My favorite Bly poem

 Well, Robert Bly is dead. I can't say he has been my favorite poet but he is certainly one of them. I've read and appreciated him for decades but I don't think his forms show up in my poems except in our shared sense of the poem as a Polaroid of a particular moment. So in that light, here is probably my favorite Bly poem. 

DRIVING TO TOWN LATE TO MAIL A LETTER

It is a cold and snowy night. The main street is deserted.
The only things moving are swirls of snow.
As I lift the mailbox door, I feel its cold iron.
There is a privacy I love in this snowy night.
Driving around, I will waste more time. 

The company is good

I don't remember where I got this book, but I do remember looking at it several times before actually buying it. I finished reading it last night after several years of picking it up, reading a few chapters, and putting it back down. That's often how I read novels nowadays, in short spurts that add up. 

I wasn't always impressed by the writing--too thick in places, like an overfilled pastry, where what I want is simpler, smoother--but when I was I was deeply impressed. 

<Faith spreads the blanket over the piano. At the woodpile, she balances a log on the chopping block and hoists the ax over her head, her belly pushing her off balance. Then a contraction comes and she drops the ax. Has Ray ever said the word love? Has he ever praised Faith's beauty, or has he ever held her and whispered with his lips against her hair? How could he say those things to her last night? How could he say all the things he ever said to her? 

Balancing the wood, bringing down the ax, she stops crying and gets furious. Over and over, she thinks, He has no right. She leans into the chopping, panting, fierce. The effort seems to lessen the pain. He has no right. The words fit with the rhythm of her chopping. Ugly words, from the very start. You can watch TV if you fuck me first.>

This is the author, Goldberry Long (I may have finally chosen to buy this book simply for its author's name), describing the titular character's mother, hugely pregnant with Juniper's brother Sunny Boy Blue who will, in the first sentence of the book, throw himself off a ferry on its journey between Seattle and Bainbridge Island, setting in motion the frantic, furious memories and flight of the narrator. Sunny called information from a bar on the wharf, written her number and the name Juniper Tree Burning, on the wall next to the payphone, and then thrown himself into the spray. That last sentence above is the way both she and runaway husband Ray remember as the first words he said on meeting Faith. Juniper, now living under the name Jennifer, a medical student and newly married, has a last memory of Sunny that's damaging: Sunny Boy Blue, the Backward Boy, full of cigarettes and vodka and a constant hack, kidnapped her from her own wedding for her gifts. A book of photographs and gasoline-soaked tennis balls, lit and dropped into the Rio Grande. 

Later, when she leaves her husband in a panic, Jenny kidnaps her own jilted bride, Sarah, who will become her best friend, her sparring partner, and eventually, in some ways, her salvation. Together, like some mix of Runaway Bride and Thelma and Louise, but sans the violence or abuse, they are in search of...something. It's never really clear. But the drive is picturesque and the company good.

There are issues, of course, many of them. Much of the novel is told in flashback, sometimes from Jennifer's and sometimes Juniper's perspective, while much of the present is in present tense, sometimes by Jennifer, sometimes Juniper, sometimes an insistent third person narrator. None of that is an issue, and frankly I think Long did a good job with her self-determined unreliable narrator. 

But there are questions we end up with: The above-mentioned thick writing, so winning in places, slows down the reading of the last chapters, when Jenny/Juniper is actually moving very fast and very chaotically, and I found myself skipping large patches of text to match my reading with the action. How did Sunny Blue Boy develop from terminally coughing, sickly, piss-smelling child to often drunk, chain-smoking, world-traveling, charming speaker of several languages? In addition to Sunny, Juniper's hippie parents, disappointed mother and dissolute father, show up to the ceremony and, except for figuring heavily in the flashbacks, then disappear from the narrative. Granted, the time in the present is only a few days, but she doesn't call or even think of them in the present. And Maggie, bar-owning mechanic, where does her incredible anger toward Jennifer come from? 

