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“Sojourn,” Part Three, A Serialized Story by Yasser El-Sayed

In Arts & Letters, Fiction, Humanities, Literature, Short Story, Writing on June 1, 2016 at 6:45 am

Yasser El-Sayed

Yasser El-Sayed has recently published fiction in Natural Bridge, The New Orphic Review, The Marlboro Review, Red Truck Review, and elsewhere. His short stories have been nominated for the Pushcart Prize in 2014 and in 2008. Yasser’s prose focuses upon the intersections of Arab and American experience both in the Middle East and the United States, including the contemporary American South. He is at work on a short story collection, Casket and Other Stories. Yasser is a physician and professor at Stanford University where he specializes in high-risk obstetrics. He lives and writes in Northern California.

 

The resort was running a limited dining service, the disturbances having left the establishment nearly vacant. The front desk directed them to a small restaurant called Neena’s, within walking distance. The path from the beach house curved along the back of the hotel compound, then past a fading parking lot to a dusty road lined with towering, spindly palm trees, their reed-like motion in the sea breeze at once resilient and unsteady.

Neena’s was located a half mile down the highway, barely in town, which wasn’t much—a few miles of low-flung limestone homes and stores, narrow roads. The restaurant was a clean, modest affair; a small dining area led into a dimly lit bar. There Joanne chose a table by the bar and ordered a mango juice. Nabil ordered a Stella, the local beer for more than a century. The bartender drifted between the dining area and bar, straightening out the wrinkles on the tablecloths, and making subtle adjustments to the seating, in no apparent hurry to get their drinks. The decor was simple, mostly paintings of ancient Cairo and Alexandria during the Abbasid period depicting men in turbans and flowing gowns gathered around crowded market-places, or camped in clusters in an expanse of desert outside the Citadel. Scratchy music played overhead.

“That’s the singer Umm Khalthoum,” Nabil said. “I grew up on this. She was my father’s favorite. In New Jersey after we first arrived in America it was all he listened to. Every night when he thought I was asleep. He would sit there in the living room in the dark with the same record playing night after night, filling the place with cigarette smoke.”

“More actual detail about him than you have ever shared, Nabil,” said Joanne.

At home, they lived two hours apart. He saw Joanne on weekends. She was a financial analyst at a firm in San Francisco. He lived outside Sacramento, a technical writer at a civil engineering company. They shared a fondness for books and movies, restaurants, wine. He loved her apartment in the Marina district, the flood of sunlight from the expansive bay window, overlooking the Pacific and a slice of the Golden Gate Bridge.  He would drive to San Francisco most Friday nights, head back home late Sunday.  The distance kept them together, they always said. The pregnancy an accident, both of them momentarily unhinged, relying just this once on a timely withdrawal. Coitus interruptus interrupted.

Their drinks came. “What is she saying?” asked Joanne.

“Love. Despair. A little more love. A touch more despair.”

“Of course he was thinking of your mother.”

“Maybe,” said Nabil.

“What does that mean? His young wife drowns on vacation. Leaves him with a small boy to raise alone. He is devastated. Escapes to America. A new life.”

Nabil sipped his beer. “My mother hated it here. Did I tell you that?”

Joanne shook her head, regarded him. “No. As I recall the official line is you don’t much remember anything about her.”

Nabil looked away, eyed the array of liquor bottles along the glass shelves above the bar. He had kept reminiscence of his time here as a child at a distance, even to himself. Joanne, at one point frustrated by his resistance, had eventually abandoned her forays into the topic. Still, but for Joanne, there would have been no trip here. “You get on a plane,” she had said, and meant that he spare her the drama. She’d been right, and now that they were here, it felt absurd not to allow himself the freedom to give more form and substance to his memories, share more with her.

When his beer was finished, Nabil tried to catch the bartender’s attention, but the man was in the dining area, his back to them. Nabil sighed and leaned back in his seat. “She was from Alexandria, a city girl, private school, French sprinkled in with the Arabic at home. Piano lessons. Marble foyer with ridiculous plaster busts of Beethoven and Mozart. All the pretenses. My father tormented her for it. ‘Why Merci? What’s wrong with Shokran?’ Here he reclaimed his place. Returned to his roots. I’d feel it. Everything harder. Coarser. His language changing. His laugh.”

Joanne said, “All you ever told me is that you came to the U.S. with him. That you picked up and moved every few years after that.”

“We were not close and we rarely spoke of her or of this place.

“You said he never married again, but there must have been someone, another woman sometime along the way?”

“No. Not that I saw. And we never stayed in one place for long.  New Jersey, Detroit, Pittsburgh, Saint Louis. He avoided everyone.”

“Even other Arabs?” Joanne said. She played with an edge of her napkin, looked up at Nabil.

Especially other Arabs. He kept to himself. Listened to Umm Khalthoum.  He drove a cab, worked night shift as a janitor, manned convenience stores. Anything.”

“Such a depressing childhood, Nabil,” she said. “I thought mine was bad enough.”

Nabil shrugged.  “He was not a bad father. He provided everything I needed. But yes, what I remember most are gray skies, cold winters, run down apartments in random cities.”

A young waitress, hair in a pony tail, dressed in a simple tan skirt and green blouse brought over quarters of pita bread in a basket and small saucers of hummus and tahini and olives. Nabil handed her his empty beer glass and ordered a scotch, but the girl didn’t seem to understand what a scotch was.  He pointed to the bottles of liquor behind the bar, tried again, the girl listening carefully.  “Ah,” she said, nodding quickly before seeking out the bartender who had just come in from the dining room.

Joanne leaned back in her seat, she was wearing jeans and a white button down that left her arms bare. “It’s so peaceful here,” she said. “Was there truly nothing your mother liked about this place?”

Nabil shook his head. “She loathed the summers. Long months of nothing but desert and sea, and the three of us alone.  Even as a kid I’d sense it as she prepared for the trip out here. Each piece of clothing ironed and folded and neatly packed in suitcases. Like she was putting some part of herself in storage.”

Joanna crossed her arms, hugged herself, rubbed her arms gently with each hand.

“Are you cold?” Nabil asked. “I can have them lower the air conditioning.”

Joanna shook her head. “No. I’m fine. Just trying to imagine things, that’s all.” She scooped up a dollop of hummus with the pita bread and offered it to Nabil. He waved it away, and she plopped it into her mouth.

“There was one time I do remember clearly. She was holding my hand, looking back at him.”  His father in the sun and haze, white shirt, sleeves rolled half way up his arms, black trousers. “I was pulling back from her, and she kept holding onto me, tugging, cajoling me to cross the highway with her until she finally just gave up. And we stood there at the edge of the road and watched him approach.”

The bartender brought over Nabil’s scotch. Nabil thanked him, gestured at the empty bar and asked, “Where are your customers?”

The bartender waved in the general direction of the hotel. “People try to go away,” he said. “But airport shut down.”

