Week in Seven Words #551

This covers the week of 8/9/20 - 8/15/20.

beware

The moment has arrived: We're getting pizza from a restaurant. A milestone during a year like this. As we wait outside the pizza place for our order, we stare into a neighboring window display with a sign that advertises psychic readings. A woman comes up to us and warns us not to see the psychic. "They went to jail for stealing people's fortunes!" Her voice is harsh, her eyes hard and bright. I wonder if she's one of the psychic's victims. Or maybe the pandemic has pushed her into the borderlands between sanity and madness.

crowns

From our bench on a high point in the park, the view is only tree canopies, thick with summer growth. Layers of leaves, subtly shifting shades of green.

nescient

The less I'm exposed to the contents of their brains, the more faith I have in humanity. 

pouring

After a morning of heavy rain and thunder, the sun emerges like yolk from a cracked shell.

rassle

They snipe at each other, sometimes viciously, but I think it's a strange comfort to them, to get tangled up together in long text threads.

 

starkly

On one side of the street, there's a stretch of restaurants with lively outdoor seating, people crammed around tables on the sidewalk as pedestrians and dogs ease past them. On the other side of the street, there's a stretch of shuttered businesses and homeless people asleep under construction scaffolding.

streamlet

On its way to the lake, the stream tumbles over rocks. Dogs dip into the running water and shake the droplets away.

Marilynne Robinson's "Psalm 8" is a thoughtful, nourishing piece

For Deal Me In, I recently read "Psalm 8" by Marilynne Robinson.

So I have spent my life watching, not to see beyond the world, merely to see, great mystery, what is plainly before my eyes. I think the concept of transcendence is based on a misreading of creation. With all due respect to heaven, the scene of the miracle is here, among us.

I was drawn to this essay because I've read the eighth psalm; I come to it from Jewish faith, and Robinson from a Christian background. I wanted to see what she had to say on it. The essay isn't entirely about the psalm, but it explores some of its themes. At one point, the psalm asks what man is exactly, to have the notice or remembrance of God. What is man to merit such attention?

("A question is more spacious than a statement," Robinson writes, "far better suited to expressing wonder.")

One reason I like this essay is that it's an intelligent, perceptive exploration of religious text and experience. I've come across writings on religion that flatten the world and make the soul shrink. This essay is full of an appreciation of mystery.

Also, there's a love of humanity in it. It's written without sentimentality but with a recognition of people's special dignity. And there's humility in it too, not exaggerated in any way, just a straightforward kind in which the mind is alive with questions that present no easy answers.

In some of her other writings, like her essay, "Darwinism," Robinson speaks out against the way people use science to try to diminish humanity; she isn't "anti-science," but writes of how science can become another ideological weapon. So can religion, but in reading Robinson's writing, religion is nothing so simple as that. And that's one reason I appreciate what I've read so far of her work. She isn't an ideologue; she doesn't want to make the world uglier by pretending everything is knowable.

The Country of the Pointed Firs: Jewett's Exquisite Book

The Country of the Pointed Firs by Sarah Orne Jewett is intense in its depictions of people sharing their lives while also living apart and alone. An author spends a summer in a remote coastal village in Maine, at the end of the 19th century. She meets people who show her parts of their life and the depths of their character. And at the end, she has to leave. It's only a season, full of weight and breadth but also coming quickly to an end.

The book, which I read for the Classics Club Challenge, isn't plot-heavy. It's a collection of meetings, conversations, meditations on nature (human and the natural world), all beautifully written. The people who inhabit the village become extraordinary because of the attention the author gives them. Here's one look at Mrs. Todd, whose house the author stays in for the summer:

It is not often given in a noisy world to come to the places of great grief and silence. An absolute, archaic grief possessed this countrywoman; she seemed like a renewal of some historic soul, with her sorrows and the remoteness of a daily life busied with rustic simplicities and the scents of primeval herbs.

And here is an old man she meets:

There was a patient look on the old man's face, as if the world were a great mistake and he had nobody with whom to speak his own language or find companionship.

The book weaves together beauty and joy with misery and loss. These feelings are inseparable. As the author looks out on nature, she observes the decay and death along with the promise and loveliness:

The tide was setting in, and plenty of small fish were coming with it, unconscious of the silver flashing of the great birds overhead and the quickness of their fierce beaks. The sea was full of life and spirit…

It was not the first time that I was full of wonder at the waste of human ability in this world, as a botanist wonders at the wastefulness of nature, the thousand seeds that die, the unused provision of every sort.

