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Sunday, January 04, 2015

Jill Rapaport: Duchamp et Moi and Other Stories

(Facebook Page of Jill Rapaport)
no copyright infringement intended



A book with a very NY universe in it: nihilistic, minimal, sometimes absurd, sometimes cruel, all this interlaced with a delicate fabric made of dreams (how is that is difficult to explain). Duchamp has just landed in Manhattan and people there are taking him for Beckett, so he is looking for his Godot, while encountering Proust by pure chance. Marcel Duchamp and Marcel Proust in Manhattan, in the Chelsea district, encountering Jill Rapaport in Madison Square Park. A small quiet place, a spot of illusory happiness in the madness of a city that is devouring itself. The book of Jill Rapaport is somehow a very Manhattanian À la recherche du temps perdu - in search of a lost time and of a vanishing city. À la recherche du temps perdu et d'une cité qui n'est plus ce qu'il était autrefois, on trouve un petit jardin, un petit coin du paradise, où Jill raconte ses histories.


(Jill Rapaport)

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Tuesday, May 13, 2014

Yasunari Kawabata

Yasunari Kawabata, c.1932
photo during the time he was living at
Sakuragi-cho in Ueno (上野桜木町)
(http://en.wikipedia.org/wiki/File:Yasunari_Kawabata_c1932.jpg)
no copyright infringement intended


I had the last week a discussion with my sister Jill, and Yasunari Kawabata entered the picture. Jill said that she was preferring the style of Mishima, I observed that Kawabata had a more musical name (as it happens she was talking seriously while I was indulging a joke). Jill and I came shortly to Mishima's Patriotism, also known as The Rite of Love and Death. But I'd leave this short story and short film by Mishima for later, as it deserves much more room. For now, let's state things right: both Kawabata and Mishima were great authors, of course. And of course each of us can prefer the style of one of them over the other.


(A Life in Books)

(Jill Rapaport)

(Mishima)

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Thursday, March 06, 2014

Words of Love (Reading Jill Rapaport)

(Ruth E. Hendricks - Greenwich Village)
no copyright infringement intended

It is in the book of Jill Rapaport (Duchamp et Moi and Other Stories) a very special story. It is talking about love. About longing for a passed love, never fulfilled.  The story has a weird title, Sic Mundi Transit Gloria (page 114): the wording order is changed, maybe to express the revolt against fate, maybe to suggest that once love is becoming a memory, it's not world's glory that's passing, rather world as a whole.

It's a delicate story, like a Japanese elegy. The tone is dignified, the sadness is superbly contained within words. The father has passed away, too early and too sudden, leaving the relationship with his daughter unresolved. There were words expected by both of them, gestures, never said, never made, always postponed. There had been a tension between the two, not visible, somehow implicit. The daughter felt not understood. The same for the father. Each one was expecting the other to make the first step. Each one didn't know how to do it. It was too late now.

And the daughter was now looking for the places of meaning for his father. Streets he had enjoyed to walk by, a restaurant he had frequented, a store where he had always gone to buy his pipe tobacco. He was coming home showing her the  new tobacco box he had bought. After emptying it, the box was taken by the daughter to play with. That had been long time ago, now she was in her early twenties.

So she was walking now on the same streets, visiting the same restaurants and stores, looking at the houses and the people. For the daughter each of those places was having a special charge. The father had met there people who, one way or another, had a significance for him. Talking now with these people meant somehow trying to find his persona. It was not only about people. There was also a spirit of the place that the father had sensed there. A collective spirit, now charged also with his memory.

The young man at the counter in the tobacco store hadn't known the father. She tried anyway to force a connection, thinking for one moment at a mysterious step-brother, whom she had never met (as he was living in a faraway country). No, the young man in front of her was a Korean.  He was nice and the daughter felt attracted by him. Also he seemed to enjoy her companion. A story of love could start now. For her it would have been a continuation and fulfillment. It  never went further. Maybe he was too timid, maybe it was another thing making their relation impossible.


(Jill Rapaport)

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Tuesday, February 18, 2014

Tanguy on Steroids (Reading Jill Rapaport)

Yves Tanguy, Multiplication of the Arks
oil on canvas, 1954
MoMA
source: (Art Now and Then)
no copyright infringement intended

Altogether the building could have been dreamed by a steroid-injected Yves Tanguy
(Jill Rapaport, Duchamp et Moi and Other Stories / A Green Light, page 81)

Well, some go even further than Jill: is Yves Tanguy a Dali on steroids, maybe? (Art Now and Then).

Now speaking a bit about Rapaport's A Green Light (Duchamp et Moi and Other Stories, page 77), it's there a Gothic fantasy, and an advancement of a horror story, and a bit of film noir, and some kind of botched sexual conquest with open ending,  and all this in a SoHo as dark and nightmarish as a steroid - injected Lucian Freud could be. It's New York at its best!