To be continued…

Claire Hamner Matturo Reviews Robert Bailey’s “The Professor”

In Arts & Letters, Book Reviews, Books, Fiction, Humanities, Justice, Law, Law-and-Literature, Literature, The Novel, Writing on May 25, 2016 at 6:45 am

ClaireHamnerMatturroforSoLitRev

Claire Hamner Matturro, a former lawyer and college teacher, is the author of four legal mysteries with a sense of humor. Her books are Skinny-Dipping (2004) (a BookSense pick, Romantic Times’ Best First Mystery, and nominated for a Barry Award); Wildcat Wine (2005) (nominated for a Georgia Writer of the Year Award); Bone Valley (2006) and Sweetheart Deal (2007) (winner of Romantic Times’ Toby Bromberg Award for Most Humorous Mystery), all published by William Morrow. She remains active in writers’ groups, teaches creative writing in adult education, and does some freelance editing. Visit her at www.clairematturro.com

This review originally appeared here in Southern Literary Review.

Move over, John Grisham, there’s a new kid on the legal thriller playing field.

Robert Bailey, an Alabama trial attorney and graduate of The University of Alabama School of Law, returns the kickoff for a 100 yard touchdown with his debut novel, The Professor. The football reference is apropos as the protagonist of The Professor was a member of Alabama’s famous 1961 National Champion football team, and the book opens with a guest appearance by venerated Alabama football coach, Paul “Bear” Bryant. Alabama’s 1961 national championship was the first of the six that Bear Bryant would win as head coach of the Crimson Tide, and the fighting spirit of that 1961 team resounds throughout the novel.

But one does not need to be a football fan or even a fan of legal thrillers to enjoy Bailey’s book as its writing is smooth, captivating and, in all the right places, emotionally moving—all the more impressive in that Bailey only took a single creative writing class while an undergraduate at Davidson College. According to Bailey, “We wrote four short stories, and the critiques I received were mostly positive.  It was definitely a confidence builder and a whole lot of fun.”

How did he go from taking just one creative writing class to writing a riveting debut of a legal thriller?

In law school, Bailey served on the law review, an honor generally reserved for those who can write well. Yet there is a football field of difference in writing an analytical, academic, footnoted and blue-booked law review article and composing an edge-of-your-seat legal thriller.

The bridge, then, between writing like a lawyer and writing like a top-drawer novelist was part inspiration, part studying other novels, and part the hard work of rewriting, redrafting, and revising. Bailey’s inspiration came from growing up in Alabama as a Bear Bryant fan and from wanting to write about a brash young “bull-in-a-china-shop” new attorney—a character whose experiences resemble Bailey’s own days straight out of law school. As for studying other legal thrillers and books, Bailey has said, “Yes, I have learned a lot from reading other novels.  Also, Stephen King’s instructional memoir, On Writing, was a big influence and inspiration.” And as for the hard work of revision and rewriting—it took Bailey eight years to finish The Professor, though he was practicing law, trying cases, and raising a family at the same time.

Bailey, a history major and a Huntsville, Alabama, native, is quite the Bear Bryant fan and a football historian. These personal interests enrich The Professor and play into Bailey’s creation of the lead character, Professor Thomas Jackson McMurtrie.

In some ways McMurtrie, the protagonist, is an unusual leading man. For one thing, he is 68 and his glory days on the famous Alabama football team of 1961 are long behind him. He faces serious health issues, mourns his late wife, and has been unfairly manipulated out of his position as an evidence professor at the University of Alabama School of Law into an unwanted early retirement. One of his former students—and a man he had called a friend—was complicit in the scheme to push him out as a law professor, and the betrayal wounds McMurtrie deeply.

Yet, in other ways, McMurtrie is the ideal leading man—for one thing his skills and instincts as a trial attorney form the perfect balance to his headstrong, volatile former student, Rick Drake, when they take on a trucking company in a wrongful-death case. McMurtrie, named after Thomas “Stonewall” Jackson, epitomizes what we would want in both a leading man and a lawyer—he is somewhat of a modern Atticus Finch, albeit with some different demons. Bailey writes in his author’s notes that he wanted to create a character that was a “man of exceptional integrity, strength, and class.” This Bailey has done.

Rick Drake, the lawyer version of a yin to McMurtrie’s yang, is more of what readers might expect in legal thrillers. A young lawyer, brash, over his head, yet passionate about his client and the case, Drake has more gumption and zeal than skills. He needs the experience and even temperament of McMurtrie. Drake also needs an expert in evidence, and McMurtrie literally wrote the textbook on evidence law in Alabama.

But here’s the rub: Drake and McMurtrie have a turbulent history. Drake was McMurtrie’s law student and the two came to blows—literally—after Drake hotheadedly dashed his trial advocate team’s chances of winning a national trial competition. McMurtrie was the team’s coach. After a video of the angry clash between the professor and the student was posted on YouTube, a conniving new dean at the law school used the incident as part of his plan to push McMurtrie out of his tenured position.

So, let’s just say Drake and McMurtrie are not best friends.

Yet each man knows the value of the other. Drake has the vigor McMurtrie fears is waning in himself. And McMurtrie has decades of knowledge and the calm, deliberate skills Drake lacks.

Thus, out of these conflicts and contrasting personalities, the characters of McMurtrie and Drake form an integral part of what makes The Professor work so well. This is a book about people, vividly drawn and fully realized, overcoming obstacles within themselves—as well as obstacles placed in their way by unscrupulous others.

Superb writing and engaging protagonists, though, are not the only things that make this debut so compelling. This is a bam-bam-bam book as far as plot goes, with plenty of action in and out of the courtroom. In the opening chapters, there is a horrific and fiery automobile crash, betrayal, suicide, murder, blackmail and enough suspense to keep the reader turning pages all night. There’s a good reason Winston Groom, author of Forrest Gump and another Alabama writer, calls The Professor “[g]ripping from the first page to the last.”

In a tightly woven plot that unfolds naturally in well-paced scenes, McMurtrie refers a former girlfriend (from the days before his marriage) to Drake for representation in a wrongful-death action after her granddaughter, daughter and son-in-law slam into a speeding eighteen-wheeler and die. McMurtrie recommends that she retain Drake in part because Drake grew up in the town where the lawsuit will be tried and McMurtrie believes in the home-court advantage. Yet McMurtrie also believes Drake can win the case—and he wants to help the struggling lawyer.

The defendant trucking company’s owner is an unscrupulous yet tough adversary who has the power to pervert the quest for hard evidence. Drake and McMurtrie have to prove in a court of law what they know is true—the trucking company had a consistent, deliberate pattern of forcing its truckers to speed in order to clock more miles and make more money for the company. Yet the trucking company’s owner doesn’t play by any rules, which gives him an apparent upper hand in disposing of key witnesses and the paper trail of evidence. Compounding the pressure on Drake and McMurtrie, the trucking company’s attorney is none other than McMurtrie’s former friend who betrayed him and helped oust him from his teaching career.