The author grows pretty close to some of the villagers, and the villagers feel fairly close to each other, or at least committed to each other; at the same time, they're separated in private griefs and memories they rarely speak about. They've enlarged their lives by finding a place in an extended family or community, or by gaining an intimate knowledge of nature, whether the woods or the sea. But they're still alone, each distinct and separate in character.

I'm tempted to share many more excerpts from this book, because it's so beautifully written. The author takes a season and tries to give it permanence in text. Even when there's the bittersweet feeling of knowing it all passes, that all these people have died, something of them and the world they live in are still around.

In the life of each of us… there is a place remote and islanded, and given to endless regret or secret happiness; we are each the uncompanioned hermit and recluse of an hour or a day; we understand our fellows of the cell to whatever age of history they may belong.

The Periodic Table: A Chemical Narrative Framework for Primo Levi's Life

That is what nature does: it draws the fern's grace from the putrefaction of the forest floor…

The Periodic Table, which I read for the Classics Club Challenge, is author Primo Levi's autobiography told in a series of elements (and translated into English by Raymond Rosenthal). Levi worked as an industrial chemist and survived a year in Auschwitz after being captured while fighting in the Italian resistance against the Nazis. Each chapter in his book centers on a different element and how it ties into some facet of his life.

I loved this unique, poetic approach to the elements. What an element symbolizes or what its association is with his life might be subtle. But it's the organizing principle of his life's narrative (at least the one he shares here) - sometimes because a memorable episode of his life involved the use of a given element, other times because someone or something reminded him of it and its properties.

There might be an important lesson from chemistry.

… one must distrust the almost-the-same (sodium is almost the same as potassium, but with sodium nothing would have happened), the practically identical, the approximate, the or-even, all surrogates, and all patchwork. The differences can be small, but they can lead to radically different consequences…

But it isn't as if he spends the entirety of the text talking in chemistry-related terms. There's poetry too, and an exploration of philosophy and emotions. As when he's captured as a partisan.

During those days, when I was waiting courageously enough for death, I harbored a piercing desire for everything, for all imaginable human experiences, and a I cursed my previous life, which it seemed to me I had profited from little or badly, and I felt time running through my fingers, escaping from my body minute by minute, like a hemorrhage that can no longer be stanched.

Or when he falls in love.

In a few hours we knew that we belonged to each other, not for one meeting but for life, as in fact has been the case. In a few hours I felt reborn and replete with new powers, washed clean and cured of a long sickness, finally ready to enter life with joy and vigor…

And the poetry and chemistry freely mix too, as during his stint at a mine analyzing the soil for the presence of certain elements, he compares the elusive nickel to a sprite darting out of reach "with long perked ears, always ready to flee from the blows of the investigating pickax, levying you with nothing to show for it."

The use of the elements lends a certain weight and permanence to his life's story; he's tying himself to the stuff of the Earth. At the same time, his forays into chemistry often mirror the messiness and transitory qualities of his life; it's not all about simple, tidy formulae, though it feels like a triumph when a formula turns out as expected. Throughout the book he unearths episodes of his life and examines them. What holds them together? He constructs a loose narrative framework of chemistry and poetry. And somehow his life's story can hang together on that. (Which raises other questions about what constitutes a narrative, and how does one find meaning in life? He found an approach unique to his own life.)

Week in Seven Words #239

cartoonish
The aquarium looks like an animated TV show; the water is ink, the fish cartoons lazily cutting their way past wavering plants and glittering castles.

flight
His finer side emerges in art. A sketch of leaves coaxed away by an autumn wind.

grim
Banshee music on the TV and moans from the people scribbling round the table.

nonchalant
Now that she's old and alone, she'll give people the finger with a smile, because she doesn't care anymore, and no one expects better of her.

precious
Her ankles are ribboned in Lord of the Rings tattoos.

pulsing
I identify the building by the ambulance lights flashing outside.

straitjacket
They think there's nothing new to learn beyond what they already know. Stepping outside the bounds of that knowledge is craziness and self-indulgence.

