program and is still used as its primary space-launch facility.

More importantly, about one-quarter of the population of Kazakhstan is ethnic (orthodox-christian) Russians, deeply resented by the nationalist who are Muslim. If there was a civil war, ethnic cleansing would be a problem, including a stream of refugees across Russian borders, which Russia cannot easily absorb given its own problems.

Most importantly, though, Russia wants to quell any possibility of Western-oriented revolutions a la Ukraine, that could extend into its very own territory. Putin and the Kazak government claim that outside forces are stoking the fires, as they did in Ukraine. Western NGOs (many of them funded by Americans) are said to have encouraged protests against the incumbents, and armed “provocateurs” are claimed to incite the violence. Activists from other “color”revolution certainly have shared their tactics and strategies by their own public claims.

One question is, of course, how all of this will influence the NATO-Russia talks concerning Ukraine. Russia has before threatened to react to Western provocations and amassed troops at the Ukrainian border, demanding that Ukraine will never join NATO. Russia is also determined not to have “revolutionary fervor” spread within its own borders, clamping down on political change. These talks will surely be affected by this recent example of flexing a military muscle at the drop of a call. Russia’s military response has already been declared a win for Putin by media across the globe.

A more Moscow-friendly Regime in Kazakhstan might be a danger for other Central Asian strongmen and certainly be fought by China, because Kazakhstan is the route for some 10% of China’s annual natural gas consumption and some 29% of its imports. China is also worried about spillover effects” which could encourage citizens in Kazakhstan’s neighbors, or even Chinese citizens, to rise up against their government. If Kazakhstan moves closer to Russia as a result of the current situation this would pose a threat to China’s interests.

Other markets could be influenced as well, with inflationary pressures that drove these protests alighting in many more countries. In short, it’s a volatile situation that could have major repercussions in geopolitics. By all reports, an invasion of Ukraine, if intended, will have to happen sooner rather than later, with weather conditions permitting heavy artillery to proceed while grounds are still frozen and a (U.S.)world, distracted by the pandemic and weakened by polarization, that has fewer resources to respond.

The Kazak people have a history of both suffering and resilience. Stalin-imposed starvation cost 1.3 million lives; suppression of strikes and protests by unions against land reforms and rigged elections incited many more. The protests now are likely directed against the concentration of power and riches in the hands of a few, are asking for political reform and more independence as well as economic reprieve. They might, in the best of all worlds, lead to concessions. More likely, they will increase subsequent repression.

I tried to find female Kazak artists (I had seen an exhibition by a feminist collective some years ago in Berlin), but many websites are cut off (apparently the internet there has been affected by the protests.) Images today are therefore by photographer Nadav Kander, one of my favorites. He went to Kazakhstan in 2011 to photograph the landscape, ravaged by nuclear bomb- and long-range missile testing near the cities of Priozersk and Kurtchatov. The testing program included covert studies of the public’s exposure to radiation. The series took its name from T.S. Eliot’s The Wasteland. Good time to revisit this work.

” I will show you fear in a handful of Dust.” 

And here is some traditional Dombra music.
 

Reinterpretations

Sometimes I find myself fascinated by ideas that artists have without necessarily liking what they do with them. Or, perhaps more precisely, without being able to relate to the resulting art in ways that I had thought I would.

Often that happens when the artist, the idea and the artwork are all enclosed within an identity that I have little access to. I’ll deliver examples in a moment, but generally I think it has to do with my lack of knowledge about specifics that sustain the art. Then again, I often fall completely for art I know nothing about, can’t grasp, couldn’t explain, but love, love, love. Hm. One more mystery in this universe.

