Thursday, February 23, 2023

"CANCEL RUSSIAN LITERATURE" The Ukrainian Nose Absconds from the Great Russian Phizog

 



                                  Making a Case for Cancelling All of Russian Literature

Since the beginning of the war in Ukraine a year ago there have been vocal and persistent outcries—not only among Ukrainians, who, somehow have the right to voice extremist views, but all over the world—to cancel utterly and all-comprehensively the entirety of Russian literature. The argument is that any work of literature by a Russian writer, even what may appear totally innocent, is somehow intrinsically tied to the promotion of Russian imperialism. In a recent article in The New Yorker (“Novels of Empire,” January 30, 2023) the writer Elif Batuman, an erstwhile lover of Russian literature, faces up to the problem and discovers Russian lit wanting.

As if in proof of the old adage, “You can always find what you’re looking for, if you look hard enough,” Batuman combs through certain Russian works with a fine comb and discovers what she is looking for. In Crime and Punishment Raskolnikov’s motivations for the crime he commits—the murder of an old pawnbroker—are the central issue of the whole novel. Raskolnikov does not know why he committed the crime, running perpetually various possibilities through his deranged mind. This led one of my students once to call the novel not a Whodunnit, but a Whydunnit. Batuman centers in on only one motivation, the issue of the Napoleon complex, and, pushing this to extremes, decides somehow that Raskolnikov committed murder by way of promoting Russian imperialism: “The logic of Raskolnikov’s crime, I realized, was the logic of imperialism.” Okay.

As if that were not enough of a stretch, she addresses Nikolai Gogol’s immortal piece of farce, his story “The Nose,” in which a nose escapes from the face of a rather frivolous man and goes off to lead its own private life, while its owner pleads for it to return. Scholars have sought out the “meaning” of this story for eons of ages and found, exactly, none. The story is a marvelous joke, open to any number of preposterous interpretations. Given Gogol’s struggles with his own sexuality and his fear of women, a favorite has been the Freudian approach. The story, ostensibly, is about a castration complex, and the nose is a stand-in for the penis. Based on zero evidence in the text, Batuman suggests something similar. This story, she opines, features the absconding of the Little Russian (Ukrainian) nose from the Great Russian face. Once again, the ending suggests that “the interests of the empire prevail.” The runaway nose (Ukraine) is apprehended and forced back where it belongs: on the phizog of the Great Russian empire. One more work about Russian imperialism!





Friday, February 10, 2023

The Logbook of Time, or Why My Scrotum Aches

 


                                       The Logbook of Time, or Why My Scrotum Aches

Wouldn’t it be great if Time itself were kept in some enormous logbook, under the supervision, say, of the angel Gabriel? You want to know exactly what you were doing and thinking on May 12, 1967, or, in an earlier incarnation, on May 12, 1597, all you have to do is borrow Gabriel’s logbook, turn back the pages and look . . . No. There are too many shameful, deceitful acts and thoughts back in anyone’s past. Best not to look.

What if you discovered that in an earlier incarnation you were a horse thief from Deadwood, Nevada, a totally corrupt human being named Eddington Slort, who ended his life strung up by the balls in the small desert town of Mesquite?

So now at least I know why my scrotum sometimes aches.

Don’t google your own name. Once I googled my name and discovered a man in Maine, who had my exact name and who was a serial killer. Don’t google your own name.

[excerpted from the book by U.R. Bowie, Here We Be. Where Be We?]




Recovery Time After Covid

                                                 Coronavirus Putting on a Show of Colors


Recovery Time After Covid

“How did I feel? As if I was living in that terrible movie Regarding Henry, in which Harrison Ford gets shot in the head during a convenience-store hold-up and afterward becomes a mental child and can no longer make love to his wife. I used to be able to do this; I know I used to be able to do this. I used to be able to make love to Harrison Ford’s wife!

“Some of the delusions I had developed during the most severe phase of illness persisted: that my vision was a picture that had been pasted in front of my eyes, that my floorboards, creaking with the expansive spring humidity, were going to fall through. Hours, days had fallen out of my memory like chunks of plaster.”

Patricia Lockwood


[excerpted from the book by U.R. Bowie, Here We Be. Where Be We?]




