Saturday, August 20, 2011

"Yossarian Slept Here": an excerpt of the new memoir by Erica Heller


"Joe who?" my mother asked without guile from her hospital bed. She'd just read a card that had been tucked into a glorious bouquet of freshly delivered flowers.

"Joe Heller," I told her. I was flabbergasted that she didn't know or couldn't guess, but then we were in Sloan-Kettering. It was 1995, she was dying, and although my parents had been married for thirty-eight years, they had had a particularly acrimonious divorce twelve years before and had not spoken since. So perhaps the fact that she was scouring her brain for non-Hellerian Joes she might know was not really all that startling. I reached over for the card and read aloud: "My darling Shirley," it began, "I am so sorry. Joe." I handed it back to her.

When I told her who'd sent the flowers, she spoke slowly and without rancor. "Well, he is a sorry soul," she pronounced wearily, crumpling up the card and dropping it into the yellow plastic trash bin on the floor beside her bed. "But he sent you flowers," I pushed, somehow hoping for more. "Th ey're from Dad. Don't you think they're nice?" I pestered, leading the witness. She stared at me, unruffled and unimpressed. "I get it. I understand," she said. "But really, how wildly would you like me to celebrate this? Should I hire jugglers?" Then she muttered something that I made her repeat twice because it was said so faintly, she closed her eyes and we never spoke of the flowers or of my father again.

By then my mother was bald and terribly frail. After her initial diagnosis a year and a half earlier, I'd moved back in with her at the Apthorp, the apartment building where I'd grown up, decamping from the Upper East Side to properly care for her for as long as was needed.


From the day I moved back in, whether my mother was home or, as she was with increasing frequency, in the hospital, my father was too stubborn and too shaken by the gravity of her illness to call or speak to her. Instead, he called me. Night after night he inquired about her with an array of questions that never varied: Had she eaten? Had she gotten fresh air that day? Was she able to sleep? What were the doctors saying? Had she taken all of her medications and had I remembered to give her all of her vitamins? What was her mood? Every night I answered him, increasingly baffled by his persistent interest and concern, but not, I suspect, as baffled as he himself may have been.

As my mother got sicker, had brain surgery, lung surgery, chemo, and radiation, I could hear how much more difficult it was for him to keep the fear from creeping into his voice. He knew we were going to lose her. It was only a question of when. Officially, they had lost each other many years before, of course, but it was obvious how deeply he was tied to her. They were still uncannily connected.

Even after years of silence, the truth remained that there'd never been anyone who'd known or understood each of them better than the other. There never would be. With Mom's death, this aspect of my father's life would be obliterated, and I sensed that fact very strongly during that time. To me, it could easily be seen lurking just beneath the surface—a surface customarily guarded and closed and, for the most part, ineluctably indecipherable.

Heller (center) in Corsica, 1944


When my father called me those nights he was not the blustery, famous author; the gruff, arrogant big shot; the smug, cocky fellow who sometimes showed up to friends' cocktail parties for the sheer fun of insulting them. He wasn't the caustic, clever master of the verbal arabesque who for years had answered the question "How come you've never written a book as good as Catch-22?" with the sly, Talmudic response to put any other to shame: "Who has?" he'd ask, genuinely wanting to know. He was not bombastic or self-satisfied during those nightly calls. He was only sad. He just wanted to talk, and I let him.

Then, about a month before my mother died, when she had gone into Sloan-Kettering for what seemed as if it might be the last time, one night when Dad called I was simply too exhausted to hold everything back that I'd been wanting to say to him ever since she'd first been diagnosed. I had never found the courage or the proper words to use with him before.

I blurted out that he simply had to communicate with her again now, or he would never forgive himself. "How will you live with yourself if you don't? How will you sleep at night?" I asked in an uncustomarily loud tone. He listened silently, and I could picture him sitting in his lemon-yellow study out in East Hampton where he lived, seething at the very notion of being scolded by his daughter. "Call. Write to her. Send flowers. Do something. There isn't much time left, and if you don't, I think you'll always be sorry," I fumbled, suddenly aware of and horrified by my own stridence. Now, understandably, there was angry silence. When Dad finally spoke, he was petulant, childlike. "I don't need you to tell me what to do," he growled, hanging up before I could respond.

