Never Send to Know for Whom the Tale’s Told

(Continued from https://ethicaldative.com/2021/12/09/last-call-for-fomalhaut/)

Did the ancient Texans practice cannibalism? The jury’s out on the matter. It’s possible they gorged on animals rather than human flesh. Data fracking in the Huntsville Shale encountered coprolites of an extinct bovine species — possibly a food source.

Those same sediments yielded human residues showing signs of poisoning. Some anthropologists posit a cult of human sacrifice; others theorize miscreants may have been executed with the poison. In one of history’s many happy twists, analysis of the toxic residues by Isthmian paleontologists furnished a crude chemical blueprint for the marvel that became Texas cologne. The unlikely legacy of a backward culture that burned and bartered carbon syrups near a nameless gulf eons ago jumpstarted the Isthmian toxicology industry, backbone of the duchy’s economy.

I hear you whispering, “What became of Siddhartha Huff?” As we know, Sidd threw his expendable dupe Claw Hammer under the bus. Sidd thus narrowly escaped detection for his ruse to hack Fort Zuckerberg during the Lunation Gala to nick non-fungible hormone tokens for his transition. Chastened and demoralized, Sidd resigned himself to a Rhipidistian decadence frittered away in gilded squalor and frolicky doldrums on sterile rivieras aboard morally vacant yachts.

The best laid plans can come a cropper, however. An uprising led by the ascendant Beni Hammer clobbered the autocracy, upending Sidd’s future such as it was, and rendering Isthmia as we know it unknowable.

~ THE END ~

(c) 2021 JMN — EthicalDative. All rights reserved

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Mean or Not, It’s a Feat

Poetry, December 2021. Cover art by Haein Kim/Canvas.

Can a poem hurt the reader into glimpsing its cargo? The poem discussed is ‘From “Banana [ ],”’ Poetry, December 2021, by Paul Hlava Ceballos.

I encounter poetry I perceive to be all kinds of icky: cryptic, elliptic, hierophantic, delphic, hermetic, jesuitic, typographic, (occasionally ironic); also oblique, discontinuous, nondescript, arbitrary, formless, aimless, obtuse, aleatory, taunting, unforthcoming, inchoate, withholding, slangy, out of reach; a shrill small thing, a large no thing, or a some thing between.

Reading such poems has for me the under-wallop of picking up a stickle of glub stuck to a rugosity, sliding fingerishly over its crigginess, finding no tactible sally for the poesy squat but to drip the bobbit where it lagged, step over its void sprockets, and bumble griffishly along my starry-idle flustered way.

How does that make me feel? It feels like being told to stop feeling with my head. To read harder. To locate my heart’s cockles. Does it have cockles?

A poem that is somehow about bananas, or that is referentially involved with bananas, or that is inflamed thematically by bananas, may have taught me a lesson.

Arrogant, indulgent, outlandish, glib, provoking, insulting, flagrant and intolerable was how it loomed. Its first 3 pages have a skittering of verbiage inhabiting hyper-space.

Third page of “From ‘Banana [ ]’”

Then it settles into a one-hundred-fifty-line banana blitzkrieg:

… to banana / be banana / a banana / domesticated banana / object banana / overripe banana…

At this point, bent solely on reaching the end as soon as possible, I ceased reading aloud and shifted into scan mode. Then I realized, reading against the grain, that a vertical sequence of quasi-utterances emerged:

to…be…a…domesticated…object…overripe…as…an…empire… / what…manufactured…nanostructure…prevents…grace…blossoming

These are not necessarily jejune utterances. They are sort of poetic. Does the poem succeed in some way on its own terms by rubbing me so wrong that I give up on it midway in disgust? Then having forced me into the very expedient I took, reduce me to glimpsing strands of message? If I dwell rosetta-stonishly on the poem, might I perceive they twist into a thread? Is it worth the trouble? Should I not, after all, drip the bobbit where it lagged?