But here is what Long gets right. First, there's a happy ending, and novels just don't often have happy endings any longer. (No, it doesn't involve Sunny. He remains dead.) And then this, which I didn't read until after finishing the book but which explains to me why I stayed with it for years. Not a part of the narrative, but a Note From the Author tacked onto the Reading Group Guide in my edition: 

It seems to me there are many fine books about the angry young man taking his journey of self-discovery across the American landscape. There are few, however, about the angry young woman.

Now that was worth the getting through. 

 

The Red-Monster

I certainly wasn't his best friend. And although I knew him for a long time and we stayed in touch as well as we could, I couldn't call him a close friend. But he saw me, in his wife's words, as "a good shit." I would have said the same, and for a lot of us, that's about as good as it gets.

We were in grad school together, his first time and my second. He was part of what another friend described as "the Raymond Carver crew," writers in the 90s who felt the power of the word lay in saying things plainly, without flowers, without elaboration. Back then he only wrote fiction, so that when I found out years later he'd published a chapbook, I wondered when he'd started writing poetry.

He married, had kids, found steady work that was meaningful and often frustrating. If I hadn't kept in touch with him on Facebook, I wouldn't have known him if I'd passed him on the street. He went from a Marky Ramone shaggy mullet to a hairline rivaling Patrick Stewart's for brevity. When he died a couple weeks ago, it was a shock. He hadn't been sick, had stopped drinking a long time before, didn't even smoke or eat much fried food. I heard it was his heart and I like to think it surprised him too, so he didn't feel anything more than the snap of an artery.

He was the kind of good shit that, when a lot of us got together last Saturday to remember him, the words said more often than any others were, "I'm gonna miss him." We told a lot of stories about him, and I wrote this one down for his wife and kids. He might have told them, but maybe it's mine to tell.

This was back before I knew him, back when he was still drinking and living the sort of life he would write about. "I was in jail in St. Peter, on a DUI charge. The judge gave me a choice, I could stay in my cell during the day or go to college. I chose school because I'd been in cells before. There was a school in St. Peter but I couldn't afford that, and Mankato is about 12 miles south, and they accepted me.

"They took away my license and my car, so I had to bike the distance. I took classes every day so I didn't have to stay in my cell. It was dead winter, and there I was biking there every morning and back every afternoon. I did that my whole sentence. I was about 7 weeks in when I realized I must be getting something out of it."

Dick's Trump

I'll admit it, I've been overwhelmed by events to the point where it's nearly impossible to keep up. The speed with which the Trump administration is unraveling is dizzying. Every day brings with it another eye-opening, jaw-dropping revelation that the citizens of the United States actively brought ourselves under a would-be oligarchy's diktat. Our only saving grace is that it was unprepared and is led by an undisciplined sufferer of affluenza.

Make no mistake: I'm glad for that. It's to our advantage that Trump is more Berlusconi than Putin. That it will implode is a given. It may not end in the bloodless coup in which the entire crony crew and family depart on Air Force One for asylum in the Ukraine in the middle of the night with only the clothes on their backs that I hope for, but that it will end ignominiously is certain. America doesn't imprison our wealthy so we won't see that. But oh how satisfying that would be.

The end of the last year saw me reading Philip K. Dick. That Dick is a writer for the paranoid is a truism that's reached the point of pointlessness. But it's still worth remembering that, while he saw filaments of his own chaotic anger and mistook them for the culture's, they were nonetheless wide-ranging enough to be understood as cultural as well as personal.

Radio Free Albemuth is, I think, the fourth Dick novel I've read, and fits so snugly into the narrative of a President Trump to fuel suggestions not only of Dick's paranoia but his prescience. I'm hardly the first to note the similarities between Ferris Fremont, his version of Richard Nixon, and Trump, and frankly the differences are more disturbing because of what it says about the American people. While Trump's ascendence to the presidency is not as planned or controlled as Fremont's--he didn't arrive in the wake of a mandate, for instance, although his supporters were and are seeking something outside the political norm, which is a kind of unifying position (but not capable of being acted on, the equivalent of rallying behind someone holding a sign that says "Follow Me!")--the effects after he takes office are as disturbing.

No one had put a pistol to Ferris Fremont’s head. He was the pistol itself, pointed at our head. Pointed at the people who had elected him." 