It was the very next day when, sitting in my mother's hospital room, there had been a knock at the door, and an orderly had entered with the exquisite bouquet of flowers for Mom. From Dad.

When I arrived home that night the phone was already ringing. He wanted to know if she'd gotten the flowers and if so, had she liked them. I assured him that they'd arrived and had been magnificent. "Well, what did she say?" he asked with some urgency, and then it was my turn to be silent.

Yossarian Slept Here
: When Joseph Heller Was Dad, The Apthorp Was Home, and Life Was a Catch-22 by Erica Heller is published next week by Simon & Schuster. Photo from the Wall Street Journal by Everett B. Thomas and courtesy Dan Setzer.

Friday, August 19, 2011

"Ex Libris: The Art of Bookplates" captures 100 beauties of the small art



The bookplate is one of the unrecognized losses of the print empire (like a once-mighty imperial force, the artforms of type and the book are retreating before the digital demands of a new order). Where first-editions and beloved books in a personal library were at one time marked as belonging to an individual through bookplates, the internet no longer requires an Ex Libris stamp.

That leaves the collecting of antique bookplates -- a print adjunct dating back almost to the age of Gutenberg -- to a vigilant group of bibliophiles, who occasionally share their finds with the world at large -- if the contemporary world, at least, might see these miniatures as works of art.


Ex Libris: The Art of Bookplates (Yale University Press), by Martin Hopkinson, presents 100 examples of the book-owner's pride, mostly from the early 1900s when printing and mass-distribution made the ownership of books affordable to many. The idea of a private library (once only a luxury) also reflected ideas of education and a growing amount of leisure time in the middle class.


The bookplate became a personal expression of the book-owner's interests and passions. In one, for the scientist experimenting with rats at the University of Rochester, the artist Stephen Gooden drew an owl proudly claiming his rodent prize. When Ethel Luce-Clausen saw the bookplate he had designed for her, Gooden explained simply, "the rat crept in when I wasn't looking."

Most bookplates are more sedate reflections of their owner's personality, although one from the 1970s included in a slideshow at the Guardian UK might give Aubrey Beardsley a start.
The bookplate may be a diminished art but one that retains its small beauty in this digital age. It's good to have Hopkinson's collection (from the British Museum) to remind readers that there are advantages to print that the world of ones-and-zeroes can never replace.

Thursday, August 18, 2011

"Lolita," published August, 1958: "The tragedy of man driven by desire"



"But let us be prim and civilized. Humbert Humbert tried hard

to be good. Really and truly, he did."


(Lolita, Vladimir Nabokov)



Nabokov's Lolita was published in August 1958, in Paris. Below is an excerpt from the New York Times review -- one of the first -- by Elizabeth Janeway on August 17, 1958, which expresses both the "opinion and reputation" of the book as well as its humor and ultimate sadness. In another 1958 review Robert R. Kirsch, writing for the L.A. Times, called it "an almost perfect comic novel."


Much of the novel's humor is in the clash of Humbert's "spoiled" European manners and the pretensions of the small northern college town of Ramsdale. Nabokov was a lecturer at Cornell in upstate New York in the mid-1950s. It would be hard to mistake the cultural gulf between the professor and his bourgeois landlady, Delores Haze, as a fictional reflection of Nabokov's own chafed expectations in Ithaca.


... Lolita is one of those occasional books which arrive swishing behind them a long tail of opinion and reputation which can knock the unwary reader off his feet. Is it shocking, is it pornographic, is it immoral? Is its reading to be undertaken not as a simple experience but as a conscious action which will place one on this, or that, side of a critical dividing line? What does the Watch and Ward Society say of it? What does Sartre, Graham Greene or Partisan Review?

This is hard on any book. “Lolita” stands up to it wonderfully well, though even its author has felt it necessary to contribute an epilogue on his intentions. This, by the way, seems to me quite as misleading as the purposely absurd (and very funny) prologue by “John Ray Jr., Ph. D.,” who is a beautifully constructed caricature of American Academic Bumbledom.