Tuesday, February 7, 2023

Translation of Poem by Aleksandr Blok, Александр Блок, "Художник," THE ARTIST

 


Александр Блок

(1880-1921)

Художник

В жаркое лето и в зиму метельную,
В дни ваших свадеб, торжеств, похорон,
Жду, чтоб спугнул мою скуку смертельную
Легкий, доселе не слышанный звон.

 

Вот он — возник. И с холодным вниманием
Жду, чтоб понять, закрепить и убить.
И перед зорким моим ожиданием
Тянет он еле приметную нить.

С моря ли вихрь? Или сирины райские
В листьях поют? Или время стоит?
Или осыпали яблони майские
Снежный свой цвет? Или ангел летит?

 

Длятся часы, мировое несущие.
Ширятся звуки, движенье и свет.
Прошлое страстно глядится в грядущее.
Нет настоящего. Жалкого — нет.

 

И, наконец, у предела зачатия
Новой души, неизведанных сил,-
Душу сражает, как громом, проклятие:
Творческий разум осилил — убил.

 

И замыкаю я в клетку холодную
Легкую, добрую птицу свободную,
Птицу, хотевшую смерть унести,
Птицу, летевшую душу спасти.

 

Вот моя клетка — стальная, тяжелая,
Как золотая, в вечернем огне.
Вот моя птица, когда-то веселая,
Обруч качает, поет на окне.

 

Крылья подрезаны, песни заучены.
Любите вы под окном постоять?
Песни вам нравятся. Я же, измученный,
Нового жду — и скучаю опять.

 

December, 1913

 

 

d

 

Literal Translation

 

The Artist

 

In the heat of summer and in blustery winter,

On the days of your weddings, festivities, funerals,

I wait for my deadly boredom to be scared off

By a faint, hitherto unheard ring of a bell.

There it is, it sounded. And, coldly attentive,

I wait, seeking to understand it, fix it securely, and kill it.

And, in the face of my intense anticipation,

It stretches out a barely perceptible thread.

 

Is it a whirlwind blowing from the sea? Or paradisal birds

Who sing amidst the foliage? Or does time stand still?

Or have the apple trees of May scattered

Their snowy blossoms? Or does an angel fly past?

 

Hours lengthen, bearing the weight of the world.

Sounds, motion and light expand.

Past time gazes passionately into its future.

There is no present time. Nothing is to be pitied.

 

And finally, at the threshold of the conception

Of a new soul, of mysterious forces,

A curse, like thunder, smites the soul:

Creative reason has mastered it—killed it.

 

And in a cold cage I confine

The kind, buoyant, once free bird,

The bird that wanted to bear death away,

The bird that flew here to save the soul.

 

Here’s my cage—it’s heavy, made of steel,

Gleaming golden in the fire of the evening sun.

Here’s my bird, which was once full of joy,

Swinging on a hoop, singing in the window.

 

It has wings that are pinioned, songs learned by rote.

Do you like standing beneath the window?

You enjoy the songs. But me, I’m enervated,

Anticipating something new—and once again bored.

 

d

 

Literary Translation/Adaptation by U.R. Bowie

 

The Artist

 

In searing-hot summer or blustery winter,

While you ride life’s weddings-and-deaths carousel,

Gripped in world-weariness, tedium bitter,

I wait for the peal of a yet-unheard bell.  

 

There it is, hear it? And coldly attentive,

I seek to enfold it, to capture and kill,

While shirking my fixed stare, defensive, retentive,

It plies its fine spinneret, grinds its gristmill.

 

Is it a waterspout blown from the ocean?

Are sweet birds of paradise trilling their tunes?

Do apple trees timelessly strew mass commotion

Of white blossoms vernal, angelic festoons?

 

The hours march on, bearing all the world’s weightiness,

Sounds expand, motion moves, light spreads its glow.

Past time stares ardently toward what’s awaiting us,

There is no present; compassion’s no go.

 

And then at last, on the verge of conceiving

A brand-new fresh soul, an original view,

You feel a thunderclap that new soul cleaving,

Cursed, killed by reason’s creative purview.

 

Then I imprison in chill cage confinement

That gentle and airy and once free songbird,

Who flew here to render the soul’s full refinement,

Whose aim was to make the word death a ghost word. 

 

Look, here’s my cage—made of steel, it’s sturdy,

Golden its gleam in the sun’s evening fire.

Here’s my once heavenly, blissful sweet birdie,

On a hoop swinging, this erstwhile high-flier.