Week in Seven Words #186

airless
A lack of productivity is suffocating.

bullish
The cashiers summon customers by waving red flags.

complacently
A number of people think that 'natural' automatically means 'desirable' or 'immutable.'

deadwood
Branches snap and fall, no longer able to bear their own weight.

impositions
An inability to handle uncertainty lies at the heart of so much misery and evil.

rack
Can people change in their essentials? It's hard enough to get rid of a single bad habit. What about five or ten of them? What about the dark, habitual thoughts that choke the life out of the mind?

regressed
In the library, two old men fight over a hat. The owner of the hat allegedly took a newspaper away from the other guy, who retaliated by snatching the hat away and refusing to return it. They argue loudly, the hat-owner shrill and indignant, the hat-snatcher muttering filthy insults.

Come Dance with Me in Ireland by Shirley Jackson

Title: Come Dance with Me in Ireland
Author: Shirley Jackson
Where I read it: World Literature: An Anthology of Great Short Stories, Drama, and Poetry (ed. Donna Rosenberg)

Three women get their feathers ruffled and their civility questioned when a poor peddler, possibly drunk, shows up at the door.

Mrs. Archer is a new mother, at home with her baby and entertaining two neighbors: Mrs. Corn and Kathy Valentine. (Blanche is Mrs. Corn's first name - 'Blanche Corn' sounds brittle and bleached.) Mrs. Corn looks at the man in distaste, convinced he's drunk. Kathy Valentine wants to help him, but doesn't really see him; she thinks she knows all about him based on what she's heard or read about poor men ("they always eat pie"). Mrs. Archer feels that she ought to help him, as long as he doesn't sit in the good chair with his dirty overcoat. She's reluctant to turn him away, as he isn't feeling well, but she can't bring herself to treat him like she would a real guest; her courtesies come in half-measures, carrying insults.

Even though there's nothing supernatural about this man, the story has echoes of tales where a humble beggar is really an angel or royalty; he and the women are, in his own words, "of two different worlds." He may be a poet (he says he knew Yeats). Or he may be a peddler of shoe laces, nothing more or less. Whoever he is, he no longer has the stomach for self-conscious, half-cringing displays of politeness. Mrs. Archer may pass the test he poses, but with a poor or middling grade (and what would you honestly do in similar circumstances?).

[Edited: 1/2015]

7 stories from around the world

Story Collection: World Literature: An Anthology of Great Short Stories, Drama, and Poetry
Editor: Donna Rosenberg

Title: The Doctor's Divorce
Author: S.Y. Agnon (Shmuel Yosef or Shai Agnon)
Translator: (Info not provided)
"The Doctor's Divorce" shows a man trapped in a self-fulfilling prophecy. A doctor starts up a relationship with a nurse at his hospital and marries her; from early on, there are signs that his ability to love people (instead of just claiming possession of them) is questionable. When she tells him there was another man in her past, he begins to pretend in an exaggerated, unconvincing way that it doesn't bother him, even as he thinks about it obsessively. He just knows that the existence of this other man will drive a wedge between him and his wife. And that's what happens, but only because he can't let the matter drop. He kills any chance of intimacy or happiness with his wife; maybe he's incapable of being in a relationship that has either of those qualities.

Nonfiction Book of the Month: A Lady's Life in the Rocky Mountains

Isabella Bird was an Englishwoman who traveled to remote corners of the world in the second half of the 19th century; she became the first female member of the Royal Geographical Society and wrote extensively about her travels. Unusually, she traveled alone, and in A Lady's Life in the Rocky Mountains, she gives vivid and frank descriptions of life in the Rocky Mountains when they were first being settled; she visited there when she was in her forties.

She roughed it, sleeping in the homes of settlers, in dilapidated cabins, and sometimes outdoors; wherever she went, she worked alongside her hosts, assisting them with their chores. She was an accomplished horsewoman, braving bad weather and spotty trails on horseback, and at several points helping people round up cattle; most of the time she didn't ride sidesaddle, but seated herself as a man would. She wound up befriending a desperado, "Mountain" Jim Nugent, who helped her ascend Long's Peak. All of her writing renders the natural world beautifully, but even when she's in raptures over a particular location (such as Estes Park), there's always a steadiness to her work; you could tell she had sharp eyes and a good head on her shoulders. She comes across a variety of people in the Rockies and on the bordering Plains, and makes an unsentimental analysis of settler society, both the favorable and unfavorable qualities of it.

The book - a compilation of letters she wrote from the Rockies to her sister back in England - is a treat, for its literary and historical value. So dive in and travel alongside her:

There were snow patches, snow slashes, snow abysses, snow forlorn and soiled looking, snow pure and dazzling, snow glistening above the purple robe of pine worn by all the mountains; while away to the east, in limitless breadth, stretched the green-grey of the endless Plains.