(Yves Tanguy)

(Jill Rapaport)

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Monday, February 10, 2014

Renoiresque Paris (Reading Jill Rapaport)

Pierre Auguste Renoir, Farm Courtyard
private collection
(http://www.wikipaintings.org/en/pierre-auguste-renoir/farm-courtyard)
no copyright infringement intended


... I walked out between two potted plants and through the Renoiresque courtyard toward the street ... (Jill Rapaport, Duchamp et Moi and Other Stories / Pas Lilas, page 40)

Pas Lilas is a story taking place in Paris:  a place looking, at least at first view, like anywhere in the world. I mean the narrative seems to be completely indifferent about the city. It's just a place.

A place where the author makes an analysis of the estrangement between two sisters, badly hurting one of them, while seemingly keeping the other one casually indifferent about what's going on. Each one lives in her own universe, far away from the world of the other one, each one has her own values and perceives the values of the other one as completely alien. Who is right and who is wrong? The story obviously takes sides with the one who's telling the thing. I would say that one is asking for too much while the other doesn't intend to give anything, or simply doesn't notice anything (but who am I to give judgements?) Seemingly it was not like that during their childhood, and the story suggests a nostalgia coming now and then to visit the present, bringing echoes of some golden age in some indefinite past.

Well, with such a painful conflict, there is no much room left for Paris. Though...

Though Jill Rapaport has the gift to say rapidly some essential things about this city (which happens to be also her birthplace). I noticed this also in other works by her. She doesn't need to say hundreds of words about her impressions, be it of Paris, be it of this or that page of history, be it of anything. She is a very quick thinker, and her quick reflections come and go on the page the same as they are passing through her mind. For her, Paris means its Renoiresque courtyards (page 40), the cloudy gray sky like in a watercolor by Derain (page 43), Gertrude Stein's house on 27 Rue de Fleurus, occasion to remember a previous visit with her mom - again a nostalgic echo of  some golden age - she stumbled there by accident, unless her feet had secretly known where to take her (page 45), La Closerie des Lilas, blessed by the memory of past readings from Hemingway and Janet Flanner (page 47). The Paris of Jill Rapaport is actually very present throughout the story: a whole universe presented to us (and to her) in quick essentials.

(Renoir)

(Jill Rapaport)

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Thursday, February 06, 2014

Reading Jill Rapaport - The Meaning of Taceria

Really tasty tacos for only $6 for 4!!!!
(from Dawn Crawford)
El Mil Tacos Taceria
Asheboro, NC
(http://www.trover.com/d/8GeJ)
no copyright infringement intended

One of the stories in Jill Rapaport's recent book (Duchamp et Moi and Other Stories) has a title that firstly intrigued me: Taceria (pag. 26).

The story is taking place in a small taco restaurant on 23rd Street. A tensed situation starts from nothing and inflames all people inside the restaurant, patrons and staff altogether. It is calmed down as abruptly and absurdly as it started. And I remembered many tensed situations like this one, witnessed by me throughout the years, started from nothing and diffused from nothing. Only here in the book the whole evolution of the case is brilliantly constructed: it's a perfect example of self consistency. One detail less and you would feel that something is lacking. One more detail would give the impression of too much.

Now, after reading the story, coming back to the meaning of the title, it seems crystal clear: a taceria is just a taco place, no more no less. But here is the thing: if you look in any dictionary, you won't find taceria ever. Not even in the Urban Dictionary  (which is generally very candid). Instead, you will find taqueria - a word joining the name taco and the verb queria (which in Spanish means I wanted). The way taco and queria are joined is interesting: the word has three syllables - ta is the first part of taco; ria in the end is the second part of queria; que in the middle comes from taco as well as from queria. Well, mostly from taco or from queria? I would say more from taco (though the spelling is que), because many Spanish words designating stores end in ria: zapatería (shoe store), pescadería (fishmongery), carnicería (butcher's), etc. (what does taqueria mean).




After all these considerations, it would have made sense to use as title for the story Taqueria, isn't it? Not necessarily! Actually Taceria is an alternate spelling that entered the American English quite recently, thus both taqueria and taceria are perfectly legitimate and nowadays they are used interchangeably.

Here are some examples:

I've read some reviews from people who compare this to a taceria and they just dont get it. chipotle is actually the answer to  those that don't like greasy taquerias. I love all chipotles! this far from taco bell as some here have described it.

I walked back down Mission to a taceria and had a burrito and a Dos XX's which was confirmed to me as "one two ex's beer."

Taceria Juqulipa is located in Chehalis, WA on 917 Southwest Cascade Avenue.

I had them twice this week. Matamoros Puebla grocery in Brooklyn (Bedford bt. n6t+n7th - Bedford on the L); and Taceria Mexico in Queens (38th st of Broadway - Steinway on the RGV).



Super tacos mmmm.
Super Taceria
corner of Williams / 10th st. San Jose, CA
(http://twitpic.com/67xxg)
no copyright infringement intended


(Jill Rapaport)

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Tuesday, February 04, 2014

Derain, Sketch for The Old Bridge at Cagnes, 1910 - Thinking at Jill Rapaport Book

André Derain, Sketch for The Old Bridge at Cagnes
graphite and watercolour on paper, 1910
Tate Gallery
no copyright infringement intended

I'm again thinking at the bunched palaces against a cloudy gray sky imagined by Jill Rapaport in one of her stories (Duchamp et Moi and Other Stories/Porte Lilas, pag.43)


This drawing dates from a period in which Derain had moved away from the rich coloring of Fauvism. The angled modulation of the planes of the bridge and surrounding buildings, and the way in which this is worked across the whole surface of the drawing. reflect his new engagement with the example of Cézanne, whose work was very much in the public eye following his death in 1906. His work of this period encouraged some to see Derain, briefly, as a leading Cubist rather than recognizing his interest in Cézanne.