 

Birdie wings clipped, she sings words by rote captured,

Do you enjoy listening to her repertoire?

Me, I’m devitalized, you, you’re enraptured,

I thirst for something new, once again bored.

 

 

 

d

 

Translation by Cecil Maurice Bowra

Artist

In summer-heat or in wintertime glistening,
Days when you marry, or triumph, or die,
I would dispel deathly boredom by listening
For a soft peal yet unheard in the sky.

There it approaches, and coldly I wait for it,
Wait to get hold of it, leave it for dead.
While my attention is strained ahead straight for it,
It pulls a nearly invisible thread.

Wind from the sea? or are singing-birds calling there
From Paradise? Does Time stop and stay fast?
Or is the May’s apple-blossom a-falling there
In snowy rain? Does an angel fly past?

Time is prolonged. Every wonder it cherishes;
Light, tumult, motion around me appear.
Wildly the future reflects all that perishes,
Nothing is present or pitiful here.

Finally, force inconceivable filling it,
Strains a new soul from its birth to the day, —
Curses, as thunder, attack the soul, killing it
Reason, creative, subdues it, — to slay.

Then in a shivering cage I shut wearily
That happy bird who once flew about merrily.
This was the bird that would take death from me,
This was the bird that would set the soul free.

There is the cage. Heavy, iron I fashioned it.
Golden it gleams in the sun’s setting fire.
There is the bird for you. Once so impassioned it
Swings on the hoop as it sings to the wire.

Clipped are its wings; all by heart now it sings to me —
Say, would you listen and stand by the door?
Singing may please you, — but weariness clings to me.
Once more I wait, and know boredom once more.

[from website ruverses.com]

 

 


 

Monday, February 6, 2023

Translation of Poem by Ivan Bunin, И. А. БУНИН, "ГАЛЬЦИОНА," HALCYONE

                                          Painting by Marie-Noëlle Gagnan

                                                           "Ceyx and Alcyone"


И. А. БУНИН

(1870-1953)

 

ГАЛЬЦИОНА

Когда в волне мелькнул он мертвым ликом,
К нему на сердце кинулась она —
И высоко, с двойным звенящим криком,
Двух белых чаек вынесла волна.

Когда зимой, на этом взморье диком,
Крутая зыбь мутна и солона,
Они скользят в ее пучину с криком —
И высоко выносит их волна.

Но есть семь дней: смолкает Гальциона,
И для нее щадит пловцов Эол.
Как серебро, светло морское лоно,

Чернеет степь, на солнце дремлет вол...
Семь мирных дней проводит Гальциона
В камнях, в гнезде.
И внуков ждет Эол.

28.VII.08

d

Literal Translation

Halcyone

 

When his [Ceyx’s] dead face flashed in a wave

She threw herself upon his breast—

And high, with a ringing cry redoubled,

The wave bore away two white gulls.

 

When in the winter, by this wild seashore,

The steep swell of water is murky and salty,

With a cry they slip into the depths

And the billow bears them high away.

 

But there are seven days when Halcyone falls silent,

And for her sake Aeolus has mercy on the mariners.

The bosom of the sea shines like silver,

 

The steppe grows dark, an ox dozes in the sun…

Halcyone spends seven tranquil days

Amidst the rocks, in her nest. And Aeolus awaits grandchildren.

 

 

d

 

Literary Translation/Adaptation by U.R. Bowie

 

Halcyone

 

When his dead face flashed white upon a billow,

She threw herself into the surf, embraced him;

And then, amidst birdsong dulcet and mellow,

The wave bore off two gulls toward heaven’s rim.

 

When winter comes to this seascape phantasm,

When salty swells are steep and swathed in gloom,

The gulls voice cries and dive into the chasm,

From whence the wave uplifts them into spume.

 

Then Halcyone for seven days rests silent,

Aeolus for her sake seafarers spares.

The bosom of the sea is bright, compliant, 

 

In drowsy steppe the oxen graze, no cares . . .

Our heroine, for seven days quiescent,

Sits brood on nest; Aeolus dreams of heirs. 

 

d

Translator’s Notes

From the Internet:

Alcyone and Ceyx

The lovely Alcyone (Halcyone) was the daughter of Aeolus, the Greek god of the wind. She was the devoted wife of Ceyx, King of Trachis, in central Greece. Ceyx ruled his kingdom with justice and in peace. Alcyone and Ceyx were admired by gods and mortals alike for their great physical beauty, as well as the profound love they had for each other.