Is there a better descriptor for Trump than a pistol held to the brows of his own supporters?

We can't just mark a ballot

Before becoming a minister, my field was literature.  The most important lesson in criticism is not to criticize a work for what it's not. I published a recent sermon a few days ago which garnered many responses on one of the FaceBook pages I link to, most of them negative. My sermon was not intended to be a call to the barricades. I would love to storm the Bastille, but tell me where it is in 22nd century America. Is it in the school board? The town hall? The state capitol? Congress? The White House? It's a genius of democracy that power is diffuse, and to use it we need to know who to address. I know my congregation audience. One response I especially appreciated was a friend coming forward to say she, who had never been to a public protest in her life, would attend the next one with me. That's the best I could want.

I'm uninterested in responding to the criticism. Again, from literature, the work stands or falls on its own. But it did leave me wanting to make a stronger statement about the responsibility we have as people of faith to call it as we see it. This administration is actively involved in crafting and doing evil to the people least able to defend themselves among us: immigrants, children, the undocumented, non-Christians, women, people who work with their hands, gays and lesbians, members of the trans~ community, the poor who rely on government services and the poor who work for minimum wage and less, the homeless, the mentally ill, native Americans, the sick and the dying. In short, the members of the Beloved Community who most need community.

We're reaching a vote soon that can do some real good, that can put into place the actors we're counting on to move the country back in the direction of helping, not hurting. Of giving, not greed. But even if we win every single seat we hope for it means nothing without our involvement. When Obama was elected, our work had only started, and it was going to be a long, hard slog, even with an ally in the presidency, to accomplish what we need to. When he won reelection, we needed to continue working, maybe work harder.

We have been lazy, leaving it to others to do the things we need done, as if we can mark a ballot every couple years and that does it. That's why one of the greatest presidents of my time has been followed by one of the worst, why he has taken it as his mission, and his supporters' mission, to dismantle even the few good things we accomplished to help people who need it. 

We can't change that direction with cobblestones or bullets, even by overturning tables in the temples. We have to work together, understand one another and our friends, and make the changes necessary. And then we have to pay attention. 

The heart is filled by water

I used to think of myself as a forest person. I grew up in the woods of upstate New York, and one of my first memories of sheer joy was taking off shoes and socks and wading in the the stream behind the garages and down the steep bank. The stream, a distant cousin to the stronger Agawamik Creek further north, flowed lazily along the north end of our property and it was full of crawfish and tadpoles and water skippers and picked up speed as it narrowed. It was cool and wet and in places you had to look hard through foliage to see it. That's how I saw the world then, as something where things were hidden by nature and to find them you had to look hard.

I started thinking more like what Bill Holms called a prairie person when I studied poetry with him in graduate school in Minnesota. Things were still hidden in that view, but because they were closer to the earth, often right underfoot. You didn't have to look hard, you just had to notice them. Now I live on the edge of a Great Lake, which is like a moist prairie in what things aren't hidden but you do need to notice them. I often start my barefoot walking starting with the grassy hill about a half mile from my home that runs down to the beach and then northward for a mile or two, before disappearing under a pier and the weight of local businesses.

I've written of the jolt of recognition I experienced when I realized that, in doing this, I've come to live out the dream I had for myself 30-odd years ago. I've lived in several river towns--in the east and midwest it's almost impossible not to. Lakeside living was never something I had experienced before moving here, and in the winter especially I cherish it. In the forest, nothing ever seems dead in the winter; on the prairie, everything seemed dead when covered with two feet of snow, ice, and bitter wind; here on the Lake, there is a sound of life all winter long, even when the ice shelf covers a mile and a half from the beach, the regular pulse of water coming in and going out, helping me to breathe through the winter.

What brings all this thinking on is having read Terry Tempest Williams' An Unspoken Hunger: Stories from the Field. I hadn't read a book by nature essayists in a long while, and since I picked that up I've gone back to Gary Snyder's Practice of the Wild, an old essay collection from Anteus someone sent me decades ago, Peter Jenkins' A Walk Across America, Bill's The Heart Can be Filled Anywhere on Earth: Minneota, Minnesota, books about not only wandering around in the woods but stopping to look closely at what you're walking among and on. I expect I'll even go back to Annie Dillard's Pilgrim at Tinker Creek, the one that began it all for me. I have a first edition I picked up somewhere on whim 40 years ago that is so water- and sun-logged, its sleeve long since shredded memory, whatever value there might be to it rests in what the cost to recycling the paper might be.