But in providing a series of trompe-l’oeil frames for the action of his book, Vladimir Nabokov has undoubtedly been acting with intent: they are screens as well as frames. He is not writing for the ardent and simple-minded civil-libertarian any more than he is writing for the private libertine; he is writing for readers, and those who can read him simply will be well rewarded.

... Humbert is a close-to-40 European, a spoiled poet turned dilettante critic, the possessor of a small but adequate private income and an enormous and agonizing private problem: he is aroused to erotic desire only by girls on the edge of puberty, 9-to-14- year-old “nymphets.” Julliet, Dante’s Beatrice and Petrarch’s Laura all fell within this age range, but to poor panting Humbert Humbert, the twentieth century denies the only female things he really desires.

Nabokov (1958)

Then, as in a fairy tale, his wish comes true. Lolita is its fulfillment. She is the quintessence of the nymphet, discovered by total accident in an Eastern American small town. To get her, Humbert puts himself through a pattern of erotic choreography that would shame a bower-bird. He is grotesque and horrible and unbearably funny, and he knows it. He will settle for anything, and does. ...

Fate, however, intervenes. (McFate, Humbert calls him, envisioning him as an old, lavish and absent- minded friend addicted to making ambiguous gifts, a sort of deified Bernard Goldfine). Charlotte is killed in an accident. Dream come true! With his little stepdaughter (he drops the “step” to strangers), Humbert sets out on an odyssey of lechery that approaches the flights and “fugues” of schizophrenia.

It turns into a nightmare. ...

In his epilogue, Mr. Nabokov informs us that “Lolita” has no moral. I can only say that Humbert’s fate seems to me classically tragic, a most perfectly realized expression of the moral truth that Shakespeare summed up in the sonnet that begins, “The expense of spirit in a waste of shame / Is lust in action”: right down to the detailed working out of Shakespeare’s adjectives, “perjur’d, murderous, bloody, full of blame.” Humbert is the hero with the tragic flaw. Humbert is every man who is driven by desire, wanting his Lolita so badly that it never occurs to him to consider her as a human being, or as anything but a dream-figment made flesh 3/4 which is the eternal and universal nature of passion.

... If there is one fault to find, it is that in making his hero his narrator, Mr. Nabokov has given him a task that is almost too big for a fictional character. Humbert tends to run over into a figure of allegory, of Everyman. When this happens it unbalances the book, for every other character belongs in a novel and is real as real can be. Humbert alone runs over at the edges, as if in painting him Mr. Nabokov had just a little too much color on his brush; which color is, I suppose, the moral that poor Humbert is carrying for his creator.

Never mind. This is still one of the funniest and one of the saddest books that will be published this year. As for its pornographic content, I can think of few volumes more likely to quench the flames of lust than this exact and immediate description of its consequences.

Wednesday, August 17, 2011

"Give Me a Chance," Gail Renard: a fan's eight days with John and Yoko




Gail Renard, to her own teenage amazement, was invited by John and Yoko to participate in their first Bed Peace event, in Montreal. She was a 16-year-old Beatles fan in 1969, and claimed to be a "student journalist" for her school paper to get access to the hotel at which the entourage was staying. Failing at that, she climbed up a fire escape hoping to get a glimpse of the Lennons but wound up with much more: the Lennons eventually asked her to join in the event. She was there for the entire eight days taking care of Yoko's five-year-old daughter and participating in the first recording of "Give Peace a Chance."


John looked after her –- sending her home every night to her mother who had spoken to him on the phone and insisted that there were to be no drugs or sex while her daughter was around. Her 2010 book about the Bed Peace was published in Britain with the title Give Me A Chance.


"Bed Peace" is also online at YouTube, courtesy of Yoko, until Sunday at midnight at the link below.

Here are notes about the online availability of "Bed Peace" from Yoko Ono:


I have decided to extend the deadline for another week -- until midnight on 21st August -- so everyone can get a chance to see it.


