The opening scene from “Now You’re the Enemy,” one of the most beautiful books of poetry I’ve read. Written by James Allen Hall.
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reading
The Handmaid, and the Hurricane’s, Tale
I didn’t pack a book for our flight out of Hurricane Irma’s grasp. What was the point? It wasn’t until the next day, before boarding a flight further away from the storm, that I ventured into a bookstore. There it was: Margaret Atwood’s “The Handmaid’s Tale.” I’d first heard about it via late night TV, one of the actresses from its Hulu version on display. Something about it must be current, I thought, and I needed that — a book to explain the world.
We left Miami on the only flight we could find three days before the storm hit. Sitting on the tarmac, waiting for the extended line of planes to flee, I listened to the row behind discuss lack of insurance. Before, at the airport bar, conversation dropped when images of Irma took the screens. I belonged to a group of people on the run, to an exodus.
I cannot decipher events when they are immediate. It is later, through reading and writing and mulling in the shower, that I comprehend. I knew I wasn’t dealing well with Irma, but it wasn’t until I finished reading “The Handmaid’s Tale,” just 36 hours after purchasing it, that I understood why.
What Irma represented for me was not so much fear, destruction, loss, homelessness, but lack of control, lack of choice and authority over the small actions that become a routine. Until further notice, and not by will, my routine was taken.
Meanwhile, Atwood’s book is also about the taking of a way of life. Told by one of many “handmaids,” sex slaves forced to fornicate with powerful men in order to produce offspring, the novel presents an over-the-top, near future in which an infertile society abides by literal observance of the Old Testament.
Somehow, “The Handmaid’s Tale” manages to sustain the delicate momentum of a storm. When devastation hits, it will no doubt be heart braking. The desire to witness this devastation drives the work forward with the speed of a mystery novel. Despite its scant dialogue, let alone action, I was skipping pages in search of where the book would lead me.
Then, its open ending takes you nowhere. The book resists the reader’s, and the narrator’s, compulsion to know: there is no resolution, no single truth. Not even the brutal state agency, “The Eye,” can see all that goes on. Such lack of certainty generated a deep void in my gut, the same kind I felt each time Irma’s track was updated.
But, “The Handmaid’s Tale” represents a more manageable loss of control, a void in book form. And when things are packaged into book form they can be read, understood, addressed. The Eye of the book became the eye of the storm, revealing our weakness to control, to own, to construct, to landscape, to adorn. Of course, control is an illusion. New trees break.
Buy water; be prepared.
Mercy Me
Scene from Roger Reeves’s “King Me,” which won the Whiting Award for poetry.
The last line reminds me of the crowds of airport mouths agape below the televised twirl, twirl, twirl of Irma’s bright red skirt. Keep going. Keep going. Anywhere but here.
Landfall
I realize the picture above is bad. It was taken on a flight at the exact moment the pilot warned of turbulence from Hurricane Harvey, passengers and plane already shaking. The storm about to hit Texas at a place called Corpus Christi, which is the name of a real town in the physical world.
So I kept the bad picture I took of the good poem I was reading to show you. The words legible, no matter the storm.
The poem is by Tim Seibles and is called “Delores Epps.” It was presented by the skinniest member of my MFA program at Florida International University during our first class.
I remembered it on the plane after watching “Girls” and made my row get up so I could grab it from the overhead compartment where it lay, unread, neighbored by other people’s back packed belongings. I found a forgotten banana in my carry on, which I ate while I read my poem, wanting to feel the sorrow of being young and not knowing anything but also knowing the exact same amount I still don’t know now. But, it is better not to know at fifteen, better not to know at twenty three, better not to know at thirty three, than now at thirty six. The not knowing of each year always circling, gasping to lift off, but making landfall in a watery mess somewhere by a place the map calls Corpus Christi.
The Atom World
There is a street in LA that has everything, at least, everything that my world needs. Juice, coffee, books, yoga, independent shopping, wine, cheese, parking. On this street, each of these are each well done, particularly the book store, where on the cashier’s counter I encountered Ray Bradbury’s “The Illustrated Man.”
I was on the market for short stories, I realized, particularly those of the semi-science fiction variety offered by Bradbury. His “Life on Mars” is often in my top ten modular list of all-time favorite books.
So far “The Illustrated Man” has kept the Bradbury promise: render human defects alien, gruesome by kicking them out of context. The childhood aggression, racism, panic, violence in his eerily futuristic tales are incongruous in their cruelty. No one would could ever possible do that, could they? This can never possibly happen, can it? Or, has it, is it already happening?
The excerpt above is from a story titled “The Highway.” What drew me in was the use of the word “atom” vs. “atomic” in describing a war that could end the world. In many ways a war that could end the world is an atom war, a war of the minuscule, a war started by a few pissy men. Case in point: the past two world wars.
Who knows if the decision to use “atom” vs. “atomic” is due to language evolution or intention. It does not matter. The effect is there. It is harder to get around the meaning of the word in its noun form. An “atom” is the limit of a thing, just as a human is the limit of what can be called a “world.” An atom war that will end the world. A petty war that will end my perception.
Thus, the character in Bradbury’s story, who lives by a road in the middle of nowhere, suddenly overrun with folk escaping the “end of the world,” can only ask his donkey:
“What do they mean, ‘the world’?”
Suburbanization in Reverse
Last week’s Economist cover featured the death of the internal combustion engine via the electric car. The magazine contemplates a bright future where the air is clean, oil grabs become irrelevant, and people nap during their private commutes. Then, reverse suburbanisation as cities contract, converting now useless parking into homes, parks, offices. Efficient destinations everywhere.
The magazine does not mention the inventors of this great future, but that is whom the article left me thinking about: the few individuals who propelled electric cars forward. These incredible beings basically prevented planetary devastation by ending human dependence on dirty fuel.
Sadly, on the other side of the equation, you have the Zumas, Trumps, and Maduros of the world. Individuals who set entire nations back one year each time they open their traps. See the excerpt from the article below on Jacob Zuma’s reelection, which immediately followed the article on electric cars.
Thus, the equation keeps equal. Or as Fitzgerald might say, “we beat on, boats against the current, borne back ceaselessly into the past.”
Even Worse
Out takes from Morgan Parker's "There Are More Beautiful Things than Beyoncé"