"Simply being present"

The past month and change has been one of deaths, some personal, some better known, some metaphorical and emotional. Thus, this seems a perfect time to post this reading from Parker Palmer's A Hidden Wholeness: The Journey Toward an Undivided Life.

When we sit with a dying person, we gain two critical insights into what it means to "be alone together." First, we realize that we must abandon the arrogance that often distorts our relationships--the arrogance of beleiving that we have the answer to the other person's problem. When we sit with a dying person, we understand that what is before us is not a "problem to be solved" but a mystery to be honored. As we find a way to stand respectfully on the edge of that mystery, we start to see that all of our relationships would be deepened if we could play the fixer role less frequently. 

Second, when we sit with a dying person, we realize that we must overcome the fear that often distorts our relationships--the fear that causes us to turn away when the other reveals something too vexing, painful, or ugly to bear. Death may be all of this and more. And yet we hold the dying person in our gaze, our hearts, our prayers, knowing that it would be disrespectful to avert our eyes, that the only gift we have to offer in this moment is our undivided attention.

When people sit with a dying person, they know that they are doing more than taking up space in the room. But if you ask them to describe what that "more" is, they have a hard time finding the right words. And when the words come, they are almost always some variant on "I was simply being present." 

We learn to "practice presence" when we sit with a dying person--to treat the space between us as sacred, to honor the soul and its destiny. Our honoring may be wordless or perhaps mediated by speech that the dying person cannot hear. Yet this honoring somehow keeps us connected as we bear witness to another's journey into the ultimate solitude. 

A little Friday morning reading

I've enjoyed Neil Gaiman's writing for years, and I'm interested in trying to binge-watch the new series American Gods after it's gotten good and going. (I've tried several times to binge-watch shows--The Man in the High Castle, Penny Dreadful, Dark Matter--but I couldn't watch any past the first season; they always disappointed.) Anyhow, I really liked American Gods my first reading and intend to reread it before watching the shows as I don't remember many details (and the trailers remind me I've forgotten more than I'd thought), and I want to get in on this binge-watching thing that everyone, including my wife, has been doing.

I've been reading much about how several TV shows now are especially relevent as they give insights into Life Under Trumpism, and especially American Gods and The Handmaid's Tale. But for the Gaiman book, I read a very good interview in which he says the following:

I have this mad theory about American elections. There is a reality-TV quality to them, in that they tend to go to what people think would probably be the most interesting story. “Who’s more interesting? Who’s a better story? Bob Dole or Bill Clinton? Let’s go for Clinton, it’ll be more interesting!” And there is that point where you’re going, “Okay, so is it Hillary, who still feels kind of like a rerun? Or is it Trump?” Even articulating that as a theory means that people are going to mishear what I’ve said. It will turn into a clickbait headline and people will be going, “You said that Trump was a better story!” No. I think Trump is an out-of-his-depth idiot. Who is possibly criminal. And certainly incompetent. I think that, actually, having a sane and functional right wing is a good thing. Having what we’ve got right now is a bad thing.

When the novel was written, it was written about America as a country of immigrants, of people who either came here of their own free will, or escaped here, or were brought here against their will. And what that meant — talking about the religious traditions and talking about the cultural traditions and talking about what that became. And having a lead character who was racially — and in all other ways — a melting pot. That, when I wrote the novel, didn’t seem to me to be particularly problematic, difficult, or even praiseworthy! Things that I did not think were praiseworthy or sensible included writing about indentured servants and transportation. Writing about the slave trade. Writing about a gay, Muslim salesman encountering a genie who drives a cab in New York.