Tell your friends to go to http://imaginepeace.com/archives/15702

to watch the film, read about it, Tweet and Facebook message about it -- discuss PEACE with your friends.



Renard's ultimate momento:

Lennon's handwritten lyrics



GIVE PEACE A CHANCE

REMEMBER LOVE

IMAGINE PEACE: Think PEACE, Act PEACE, Spread PEACE.


In 1969, John and I were so naïve to think that doing the Bed-In

would help change the world.


Well, it might have. But at the time, we didn't know.

It was good that we filmed it, though.
The film is powerful now.
What we said then could have been said now.
In fact, there are things that we said then in the film, which may give some encouragement and inspiration to the activists of today. Good luck to us all.


Let's remember WAR IS OVER if we want it.
It's up to us, and nobody else.
John would have wanted to say that.


Bed Peace online at YouTube


ABOUT BED PEACE


1969 was the year that John & Yoko intensified their long running campaign for World Peace. They approached the task with the same entrepreneurial expertise as an advertising agency selling a brand of soap powder to the masses. John & Yoko's product however was PEACE, not soft soap, and they were determined to use any slogan, event and gimmick in order to persuade the World to buy it.


BED PEACE (directed by Yoko & John and filmed by Nic Knowland) is a document of the Montreal events and features John & Yoko in conversation with, amongst others, the world press, satirist Al Capp, activist Dick Gregory, comedian Tommy Smothers, protesters at Berkeley's People's Park, Rabbi Abraham L. Feinberg, quiltmaker Christine Kemp, psychologists Timothy Leary & Rosemary Leary, CFOX DJs Charles P. Rodney Chandler & Roger Scott, producer André Perry, journalist Ritchie York, DJ & Promoter Murray The K, filmmaker Jonas Mekas, publicist Derek Taylor & personal assistant Anthony Fawcett.


Featured songs are Plastic Ono Band's GIVE PEACE A CHANCE & INSTANT KARMA, Yoko's REMEMBER LOVE & WHO HAS SEEN THE WIND & John's acoustic version of BECAUSE.


"As we said before: WAR IS OVER! (If You Want It)" - Yoko

Yoko Ono Lennon
London, UK
August 2011

Tuesday, August 16, 2011

Bukowski, born August 16, 1920: "because writing chose you"



Dec. 23, 1990

Hello Wm Packard:

No, you're not down, maybe I'm down, sometimes I feel like my skivvies are down around my ankles and my butt is a target for hyena turds.

Listen, your Pincus is awful hard on the poets. I thought I was hard on the poets. Well, I'm glad I get by him. And he's right on WAITING. Only if the octipus has you in its tentacals you can't wait too long.

On WAITING I know what he means. Too many writers write for the wrong reasons. They want to get famous or they want to get rich or they want to get laid by the girls with bluebells in their hair. (Maybe that last ain't a bad idea).

When everything works best it's not because you chose writing but because writing chose you. It's when you're mad with it, it's when it's stuffed in your ears, your nostrils, under your fingernails. It's when there's no hope but that.

Once in Atlanta, starving in a tar paper shack, freezing. There were only newspapers for a floor. And I found a pencil stub and I wrote on the white margins of the edges of those newspapers with the pencil stub, knowing that nobody would ever see it. It was a cancer madness. And it was never work or planned or part of a school. It was. That's all.

And why do we fail? It's the age, something about the age, our Age. For half a century there has been nothing., No real breakthrough, no newness, no blazing energy, no gamble.

What? Who? Lowell? That grasshopper? Don't sing me crap songs.

We do what we can and we don't do very well.

Strictured. Locked. We pose at it.

We work too hard. We try too hard.

Don't try. Don't work. It's there. It's been looking right at us, aching to kick out of the closed womb.

There's been too much direction. It's all free, we needn't be told.

Classes? Classes are for asses.

Writing a poem is as easy as beating your meat or drinking a bottle of beer. Look. Here's one:

flux

mother saw the racoon,
my wife told me.

ah, I said.

and that was
just about
the shape of things
tonight.