The stakes go beyond money. The plaintiff wants the world to know the truth about the accident—that her family died because of a concerted, greedy corporate plan that turned its eighteen-wheelers into dangerous weapons.

McMurtrie wants to avenge himself against his former friend and later betrayer, and he wants to help his former girlfriend. Not incidentally, he hopes to prove that even at 68, “The old bull still has a little gas in the tank.” And, maybe, he hopes to get his job as a law professor back. He definitely wants to help Drake and set matters right between them.

Yet in some ways, Drake is the one who has the most at stake. The YouTube of his shoving contest with McMurtrie painted him as an uncontrollable hothead and cost him his position at a big law firm. He is barely earning his rent as a solo practitioner. He questions himself. If Drake is going to survive as an attorney, he needs a courtroom victory. But beyond building his career, he needs to get right in his own head and prove he is capable of being a winning trial attorney—one who will not blow up and ruin the case as he did during the law school trial team competition. Drake is a young man, not fully formed as a man or an attorney, and this trial will make or break his maturation.

The trial scenes resonate with realism. Naturally so, given that the author is a practicing attorney and a shareholder with the law firm of Lanier Ford in Huntsville. Interestingly enough, the author defends—among others—trucking companies. Similar to his character Drake, Bailey was a winner in trial advocacy competitions while in law school.

The Professor introduces the character of Bocephus Haynes, McMurtrie’s favorite former student. Bocephus plays an important yet secondary role in the story as ally and emotional support, but he is set to return in a leading role in the sequel, Between Black and White. A third manuscript, now in the works, will take Drake and McMurtrie back to Tuscaloosa, and Drake’s story line and growth as a character will be explored further and in more detail.

 

“Sojourn,” Part Two, A Serialized Story by Yasser El-Sayed

In Arts & Letters, Creative Writing, Fiction, Humanities, Literature, Short Story, Writing on May 18, 2016 at 8:45 am

Yasser El-Sayed

Yasser El-Sayed has recently published fiction in Natural Bridge, The New Orphic Review, The Marlboro Review, Red Truck Review, and elsewhere. His short stories have been nominated for the Pushcart Prize in 2014 and in 2008. Yasser’s prose focuses upon the intersections of Arab and American experience both in the Middle East and the United States, including the contemporary American South. He is at work on a short story collection, Casket and Other Stories. Yasser is a physician and professor at Stanford University where he specializes in high-risk obstetrics. He lives and writes in Northern California.

 

They drove to the beach house and unloaded. Joanne changed into her one-piece—her body still trim—crazy crimson against her pale skin, her backside like a split peach. If she felt poorly with the pregnancy, she had not mentioned anything to Nabil. She unlocked the French windows, hurried out onto the rectangular tiled patio, rolling desert all around them except for the back of the house which opened to the sea, a crescent of blue.

The desert drifted into the cool expanse of water. “A slow ebb of pain,” said Joanne.  From where they stood it was no more than 100 yards across the white sand to the sea.  The beach was deserted, the midday air uncomfortably dense.

“You should come with,” she said.

I’ll watch you from here,” Nabil said. How beautiful she looked to him, her auburn hair radiant in the harsh sunlight.

She shrugged, turned her back to him, moved briskly across the sandy beach to the water’s edge. She waded in, barely a ripple, water lapping hip level.  He thought of his mother, his father by her side, their bodies leaning into each other, braced against the breaking waves.  His parents had seemed close at that moment, almost intimate.

“Bathwater!” Joanne called.

Unbidden, the foggy northern California coastline came to mind, the place he’d first met Joanne, Steve Pullman’s 35th birthday party at Half Moon Bay.  She was as exotic to him as he was to her, the daughter of a Scotch-Irish rancher from the Oklahoma Panhandle, her hair settling gently against her pale shoulders, which were bare in a strapless dress. You could hear an accent when she talked about it: “I got tired of the red dirt and scrub grass and rednecks and wandered west.”

Joanne cut a path into deeper water past a patch of seaweed.  She twirled and waved to him, dove in, did a flawless breast-stroke parallel to the coastline before turning back to the shore.  Nabil had experienced a surge of anxiety watching her, but it was transient, immediately suppressed.

He jumped at the sound of knocking on the front door: a stranger.  He shielded his eyes from the sunlight to get a better look. The man was short, heavy set, dressed in a loose short-sleeve shirt, embroidery on the sides, gray slacks. Not a uniform per se, but still something official about his appearance Nabil thought.

“I hope I’m not disturbing,” the man said in surprisingly good English. “Sorry for the trouble. A routine security check.”

Nabil, uneasy by the man’s presence, said, “Is there a problem?”

The man laughed pleasantly. He had his sunglasses perched atop his head, a stubbly double chin. “No. No. Please. Not at all. You arrived very late last night. My name is Mr. Abu-Bakr. My security officer didn’t have a chance to do the standard passport inspection at the registration desk, that’s all.” On his face an expression of regret for the tedium of official protocol. “I am very sorry to bother you. It will just take a moment.”

Nabil stepped aside to let the man enter. “If you give me a moment, I’ll find our passports.”

“Please,” said Abu-Bakr.

In the bedroom he peered out the window at the beach for Joanne and didn’t see her. He grabbed the passports from the drawer where he had slipped them under some folded clothes, then hurried back out to the entranceway, determined to finish up with Abu-Bakr as rapidly as possible and check on Joanne.

The man hadn’t moved. He leafed quickly through Joanne’s passport, more slowly through Nabil’s.

“The lady,” Abu-Bakr asked, “is she here?”

“She went for a swim,” said Nabil. “Are we done? I need to check on her.”

“Certainly,” said Abu-Bakr, then peered past Nabil as Joanne appeared in her bathing suit, the material still wet, molded against her breasts, snug against the gentle fullness of her hips. Nabil wished he could wrap the towel which hung from her shoulders around her.

“I think she is now found and safe,” Abu-Bakr said pleasantly, handing the passports back.

“Indeed I am,” she said, looking unperturbed. “And who are you?”

Nabil admired her confidence. So unlike his own untidy emotions. The hardest place is the “in between”—not tourist, no longer native.

“My dear lady. I am Captain Lutfi Abu-Bakr, the head of the police here.”

“Impressive! The hotel has its own police department?” said Joanne

Abu-Bakr regarded Joanne for a moment, impassively at first, then he broke into a grin, said with a laugh, “No, just for the entire city, unfortunately. A much more trivial responsibility.”

“A routine security check,” said Nabil. “I think we’re done?”

Abu-Bakr nodded, his gaze lingering on Joanne, though he spoke to Nabil. “Do you still speak your native tongue or have we lost you completely?”

“Itsharafna,” Nabil said.

“The pleasure was all mine,” replied Abu-Bakr in English, now eyeing Nabil directly.