I wasn’t doing it for the credit. I was doing it because it all feels right if you’re talking about America. Suddenly, Trump came in and now I’m reading articles in Vanity Fair about, “This is the most political stuff you’ve ever seen.” Well, I guess that’s all true, but it’s not like we sat down and went, We are the opposition. We simply started telling our fucking story and then the world changed. It would be like telling a pro-Jewish story in Berlin in the 1930s, and suddenly you’re looking around going, “We’re apparently doing something big and important.”

 Oddly, this theory of his comforts me, as the idea that we love a good, juicy story is a lot more appealing than that we like chaos and incomepetence. It's certainly played out at times in American electoral history (although it's important to remember we never had Presidents Bryant or Long), and if it's true it suggests that, like all the other times, most of us will get through it. Of course, some of us won't. And it's for those the rest of us must act up.

258 candles-days 159-165

It may seem a little difficult, shoehorning this reflection by Brian Feldman into my intent to post positive stories during this stultifyingly divisive election, but bear with me. In noting that it celebrates both the best and the worst of the World Wide Web, Feldman tips into a truth about nearly everything, that no matter what the experience might be, it can be seen both in a positive and negative light (sometimes by the same person nearly simultaneously). While it is obviously a negative for Semisonic, which in this case loses credit, at least for people who fall for this delusion, it is not only a positive for Green Day (or potentially so; as a punk-sympathizer, if I were Billy Joe Armstrong I would be offended at the notion I sang such inoffensive tripe in such a louche way), but for the recognition that this is how history works. It's the way we attribute the writing of the Bible to various individual writers or The Iliad and Odyssey to the fictional blind poet Homer, even the various misattributions of quotes, real and made up, to long-dead speakers. They become the future "truth" for those works. Some future generation might venerate Green Day's seminal crossover hit "Closing Time" as the moment when postpunk and pop were tethered together, forming some future clumped musical form, like the moment in 1973 when DJ Kool Herc spun one of two turntables repeatedly back to the break, initiating the melange that would become hip hop.

Here's to bright colors!

The night didn't bring any real coolness, but at least it took the edge off the heat. From about six or seven the company split up into little groups...Semyon and I occupied the large balcony on the second floor. It was cozy in there; with its comfortable wicker furniture, the breeze blows through--the perfect place for hot weather.

"Number one," said Semyon, taking a bottle of Smirnovskaya vodka our of a plastic bag with an advertisement for "Dannon kids'" yogurt.

"Do you recommend that?" I asked doubtfully. I didn't regard myself as a great specialist on vodka.

"I've been drinking it for more than a hundred years. And it used to be far worse than it is now, believe me."

He took two plain glasses out of the bag, a two-liter jar with little pickles floating in brine under its flat tin lid, and a large container of sauerkraut...Semyon deftly twisted the cap off the bottle and poured us half a glass each. His bag had been standing on the veranda all day, but the vodka was still cold.

"To good health?" I suggested.

"Too soon for that. To us."

I drank the half-glass without even shuddering and was amazed to discover that vodka could taste good after the heat of a summer day, not only after a winter frost.

Semyon chuckled.

"There was one time this foreigner I knew invited me to go around to his place," he began.

"A long time ago?" I asked, playing along.

"Not really, last year. He invited me around so I could teach him how to drink Russian-style. He was staying in the Penta hotel. So I picked up a casual girlfriend of mine and her brother--he was just back from prison camp, with nowhere to go--and off we went."

I imagined what the group must have looked like and shook my head.

"And they let you in?"

"Yes."

"You used magic?"

"No, my foreign friend used money. He'd laid in plenty of vodka and snacks; we started drinking on April thirtieth and finished on May second. We didn't let the maids in and we never turned the television off."

Looking at Semyon in his crumpled, Russian-made check shirt, scruffy Turkish jeans, and battered Czech sandals, I could easily imagine him drinking beer poured out of a three-liter metal keg. But it was hard to imagine him in the Penta.

"You monsters," I said in horror.

"Why? My friend was very pleased. He said now he understood what real Russian drunkeness was all about."

"What is it about?"

"It's about waking up in the morning with everything around you looking gray. Gray sky, gray sun, gray city, gray people, gray thoughts. And the only way out is to have another drink. Then you feel better. Then the colors come back."

