Words of a Stabbing Victim

On Sept. 20, 1958, while signing copies of his first book “Stride Toward Freedom” in a Harlem department store, Dr. Martin Luther King was stabbed in the chest by a young woman. The weapon, a letter opener, grazed his aorta.

His attacker, Izola Ware Curry, was a mentally ill woman who believed Dr. King and others were following her.

NYPD Officer Al Romano, age 31 and on the job three years, took the call accompanied by rookie Officer Philip Romano. Their alert actions helped save Dr. King.

Dr. King spent weeks in New York City recovering. He addressed reporters from Harlem Hospital: “First let me say that I feel no ill will toward Mrs. Izola Curry and know that thoughtful people will do all in their power to see that she gets the help she apparently needs if she is to become a free and constructive member of society… A climate of hatred and bitterness so permeates areas of our nation that inevitably deeds of extreme violence must erupt.”

[Dr. King] later wrote a letter to thank the police. “I have long been aware of the meaning of the phrase ‘New York’s finest’ when applied to members of the N.Y. Police Department,” he wrote. “From the moment of my unfortunate accident, I have concurred, wholeheartedly, in that appellation. There are none finer.”

During a speech in Memphis in 1968, he would reflect on that day… “It came out in The New York Times the next morning that if I had merely sneezed, I would have died… I’m so happy that I didn’t sneeze”…

The following day, Dr. King was shot dead.

(Michael Wilson, “Before ‘I Have a Dream,’ Martin Luther King Almost Died. This Man Saved Him,” NYTimes, 1-14-21)

(c) 2020 JMN

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On a Parlous Trek the Ground Slopes East

The gap between China and the United States is shrinking as China is the only major economy expected to report economic growth for 2020 despite the pandemic. And brawling with itself at some crossroad truck stop far over the horizon lay my lost homeland.

Paul Salopek is walking around the world. He’s at work on a book about his experiences. Two things leap from his essay in the NYTimes: (1) the eloquence of a prize-winning journalist; (2) the intrepidity bordering on death wish of his undertaking, partnered with a capacity for punishing exertion and privation.

Walking through Afghanistan in 2017, I saw how little the outside world’s disdain for Central Asia has changed since then… The only visible evidence of America’s catatonic, $2 trillion war in Afghanistan was the exhausted face in my pocket shaving mirror.

… Meanwhile, the world walks on. And the ground slopes east toward an Asian century… In Kazakhstan, Chinese workers dressed in spotless coveralls came out to gape as I led my cargo horse through their colossal oil field. I must have seemed a raggedy apparition from the distant past, some mirage conjured by the wild steppe. I felt like one. They fed me ice cream.

(Paul Salopek, “Shadows on the Silk Road,” NYTimes, 1-16-21)

(c) 2020 JMN

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Failure and Exultation

“Almost all poetry is a failure,” Charles Bukowski is said to have contended, “because it sounds like somebody saying, Look, I have written a poem.”

Never will I allude to the English Language or tongue without exultation. This is the tongue that spurns laws, as the greatest tongue must. It is the most capacious vital tongue of all, — full of ease, definiteness, and power, — full of sustenance, — an enormous treasure house, or ranges of treasure houses, arsenals, granary, chock full of so many contributions from the north and from the south, from Scandinavia, from Greece and Rome—from Spaniards, Italians, and the French—that its own sturdy home-dated Angles-bred words have long been outnumbered by the foreigners whom they lead—which is all good enough, and indeed must be. America owes immeasurable respect and love to the past, and to many ancestries, for many inheritances, — but of all that America has received from the past from the mothers and fathers of laws, arts, letters, etc., by far the greatest inheritance is the English Language—so long in growing—so fitted.

Dwight Garner quotes Bukowski and cites with link the Whitman essay (The Atlantic, April 1904) in his article “Dwight Garner Shares From His Stash of Other Writers’ Words” (NYTimes, 11-1-20).

(c) 2020 JMN

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Base Camp

They came in all sorts of camouflage, in animal pelts and flak jackets, in tactical gear and even a sphagnum-covered ghillie suit.

When you leave the totems of your usual identity behind you free yourself from the laws that govern that identity and assume those of another character — a frontiersman, a hunter, a warrior, even a superhero…

(Vanessa Friedman, “Why Rioters Wear Costumes,” NYTimes, 1-7-21)

“Ghillie” is a misspelling of Scots Gaelic Gille, meaning an outdoor servant. The suit so named may refer to the Gille Dubh (“black-haired youth”), an Earth spirit clothed in leaves.

Ghillie suits were adopted by British Army snipers in 1916.

Australian Army snipers call them “yowie suits” after the Yowie, “a mythical hominid similar to the Yeti and Bigfoot which is said to live in the Australian wilderness.” (Wikipedia)

(c) 2020 JMN

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The Rhetoric of Figments

A classic mnemonic for spelling “graffiti” is that it “doesn’t have two fucking titties.” And the classic graffiti on locker room urinals is “A lot of pricks hang out here.” These durable tropes capture the sophomoric tenor of Chris Malone’s venom:

“Congratulations to the state of GA [Georgia] and Fat Albert @staceyabrams because you have truly shown America the true works of cheating in an election again!!!” Mr. Malone wrote. “Enjoy the buffet Big Girl! You earned it!!! Hope the money was good, still not governor!” [Posted Tuesday night, January 5, 2021]

(Neil Vigdor, “‘Hateful’ Tweet About Stacey Abrams Costs University Football Coach His Job,” NYTimes, 1-8-21)

“Fat Albert,” a 2004 movie, is based on a figment of Bill Cosby’s imagination.