HAPPY NEW YEAR

(letter image by bukowski.net)

Monday, August 15, 2011

John Lydon: Melting in the California sun


John Lydon (L.A. Times photo by Myung Chun)

The L.A. Times interviews the one-time leader of the Sex Pistols and finds him ... melting in the California sun, apparently. "Well, somebody has to replace the hippies," the former Mr. Rotten snarls. That's one way of saying the January weather has to be better in L.A. than London.

And how does Lydon spend his days? "I don't get out much, so I'm thinking, 'What can I go buy? ... Usually it's plumbing equipment that's on my mind. There's always something to repair." Sounds like it's no holiday in the sun, for sure.

The great rock-and-roll swindler himself is turning 55, and has a new book -- at $750 a pop, the price of Mr. Rotten's Scrapbook includes a Lydon original doodle -- of art and musings. "It's mistakes, warts and all, but free-form, as I truly remember a thing," he says. "I tell it as it is."

Which must take a lot of unexpected musing: since 2006, Randall Roberts in the L.A. Times article reports, Lydon was a regular on the British reality show I'm a Celebrity … Get Me Out of Here! followed by three one-off wildlife documentaries for the Discovery channel: John Lydon's Megabugs (about insects), John Lydon Goes Ape and John Lydon's Shark Attack, in which the original UK punk swam with great whites off the coast of South Africa.

There's more, of course, here. Pistols fans and the morbidly curious are duly warned. The late Malcolm McLaren is daily looking more like a Renaissance man by comparison.


(Johnny & Sid with Cheryl Doreen the Rodeo Queen, Atlanta 1978)


From a report of the Pistols first U.S. show, at The Great Southeast Music Hall, Atlanta, January 5, 1978:

The Pistols spend a quiet day-and-a-half prior to their debut, granting a few interviews (most notably to Time and Newsweek) while hordes of British journalists scurry around the hotel lobby starting, spreading and squelching various rumors ... Channel 2 in Atlanta (WSB) reports the group as 1) having green hair, 2) vomiting and committing sexual acts on one another as part of their show, and 3) heading for Houston after the Atlanta date ...
Alex Cooley's Great Southeast Music Hall is packed to the gills minutes after the doors open at 7:00 p.m..Among those in attendance are 5 television crews, approximately 50 members of the press (including such notables as John Rockwell, Bob Christgau, Wayne Robins, Kit Rachlis, Tony Schwartz and Roger Wolmuth), several police officers and vice squads from both Atlanta and Memphis.
... A local band called Cruisomatic opens, primarily doing cover versions of early rock and punk standards (to our ears, they are louder than the Pistols will be later, which is not very loud, contrary to what the Atlanta papers said the next day)..The rain is coming down pretty hard by the time the Pistols go on at about 10:15 p.m.; Rotten asks, "Where's My Beer?"
... "You can all stop staring at us now," Rotten says after opening with "God Save the Queen," "We're ugly and we know it... See what kind of fine upstanding youth England is chucking out these days?"..About 60% of the audience is standing and doing an Americanized version of the Pogo throughout, 20% of the audience is nasty, yelling yelling and throwing things at the band, and 20% of the crowd clearly does not know what on earth is going on.


Sunday, August 14, 2011

"Roadfood," Jane and Michael Stern: "we have found perfection"

Grace Proffitt of Ridgewood Barbecue



Few topics excite the blood and the tastebuds quite like the regional differences in barbecue (or, if you're traveling the back roads of America this summer, "B-B-Q," in faded red paint on the side of a building at the next four-way stop.) Obligatory form in Georgia demands that real barbecue be pulled pork and served with slices of white bread and accompanied by no less than a quart of sweet tea (endless refills free).

Elegantly simple. Yet even that simple recipe opens to a world of endless and tasty variations to please one's palate and temper. Because it's summertime, the search for the right barbeque can be a lazy but determined weekend passion supported by a full tank of gas and a good hunger, and even writers have been known to swear off the joys of the jug for half-an-hour of heaven at the right barbecue stand -- no liquor allowed.