They were so happy in their marriage that they used to often playfully call one another Zeus and Hera. This infuriated the chief of the gods who regarded it an audacity. Zeus waited for the proper time to punish the arrogant couple who dared to make themselves comparable to gods.

Ceyx was still in mourning over his brother's death and deeply troubled over some ominous signs that had observed. So, he decided to consult the oracle of Apollo at Carlos in Ionia (Western Anatolia). Alcyone, however, tried to dissuade her husband from his decision to travel through the dangerous seas to consult the oracle.

She reminded him of the danger from the fury of the winds which even her father, the god of the winds, often found difficult to control: she put pressure on her husband to take her along with him. But Ceyx wouldn't put his beloved wife through unnecessary danger. Alcyone watched with foreboding as the ship carrying her husband was leaving the harbor.

The Punishment

Zeus, the chief god, decided this was an opportune time to punish the couple for their sacrilege. He launched a thunderbolt that raised a furious hurricane engulfing the ship, which began to sink.

Ceyx realized that the end had come for him and, before he was drowned, he prayed to the gods to allow his body be washed ashore so as to enable his beloved Alcyone to perform the funeral rites. As Ceyx gasped his last breath, his father Esophorous, the morning star, watched helplessly, shrouding his face with clouds, unable to leave the heavens and rescue his son.

The Atonement

The lovely Alcyone waited for her husband for a long time, praying continually to the gods, especially Hera, queen of the gods, for the safe return of Ceyx. Hera felt profound sorrow for the tragic fate of Ceyx. She sent her messenger Iris, goddess of the rainbow, to look for Hypnos, the god of Sleep and comforter of the afflicted, to whom was assigned the mission of gently informing Alcyone about the death of her husband. Hypnos, in his turn, entrusted the mission to his son Morpheus, an expert in forming apparitions.

Morpheus created a life-like specter of Ceyx, which revealed to Alcyone the tragic circumstances concerning the shipwreck and death of her husband. In profound grief, Alcyone ran to the seashore beating her breasts and tearing her garments. She suddenly beheld the body of a man that had been washed ashore. Coming closer, she realized it was the body of her beloved Ceyx. After performing the last rites and unable to continue living without her husband, Alcyone threw herself into the sea and was drowned, determined to join her husband in the land of the dead.

The gods on Olympus were touched by the tragic fate of Alcyone and Ceyx, as well as their wonderful love for one other, which not even the frosty hands of death could extinguish. In order to atone for his rash action that was responsible for this tragedy, Zeus transformed the couple into the Halcyon birds (kingfisher).

The Myth Lives On Today Through a Phrase

The phrase halcyon days owes its origin to this beautiful myth of Alcyone and Ceyx. According to the legend, for two weeks every January [December], Aeolus, father of Alcyone, calms down the winds and the waves so that Alcyone, in the form of a kingfisher bird, can safely make her nest and lay her eggs. Hence, the term "halcyon days" comes to signify a period of great peace and calm.

d

Amplification

Halcyon means “kingfisher’ in Greek, and the expression “halcyon days” has come to refer to any period of happiness and tranquil contentment. Originally this expression made reference to the days around the winter solstice, when the halcyon, or kingfisher, built its floating nest. During this time the gods were said to calm the seas to allow for the eggs to successfully nest and hatch.

In the original myth Alcyone and Ceyx were allowed to live on as kingfishers, who still mated and produced progeny. In some variants the Greek myth ends with the rather odd image of the god of winds, Aeolus, happily awaiting the birth of his grandchildren, unperturbed by the fact that they will be birds hatching out. Bunin takes this ending for his poem as well.

Bunin’s source is possibly Ovid’s Metamorphoses, in which the tale (“The Quest of Ceyx”) concludes as follows:

“And through the pity of the gods, the husband

Became a bird, and joined his wife. Together

They suffered, and together loved; no parting

Followed them in their new-found form as birds,

They mate, have young, and in the winter season,

For seven days of calm, Alcyone

Broods over her nest on the surface of the waters

While the sea-waves are quiet. Through this time

Aeolus keeps his winds at home, and ocean

Is smooth for his descendants’ sake.”