Worth Watching: The Trip to Bountiful (1985)

Title: The Trip to Bountiful
Director: Peter Masterson
Language: English
Rating: PG

The Trip to Bountiful has one of the most beautiful opening scenes I've ever watched: a mother and her young son running through a field of bluebonnets. They're full of life. They look as if they could run forever.

Flash forward a few decades, to the 1940s. The mother, Carrie Watts (Geraldine Page), is now an old woman. She lives with her son, Ludie (John Heard), and his wife, Jessie Mae (Carlin Glynn), in a small Houston apartment. Ludie isn't the carefree boy he once was; he's recovering from an illness and trying to get a promotion at work. He and his wife haven't been able to have children. Jessie Mae is a self-centered, petty woman, who needles her mother-in-law at any opportunity she gets. I also sensed resentment in her, that she has to live with her mother-in-law in close quarters, and that Carrie makes her feel inadequate as a homemaker and wife. The two just get on each other's nerves, and Ludie is, for the most part, tired and withdrawn.

Living in that little apartment is driving Carrie insane; she's reduced to being a child, squabbling with her daughter-in-law. She's cut off from the only kind of life that ever gave her meaning. Realizing that she's in poor health, she's overtaken with the desire to see her old home again in Bountiful, Texas, out in the country. She won't let her son and daughter-in-law stop her.

Week in Seven Words #151 & #152

Week in Seven Words #151

affective
When the book I've worked on makes its way into the world I feel a nervous happiness.

kick
Short clips of improv comedy are like shots of an energy drink.

perpetual
The blink of the cursor measures time.

ploy
She tries to give me 'supercalifragalisticexpialidocious' as a mathematical solution. I am unmoved.

progress
Step 1: Recognizing a problem. Step 3: Doing something about it. Step 2: Inertia.

scattered
At the front of the line there's usually someone whose library card is lost among a hundred compartments in a purse or whose money is floating around in a bottomless coat pocket.

sheeted
The water is beaten down by the wind.

------------

Week in Seven Words #152

evacuation
He isn't toilet-trained but he's started to seek out privacy when nature calls. He tries to find a quiet spot in the house where he can stand or sit in his diaper, and if you approach him, he warns you off with a plaintive "No, no..." until he's done.

fluidity
I see the sculpture in the wan cloudy light of a winter afternoon, so I don't realize at first that it has color sliding through it - a pale lavender flowing like liquid through its metal veins.

impressionistic
The view from the window is one gray smear, like a Monet painting of London.

palimpsest
I like historical tours of downtown where you learn that criminals were hanged and traitors shot in the peaceful square where people now eat their lunches by the fountain and text each other.

pragmatically
His expectation of instantaneous results have given way to pragmatism; there's so much more work to do, so much farther to go.

prioritizing
I had a feeling she'd stop being angry with me, because she'd want to know how my date went.

shortcut
He's been asked to sort his toys neatly into drawers. But there are so many of them, and he'd rather be playing than organizing his room. So he labels one drawer the 'everything drawer' and piles as much stuff as possible into it. Unfortunately it doesn't pass inspection.

10 reasons to watch Treasure of the Sierra Madre (1948)

Title: Treasure of the Sierra Madre
Director: John Huston
Language: English and Spanish
Rating: PG

Synopsis
Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) are down on their luck in Tampico, Mexico when they team up with Howard (Walter Huston), a cheerful, motormouthed old miner who's made and lost several fortunes hunting for gold around the world. They head into unexplored territory to look for gold, and though they're beset by many external threats - heat, harsh terrain, bandits, and other miners who might kill them for their loot - the worst danger they face is from each other.

Worth Watching: In the Heat of the Night (1967)

Title: In the Heat of the Night
Director: Norman Jewison
Language: English
Rating: PG/PG-13

An influential businessman in a small Southern town has been murdered, and the first suspect brought in for interrogation is Virgil Tibbs (Sidney Poitier). Why Tibbs? He's a black man and was found sitting alone at the train depot with a wad of cash in his pocket; in the eyes of Sheriff Gillespie (Rod Steiger) and his ragtag crew of officers, he might as well be sentenced on the spot. When it turns out that Tibbs - Mr. Tibbs - is the best homicide detective in Philadelphia, makes more money a week than Gillespie does in a month, and was only passing through the area after visiting his mother, he's recruited to help solve the case. Reluctantly, after some pressure from his own police chief, he agrees.