(André Derain)

(Jill Rapaport)

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Reading Jill Rapaport - Thinking at Derain Watercolors

André Derain, Collioure
gouache, watercolor and brush and ink on paper
executed in Collioure during the summer of 1905
at the corner of Boulevard Boramar and Avenue Pelletan
(Sotheby's)
no copyright infringement intended


... the look of the bunched palaces against a cloudy gray sky, like a watercolor by Derain ...
(Jill Rapaport, Duchamp et Moi and Other Stories/Pas Lilas, page 43)



(André Derain)

(Jill Rapaport)

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Thursday, May 02, 2013

Truman Capote

Truman Capote in 1955
a photo by Richard Avedon
(La Vida en Fotografía)
no copyright infringement intended

Several years ago my sister Jill gave me a  book by Truman Capote: The Muses are Heard. I hadn't read anything by him in original before. I was gained by the style, very matter of fact. I promised myself to look for others books by him. Later I bought a collection including Breakfast at Tiffany's. I had seen the movie with Audrey Hepburn, that was long, long time ago. So I started to read it, only I must say I became a very chaotic reader, starting more books in parallel. I watched then the movie where Capote was played by Phillip Seymour Hoffman. It was great and I'll come back to all of this. I knew many of his books from Romanian translations.

Well, yesterday I found on Facebook a post made by a Romanian journalist that I enjoy reading (Andrei Craciun): he was referring, among other books, Summer Crossing: Prima carte scrisa de Truman Capote si regasita dupa patruzeci de ani. O revelatie. Domnisoara Grady e una dintre cele mai seducatoare si mai tragice femei ale literaturii. Blestematul de Capote stia. (The first book written by Truman Capote, considered lost and rediscovered after forty years. A revelation. Miss Grady is one of the most seductive and tragic women in literature. That son of a gun Capote knew that). I found a great excerpt from the book on The New Yorker. It was published there in 2005.



(A Life in Books)

(Jill Rapaport)

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Wednesday, May 16, 2012

A Few Words about Carlos Fuentes

(http://stormandmoonlight.tumblr.com/)
no copyright infringement intended

Death awaits the bravest, the richest, the most beautiful.  But death makes them equal to the most cowardly, the poorest, the ugliest, not in the simple fact of dying, not even in knowing death, but in the ignorance of death.  We know that it will come one day, but we never know what it is.



Jill Rapaport has a superb little story about Carlos Fuentes:

I once went to hear Carlos Fuentes read; it was spur of the moment and I didn't happen to have any of his books with me; they invited listeners to come up at the end and have their books autographed and since I wanted to meet him, I went up with the novel I was reading, a cheap paperback edition of Middlemarch. I sort of apologized for having only this when it was my turn to shake hands with him, but he was really nice about it and took the book from me and said something like "Yes, as I remember, this was a very good novel." And he signed it. It was the only time I'd ever tried to get an autograph from anybody.


And here is video showing Carlos Fuentes in a visit to a famous place in Veracruz: el Gran Café de la Parroquia.







(Jill Rapaport)

(Una Vida Entre Libros)

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Saturday, March 10, 2012

The War of the ph/f Word - La Guerre du Nénuf(ph)ar

Qu'il est de belles batailles ! Des milliers de blessés à mort agonisant sous un soleil de plomb dans une puanteur à vous faire vomir les tripes, des enfants au sourire carbonisé, à moitié déchiquetés par des bombes à fragmentation, ou encore des femmes et leurs fillettes se faisant violer tour à tour par de terribles soldats aussi vérolés qu'ivre morts... Oui, il y a là une certaine beauté diabolique... Mais moi, foin de ces sommets putrides, les batailles que je préfère sont celles de fleurs, batailles de fleurs qui coiffent d'une courte tête les jolies batailles de mots... Et la fameuse bataille du nénuphar en est le summum, le bouquet, puisqu'elle émane des deux, fleur et mot à la fois. Laissez-moi vous la retracer...
[Wars can be so cool sometimes! Thousands of deadly wounded, agonizing under a blazing sun, stinking to make you vomit your entrails, children with their smiles carbonized, half shredded by cluster bombs, plus the women with their young girls altogether, serially raped by terrible soldiers, as syphilitics as drunk dead... Yes, there is a certain diabolic beauty in all of it.... As for me, sick of these putrid pinnacles, the wars I prefer are those of flowers, styling with a thin hairdo the pretty wars of words. And the famous war of nénuphar versus nénufar is the apex, even more, the bouquet, for it exhales some sweet perfume from both at the same time, flower and word... Let me retrace it...]