(c) 2021 JMN — EthicalDative. All rights reserved

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Last Call for Fomalhaut

(Continued from https://ethicaldative.com/2021/12/02/what-we-know-about-astrids-predicament/)

There was no continuing aspect to the rapture. It did not unfold — it was never folded. It simply was, was over, and that was that. Few in the Posse of Matrons had witnessed a Ministering to the Lamb. The ritual capitalized on the low-hanging fruit of Texas cologne: its capacity to make the recipient embrace death, indeed copulate with it, smile on lips, song echoing in stopped heart.

Astrid bint Wanda had pre-boarded her bier and was starting her climb to glory. All muscle activity was largely shut down. She still managed to blow bubbly kisses to blushing boys seen only by her, and to talk a blue streak, although her lips didn’t move to the words. The verbal activity registered only as a rocky mountain range of excited light on the monitors.

Lavendar Larchmont was at the controls, flanked by her sombre Posse cohort. She keyed and knobbed tenderly, dealing as she was with a Matron of the first order who also foreshadowed the penultimate end of a telling. She mastered a ripple of emotion as she dialed Astrid toward the threshold, minding closely the gradient of ecstasy. Lavendar wanted to give her senior colleague the longest death-glide possible before the coup de jet intercepted the brain’s last flare, held in reserve for the ultimate emergency, inducing a what-the-fuck instant even in deep metempsychosis, and the élan vital ran out of road. Lavendar would never have thought her first duty as newly invested Brilliant Maximx of the Posse of Matrons would be to gas her predecessor. It was a complex honor.

(c) 2021 JMN — EthicalDative. All rights reserved

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‘Except for Perhaps Poetry…’

Independent publisher David Godine, shown with his press in his backyard barn, has sold his company and published the retrospective “Godine At Fifty.” PAT GREENHOUSE/GLOBE STAFF.

In 1970, David Godine started a small publishing company in an abandoned cow barn in Brookline, Massachusetts. After a distinguished history of publishing select titles in well crafted editions, he has sold the company. I enjoyed reading what he did NOT publish.

We didn’t publish any books on society or current events. We were not heavily engaged in the 21st century or where it was going… We didn’t do any books on celebrities or glamour. Nothing on material culture. We did absolutely no books on weight loss or exercise. We had no books on horror, no fantasy, and no graphic novels.

Godine concedes that a publisher has to turn a profit to survive.

Except for perhaps poetry, I don’t think we deliberately published books where we knew we were in for a big loss. Also, we published a lot of books that sold many, many copies and paid for a lot of books that didn’t sell many, many copies, but which you feel a responsibility to do.

The interviewer presses Godine about the exception he makes for poetry:

Q. You say every self-respecting publisher has a responsibility to support poetry, but celebrity, weight loss, and graphic novels would have sold a lot better than poetry, right?

A. [Laughs] Absolutely. Publishing poetry is like dropping a rose petal off the rim of the Grand Canyon and anticipating the echo. It’s Dante-esque in the purity of its hopelessness. It’s not an arena one enters with any expectation of making money.

(Mark Shanahan, “Q&A with David Godine about ‘Godine at Fifty’ and the press he founded to publish ‘books that matter for people who care,’” bostonglobe.com, 11-18-21)

Discussing the poetry of Tommy Pico, Alan Gilbert writes: “Poetry is a form of nourishment based on need, yet one that can turn into a choice.” Later in the same paragraph Gilbert says, “A world driven by consumption can only in the end devour itself.” (“Refuse to Settle,” Poetry, December 2020, p. 304).

For me, Gilbert’s comment hints at what must be a deeply unexamined but compelling rationale for supporting the verse habit of the few who never quite go away. Much respect to Mr. Godine for being a gladiator for poets in the publishing arena.