It's not a happy situation for Tibbs, working in a hostile town where he could easily get arrested, beaten or shot. Tibbs can't just be good at what he does. To receive basic human consideration, he has to be the best; he has to meet the highest standards of professionalism if he even wants to be tolerated. I don't think we ever see Tibbs eat anything, wear anything other than a suit, or sleep. He has to be more than human.

Poiter delivers his lines a little too stiffly here, compared to his performances in a couple of older films. Maybe the extra stiffness reflects the strain of having to play - not for the first time - two roles in a movie: the role of his character (who's trying to stay alive, solve a crime, and show racist people that he's a person worthy of respect) and the role of Poitier the Emissary, put on the big screen to comfortably show white audiences in the late 1950s through the 1960s that black people can be good and kind and smart too.

Before Poitier, black actors didn't get prominent parts on-screen, with the exception of some musicals. From what I've seen they were mostly portrayed as slow, child-like, and/or servile. Poitier broke down some of those stereotypes by playing intelligent characters, people with nobility and courage and strong will. But to endear himself to white audiences, he wasn't allowed to be sexual, and he needed to be shown as helpful to white people. In the movies I've watched so far, his characters weren't boring or perfect, and he portrayed people who had backbone and wouldn't accept racist insults. He broke ground in cinematic scenes where he wrestled down racists (in the The Defiant Ones), called them 'boy' (in Lilies of the Field), and in this movie, slapped them. Those scenes still have power today, but they were much more shocking when the movies first came out. Still, Poitier was limited in his choice of roles, because he had to present a certain image to movie-goers.

In any case, I think in this movie the strengths of his performance lie not so much in the delivery of his lines but in his intense facial expressions, and his body language suggesting defensiveness and leashed strength; he has a compelling screen presence. His demeanor is a sharp contrast to Steiger's Sheriff Gillespie, a laconic bulldog of a man who slouches around, chews gum, puts his feet up on his desk, and hides a sharp mind behind an easygoing manner. Gillespie is racist, not so much with true conviction as with a need to feel superior to others in some way, given his nonexistent personal life and low-paying, high-pressure job in a backwater town. Tibbs's city manners, cleverness and sophisticated crime-solving techniques reluctantly impress him even as he's eaten up with jealousy and outrage.


Detective Tibbs and Sheriff Gillespie don't become friends, but Gillespie does come to see Tibbs as a man worth respecting and defending. In one great scene that captures their relationship and its uneasiness, Gillespie hosts Tibbs in his home where they talk over drinks. Letting Tibbs into his house is an unspoken sign of respect from Gillespie, who doesn't like having guests over. In the course of their conversation, they discover some things they have in common (two law enforcement officers, leading a lonely life with lots of hard, tiring work), and Tibbs starts to look a little relaxed for a change. But then the feeling of fellowship startles Gillespie - it's suddenly too much, sharing confidences with a man who should be inferior to him but isn't - and he retreats back into his racist mindset and shuts Tibbs out again, leaving Tibbs disillusioned and regretful. As long as he can see Tibbs as an officer, Gillespie is able to work with him, but he keeps retreating from the idea of Tibbs as a man.

That scene felt a lot more real to me than the ending, which hit a wrong note. Suffice it to say, Tibbs solves the murder, and he's about to leave this little town where maybe he's changed some people's perceptions. Gillespie arrives to see him off at the train station. At this point the filmmakers (and Poitier) make it seem like Tibbs really needs the recognition from the sheriff. He doesn't just want the victory of getting acknowledgement from a man who thought he was dirt at the start of the film, or the satisfaction of changing some people's minds; he seems to actually need Gillespie's approval. (Not like in Lilies of the Field, where the recognition he wants from Mother Maria feels more like the respect a person demands from a worthy contender.) Here it seems that Tibbs wants a pat on the head.


I haven't said much about the murder, because while there are some suspenseful moments and colorful (and yucky) minor characters the movie is worth watching mostly because of Poitier and Steiger and their dynamic.