Nenuphar
Noun: a water lily, especially the common white water lily (Nymphaea alba) or the yellow water lily (Nuphar luteum).
Etymology: Medieval Latin, from Arabic نلوفر (nilūfar), Persian نیلوفر (nīlūfar), from Sanskrit नीलोतपल (nīlotpala), from नील (nīla, which means blue) + उतपल (utpala, which means lotus, water-lily).
Arrived at the stall of a fruiterer, she bought Syrian apples, Osmani quinces, peaches from Uman, jasmine of Aleppo, Damascene nenuphars, cucumbers from the Nile, limes from Egypt, Sultani citrons, myrtle berries, flowers of henna, blood-red anemones, violets, pomegranate bloom, and the narcissus.
Somewhere an iron curtain had gone up, baring a painted one, with nymphs and nenuphars.

-----
Thus, in English it seems that the nenuphar is under control. Nobody argues about its spelling, and ph is just ph, no more no less (to say nothing that the usual word is water lily).

As for French, it's not that simple, and to make a long history short, almost everybody there writes nénuphar, this way commiting mortal sin after mortal sin, because the correct French norm would be nénufar: f instead of ph.

Now, almost everybody does not mean anybody. Let's put it this way: generally people don't care and use whichever comes first, nénuphar or nénufar, whatever; still there are some who care; for them it's the war of the two water lilies, and both ph and f have their partisans, fully committed.

I was completely unaware about all this stuff till the other day, when I posted on my blog a poem by Verlaine. The poem was Promenade Sentimentale, and it had plenty of room for the ph/f word:

...le vent berçait les nénuphars blêmes Les grands nénuphars, entre les roseaux ... les nénuphars, parmi les roseaux, Les grands nénuphars sur les calmes eaux.

Soon I got a short message from my sister Jill: Pierre, check this link; I got to it in googling nenuphar--
Nénuphar contre nénufar « Blog à mot: Nénuphar serait une erreur historique. L’Académie avait écrit nénufar avec un f jusqu’en 1935 en raison de son étymologie persane. Dans la huitième édition de leur dictionnaire, ils ont succombé à la tentation d’un rapprochement sémantique avec nymphe et nymphea, des mots d’origine grecque et ont ad...
and Jill concluded: I think it is safe! I love that stuff--orthography. (Should she better have written orthografy? Just wondering)

I tried the web site mentioned by Jill: some firewall blocked my access. It didn't look very promising, but I kept cool. Soon I found a first description of the problem. It was a French blog authored by someone who was signing Carmadou. He was quoting an entry from Le Dictionnaire Historique de la Langue Française d' Alain Rey (ed. Le Robert):

Nénuphar ou Nénufar: emprunté (XIII°s) au latin médiéval nenuphar, lui-même emprunté par l'intermédiaire de l'arabe au persan nilufar. Ce dernier est emprunté au sanskrit nilautpala (lotus bleu), composé de nila (bleu-noir) et utpala (fleur de lotus). En français, le mot est d'abord relevé sous la forme de neuphar, neufar, neuenufar au XII°s, réécrit nénuphar d'après le latin médiéval, la graphie étymologique nénufar étant aussi employée toujours (Littré, Proust) et faisant l'objet d'une recommandation officielle en 1990.
[Nénuphar or Nénufar: borrowed (13th century) from Medieval Latin nenuphar, where it had come through Arabic from Persian: nilufar. This last one is borrowed from the Sanskrit nilautpala (blue lotus), composed of nila (blue-black) and utpala (flower of lotus). In French, the word is firstly spelled neuphar, neufar, neuenufar in the 12th century, rewritten nénuphar after its medieval Latin form, while the etymological spelling nénufar has also been alwats in use (Littré, Proust), and became an official recommendation in 1990]

I went then to Wikipedia:

L'Académie française a écrit nénufar de 1762 jusqu'en 1935 (huitième édition de son Dictionnaire) et les rectifications orthographiques du français en 1990 préconisent de revenir à cette orthographe du fait de l'origine arabo-persane du mot (nīnūfar), car le digramme ph serait conforme avec une translittération du phi (φ) du grec ancien mais pas du fāʾ (ﻑ) arabe.
[
French Academy wrote nénufar from 1762 till 1935 (eighth edition of its Dictionary) and the French orthographical corrections from 1990 recommend to return to this orthography because of its Arab-Persian origin (nīnūfar), as digraph ph would be in conformity with a transliteration of the phi (φ) of the Ancient Greek, but of the Arabic fāʾ (ﻑ)]
Wikipedia further:
En adoptant la graphie
nénuphar dans la huitième édition de leur Dictionnaire (achevée en 1935), les Académiciens se seraient laissé aller à un rapprochement sémantique avec les nymphes (ces dernières partageant avec les nénuphars un attrait certain pour l’eau), mais également avec le genre Nymphaea, qui est celui de certains nénuphars. Émile Littré avait comme seule entrée nénufar où il dénonçait déjà l'orthographe nénuphar comme fautive étymologiquement (elle figurait néanmoins dans les dictionnaires de Thomas Corneille, Trévoux, Jean Nicot, Antoine Furetière).
[
By adopting the spelling nénuphar in the eighth edition of their Dictionary (completed in 1935), the Academicians would have let themselves go to a semantic closeness with the nymphs (these ones sharing with the nénuphars an unquestionable attraction for water), while also with the Nymphaea gender, which some nénuphars belong too. Emile Littré had liked only entry, nénufar; he had already denounced the nénuphar as etymologically wrong (it had anyway appeared in the dictionaries of Thomas Corneille, Trévoux, Jean Nicot, Antoine Furetière)]
Was it that simple? No, look here:
Un autre genre de nénuphar est Nuphar, nommé en 1809 par le britannique James Edward Smith. L'orthographe du nom de ce genre laisse penser que la chose n'est pas aussi simple que ne le présentait Littré.
[
Another kind of nénuphar is Nuphar, named in 1809 by the British James Edward Smith. The spelling lets one think that all this stuff is not as simple as Littré presented]
Also, good to know:
Par plaisanterie, on a appelé guerre du Nénufar ou guerre du Nénuphar les polémiques qui ont agité la France au début de l'année 1991 à propos des rectifications orthographiques. En 2005, une brochure exposant l'orthographe de 1990 a été éditée sous le titre Le millepatte sur un nénufar.