(c) 2021 JMN — EthicalDative. All rights reserved

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What We Know About Astrid’s Predicament

(Continued from https://ethicaldative.com/2021/11/25/two-kukris-in-saltire-between-two-martlets-or/)

Remember that the city-state enshrined in this telling was a last-ditch outpost on the sere waste of the Wisp Isthmus. Conjecture establishes that Astrid bint Wanda harbored a vestige of erased indigene biopolymer in her gizzard. One or another of the washed-up duchy-founders fucked the mother of the mother of the mother of Astrid’s mother’s mother in olden times. Mamasutrianism proceeded to fork matrilineal down her bloodline. The Rhipidistians were simple semen sacks elevated to lords and douches of the duchy as a sop to their base proclivities. It’s no wonder that Siddhartha Huff longed to transition out of his Rhip wrap.

Texas cologne messed with Astrid like firewater. The dosey doe that stunned the Gala socialites stalled Astrid in full-blown psychic orgasm. By design, the cologne induced pre-mortem euphoria before stopping the heart. The gasee — normally an organ donor — experienced impending oblivion as the happiest outcome imaginable from a whole series of possible happy outcomes.

Three weeks after the Gala saga, in Astrid’s belfry it was still a pie-in-the-sky rodeo; she had clocked her eight seconds astride a pedigreed Bramer bull and was spanking the bucking beast with her free hand. No amount of finger sniffing by bigwig toxicologists posturing over Astrid’s predicament could extricate her from her trance. There was little recourse but to administer the whiff de grace.

(c) 2021 JMN — EthicalDative. All rights reserved

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Fossil Breath

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(c) 2021 JMN — EthicalDative. All rights reserved

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Two Kukris in Saltire Between Two Martlets Or

(Continued from https://ethicaldative.com/2021/11/18/between-two-lions-passant-guardant-gules/)

What triggered the aspersion of Texas cologne at the Lunation Gala? Siddhartha Huff’s twitch fit or Claw Hammer’s nerve storm? No matter. What was clear was that the affective threshold monitor had functioned with prim efficiency; revelers had slumped in their tracks when the ATM’s silent alarm was tripped.

Quick thinking saved Sidd’s hash; he gassed his own self in the hermetic chamber, setting afloat an alternative factuality wherein his adoptee had waylaid him in a fiendish identity heist. The Executive Committee absolved Sidd of complicity in the escapade (justice ever favors the favored). Officious tenders stretchered woozy celebrants away to their family compounds to convalesce bemusedly in the afterglow of their Lone Star comas. The ding — fka “Claw Hammer” — was harvested and stored at Central Organics to put paid to the matter.

But what to do with Astrid bint Wanda? “Annunziata, this is a goddamn travesty,” Philemon D’Avenant grunted. His foreshortened view of the supine hierophant was dominated by the soles of her feet. It looked as if a genie hoist on orgy porridge was doing pop-a-wheelies in Astrid’s thorax. “Phil, watch your language!” his wife admonished smoothly. Only her light-blue eyes betrayed alarm; the manses of potency were massively dropped and cammed by surveillance apparatchiks. “Shocking breach,” she added, making sure her reproach registered clearly on the devices.

Annunziata knew a stinky rumor made the rounds of canapé circuits in cosseted enclaves. Its gist was that Astrid had connived in her own conniption by nipping the naughty gas on an all but daily basis — a habit stoked by lack of discipline and moral rectitude. As usual, trash talk twittered extempore from inner sancta walked the plank into lunacy lagoons. The simple truth was more devastating.

(c) 2021 JMN — EthicalDative. All rights reserved

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‘Carmen Mola’ Is Three Men

Jorge Díaz, Antonio Mercero and Agustín Martínez receiving the Planeta prize for their novel “La Bestia,” written under the pseudonym Carmen Mola. Credit…Josep Lago/Agence France-Presse — Getty Images.

¡Me cachis en diez! Nadie está en su sitio. “Hell and damn! No one is in his place”; that was my father-in-law’s take on the hanky panky of a popular soap opera in late-Franco Spain.