“Strange character,” said Joanne after Abu-Bakr had left. She roped the beach towel around her hair. “Not sure he wanted to leave.”

“He was enjoying the view,” said Nabil. He pulled her close to him, her swimsuit damp against his shirt, kissed her.

“Well that’s just not right,” whispered Joanne, her tongue sea-chilled, darting between his lips. “I almost feel like I cheated on you.”

In the bedroom she finished peeling off her bathing suit, pressed herself against him. He ran his lips between her breasts, tasted the salty skin down to her navel and below where part of him now resided, the child that he’d never wanted.

To be continued…

“Sojourn,” Part One, A Serialized Story by Yasser El-Sayed

In Arts & Letters, Creative Writing, Fiction, Humanities, Literature, Short Story, Writing on May 11, 2016 at 6:45 am

Yasser El-Sayed

Yasser El-Sayed has recently published fiction in Natural Bridge, The New Orphic Review, The Marlboro Review, Red Truck Review, and elsewhere. His short stories have been nominated for the Pushcart Prize in 2014 and in 2008. Yasser’s prose focuses upon the intersections of Arab and American experience both in the Middle East and the United States, including the contemporary American South. He is at work on a short story collection, Casket and Other Stories. Yasser is a physician and professor at Stanford University where he specializes in high-risk obstetrics. He lives and writes in Northern California.

 

In Sidi Abdel Rahman, off the main highway, the roads were gutted with potholes, cracked asphalt. Nabil parked the car outside a cavernous store with wares spilling out onto the broken sidewalk: pots and pans strung together on a frayed rope, plastic soccer balls bundled in torn netting, brightly colored shirts and gowns on a metal rack and below that an array of sandals and cheap toys. Near the entrance stood a bulky, rusted ice cooler, on its front Arabic letters and a picture of a smiling boy holding an ice cream cone. The manager at the hotel had directed them here – the soobermarket he had said, pointing due east.  “A short walk,” he said, but then offered up his old Fiat.

The shopkeeper, dressed in flip flops and a sun-bleached galabiya, was parked on a plastic chair in the shade, smoking.

Nabil turned to Joanne, “OK. You’re sure you know what you need?”

Joanne nodded and swung her legs out the car. She was dressed in a short skirt that had seemed fine at the resort this morning, less so now.

El salam Alaykum,” Nabil said, greeting the shopkeeper.

He was an older fellow, bald, slight of build under his faded gray gown.  He stubbed his cigarette and spoke, a voice smoldered for years in tobacco smoke: “Alaykum el salam.” He eyed Joanne for a moment, gestured them inside with a wave of his hand.

Darkness.  The smell of coriander and cumin, of closed spaces, of spices desiccated in the heat and turned to dust. The shopkeeper followed them and sat in a dark corner behind the counter. A fan whirred loudly on a shelf above his head. Joanne strolled casually down the cramped aisles, her sandaled feet audibly shuffling on the dusty floor.

They had landed in Alexandria yesterday just as the demonstrations were erupting. Their limousine driver skirted the city center to avoid the crowds, but they could see billows of black smoke in the distance, the sounds of sirens piercing the late afternoon. And even coming down the desert highway to this forlorn place, 80 miles from Alexandria, they’d spotted a military convoy heading the opposite direction, towards the trouble. Joanne had smiled bravely when Nabil squeezed her hand. He’d spoken to the limousine driver in Arabic, tried to sound confident of his place in the country despite a surging wave of panic.

The limousine driver glanced at them over his shoulder. “Tell the lady not to be nervous, we are friendly people.”

Out of the city, she rolled down her window better to take in the darkening desert around them, the smell of gasoline fumes and sulfur slowly ebbing, a waft of eucalyptus. She lifted her face to the sky, pulled her hair back, her profile dim in the failing light. At the resort she had slept soundly. He on the other hand remained ill at ease, wandered the sparsely furnished rooms of their rented beach house on the grounds of the resort, unsettled less by the unrest around them than by the fact that he was now back in the one place his father had sworn they would never return to.

Joanne took her time scrutinizing the available goods – canned tuna, rice, beans, coffee, tea, milk, fresh bread – all displayed in no particular arrangement. She perused the vegetable stand examining cucumbers and tomatoes that looked smaller, their skin less vivid than back home. She raised a cucumber to her face and inhaled.

“Nice?” he asked.

“A little ripe,” she said.

“I’m going to step outside.”

No, she didn’t look nervous at all.  He left her looking at a curious array of detergents and cereal boxes, and with a nod to the shopkeeper, who raised a cracked, calloused palm, wandered outside.

He could feel the density of the air lift immediately, a sudden release from the stagnant miasma inside. The store was on the corner of a narrow dirt road that abutted the highway. In the other direction on both sides were high limestone walls, interrupted by the green, orange or blue wrought iron gates of private homes. Across the street, a young girl dressed in a loose fitting gown and a headscarf stood outside an open gate and hosed down a concrete doorstep, her bare feet wet in flip flops. Behind the gate Nabil caught a fleeting glimpse of a dusty front yard, a woman in a darkened hallway.

He strolled uphill to the end of the dirt road. From there he could peer down the desert highway and the heat percolating off the sweltering asphalt. It cut across the desert like a vaporous snake, slicing through a landscape sparsely populated with brightly colored Bedouin homes scattered amidst sand and sky, framed by a dusty sliver of horizon. Just east of here was El Alamein and its lonely mausoleums for the dead—soldiers from all over Europe—monasteries of scrubbed limestone and creeping bougainvillea. To the west was the long drift of sand-swept highway past the seaport of Marsa Matrouh and on into the ancient military outpost of Tobruq in Libya, the sand dunes along the coast like white mountains in the distance.  He recalled how he had described the town to Joanne, as much of it as he could remember. West of Alexandria, white sand beaches, war cemeteries in the distance, grave stones like yellowed teeth erupting from the earth. A remote outpost on a long desert highway, you could drift right past it, a fleeting glance in the rear-view mirror. He had in his mind for years.

Joanne had probed and he had told her about his childhood summers there, his father’s connection to the land, his mother’s drowning, an elusive notion of return, one step out of reach, chasing a shadow.

You get on a plane she said blandly. She was from the unhindered expanse of the Oklahoma Panhandle, steely skies as far as the eye could see. Fearless.

Nabil was startled to hear Joanne calling.  He turned abruptly and saw her outside the store, waving. How simple it now seemed, their transport across geography and memory.  He trotted back down the hill.

“I need to pay the man,” she said. “I can’t understand him.”

Inside, the shopkeeper pondered him. “Masri?”

Nabil replied that he was, yes, Egyptian.

Wah el hanem, Ajnabiya?” the man asked more kindly, handing Nabil the change, nodding his head at Joanne.

Amrikania,” Nabil said. Then for some reason he felt the need to explain, “I live there.”

“My sympathies,” the shopkeeper replied in Arabic.