Semyon poured the vodka again--this time filling the glasses a bit less full. Then he thought about it and filled them right up to the top.

"Let's drink, my man. Here's to not having to drink in order to see the blue sky, the yellow sun, and all the colors of the city. Let's drink to that. We go in and out of the Twilight, and we see that the other side of the world isn't what everyone else thinks it is. But then, there's probably more than one other side. Here's to bright colors!"

I am a great fan of Russian writing. I almost always read it in the winter, primarily because their stoic, controlled fury way of looking at life corresponds with how I look at it in the depths of snow and ice and cold. I especially like Russian genre writing. I've read my Tolstoy and Pasternak and Doestoyevsky and Turgenev and Soltzinitsin and Bulgakov and Nabokov, my Akmahtova and  Brodsky, my Mandelstam and Mayakovsky, my Yevtushenko and Pushkin and Ratushinskaya and Tsvaeteva. (I have a collection of Babel stories I haven't cracked open yet.)

But I think what I appreciate even more is Russian genre writing. I read Gary Shtyngart's farce The Russian Debutante's Handbook this last year and the science fictions Mir: A Novel of Virtual Reality by Alexander Besher a few years ago and much Stanislaw Lem in the 70s (I remember Solaris best), and I am finishing Nightwatch by Sergei Lukyanenko today. I often have issues with translation with most of them, as genre seems to require the least capable translators, so that their phrases often fall flat ("A hero! Oh, what great heroes we all are! Clean hands, hearts of gold, feet that have never stepped in shit. Have you forgotten the woman who was taken out of here? And the crying children, have you forgotten them? They're not Dark Ones. They're ordinary people, the ones we promised to protect. How long do we spend on getting the balance right for every operation we plan? I may curse our ananlysts every moment of the day, but why are they all gray-haired by the age of fifty?"), odd combinations of formal and informal inflection, wordiness and pithiness, strained analogies and quick cultural asides. Nightwatch is no different. Andrew Bromfield, who does not fit the role of writing hack, nonetheless does not seem very comfortable moving between the relaxed writing that I presume Lukyanenko can do well (and Bromfield displays in better moments: "The only movement was the trembling of the blue and red spots in the windows--the TVs were switched on everywhere. It had become a habit already, when you were afraid, when you were suffering--switch on the TV and watch absolutely anything, from the shopping network to the news.").


But decades ago I told myself I would find something worthwhile in everything I would ever spend reading to the point that for years I typed those passages out on index cards and taped them to my kitchen door. I have discovered the same in Nightwatch.

"There's one thing you've got to understand, Anton," said the magician, crunching on a pickle. "You should have realized it ages ago, but you've been tucked away with those machines of yours. Our Light may be big and bright, but it's made up of lots and lots of little truths...Anton, I'll tell you what the problem is. You're a young guy, you join the Watch, and you're delighted with yourself. At last the whole world is divided up into black and white! Your dream for humanity has come true; now you can tell who's good and who's bad. So get this. That's not the way it is. Not at all. Once we all used to be together. The Dark Ones and the Light Ones. We used to sit around our campfire in the cave and look through the Twilight to see where the nearest pasture was with a woolly mammoth grazing on it, sing and dance, shoot sparks out of our fingers, zap the other tribes with fireballs. And let's say there were two brothers, both Others. Maybe when the first one when into the Twilight he was feeling well-fed; maybe he'd just made love for the first time. But for the other one it was different. Some green bamboo had given him a bellyache; his woman had turned him down because she claimed she had a headache and was tired from scraping animal skins. And that's how it started. One leads everyone to the mammoth and he's satisfied. The other demands a piece of the trunk and the chief's daughter into the bargain. That's how we got divided up into Dark Ones and Light Ones, into good and evil. Pretty basic stuff, isn't it? It's what we teach all the little Other children. But who ever told you it had all stopped?"

Semyon leaned toward me so abruptly that his chair cracked.