In post-Franco Spain what’s to deplore and what’s to celebrate about Carmen Mola? An editor at the publishing house played fast and loose with a “biography” of a madrileña, professor and mother of three, who penned bestsellers. That’s grubby but banal in a world fudged beyond reason by social media.

The award was given for the still unpublished “The Beast,” a historical thriller set during an epidemic of cholera in 1834.

In the movie, Tootsie justifies going drag saying, “It was for the work.” Give Carmen Mola a break; she’s eating for three. Fernán Caballero had only one mouth to feed! Must all ID be stitched up in tidy chromosomal cloth? Must a creator be a binary unit and not a trinity or quaternary? Let the product decide: “La Gaviota” versus “La Bestia,” and may the better creature prevail.

(Nicholas Casey, “Behind a Top Female Name in Spanish Crime Fiction: Three Men,” NYTimes, 10-29-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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Between Two Lions Passant Guardant Gules…

(Continued from https://ethicaldative.com/2021/11/11/argent-on-a-bend-azure/)

Claw?” Siddhartha Huff ejaculated interrogatively to his unpeopled hermetic chamber. On his screen he could see Claw’s pancake cracking as if he were modeling the facial contortion he solicited from the Posse of Matrons.

Claw’s first words after the permission incantation had been, “Now say cheese!” With a slightly panicked tone he followed with, “Grin like fucking hyenas, excellencies.” Goddamn it, he was improvising!

A hush enveloped the palatial hall; every eye was on the figure in brocade doublet, a dead ringer for the sanctified Shootist, aiming the antique device at the worthies of the ball. Astrid’s thunderstruck visage was self-explanatory.

Sidd had no idea where Claw had dredged up this gibberish — what the hell was “cheese”? Had Claw’s ardor to carry off his Sidd-simulation led him to stray from the script? And with a scrap of ancient jargon gleaned, perhaps, from his exposure to archival footage of primitive “photography” rites? The etiology of the ominous breach of protocol hardly mattered now.

Sidd watched numbly as Claw raised the Polaroid and snapped. Simultaneously, a uniformed dais attendant seized his arm as if by reflex. Sidd twitched violently as the audio after-image of Claw’s expletives lingered in his earbuds.

(c) 2021 JMN — EthicalDative. All rights reserved

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Poetic Researches

Sporks

Is the soul our dark matter — pervasive but undetectable by any instrument we possess? If there’s a part of me that isn’t glia, neurons, and enzymes, it has found a modicum of rest in the revelation that John Ashbery’s poetry was not meant by him to make sense. I’ve feared that much poetry is a riddle that I’m not up to cracking. That I haven’t subjected the poem sufficiently to the persistent hard, informed reading necessary to derive the connections that the poet has made, the arc the poem has traversed. That I’ve jousted with the poem and it has unhorsed me. Much of the fare in Poetry magazine that I peruse now defeats my understanding, is numbingly hermetic. Those are phrases I borrow from Peter Schjeldahl; he applies them to the late paintings of Kandinsky.

I read now that Ashbery was one of our greats (died 2017 at 90); that many poets imitate him now; but that not all are as good at what he did as he was. I’ve no quarrel with his reputation. I’ve glanced at him over the years as if at a sculpture on a Gothic cathedral so lofty only steeplejacks can see it.

This revelation is liberating. Last night (November 12, 2021) for the first time I read “The Tennis Court Oath” with enjoyment. I gave in to it, as it were. It didn’t sweep me off my feet, like certain poems of Auden. It would take yet more readings for me to quote a single phrase (verse?) of it from memory: As Ashbery has written… But it was slyly amusing. It gave nonsensical pleasure. Like a nursery rhyme can do? I’m not sure about that comparison, but it sprang to mind as I flash on the pleasure I got at an early age from “The Owl and the Pussycat” and its runcible spoon. I retain that spoon. No idea what kind of spoon it is. Perhaps that’s my dawning way of approaching some of this spikey verse I read: It’s runcible. Or maybe sporkish.

(c) 2021 JMN — EthicalDative. All rights reserved

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