To be continued….

Santa Rosa Beach, 1999

In Arts & Letters, Creative Writing, Essays, Writing on March 23, 2016 at 6:45 am

Mel Mendenhall was born and raised in Columbus, Georgia.  He lives in Atlanta and is the CEO CLVL Solutions, LLC

Mel Mendenhall

In my mind we’re all together at Santa Rosa Beach in the Florida panhandle: my wife, my children, and me. It’s the summer of 1999.

“Mel, as soon as you unpack the car” – which is actually a behemoth of a vehicle called a Suburban – “why don’t you run down to the beach with the kids? You know how they enjoy the beach.”

I don’t know how many times my wife, Julie, has said something like this to me over the course of our children’s vacations. It’s been a lot, though, I know. Too often my mind is wandering to work items: things I need to get done, conversations that need to take place. Always busy, always.

My kids are growing up, Allen the oldest, now 16, Brett nearly 14, and my precious angel girl, Ansley, soon to turn 10. I can’t believe it. Ten. It’s good to have them with me here at the beach.

Finally, I’ve started to appreciate the time we spend together on these family vacations. Somewhere it’s registered with me that time is starting to run short, that the kids are getting older and it won’t be long before Allen goes to college. Then what?

With the car emptied and our groceries and supplies for the week put away, I ask the kids if they want to head down to the beach. Ansley shouts “yay” and boasts to no one in particular, “we are going to the beach!”

Brett says, “Let’s go.”

“Allen?…Allen?” I say. “Hey, what’s with the long face?”

“Dad, I’m bored.”

“Allen, we just got here.”

“I know, dad, but my friends are all staying at a hotel at Sandestin.”

“So,” I try to reason with him, “we are staying here like we always do and it’ll be fun.”

“No, dad,” he says, “I want to see my friends.”

“Oh, c’mon, Allen, let’s go to the beach.”

With that, out bounds Ansley, already in her bathing suit. Brett too. We hurry down the stairs and out the sliding glass doors to the beach. Off we go. Except “we” is just me, mom, Ansley, and Brett. Allen is inside sulking.

We play around on the beach for the better part of an hour. We walk the surf and watch the sand crabs run their endless shuttles back and forth from surf to sand. Whatever those little shells are that seem to burrow their way into the wet sand as the waves rush back only to be swallowed again by the ocean, they’re still here, as they’ve always been. But Allen is not here. He is still inside, pouting I guess.

After some time we all go back inside, shower, and ready ourselves for dinner. Then we’re in the car, driving and pointing at shops and people, a morose Allen in tow. We arrive at one of our family’s favorite restaurants, Bayou Bills. Still, Allen isn’t happy. Gee whiz, I think, kids these days.

The next morning after breakfast I walk down to the beach and, surprisingly, Allen follows. He is in his bathing suit and wearing one of his cross country t-shirts. I’m thinking this is good, that he’s warming up to our trip.

Once on the beach, Allen looks pensive. He’s unsettled. I suggest that we walk left, which is east, down the beach to see whether Beakster is here this year at the inlet about half a mile away. Beakster was a tall sea-faring crane that just a few years ago Allen befriended on one of our trips. It was really cute seeing how the bird and Allen really did seem to be playmates. That summer, when we left for home, Allen was sad to leave Beakster. He assumed, as we all did, that Beakster would miss him too.

But here we are now and Allen is gazing longingly and deliberately up the beach to the right, the west, rather than to my suggested course, east to where Beakster may be.

Suddenly, Allen, who’s the captain of his high-school cross country team, looks at me and says, “I’m going running. I’m going to see if I can make it to the hotel where my friends are.”

And with that, he begins to jog away from me, headed west. His first couple of strides kick up sand, some of which ends up on my hairy feet. The sonorous surf seems to speak at me, echoing Julie’s words, warning me that time is precious and our children are growing up.

I stand here for a long time, watching my boy – or is that a young man – growing smaller and smaller as my throat grows larger and larger. In this moment, I know childhood for him is gone and that I’ll miss it for the rest of my life.

I turn east, walking to find Beakster. If I can only find Beakster, maybe I can bring my little boy back.

“Illegal Litigation”: Excerpt from “I am the Raleigh,” by F. L. Light

In Arts & Letters, Britain, British Literature, Creative Writing, History, Humanities, Poetry, Writing on March 2, 2016 at 8:45 am

Fred Light

A Shakespearean proficiency in meter and rhetoric may to F L Light be ascribed. Nearly forty of his dramas are now available on Amazon, and twenty have been produced for Audible. His Gouldium is a series of twenty four dramas on the life and times of Jay Gould which he followed with six plays on Henry Clay Frick. The whole first book of his translation of The Iliad was published serially in Sonnetto Poesia. He has also appeared in Classical Outlook and The Raintown Review. Most of his thirty five books of couplets are on economics, such as Shakespeare Versus Keynes and Upwards to Emptiness the State Expands.

For his defense in this part of the play, Raleigh asserts that two witnesses are required for the charge of treason.

Raleigh:       The primacy in law is presence,
The testifying presence of a man
Where answers and rejoinders in a court
Proceed, procedurally set right in full
Protection of the truth. Not one but two
For treason are required. This case without
Accusers here illicit must become.
Illegal litigation the Attorney
General of England never should allow.
If no premeditated certitude
You mean in court, let my accusers come
Before me. The sheerest hearsay you assert
In court, if now unsifted inferences
Obtain without an oath, with no subscription,
Nothing demonstrable in testified
Exposure of the truth, simply enlarged
Upon a paper imputation by
A desperate man. How should unscrutinized
Reproaches credible remain unless
The Jesuit Inquisition you regard
As just? Were Cobham dead or gone abroad,
No case you’d have. But in this very house,
Winchester Castle, he abides. My lords,
Perpend how over-guessed assumptions are
Not rare in court, and lightless allegations,
Of darkling likelihood, have dazzled lawyers.
Why, Sir John Fortescue, of reverend estimation
As a Chief Justice in this realm, relates
How in his time a judge condemned a wife
At Salisbury for her husband’s death upon
Gratuitous prejudice to peasants or
On the suppositious sophistry of looks
Or likely baseness in the wife, whom one
Accuser had belied. But he that killed
Her husband was discovered after she
Was burned. The judge that had her die then told
Sir John the mordant penance of his mind
Would never pall in conscientious smart
With caustic memories. And you, Sir John
Popham, are too exultant in damnations
To regret my doom.

Popham:                   The damnedest imputations you
Deserve, far prouder to exalt prodition than
All traitors heretofore.