[Rolfe Humphries translation]


                                         David Mark photo on Pixabay: Kingfisher


Sunday, February 5, 2023

Bobby Goosey Poem, "Hippopoto Pantomine (Twang, Lang, Dil-Dough Dee)"

 


Bobby Lee Goosey

Hippopoto Pantomime   

I’m on my way to the hippodrome,

Come along with me,

Twang, lang, dil-dough dee.

 

To see the hippos dancing disco,

What a sight to see,

Twang, lang, dil-dough dee.

 

To watch them twist and stomp and swirl,

Those hippi-hippopotamee,

To watch them bop the hippo boogie

Hippopotamatically,

Twang, lang, dil-dough dee.

 

Twang, lang zippedy-do-dah,

Twang, lang, let’s spend our moolah,

We’ll watch the

Wang-dang,

We’ll watch the

Dang-wang

Hippopoto revelry.

 

Twang, lang, zippedy-do-dah,

Twang, lang, hey Bob-a-ree-bah,

Twang, lang, dil-dough dee.



[from Bobby Goosey's Compendium of Perfectly Sensible Nonsense]

Saturday, February 4, 2023

Translation of Poem by Ivan Bunin, Иван Бунин, "Саваоф," "Sabaoth, Lord God of Hosts"

                                 Sabaoth in Spaso-Preobrazhensky Sobor, City of Yaroslavl



Иван Бунин

(1870-1953)

Саваоф

Я помню сумрак каменных аркад,
В средине свет — и красный блеск атласа
В сквозном узоре старых царских врат,
Под золотой стеной иконостаса.

 

Я помню купол грубо-голубой:
Там Саваоф с простертыми руками,
Над скудною и темною толпой,
Царил меж звезд, повитых облаками.

 

Был вечер, март, сияла синева
Из узких окон, в куполе пробитых,
Мертво звучали древние слова.

 

Весенний отблеск был на скользких плитах —
И грозная седая голова
Текла меж звезд, туманами повитых.

July 28, 1908

 

 

d

 

Literal Translation

 

Sabaoth

 

I recall the twilight of the stone arcades,

The light in the middle—and the red gleam of satin

In the show-through pattern of the old royal gates,

Beneath the golden wall of the iconostasis.

 

I recall the cupola [painted] a crude light blue:

There was Sabaoth with arms spread wide,

Over the sparse and dark mob of people,

He reigned there amidst the stars wrapped in clouds.

 

It was evening, March, a bluish glow shone

From the narrow windows that were hewed into the cupola;

Ancient words rang out in deadened tones.

 

There was a glimmer of spring on the slippery flagstones—

And the menacing gray head

Flowed there amidst the stars wrapped in haze.

 

d

 

Literary Translation/Adaptation by U.R. Bowie

 

Sabaoth, Lord God of Hosts

 

I recollect the stone arcades in twilight,

Illumined dim the satin reddish glare

On royal gates with God’s Good News bedight,

Iconostasis, blazing golden blare.    

 

I recollect the cupola, faint lazuline,

With Sabaoth in Glory, arms stretched wide;

Above the meagre throngs who sigh and pine,  

Midst cloud-wreathed stars He looms there, anger-eyed.

 

A March in gloaming, spreading tones of blue

From narrow windows hewed into the dome,

While ancient words below dead air bestrew.

 

On slickness of the flagstones vernal glimmer—

That gray head’s rage and menace in the gloam

Broods on midst stars festooned in hazy shimmer.

 

d

 

Translator’s Notes

 

You’re much more likely to appreciate the descriptive details in this poem if you’ve spent time inside Russian Orthodox churches. The image painted in the central cupola—looking down on the interior of the church and all its parishioners—is often that of an Old-Testament gray-bearded and menacing God as described here.

 

First stanza:

 Royal gates (or Tsar’s gates)—central doors of the iconostasis, directly in front of the altar in an Easter Orthodox church. They sometimes have an open-latticed fretwork pattern, as in Bunin’s original. They also are frequently adorned with an iconic image of the Annunciation, which is Благовещение (literally, the Good News) in Russian.

 Iconostasis—a wall of icons and religious paintings separating the nave from the sanctuary in an Eastern Orthodox church

 

Third stanza:

 Ancient words—allusion to Old Church Slavonic, the language of the liturgy in Russian Orthodox churches

 

                                     Detail from Michelangelo Fresco in Sistine Chapel


                                                                        Royal Gates


                                                          Iconostasis with Royal Gates