Here is a fascinating project by a gifted musician, Judith Berkson, a composer and performer steeped in Jewish cantorial music who teaches at CalArts School of Music. About a decade ago she wrote an opera, The Vienna Rite, based on the collaboration between composer Franz Schubert and the Viennese cantor Salomon Sulzer during the 19th century. Sulzer often performed with Liszt and was a close friend of Schubert’s. He tried to integrate Jewish liturgical tradition and Western European art music, pushing boundaries in a society that was not too keen on these efforts. Sounds like a perfect set-up for something riveting that transfers music-melding into a modern realm, I thought. I usually like music straddling borders, for example the late Frank Zappa compositions (Perfect Stranger) performed with Ensemble Intercontemporain, commissioned and conducted by Pierre Boulez, mixing up elements of rock, jazz and classical music.

Berkson’s opera, however, was not particularly well received. A NYT reviewer, who had previously liked Berkson’s solo album Oylam and who had written a very encouraging piece while the opera project was in gestation, voiced disappointment bordering on scorn. Here is an excerpt of The Vienna Rite, but must admit I found the opera hard to listen to (before having seen the reviews.) Maybe I had expected recognition of classical themes, or traditional melodies. Maybe the cantorial echoes were indecipherable by an ear not exposed early to that music. I simply didn’t “get it.” Trying hard to “understand” something unfamiliar perhaps interfered with taking the music in.

For today’s music, then, I offer a different Berkson composition that is rather beautiful and familiar. The V’shamru is a prayer sung at the beginning of Shabbat pointing to the responsibility to protect and/or observe the day of rest, celebrating the covenant with G-d. The music captures both the intensity of the obligation and the joy associated with reciprocal protection within such a relationship.

The second, also unusual idea comes from a completely different corner. I stumbled across Taylor Mac, a theatre artist, when exploring some recent performances of Walt Whitman’s poetry. Just reading the performer’s “bio” (linked above) was an experience that brightened my day considerably. Its essay length was matched by the length of the listed awards and honors :

“the International Ibsen Award, is a MacArthur Fellow, a Pulitzer Prize Finalist, a Tony nominee for Best Play, and the recipient of the Kennedy Prize (with Matt Ray), the Doris Duke Performing Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award, the Helen Merrill Playwriting Award, the Booth, two Helpmann Awards, a NY Drama Critics Circle Award, two Obie’s, two Bessies, and an Ethyl Eichelberger. Its wit, as bios go, seems unmatched.

Leave it to me to have never heard of the performer before.

Mac performed a compilation of Whitman poems out in nature during a residency in the Lower Hudson valley, in full drag, make-up, and a level of facility and abandon that this old woman can only dream of. I could not tell if the poet, one of the heroes of the gay community, a forbear who did live as much as express his longings, would have wanted to perform or hear his work performed like this out in the fields and woods – the bovine audience seemed unfazed. I was utterly unsure what to make of it for myself. Is access to the poetry helped by the reminder of the underlying sexuality or hindered by distraction through the sensory overload provided by the visuals and voicing? Is it ok to drag the poet out of the closet in which he tried to hide increasingly with growing fame, censuring his own writings? Was it the high-brow rule to avoid mixing “serious” art with spectacle that dampened my delight? Deep down embarrassment at my own complex reactions to drag?

Maybe I was still influenced by Sam Kahn’s recent essay about art that shocks – a thoughtful look that compares the classic function of art either as protective or subversive of the sociopolitical order, with art developing a taste for shock largely for its own sake in the 19th century. All the transgression and boundary pushing we have seen in the last century led to people suddenly being out of ideas Kahn argues persuasively, fully opposed to using shock.

Do watch the Whitman link above and gauge your own reaction!

It certainly made me more interested in learning about Whitman, and the controversies surrounding not necessarily his queerness, but his distinct longing for (and seduction of) the under-age set. Which biography to choose???

If you have the time, here is a smart video of the performer explaining the project and the motivation behind it. Worthwhile.

Photographs today are from the Vienna Central Cemetery where so many composers are buried. I am also adding some images of the Jewish part of the graveyard, not much visited by the sight of it and wildlife in it….who knows, Salomon Sulzer and his family might be buried there.