Raleigh:                      By fallible
Ferociousness your wisdom may default.
You’d proudly consummate your preconceptions.
And if you say the statutes I adduced
Before abide no longer in the courts,
Because religious mutability
Required removes, yet faultless equity
Remains in them, not failing reason. Now
Impartial exemplarity you lawyers find
In them, and for the common law they are
Considered sacred. Jurists never doubt
In Deuteronomy that one condemner shall
Not doom for his enormities a man,
But double attestations may suffice
Or triple for attesting treason to
A judge. There’s no dissentient scripture, old
Or new, thereon. Thus by the law of God
No men are immaterial nullities
In court. Untenable disgrace they need
Not suffer from one man.

Popham:                         Sir Walter Raleigh,
No statute you adduced can aid you now.
Those of Edward the Sixth no longer hold,
Too inconvenient for convictions, all
Repealed by Philip and Mary when their fires
Began. As the Chief Justice of this realm,
I know the common law’s commensurate
Extents to measure treason. Here in court
One requisite assertion that attests
To treason is enough. And, should one
Accomplice carry allegations how
The others were conjoined, that proof will hold.
But he that blames himself before he blames
Another cannot be denied in court,
For mouthed authority demonstrable.

Warburton: I muse, Sir Walter, measurably considerate
As you are, how you stretch yourself to stress
This point, for horse-thieves never could be judged
Thereby, requiring witnesses. By law
Upon deduced presumption we condemn
The guilty or on circumstantial presence
Or incidental revelation we
May judge events. Should regicidal gore
Not prove a swordsman guilty who had been
In covert presence with a king? He’d be
Too sanguinary for misjudgment, Sir.
No inquisition requisite therefore!

Raleigh: Yet by the common law, my lord, all trials
Of fact by juries and witnesses proceed.

Popham: No, sir, examination satisfies
The common law. Where traitors have confessed,
Redundant witnesses might not in court
Condemnatory tales unfold.

Raleigh:                                As you
Conceive the law therewith, I cannot grasp
The incongruity unknown to me.

Popham: Nay, Sir, the law is not conceived by us
But known in full.

Raleigh:                My lord, so how so laws
Suffice in process, here I suffer life
Or death thereby. Not with insufferable
Exorbitance should English rigor be
Enforced. At his asserted coronation
King James to nurture equity in England
And not fixed rigor force has sworn. And as
Benignant furtherance he would effect
In law, so should his ministers and judges no
Less happy prove.

Popham:               Procedural monarchy
Provides you equity. But our judicial course
Will be confined to justice.

Paul H. Fry on “African-American Literary Criticism”

In Academia, American Literature, Arts & Letters, Books, History, Humanities, Literary Theory & Criticism, Literature, Nineteenth-Century America, Pedagogy, Philosophy, Rhetoric, Scholarship, Southern History, Southern Literature, Teaching, The Academy, Western Civilization, Western Philosophy, Writing on February 10, 2016 at 8:45 am

Below is the next installment in the lecture series on literary theory and criticism by Paul H. Fry. The previous lectures are here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, and here.

Excerpt from “I am the Raleigh,” Part II, by F. L. Light

In Arts & Letters, Britain, British Literature, Creative Writing, Fiction, History, Humanities, Law, Literature, Poetry, Writing on February 3, 2016 at 8:45 am

Fred Light

A Shakespearean proficiency in meter and rhetoric may to F L Light be ascribed. Nearly forty of his dramas are now available on Amazon, and twenty have been produced for Audible. His Gouldium is a series of twenty four dramas on the life and times of Jay Gould which he followed with six plays on Henry Clay Frick. The whole first book of his translation of The Iliad was published serially in Sonnetto Poesia. He has also appeared in Classical Outlook and The Raintown Review. Most of his thirty five books of couplets are on economics, such as Shakespeare Versus Keynes and Upwards to Emptiness the State Expands.

The clerk has recited an affidavit by Lord Cobham, in which he blames Raleigh for the Main Plot. William Watson, a priest, was the chief inciter of the Bye Plot. Lord Popham is the presiding justice at this trial.

Raleigh, to deliver himself from Tyburn, where traitors were executed, holds forth as far as he can.

Raleigh: Now, candid jurymen, conduct yourselves
By equitable accuracy, measuring
Each side. Coke’s imputational omnipotence
In wholeness of assertion is in this
Pretentious affirmation put. He calls
This version evidential verity.
This either quails me or discomfiture undoes;
Either absolves my sufferance or means
In absolute privation my demise;
Either exalted exculpation offers
Or vagrant indigence provides my wife
And children. This may manifest a traitor
Or a devout trustee defectless to
His king. But let me see this testament
That I may answer with defensive doubt.

Popham: Sir Walter Raleigh may examine it.

Raleigh: A wakeful answer, vital likelihood
Providing, should evoke intelligence
In you. How Cobham, the accuser, came
To say this I’ll profess. The Privy Council would
With perceant queries penetrate if Cobham
And myself combined for Aremberg’s conditions
Or of the deadly priestliness in Watson were
Apprised or whether plotted discipline,
Designed for Lady Arabella, we
Suspected. Guiltless verities I gave
The Privy Council, in pronouncement free
From priests and clear of plots. But soon, when I
Came home, I wrote to Henry Lord Cobham how
I wondered whether Aremberg advised him,
Who years ago in Flanders with that Count
Conferred. And twice that summer, having supped
With us at Durham House, Lord Cobham could
Be seen into LaRenzi’s place advance,
Who is a scribal henchman of that Count.
This news was in my letter sent. But I
Was told by Robert Cecil not to speak
Of this because King James would not offend
The Count. So when Sir Robert showed this letter
To Lord Cobham, a combustion of defense
Possessed him. With inflamed recrimination
He flared against me, caustic charges in
His shouts concerting. But he ceased, incensed
No longer, blame renouncing as mere blab,
Who then assured Sir Robert to absolve me.
A circumstantial stretch you made of this,
Master Attorney, that Lord Cobham lacked
Inductive likelihood, a dunce belike
Mistaking him. But never infantile
Inertia shows him nerveless, who asserts
In settled firmness his sententious will.
Impassioned suppositions he pursues,
Disposed to see his purposes dispatched.
And now, forbearing sanity, you say
In your absurd acuity I would plot
With him, a man of unbefriended chariness
And unattractive thrift, with him when I
Resigned perforce the Cornwall Wardenship
Of Stannaries and was enforced to do
Laborious dispossession of my rights?
My lords, eccentric ignorance I have
Not nurtured. This monarchal island I
Perceived was never so defensible,
With Scotland a united fortress having.
All Ireland has relinquished enmity,
Not breaching acquiescence north or south.
Denmark accords, negating her excess
By sea, provoking jealousy for cod
No longer. Now the plainest Netherlands,
Resemblant neighbors to our realm, at peace
Remain. And here, no dubious hesitations in
A Queen we suffer, she whom time surprised
And age suppressed, for now a forward king
Advances our attention to demands,
Who may by rightful coronation reign.

Popham: Come, sir, digressive hesitations cease
In court.