[Jokingly all this stuf was called War of Nénufar (or War of Nénuphar): the polemics agitating France at the beginning of 1991 in connection with the orthographical corrections. In 2005, a booklet exposing the orthography of 1990 was published under the title Le millepatte sur un nénufar]

To summarize:
  • earliest evidence of the ph/f word: 12th century (neuph(f)ar, neunufar)
  • 13th century: evidence of nénuph(f)ar form, as transplant from Medieval Latin (and indirectly Arab/Persian)
  • alternative use of ph/f
  • 1762: Academy sets nénufar as norm; alternative use of ph/f continues
  • 1935: Academy changes the norm to nénuphar
  • 1990: Academy sets the norm back to nénufar
  • the war of the ph/f word goes on

So, nénuphar or nénufar? The norm is set today for f, while it has been set and reset a good couple of times throughout the last hundreds of years.

So, nénuphar or nénufar? The word came in French from Medieval Latin, which suggests somehow the Greek-Roman heritage, which suggests ph.

So, nénuphar or nénufar? Actually the word from Medieval Latin had Arab/Persian origin, which means f.

So, nénuphar or nénufar? The poem of Verlaine has the ph form: I used an edition from 1940, (when the Academic norm was ph anyway). I am pretty sure ph was also in the original edition of the Poèmes saturniens from 1866 (when the norm was f).

So, nénuphar or nénufar? I brought here an excerpt from Verlaine. As for Jill, I am sure she would bring an excerpt from Proust, and for good reason: throughout his pages French words get the sound of a Stradivarius (Proust being their Paganini).

Bientôt le cours de la Vivonne s'obstrue de plantes d'eau. Il y en a d'abord d'isolées comme tel nénufar à qui le courant au travers duquel il était placé d'une façon malheureuse laissait si peu de repos que, comme un bac actionné mécaniquement, il n'abordait une rive que pour retourner à celle d'où il était venu, refaisant éternellement la double traversée. Poussé vers la rive, son pédoncule se dépliait, s'allongeait, filait, atteignait l'extrême limite de sa tension jusqu'au bord où le courant le reprenait, le vert cordage se repliait sur lui-même et ramenait la pauvre plante à ce qu'on peut d'autant mieux appeler son point de départ qu'elle n'y restait pas une seconde sans en repartir par une répétition de la même manœuvre.


(Jill Rapaport)

(Marcel Proust)

(Paul Verlaine)

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Wednesday, December 30, 2009

Jill Rapaport: Dunbar (after a thought of Apollinaire’s)


It was published in Brooklyn Review No. 16 (a publication of Brooklyn College, City University of New York). Don't try to discover who Dunbar was, or what was the thought of Apollinaire (probably the inspiring thought is from Apollinaire's Collines - as you probably know, from Ginsberg on, all American poets comment exactly these verses:Il vient un temps pour la souffrance
Il vient un temps pour la bonté
Jeunesse adieu voici le temps
Où l'on connaîtra l'avenir
Sans mourir de connaissance)
Rather just enjoy reading the poem of Jill. It has simplicity and it has complexity; because Jill Rapaport lives in the same universe that we live in; only she has a special alphabet to read this universe and to express it; her alphabet has other symbols than ours; her symbols come from a deep culture - she lives what we live, happiness and loneliness, joy and despair, enthusiasm and resignation, and so on. Only among these you'll find her books: by Apollinaire, and Proust, and Ginsberg, and Capote... Among her facts of life there are facts from her authors, and their ideas, and their phrases. I discovered the beauty of the style of Truman Capote through her.


In a flashing sky, Dunbar took my hand.
He knew me from Italy.
We had both read Kidnapped relatively late.

He appreciated my fingers and the way they cut the air.
One identity got both of us by.
We shared one memory and had less to regret.

Alone in a room, I looked out at gray lands.
We both smelled snow, from distant poles.
Dunbar came home at five, with a blue nose.