I also love the feel of the movie in some of the scenes. There's the blur of lights in the beginning with Ray Charles singing In the Heat of the Night. Also the unexpected moments of humor or irony; for instance, the first character in the film who respectfully addresses Tibbs as "Mr. Tibbs" is one of the most racist characters, Endicott (Larry Gates), who lives like a plantation owner of yore. He regards his workers with paternalistic condescension and pines for the good old days where he could get away with shooting the uppity ones. These days he can't even deliver a slap without getting one back.

What I wanted more of was Tibbs's thoughts about the situation he's in. Not his need for acknowledgement or his need to stay alive and stay one step ahead of those trying to kill him, but his thoughts on being in alien territory. Usually he's in Philly, well-respected and in his element; in the South he's rejected and threatened by white society and doesn't fit in among the other black people who are still kept in "their place." His mother lives in these parts, and he understands some of the culture - seen especially in his conversation with Mama Caleba (Beah Richards), a character who plays a key role in the murder mystery. But what does Tibbs think? He's an emissary from another world (in this case, a big city in the northern U.S.), just as Poitier himself bridged two worlds in mainstream cinema, his films becoming part of an important transformation in American culture.

*All images link back to their source (Flixster Community).

Extracts: At least the winter doesn't get to be like this where I live

He dwelt upon the unseen and the unknown till the burden of eternity appeared to be crushing him. Everything in the Northland had that crushing effect- the absence of life and motion; the darkness; the infinite peace of the brooding land; the ghastly silence, which made the echo of each heart-beat a sacrilege; the solemn forest which seemed to guard an awful, inexpressible something, which neither word nor thought could compass... The magnitude of all things appalled him. Everything partook of the superlative save himself - the perfect cessation of wind and motion, the immensity of the snow-covered wilderness, the height of the sky and the depth of the silence. - from "In a Far Country" by Jack London

There's also a scene from the story where the two main characters, stuck in a cabin together for the winter (and you know that's going to end well), get a first brief taste of sunlight, a noontime that looks like dawn, after weeks of complete northern darkness.

Their eyes were fixed upon the north. Unseen, behind their backs, behind the towering mountains of the south, the sun swept toward the zenith of another sky than theirs. Sole spectators of the mighty canvas, they watched the false dawn slowly grow. A faint flame began to glow and smoulder. It deepened in intensity, ringing the changes of reddish-yellow, purple, and saffron... a miracle, the sun rising in the north! Suddenly, without warning and without fading, the canvas was swept clean. There was no color in the sky. The light had gone out of the day.

Extracts: "The better angels of our nature"

We are not enemies, but friends. We must not be enemies. Though passion may have strained it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature. - from Lincoln's First Inaugural Address, 1861

Much-needed perspective.

Extracts: How do we love?

At last the sun came up bewilderingly bright. Sylvia could see the white sails of ships out at sea, and the clouds that were purple and rose-colored and yellow at first began to fade away. Where was the white heron's nest in the sea of green branches, and was this wonderful sight and pageant of the world the only reward for having climbed to such a giddy height?

Sylvia, a shy young girl who lives with her grandmother in rural New England, climbs an enormous tree. This is an arduous undertaking, done in secret.

The tree seemed to lengthen itself out as she went up, and to reach farther and farther upward. It was like a great main-mast to the voyaging earth; it must truly have been amazed that morning through all its ponderous frame as it felt this determined spark of human spirit wending its way from higher branch to branch.

She makes this climb in the hopes of spotting where the elusive white heron hides its nest. A friendly hunter has offered her and her grandmother money if she can find out where the bird lives.

Will Sylvia discover the location of the heron's nest? If she does, will she tell the hunter where to find it, so that she can earn money and approval, while the hunter bags himself another bird for his collection of specimens?

That's the part that makes Sylvia uneasy:

Sylvia would have liked him vastly better without his gun; she could not understand why he killed the very birds he seemed to like so much. But as the day waned, Sylvia still watched the young man with loving admiration. She had never seen anybody so charming and delightful; the woman's heart, asleep in the child, was vaguely thrilled by a dream of love.

One of the best elements of Sarah Orne Jewett's story, "A White Heron", is its exploration of different kinds of love.

Sylvia loves the creatures of the woods with a kind of sympathy to them; she loves them as they are ("The murmur of the pine's green branches is in her ears, she remembers how the white heron came flying through the golden air and how they watched the sea and the morning together...").

The hunter loves the birds chiefly because of what he is able to get out of them - another addition to his collection, a reward for his skills, the satisfaction of having the specimens stuffed and in his possession to admire and study as he pleases.