Raleigh: Lord Popham, on the pointed mark
I’d realize accuracy in the court,
With equitable pertinence conveyed.
Now I unwarranted discomfiture
Would never bear and undeserved absurdities
Would hear no more. A devil-headed raver,
England’s secured circumference assailing,
They say I am, the basest Robin Hood of hell,
Or a Wat Tyler warrior taking arms
Or like Jack Cade to jounce the uppermost
Security of kings. But now the penniless defaults
Of Spain I know, where impecunious nothingness
Abounds, in moneyless exorbitance
Unfit for war. Discouraged sentiments
Deny King Philip all belligerent
Regards for England. Have we not six times
Distracted him, in Ireland thrice triumphant
And in naval valor never failing thrice,
Even at Cadiz to devastate his coast.
As Captain for the Queen four thousand pounds
Of substance from myself I’ve spent in war,
Three prevalent events procuring while
You slept in peace. Now six or seven ships
In ports remain for Philip, a diminishment
Of fifty sails, who alien argosies
Must hire for the Columbus lands. No more
By thirty million crowns he weighs himself,
In overspent expansiveness expiring.
The neediest royalty in Europe now
Denies the Jesuits monetary grace,
All miscreant mendicants to make of them.
The lowest of inverted lordliness
He is, by meekest reconcilement now
With England to abide, who in devout
Felicitations at the recent crowning
Rejoiced complaisance to our king avowed.
Therefore in Spanish hardship would this prince
Six hundred thousand to an Englishman
Deliver without pledged securities
Or gaged collateral in pawn? When Queen
Elizabeth to her allies in Holland lent
Profusely, liens on Brill and Flushing she
Obtained. Dieppe no less she had in pawn
When France had borrowed from her purse a sum
For battles. And assure you, many goldsmith
Moneyers in London would not lend to her
Without avouched collateral in land.
Then say, my lords, what costly likelihood
For six hundred thousand could myself
Or Cobham give in pledge to Spain, myself
By meanest deprivation out of place?
As paroxysmal as appassionate,
The hottest exemplarity in hate
Of Spain I’ve shown. Would I betray my own
Biography? Would I upturn the tenor
Uppermost in me? I am the Raleigh,
English royalty fending from the Pope.
I am the Raleigh, anglophilic rectitude
Presenting, protestant heroics fain
To prove. I am the anti-papal archetype
Of England. Untransmutable antipathy
To Spain defines me. Read Guiana. Read
My Treatise on the Force of Spain in Flanders,
Which to his Majesty I gave, if he’d
Consult a warrior.

Five Poems by Simon Perchik

In Arts & Letters, Creative Writing, Humanities, Poetry, Writing on January 20, 2016 at 8:45 am

Simon Perchik

Simon Perchik is an American poet with published work dating from the 1960s. Perchik worked as an attorney before his retirement in 1980. Educated at New York University, Perchik now resides in East Hampton, New York. Library Journal has referred to Perchik as “the most widely published unknown poet in America.” Best known for his highly personal, non-narrative style of poetry, Perchik’s work has appeared in numerous books, websites, and print magazines, including The New Yorker, Partisan Review, Poetry, The Nation, North American Review, Weave Magazine, Beloit, and CLUTCH.

*
You fold your arms the way this pasture
gnaws on the wooden fence
left standing in water – make a raft

though it’s these rotting staves
side by side that set the Earth on fire
with smoke rising from the ponds

as emptiness and ice – you dead
are winter now, need more wood
to breathe and from a single finger

point, warmed with ashes and lips
no longer brittle – under you
a gate is opened for the cold

and though there’s no sea you drink
from your hands where all tears blacken
– you can see yourself in the flames.

*
You drink from this hole
as if it once was water
became a sky then wider

– without a scratch make room
for driftwood breaking loose
from an old love song in ashes

carried everywhere on foot
as that ocean in your chest
overflowing close to the mouth

that’s tired from saying goodbye
– you dig the way the Earth
is lifted for hillsides and lips

grasping at the heart buried here
still flickering in throats and beacons
that no longer recede – from so far

every word you say owes something
to a song that has nothing left, drips
from your mouth as salt and more salt.

*
Before this field blossomed
it was already scented
from fingers side by side

darkening the lines in your palm
the way glowing coals
once filled it with breasts

and everything nearby
was turned loose to warm the miles
the pebbles and stones brought back

pressed against her grave
– you heat the Earth with a blouse
that’s never leaving here.

*
These crumbs are from so many places
yet after every meal they ripen
sweeten in time for your fingertip

that shudders the way your mouth
was bloodied by kisses wrestling you down
with saliva and rumbling boulders – you sit

at a table and all over again see it
backing away as oceans, mountains
and on this darkness you wet your finger

to silence it though nothing comes to an end
– piece by piece, tiny and naked, they tremble
under your tongue and still sudden lightning.

*
It had an echo – this rock
lost its hold, waits on the ground
as the need for pieces

knows all about what’s left
when the Earth is hollowed out
for the sound a gravestone makes

struck by the days, months
returning as winter: the same chorus
these dead are gathered to hear

be roused from that ancient lament
it sings as far as it can
word for word to find them.

“Magic, Illusion, and Other Realities,” by Simon Perchik

In Arts & Letters, Creativity, Essays, Humanities, Literary Theory & Criticism, Literature, Poetry, Writing on December 30, 2015 at 8:45 am

Simon Perchik

Simon Perchik is an American poet with published work dating from the 1960s. Perchik worked as an attorney before his retirement in 1980. Educated at New York University, Perchik now resides in East Hampton, New York. Library Journal has referred to Perchik as “the most widely published unknown poet in America.” Best known for his highly personal, non-narrative style of poetry, Perchik’s work has appeared in numerous books, websites, and print magazines, including The New Yorker, Partisan Review, Poetry, The Nation, North American Review, Weave Magazine, Beloit, and CLUTCH.

Where do writers get their ideas? Well, if they are writing prose, their ideas evolve one way. If, on the other hand, they are writing poetry, their ideas evolve another way. Perhaps some distinctions are in order. Distinguishing the difference between prose and poetry may not be all that simple. There are many definitions, all of which may be correct. For the purpose of this essay allow me to set forth one of the many.

It seems to me that there is available to writers a spectrum along which to proceed. At one end is prose, appropriate for essays, news, weather reports and the like. At the other end is poetry. Writers move back and forth along this spectrum when writing fiction.

Thus, prose is defined by its precise meaning that excludes ambiguity, surmise and misunderstanding. It never troubles the reader. To define it another way, prose is faulty if it lacks a coherent thrust guided by rules of logic, grammar and syntax. It will not tolerate contradiction. Poetry, on the other hand, is defined by its resistance to such rules. Poetry is ignited, brought to life by haunting, evasive, ambiguous, contradictory propositions.