He said we had to come up with the rent,
I signaled fine with me, glad he was making the decisions.
I put him to sleep on the sofa, in a suit and tie and no socks.
I loved what I pitied, and I pitied Dunbar, as mothers would pity their kids if their kids were born grown up.
Though maybe mother did pity their kids and we didn’t know about it, and that was why they let their kids live.

Dunbar woke dressed and went to work in the darkness.
When he left my antlers drooped and bumped under my chin.
I moved through the rooms, sitting in different positions to become smaller and more
Dunbar came home at noon with a quarter of milk.

When he left again the afternoon grew shorter.
Morning was yellow with blue forget-me-nots. Nights were ringed by hills in which dread lurked, a huge misshapen troll with a bag on his head.

Some nights, I went out without Dunbar’s knowing it; the stars dimmed and hummed.
I believed the night sky was my doing, with no one around to talk me out of inflated beliefs.
Unlit roads led to glittering towns scattered over the countryside.
I got to see into second-floor windows, towers protecting the sea, the stalk of a giant clamshell.

I drank coffee in train stations
and then, with bright eyes and a long ringed tail, went home to the house in time to wake up Dunbar.

He never discovered the prowlings, which became more important than if he had.
One morning in winter, dawn became too faint to light my way home.
I got lost, arrived, woke him late, and he decided to stay home.

That day, with loneliness gone, I watched him sleep and I fretted.
I could not move freely. Day seemed like night and my system was disturbed.
Evening came and he was too tired to make dinner and I didn’t know how.

We rested next to each other, without enough room.
I was too sleepy to go out, too nervous to sleep.
He elbowed my shoulder and my knee hit his chin during thye course of a long, hard night.

From that point on we were off track for months, leading to the imbalance of spring and the undoing of summer, which we couldn’t enjoy, feeling we had sacrificed our right to it by having altered the order of sleeping and waking, which, like dreams, had protected us from who we were.


(Jill Rapaport)

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Monday, August 10, 2009

Jill Rapaport: Signardo


The psychoanalyst, said Freud, is particularly interested in what to others would be trifling errors. Although Freud himself bore the sweetness of feature, rounded, buttery facial contours and piercing brilliance of regard that Leonardo coveted as subjects for his portraits, it was in Freud's monograph, Leonardo da Vinci: A Study in Psychosexuality, that the simpering, travestied look from which Freud in his revolt from the Victorian moral frame might have recoiled was most notably applied, as if deliberately, to the reproduction of Leonardo's most famous canvases. Particularly in the faces of the Mona Lisa and St. John the Baptist was a resoundingly fatuous, even sinister expression purveyed, over the miracles of subtlety da Vinci had produced. But this, some say, was the problem only of the Modern Library paperback edition of 1947.


It was noted by no less august a figure than JoJy Havishellis that, by 1947, a readiness on the part of enlightened world citizens for the underlying psychostructures even of paintings in reproduction had perhaps finally been attained, so that these figures became able to shed, if nothing else, at least the outermost veils of personality that oppressed and stifled them. Thus, the Modern Library edition held the ultimate word, which, while not exactly Rousseauian, was still not as draconian as that of the severest Christian saints [Paul, Augustine, Durchmezine, Chlorpetol].

As for the trio of The Holy Family (as it is listed in the illustration credits), St. Anne, the Virgin and child, around whose trauma the thesis had been formed, was it only in our imagination that the face of the madonna had begun to lean in a distinctly reptilian direction?


Yet when we sought to investigate, to uncover who or what it was which was responsible for the eerie quality of the reproductions in the book, an unaccountable silence asserted itself. No one was there. The office was empty. No credits of any kind were given, except the misguided titles of the works themselves. Neither on the copyright page, the Table of Contents nor anywhere else in the front matter was there the slightest hint that the pictured works had not blown in fresh and new on the half-shell, fully formed, self-contained and unto themselves, albeit distortedly and unsettlingly imbued with foreboding, untrue to their original sources and profoundly incapable of expressing any of the points Freud, or for that matter da Vinci, tried to make. The only thing the assiduous reader ever found was the assurance at the foot of the half title page: MODERN LIBRARY PAPERBACKS are published by Random House in order to make the best books of all time available to the public at a price it can readily afford.

In interpreting the interpretations of Freud with regard to da Vinci, the reader of the Modern Library edition of 1947 was left with only the slight ministrations of A.A. Brill, the authorized translator, who himself could have used a little interpretation.

From his introduction: ...this linking of sex and Freud, as if they had appeared in the same breath, is based on the fact that, after sex had been kept more or less incarcerated in the nether regions of civilized mankind, Freud discovered it, as it were, and established that it was not only astir, but often very meddlesome. ...[S]ex went underground and behaved like an outcast who...often creates confusion by popping up where and when least expected. And, later: Bold spirits began to undig the now-mutilated Venuses, and to record the forgotten thoughts of the Ionian sages... and finally, From the infantile phantasy which Leonardo recalled while he was still in his cradle, Freud masterfully reconstructed the whole unconscious life of the most inscrutable, the most fascinating personage of the Renaissance.