The story got me thinking about the ways in which we love other people. Is it more with a sense of fellowship, of loving another like yourself and as they are? Or do we love them insofar as they are useful to us and satisfy whatever urges and desires require satisfaction (a kind of love that ties into the "pageant of the world"). Is it a blend of both?

Sylvia might get her chance to win some money and admiration, the currency of a wider world with which she's had little contact (and never really fit into before she went to live with her grandmother). But what would she be giving up to earn these rewards? And what would she be losing if she turns away from the money and approval and the kind of love society might offer her?

Week in Seven Words #37

linger
Things that get put off and delayed do not go away. Why do I keep letting myself think they do? Though I turn my mind to other chores and tasks, the things I've tried to put off still sit there (I can see them out of the corner of my eye) siphoning away my concentration until at last I just have to deal with them.

neglected
I don't want a human life to go by unobserved. The people who seem invisible, unloved, and unwanted by others - I used to think they're ignored in large part out of a lack of time and willingness, also an indifference and callousness (life's busy, so much to do, can't stop to look, and are they worth it anyway?) but there's more to it than that. There's an underlying fear too, that anyone can slip through the cracks.

penne
Maybe it's the colder weather, because I get a craving for pasta this week; I like the way it bubbles in the pot, the billow of steam as I tip it into the colander, and the plentiful plate of it drenched in tomato sauce, garlic, basil and mozzarella.

phoenix
A new week, and new ideas rise out of the unceremonious ashes of old ones.

puddled
The world is overrun with cold water. Every step is a squelch, a splish, a spatter.

straining
I want them to understand. I point, repeat, stare at them with a desperate encouragement, ask questions, try to urge them out of a state of passive absorption. I wait for the light to flow into their faces, the glimmer of comprehension, that tells me they've learned - and that even if they don't grasp everything, that they want to at least struggle with the material, to lean forward in their chairs and puzzle things out, ask questions, throw suggestions out there without a fear of being wrong.

vaccine
The nurse administering the flu shot asks me if I'd like her to tell me when the needle is about to go in. I tell her it's not necessary, because I'm going to watch. Ever since I was a kid, I've never taken the suggestion to look away during a shot. Much as the sight is unappealing, if I don't look I'll tense up; maybe when I look, it feels less like something is happening to me that I have to just passively take.

Extracts: "Worship and living are not two separate realms."

Yom Kippur (the Day of Atonement) starts this evening, and I'm reading these words now from Abraham Joshua Heschel's book God in Search of Man:

The problem of living does not begin with the question of how to take care of the rascals, of how to prevent delinquency or hideous crimes. The problem of living begins with the realization that all of us blunder in our dealings with our fellow men. The silent atrocities, the secret scandals... are the true seat of moral infection. The problem of living begins, in fact, in relation to our own selves, in the handling of our emotional functions, in the way we deal with envy, greed, and pride.

Worship and living are not two separate realms. Unless living is a form of worship, our worship has no life. Religion is not a reservation, a tract of time reserved for solemn celebrations on festive days. The spirit withers when confined in splendid isolation. What is decisive is not the climax we reach in rare moments, but how the achievements of rare moments affect the climate of the entire life. The goal of Jewish law is to be the grammar of living, dealing with all relations and functions of living.

Religion is trying to teach us that no act is trite, every moment is an extraordinary occasion.

The highest peak of spiritual living is not necessarily reached in rare moments of ecstasy; the highest peak lies wherever we are and may be ascended in a common deed. There can be as sublime a holiness in performing friendship, in observing dietary laws day by day, as in uttering a prayer on the Day of Atonement.

It is not by the rare act of greatness that character is determined, but by everyday actions, by a constant effort to rend our callousness.

Extracts: "the indefatigable system"

In the novel Olive Kitteridge there's a scene where a man by the name of Kevin Coulson has returned to his home town because he wants to commit suicide there. He parks his car near a marina and sits for a while looking out at the ocean; the gun is wrapped in a blanket in the back seat, and he fully intends to use it later on, but for now he wants to just sit and watch the ocean. That's when his old junior high math teacher (Olive herself) spots him, taps on the car window, and plops down on the passenger seat.

There's one excerpt from that section that I particularly liked, because I think it gets at how even when the mind and heart seem set on oblivion or demise, a person can still be grasping almost hysterically at life.