The erstwhile Jonathan Williams -- provocateur, raconteur, epicure, and a cure-all for most of what ails popular literature these days -- knew a thing or two about the endless variety of barbecue and its preparation. Mr. Williams, who passed away in 2008, was the eminent force of the Jargon Society and its varied delights, not necessarily limited to the literary. Here is an extract from the North Carolina Literary Review, published originally in 1996, and currently available at The Jargon Society website. In it he mentions the original edition of Roadfood, by Jane and Michael Stern, which has been issued in a new edition in 2011. Grab a napkin and tuck in -- it's bound to get a little messy.

.. Some like it lean, some fat. “Gimme a fat sa’mich, honey,” yells an old farmer. That’s it, just bread and fat. Some insist on shoulder or ham, some want to use the whole pig. Some chop it, some slice it, some pull it and shred it. In eastern NC the sauce is vinegar based. In western NC, it’s got ketchup, salt, sugar, red and black pepper added to the vinegar. Lexington is considered mecca to many, and my favorite place is “Lexington Barbecue #1,” off Highway 29-70, operated by Mr. D. Wayne Monk and his brother Tom. ...


There is one place about which Roger and I are in complete agreement. We are not the only ones. In their book, Roadfood, Jane and Michael Stern say: “We have found perfection, and its name is the Ridgewood Restaurant.” The sad thing is that the Ridgewood is tucked away in the wilds of eastern Tennessee and that means a long journey from almost anywhere. I try to combine a visit with Georgia Blizzard, the potter, in Glade Spring, Virginia, with a stop at Grace Proffitt’s wonderful eatery.
The Ridgewood is north of Elizabethton, Tennessee, at the crest of a low gap in the hills, on Highway 19-E. A few miles to the north is Bluff City. And further north, the city of Bristol. It’s about 11 miles on back roads, south from Interstate-81 at Bristol, using Exit 69. ...
Grace has been presiding at her restaurant since 1948 and everything seems about as good as it can get. Making the trip to the Ridgewood whets the appetite and puts one in reverential mood, like a first visit to Chartres, or the anticipation of a meal with Louis Outhier or the Brothers Haeberlin at the Auberge de l’Ill in Alsace.
Our last visit to the Ridgewood, two local businessman were entertaining two Japanese visitors. They were properly entranced. Such tastes required no translation. A hand-written testimonial from General William Westmoreland on a wall of the restaurant assured us all that it was the best barbecue anywhere on earth. If Jesse Helms can be right about barbecue, so can the General.
Because I love the accuracy of his writing, let me quote John Egerton from his book, Southern Food (Knopf, NYC, 1987), on how it’s done at the Ridgewood. Grace Proffitt’s way is not for traditional purists: “They start with fresh hams, not shoulders. The meat cooks and smokes for about ten hours over hickory coals. Then it is chilled in a cooler, sliced cold, and reheated on a hamburger grill at high temperature. While it sizzles, it is doused generously with a spicy-sweet and mildly hot tomato-based sauce. The mound of moist and piping-hot meat is then troweled onto a toasted bun and served with slaw and French fries, both freshly made and of the highest quality.”
Another side dish to order is a little crock of Mrs. Proffitt’s barbecued beans. C’est sublime, as they’d say in France if they had barbecue this good. Sweetened iced tea tends to be the beverage of choice. Beer is seldom to be found in barbecue restaurants, for whatever sociological reasons. Classic Coke suits me.
Neither Roger nor I has ever been able to eat more than one of the ample sandwiches (think it was all of $2.75 in 1988) at the Ridgewood, so we don’t know about the pies and cakes. We observed most customers picking up a little wrapped confection (made in Nashville) known as a “Goo-Goo Cluster,” as they paid their bill at the counter. One wonders.

When we paid Mrs. Proffitt and thanked her sincerely for such culinary art, I bought three pints of her secret-formula barbecue sauce, of which she makes about 15 gallons early every morning. Said Grace: “Boys, I hope you like that sauce. Hit’s got a whang to it!”

(Photo of Grace Proffitt from The Jargon Society.)