And Brill's subject—or object—Dr. Freud informed us that, after having attained the first erotic gratification of childhood (the fantasy that a vulture was assaulting him), the physically beautiful, left-handed and illegitimate Leonardo chose to sublimate his sexuality for the rest of his life, giving full voice to the aptitude that was manifested in his works of art and his explorations in natural science and only minor peeps to the perseverations evidenced in such locutions as On the 9th July, 1504, at 7 o'clock, died [my father], notary at the palace of the Podesta, my father, at 7 o'clock, which it was the psychoanalyst's duty and wont to notice and figure out.

(Jill Rapaport)

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Thursday, August 06, 2009

Jill Rapaport: Queen of Spain

Amadeus King of Spain
Vanity Fair Spy cartoon, 1872
(http://www.amazon.com/SPAIN-AMADEUS-Spain-Vanity-cartoon/dp/B008CPV68U)
no copyright infringement intended


Tonight again stuff surged past me with the velocity of fighter planes. Coming home my head banged from too much beer. A young guy with bruises hollered at the police, who waved him away. He screamed that he was not a boozer, hadn't had a drink; he ordered them to read Neitszche.

Two men with round, insolent eyes peered at me from the shadows. I felt the killing spirit. I felt the stuff surge, forward and backward. Had been inundated all day long. What did it matter what I could withstand?

I invented the future, here in my little head. Tall streets, mountain passes, long flagpoles. Words that look like what they are. The lobes of the brain.

I watched women old enough to be my mother content themselves with nothing, the tabloids, curlers, slavery.

The young women carried guns, had babies, died.

Men were either killers or killed.

Some huddled in the shadows, happy not to be seen by the killers and their prey. They had next to nothing, just the shreds of clothes they wore, a butt, pieces of garbage they tried to move in the streets.

I had rooms, vistas, orchards, valleys, mountains, oceans, the gold of eons rippling through my fingers, always more when some big chunk cracked and drizzled away.

Had oceans, seas, huge rolling tidal waves. I rolled in the surf, way out and back again, bouncing along the surface of the heavy, rushing water.

Here I had everything, the crushing weight of too much stuff, abundance, the plenitude of undulant paradise, choking me.

Nothing stayed away from my gardens, my orchards, seas, valleys, oceans, giant deserts and rolling dunes, nothing could be kept out of my world, which encompassed much more than the world at large.

My enormous skies, which dwarfed the atmosphere, dipped and soared above me and below, saw themselves reflected in the shining sands, the marble runways, the booming vastness of the ocean deep.

Little me, dwarfed by the vastness of my surroundings, the massive force of what I carried and possessed.

I was quite unhappy. I could not live up to the magnitude of what was mine.

I wore black lace—the mantilla of Phaedre—and walked uptightly through the lemon groves, the acres and miles of cultivated gardens, outside of which boomed the endless spaces which my property thronged.

My men and women, horses, wild animals, whales, flying monsters of the age of excess surged to be near me, but not too near me, they sensed my unvoiced command to keep distance, not to bother me in my dour mood.

My aircraft carriers carried jumbo jets. One stopped at my unstated wish, bent to have me step aboard. I chartered the voyage to a major sun, dragging my caravan behind me, wild promethean horses bucking and charging. The whole of my possession drooped and swerved in my foamy wake, coming after me, determined to keep up, as I raced them mercilessly into the implosion that was mine, to keep, forever, all day long

I tapped the high hat, stepped on the pedal

Here in the ferocious stratospheres the men with round eyes were behind me, their heads snapping, whiplashed to a bugging froth with no possibility of parole

I cracked the whip of gold

The goofy young ones and the police flipped upside down in the deep holds, miles above earth and the closest moon

The empress of all phenomena on her golden ride, presented with two aspirin by the chief steward of the ship

All of my golden clouds, rice paddies, primordial redwoods gleaming in the sunlight cast by large, wild, whipping stars

My body peeled away and deserted me, afraid of me, the golden monster surging to the fore

Tonight again the sun shone, came to me, golden, kneeling before me in all my deluded splendor

The wet streets' smell peeled away, ran off, deserted the beautiful substitute earth that was my unutterable playground

Ate a Pop Tart filled with rubies, cracked the whip, drove the horses on and on

Tomorrow was Friday, I had to make miles glow in the deluded heat of the sun on its epileptic journey

Called up Mom and told her I was all right

Are you sure you're getting enough rest? she asked, as the phone fell away, blazing into eternity

Drank Perrier for a hangover, in flying goblets of tempered filigree gold

The horses whinnied, their glorious manes whipped the air

Jupiter singed my jeans, the big dipper flew me a wine cooler, hair of the dog

Even the ancient Greeks did not foreshadow modern majesty, the guys on the street, the involution of the flipping rubber saucer that was now

It all came to meet me, presentation-crazed, hungry for the stroke of my scepter, the transformation promised by the golden ball jiggling in my palm

Trapped inside rushing abundance, foaming at the mouth for my sayso, it came bubbling and slopping at me, I who gave centrifugality its force even though I wanted to escape and rush around with them, it, or whatever, not be trapped inside the eye of my own storm

My navel pulsed, and my abdomen throbbed like a hit drumskin

My drinking buddies slept in pieces, the eyes of the guys on the street exploded, everything was as I had wished, back when first I pronounced those words of unbreakable opal and diamond:

they'll see

(Jill Rapaport)

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Jill Rapaport: One Summer



One summer I felt things closing in. Felt I'm old, dying, over.