This is not to say poetry is more or less useful than prose. Rather, they are two separate and distinct tools, much the same as a hammer and a saw. They are different tools designed for different jobs. If an essay is called for, the reader wants certainty; exactly what the words you are now reading are intended to give. If, on the other hand, consolation for some great loss is called for, the reader needs more: a text that lights up fields of reference nowhere alluded to on the page. This calls for magic, for illusion, not lecture. Thus, one of the many definitions of poetry might be: Poetry: words that inform the reader of that which cannot be articulated. To be made whole, to heal, the reader needs to undergo an improved change in mood, a change made more effective if the reader doesn’t know why he or she feels better. Exactly like music. That’s where poetry gets its power to repair; an invisible touch, ghost-like but as real as anything on earth. A reading of the masters, Neruda, Aleixandre, Celan…confirms that a text need not always have a meaning the reader can explicate. To that extent, it informs, as does music, without what we call meaning. It’s just that it takes prose to tell you this.

This is because prose is a telling of what the writers already know. They have a preconceived idea of what to write about. With poetry it’s the opposite. The writers have no preconceived idea with which to begin a poem. They need to first force the idea out of the brain, to bring the idea to the surface, to consciousness. With poetry the writer needs a method to find that hidden idea. If the originating idea wasn’t hidden and unknown it isn’t likely to be an important one. Let’s face it: any idea that is easily accessible has already been picked over. It’s all but certain to be a cliché.

To uncover this hidden idea for a poem the writers each have their own unique method. As for me, the idea for the poem evolves when an idea from a photograph is confronted with an obviously unrelated, disparate idea from a text (mythology or science) till the two conflicting ideas are reconciled as a totally new, surprising and workable one. This method was easy for me to come by. As an attorney I was trained to reconcile disparate views, to do exactly what a metaphor does for a living. It’s not a mystery that so many practicing lawyers write poetry. (See Lawyer Poets And That World We Call Law, edited by James R. Elkins, Editor [Pleasure Boat Studio Press]; see also Off the Record, An Anthology of Poetry by Lawyers, edited by James R. Elkins [The Legal Studies Forum].)

The efficacy of this method for getting ideas is documented at length by Wayne Barker, M.D., who, in Brain Storms: A Study of Human Spontaneity, writes:

If we can endure confrontation with the unthinkable, we may be able to fit together new patterns of awareness and action. We might, that is, have a fit of insight, inspiration, invention, or creation. The propensity for finding the answer, the lure of creating or discovering the new, no doubt has much to do with some people’s ability to endure tension until something new emerges from the contradictory and ambiguous situation.

Likewise, Douglas R. Hofstadter, in Godel, Escher, Bach: An Eternal Golden Braid, writes:

One of the major purposes of this book is to urge each reader to confront the apparent contradiction head on, to savor it, to turn it over, to take it apart, to wallow in it, so that in the end the reader might emerge with new insights into the seemingly unbreachable gulf between the formal and the informal, the animate and the inanimate, the flexible and the inflexible.

Moreover, the self-induced fit is standard operating procedure in the laboratory. Allow me to quote Lewis Thomas, who, in The Lives of a Cell, describes the difference between applied science and basic research. After pointing out how applied science deals only with the precise application of known facts, he writes:

In basic research, everything is just the opposite. What you need at the outset is a high degree of uncertainty; otherwise it isn’t likely to be an important problem. You start with an incomplete roster of facts, characterized by their ambiguity; often the problem consists of discovering the connections between unrelated pieces of information. You must plan experiments on the basis of probability, even bare possibility, rather than certainty. If an experiment turns out precisely as predicted, this can be very nice, but it is only a great event if at the same time it is a surprise. You can measure the quality of the work by the intensity of astonishment. The surprise can be because it did turn out as predicted (in some lines of research, 1 per cent is accepted as a high yield), or it can be a confoundment because the prediction was wrong and something totally unexpected turned up, changing the look of the problem and requiring a new kind of protocol. Either way, you win…

Isn’t it reasonable to conclude that the defining distinction between applied science and basic research is the same as that between prose and poetry? Isn’t it likewise reasonable to conclude that the making of basic science is very much the same as the making of poetry?

In a real way I, too, work in a laboratory. Every day at 9 a.m. I arrive at a table in the local coffee shop, open a dog-eared book of photographs, open a text, and begin mixing all my materials together to find something new.

For the famous Walker Evans photograph depicting a migrant’s wife, I began:

Walker Evans     Farmer’s wife

Tough life, mouth closed, no teeth? Sorrow?

Not too bad looking. Plain dress

This description went on and on until I felt I had drained the photograph of all its ideas. I then read the chapter entitled “On Various Words” from The Lives of a Cell. Photograph still in view, I then wrote down ideas from Dr. Thomas’s text. I began:

Words — bricks and mortar

Writing is an art, compulsively adding to,

building the ant hill,

not sure if each ant knows what it will look like when finished

it’s too big. Like can’t tell what Earth looks like if you’re on it.

This too goes on and on with whatever comes to mind while I’m reading. But all the time, inside my brain, I’m trying to reconcile what a migrant’s wife has to do with the obviously unrelated ideas on biology suggested by Dr. Thomas. I try to solve the very problem I created. Of course my brain is stymied and jams, creating a self-induced fit similar to the epilepsy studied by the aforementioned Dr. Barker, M.D. But that was my intention from the beginning.

Sooner or later an idea from the photograph and an idea from the text will be resolved into a new idea and the poem takes hold.

No one is more surprised than I. Or exhausted. The conditions under which I write are brutal. My brain is deliberately jammed by conflicting impulses. Its neurons are overloaded, on the verge of shutting down. I can barely think. My eyes blur. The only thing that keeps me working is that sooner or later will come the rapture of discovery; that the differences once thought impossible to reconcile, become resolved; so and so, once thought impossible of having anything to do with so and so, suddenly and surprisingly, has everything in the world to do with it. Or has nothing to do with it but can be reconciled with something else it triggered: one flash fire after another in the lightening storm taking place in my brain.

Getting the idea is one thing but the finished poem is a long way off. And to get there I abstract. Abstraction and music are soulmates and poetry is nothing if not music. For each poem its opening phrase is stolen shamelessly from Beethoven. He’s the master at breaking open bones and I might as well use him early on in the poem. Then I steal from Mahler whose music does its work where I want my poetry to do its work: the marrow.

Perhaps marrow is what it’s all about. Abstraction, since it contradicts the real world, is a striking form of confrontation which jams the brain until it shuts down confused. It befits the marrow to then do the work the reader’s brain cells would ordinarily do. And though what the marrow cells put together is nothing more than a “gut feeling,” with no rational footing, it is enough to refresh the human condition, to make marriages, restore great loses, rally careers.

Of course abstraction is just one of the ways writers arrive at the poem with their idea. But however they come they all leave for the reader poetry’s trademark: illusion. It is that illusion that builds for the over-burdened reader a way out.

Perhaps, as you may have already suspected, a poem, unlike a newspaper, is not a tool for everyday use by everyone; it’s just for those who need it, when they need it.