At the very moment Kevin became aware of liking the sound of her voice, he felt adrenaline pour through him, the familiar, awful intensity, the indefatigable system that wanted to endure. He squinted hard toward the ocean. Great gray clouds were blowing in, and yet the sun, as though in contest, streamed yellow rays beneath them so that parts of the water sparkled with frenzied gaiety.

He doesn't know whether he wants Olive to stay or go - there are some points when he definitely wants her to leave, because he senses she's thwarting his plan; as for Olive herself, it seems that even though she doesn't know the specifics and hasn't seen her old student in years, she senses that something's off, and she makes herself comfortable in that passenger seat.

The scene ends with everything getting turned upside down, and Kevin winds up rescuing someone from drowning in the choppy water off the marina:

the girl... now holding him with a fierceness that matched the power of the ocean - oh, insane, ludicrous, unknowable world! Look how she wanted to live, look how she wanted to hold on.

I don't think we find out what happens to Kevin, after that chapter (the book is a collection of stories/episodes about Olive and various people in her family and community). But no news can be taken as good news in this case; there was a reason he had decided to return to his home town to kill himself, and if he had, people would have been talking about it for years after.

As for the book as a whole - I had mixed feelings about it; it felt sharper and stronger initially, then seemed to fade, with the writing losing its freshness, and the ending coming across as too tidy and tired. I guess I was hoping for more imagination and at some points more depth. Sometimes it felt like a compilation of fractures and disorders, one after another - adultery, anoxeria, depression, suicide, more adultery, and similar-sounding notes on futility and impotence over and over again.

In any case, the characters mostly went on living, however much their lives were constricted, off-kilter or empty-feeling. One of the best elements to the book I felt was that it contrasted the difficulty and complexity of individuals with the often glib or simplistic explanations provided by doctors and therapists (and by the individuals themselves, trying to place blame or pinpoint the source of problems); pointing to a faulty gene or an imperfect parent just can't explain the whole of it - the whole of what a person is - however much it's tempting to settle for the easy explanations.

Bodies can tell such strange sad tales

This afternoon I visited the Mütter Museum of The College of Physicians of Philadelphia.



It's a fascinating and disturbing place, containing collections of preserved skeletons, tissues and organs (including a large number of diseased ones), a woman's adipoceric corpse (where the decomposing flesh had changed into a soap-like waxy substance, adipocere, that has kept the body intact), and also a number of fetuses in jars.

The fetuses were particularly poignant and wrenching to look at. Many of them had serious physiological defects of some kind. The first one I encountered was a fetus with anencephaly - absence of a forebrain (which includes the cerebral cortex), and with it a flat skull. It was inexplicably placed in a jar apart from the other fetuses - in a bottom corner next to a section of intestine. Its tongue was protruding slightly. I didn't find this horrifying, just very sad. Other fetuses included triplets, all sharing a jar. Others were conjoined twins. There were others, tiny and embedded in tissue, who had arisen from ectopic pregnancies, which develop outside of the uterus and the amniotic sac in places like the fallopian tubes. What I kept thinking was that all of these fetuses were displaced from a uterus; they were in fluid-filled jars instead, locked inside of cabinets. Unclaimed and nameless and lost along the way.



This statue is from the adjacent herb garden. It was refreshing to go there afterwards. Butterflies, birds, flowers and herbs, along with a circle of benches:



I jotted down some of the other things I saw:
- an exhibit on Lincoln and John Wilkes Booth (including thoracic tissue taken from Booth's body during his autopsy), and also a parallel exhibit of James Garfield and his assassin, Charles Guiteau, (and some preserved skin from Garfield, who with better medical care probably would have survived instead of experiencing a lingering painful descent into death).
- Dr. Politzer, the "father of otology", a man who did groundbreaking work on the ear
- suspended skeletons, some of them with obvious blunt trauma to their skulls or horrible curvature to the spine (as seen in Pott's Disease)
- various brains, from fish to human
- an enormous colon
- a small collection of body-related art, including one piece ("Hide" by Christina West), which is a sculpture of a nude woman, bent over, her hands against the wall (to see the sculpture's face you have to squat - if it even occurs to you to seek out her face).

There's a story for everyone and everything (down to the slightest bit of deviant tissue - it came from someone, under some set of circumstances).

Displayed in the museum, a quote by Thomas Hardy:

Why should a man's mind have been thrown into such close, sad, sensational, inexplicable relations with such a precarious object as his body?

We're frail. We know horror. We settle down and make our music anyway.