That summer was marked by things as various as the dissolute woman walking down Eighth Avenue speaking into a disconnected red phone.

It was marked by proofreading at night, by perfect weather, by great products, from mood sticks to cheap blenders.

Marked by long shadows, the western sun, gold parapets, 14th Street, a church sale.

By Drunk & so what? spray painted on the side of a coffeeshop.

That summer was characterized, too, by the group of women I glimpsed in the Galaxy Diner as I passed. They wore heavy makeup and moved their lips slowly.

It was characterized by museums, by tomatoes.

It was characterized by a lot of crying in early August, then remembering that every August I cried a lot, in what must have been deep depressions that I refused to term depressions until that summer.

Isolation, dread, an unexplained incident.

By raw vegetables, by paralysis.

That summer was the summer my mother had to get an eye operation. For the first time she would be able to read without tiring quickly.

The end of smoking cigarettes, the beginning of a monastic good health I could not enjoy. I felt underdressed, vulnerable, emasculated without my cigarettes.

That particular summer I asked myself why in any case I would have wanted to go on living. I said maybe I should have gone back to smoking cigarettes, died of lung cancer, maybe I should have accepted what I was, a degenerate who lacked moral integrity, lacked the simple will to be human. A drifter, somebody who didn't matter, among many other drifters and nobodies who didn't matter.

That particular summer I watched The Maltese Falcon colorized and though, as a film student, I should have understood long before, I understood only now why black and white was not just the absence of color. I understood why tough-guy talk had pertinence for us all, and that the tough guy would in fact send all of us over.

That summer I could not stop dreaming and that summer I found all dreams ominous.

I realized the song Hot Blooded was by Foreigner, not Bad Company.

An aunt died.

The street became so strange that on the curb in front of the donut shop one saw sterile alcohol swab wrappers lying pristinely.

The famous serial killer was caught on Long Island. His face stared at me from magazine covers I passed on my way to the store.

I developed a passion for cucumbers and black coffee which helped when all I wanted if I thought about it was to die, and a cigarette.

One summer, on one of many sultry, lonely, despondent, transcendent days, I made the authentic discovery that there was nothing I wanted.

The verbs to be, to do, and to have brimmed with personal significance.

One summer the quality of summer itself seemed to have been rendered liquid. The memories of old summers imposed themselves. There were books, clothes, machines, and perfumes. These fell into my lap as if in a dream of gratification.

One summer there was a lot of water, a lot of sunshine. The country was submerged in one thing or another.

A few buildings fell. One old cup broke after fifteen years.

I bought a navy blue silk jacket for twenty dollars, took it home, forgot about it. A bottle leaked in a cabinet.

One summer I came into money and bought an island and an airplane, a fleet of horses, a redwood forest. I became the latest in a long line of persons to learn that money did not buy happiness.

Then I woke up, without the money or the possessions, fucked up and feverish as ever.

I was overstimulated and at the same time paralyzed. I was not fun to be around. I lacked focus and ran like a decapitated bird in one direction and then another.

One didn't automatically get better.

I had it all and lost it all. The two conditions undulated, alternated.

There was nothing to hate, nothing to love. The great serial killers always turned out to have been children.

I snapped the cord of my existence to date and got rid of the ulcerated wrinkle, only to find that, without the wrinkle, I was back where I had been at eighteen, when my father was still two years from untimely death and nothing was more important than caloric starvation.

That was the summer that I stared at pencils in the hands of blind panhandlers. I searched for the smallest and most random square of existence with which to begin, relearning perception the way stroke victims relearned kindergarten speech.

That summer I was everything and nothing, the air and earth yielded a cruel blend of manic abundance and staggering deprivation.

Beholden to the tiniest and the greatest, I moved through that summer under a spotlight of dim gold.

That summer I lost myself, the summer didn't end, it continued and continued aberrantly, without ever seeming like summer.

And then, that summer, when it seemed I would die in the height of it for the sheer inability to see any other way out, the nights grew suddenly cooler, and I slept for a long time, dreaming of what lay underneath the summer sky, and of what, if anything, I'd be like when summer ended.

(Jill Rapaport)

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Jill Rapaport

Jill Rapaport
(published on Facebook by Bonny Finberg)
no copyright infringement intended


Jill Rapaport has a huge talent. Her prose has everything that makes a great author: poignancy, directness, concision. Jill can say in a short sentence something essential, that others could say only in ten pages. Unfortunately she does not publish too often; she likes to write for herself and to hide the manuscript in some place where nobody can find it. I hope she's well; I haven't talk to her for ages; possibly because both of us are too demanding sometimes, too shy some other times, and definitely too stubborn. And life goes on.


(A Life in Books)

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