“… Because of the high school setting and gentle boy-girl crushes that partially drive the story, Fat Albert will have more appeal for middle grade kids and tweens.” (www.commonsensemedia.org)

Driven by the right-wing figment of election fraud, Chris Malone, an arguably grown-up white man, traduces “Fat Albert“ into a body-shaming label applied to a Black woman almost elected Georgia governor in 2018, and whose fight against voter suppression has recently helped put two new Democratic senators in national office. “Enjoy the buffet Big Girl” garnishes the spite with misogyny.

This is a taste of only one dish of Coach Malone’s rancid smorgasbord, but there’s no point in gorging on blind fury.

As an act of speech violence, Malone’s sally is garden variety invective of the sort fired gutlessly from the sniper roosts of social media. Its only distinction, other than having cost “an assistant and offensive line coach for the Mocs” his current job (spoiler: he’ll find another), is to add context to the myriad acts of physical violence carried out in Washington D.C., only hours after his tweet, on January 6, 2021.

(c) 2020 JMN

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Neruda XCIII

[XCIII]
Si alguna vez tu pecho se detiene,
If there comes a time when your heart stops,
si algo deja de andar ardiendo por tus venas,
if something warm and ardent ceases plying your veins,
si tu voz en tu boca se va sin ser palabra,
if your voice leaves your mouth but not as words,
si tus manos se olvidan de volar y se duermen,
if your hands forget to fly and go to sleep,

Matilde, amor, deja tus labios entreabiertos
Matilda, love, let your lips stay parted
porque ese último beso debe durar conmigo,
because that last kiss must linger with me,
debe quedar inmóvil para siempre en tu boca
must stay motionless forever on your mouth
para que así también me acompañe en mi muerte.
so it accompanies me as well in my demise.

Me moriré besando tu loca boca fría,
I will expire kissing your wild cold mouth,
abrazando el racimo perdido de tu cuerpo,
clinging to your body’s lost cluster of fruit,
y buscando la luz de tus ojos cerrados.
and seeking out the light of your closed eyes.

Y así cuando la tierra reciba nuestro abrazo
That way, when earth returns our mutual embrace
iremos confundidos en una sola muerte
we’ll go confounded in a single death
a vivir para siempre la eternidad de un beso.
to live forever the eternity of a kiss.

Veinte poemas de amor y una canción desesperada. Cien sonetos de amor
1924, Pablo Neruda y Herederos de Pablo Neruda
1994, Random House Mondadori
Cuarta edición en U.S.A: febrero 2004

[English translation is mine.]

(c) 2020 JMN

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The Other Virus

The cartoon by Brendan Loper is tagged “Very good people.”

The tagline evokes the Unite the Right “Tiki-torch” rally of August 12, 2017, held in Charlottesville, Virginia. A self-declared white supremacist rammed his car into a crowd of counter-protesters, killing Heather Heyer and injuring 19 other people. In subsequent remarks, Tr***p referred to “very fine people on both sides.”

(c) 2020 JMN

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Carta a Nuria

This gallery contains 1 photo.

Te pongo aquí un cuadro reciente, tonto y burlón, mal logrado por supuesto, de ejecución turbia, hiciera lo que hiciera. Está pintado sobre otro cuadro que hizo tu abuelo, mi papá. El suyo fue un desnudo masculino sentado, visto de … Continue reading

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Monsieur

All respect to Pierre Cardin’s memory and legacy. I’m no fan of censuring yesterday’s culture for not living up to today’s expectations. But in matters such as gender parity it doesn’t seem unfair to observe dispassionately how an artifact may beacon values discordant with the current moment’s.

The photograph (above) is delicious for its dated, risible ickiness. It contrives a harmonic that resonates with Cardin’s art-driven, if blatant, abstraction from the cash cow audience feeding his coffers. There’s a soupçon of je m’en foutisme in his saying “I think of the dress… The woman doesn’t matter.”

In the staged tableau, saturnine, impassive, gauntly handsome and exquisitely tailored, the Ozymandias of fashion, master of his imperium, with a sneer of command basks in the mimed fervor of swarming corybants who beseech his favor by offering their compliant flesh as rack and billboard for his effulgent creations.

What the lens conveys is a decadent machismo that swaggers through the thread trade while slouching through other industries with unglamorous, deadening efficacy. The image preserved has a Leona Helmsley aura to it, minus the felony.

(c) 2020 JMN

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Pub Apocalypse?

A good pub feels a bit like a living room: a familiar, informal space where you can have a pint with friends and strangers… Enjoying a drink in a room that has been used for the same purpose for hundreds of years is an anchoring experience you are unlikely to get from your sofa.

(Eleanor Salter, “Will Britain’s Pubs Survive the Coronavirus?” NYTimes, 5-15-20)

I give high marks to this article’s illustration for its clever spookiness and skillful draughtsmanship.

The encomium to the British pub makes me realize how alcohol-centric my own relationship with booze is. Wherever I find myself, a bottle alone endears that spot to me; anchors me there; lends beauty to the moment; wraps me in fuzzy contentment.

My sofa is the ideal spot to “have a pint.” If I’m caught outside the house, any perch that’s friend-and-stranger-free will do for a swig. The alcohol completes it — a boosting and buffering companionable consolation.

Mine is not a commended orientation, I grant, which is why I corked the bottle.

(c) 2020 JMN

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