"That's the way it was, it still is, and it always will be. Forever, Antoshka. There isn't any end to it...Do you have a truth of your own, Anton? Tell me, do you? Are you certain of it? Then believe in it...Believe in it and fight for it. If you have enough courage. If the idea doesn't make you shudder. What's bad about Dark freedom is not just that it's freedom from others. That's another explanation for little children. Dark freedom is first and foremost freedom from yourself, from your own conscience and your own soul. The moment you can't feel any pain in your chest--call for help. Only by then it'll be too late."

He paused the reach into the plastic bag and took out another bottle of vodka. He sighed:

"Number two. I have a feeling we're not going to get drunk after all. We won't make it."

the twelve holy days

A sermon given to the

Dakota Unitarian Universalist Church

Burnsville, MN

December 22, 2013

Scholars are well aware now that Jesus, who probably existed either as an individual or as a group of men and women over the first centuries of the new millenium, certainly was not born on December 25 or anywhere in December, at least not according to the New Testament’s testimony.  It would be sometime in the spring according to the gospels, which makes a good deal more sense metaphorically, Jesus as the lamb of god and bringing in the spring of Christianity and all that.  Interestingly, the First Day of Christmas in the popular song we sang earlier is not Christmas.  In most chronicles of the twelve holy days, Christmas is considered the pre-day, day zero if you will.  It’s the day for celebrating the birth of Jesus among Christians, but it’s also associated with the births of Mithras, Attis, Aion, Horus, Dionysus and the Unconquered Sun.  Mithras you may be familiar with.  The Persian god of light, his name means “Friend” and he is often synonymous with the Sun who protects man after death.  Attis or Atys is not to be confused with Attic which means having to do with Athens, but was a young man laid claim to by the hermaphroditic fertility goddess Agdistis who was so maddened by her jealousy he castrated himself in frustration and before he could cut his throat was changed by her into a pine tree.  Agdistis herself, by the way, was also made wholly female by castration.  Aion is the Germanic term of personification for the age of the universe, an eternal being itself personified.  Horus is familiar as one of the Sky Gods as well as a Sun God and is often represented as having the head of a falcon.  Dionysus, also known as Bacchus, is the god of wine and good times.  His name in Roman, Iacchus, comes from the Latin for “shout” and is thought to have originated as an epithet for the rowdy, noisy god.

            The Unconquered Sun is an interesting character because it is both a stand-in for any of the above gods as well as a euphemism for the thing itself.  The unconquered sun is what we see in the sky along about this time.  It is equally connected with the Reindeer Man, a sort of Green Man of the North, a pagan mix of Sintaklass and Odin, who appears at this time of year with the gift of deer.

            Why twelve days?  The number twelve pops up a lot of places in both Abrahamic and pagan beliefs.  Twelve apostles, twelve months of the year, twelve zodiac signs, two twelve-hour segments to a day, the twelve of the Circular Council to the Dalai Lama, the twelve members of the Arthurian Round Table, the historical Twelve Peers of France, the twelve tribes of Israel, the twelve imams in Shi’a, the twelve principle gods of the Greeks, the twelve cranial nerves in the human cerebellum, the age 12 when a Jewish girl matures and receives bat mitzvah, the twelve sons of Odin, and even the twelve function keys on my PC keyboard—F1 through F12. 

            The true first day of Christmas is Boxing Day, so-called from the British custom of giving a servant a Christmas box the day after his masters have celebrated.  It’s also associated with St. Stephen, the proto-martyr associated with horses—it’s said his body was returned to his people on the back of a horse—and with wrens.  It’s said that to kill a wren on any day other than Boxing Day is to invite bad luck.

            The second day, December 27^th, is given over to Mother Night or MotherCarey or Mother Christmas.  She is the Anglicized version of the German Frau Holle or Holda or Hulda, a figure of fertility, abundance and justice.  She was often seen, originally, as a beautiful woman in white and with a golden girdle or a sash, dispensing gifts from a sleigh pulled by her dogs.  She probably physically resembled the evil character Mrs Colter played by Nicole Kidman in the film The Golden Compass, and I wouldn’t be surprised if Phillip Pullman based this character on her. 

            But far from the nasty Miss Colter, who Pullman chooses to personify the less savory aspects of Christianity, Frau Holle, whose name means “kindly one,” was a gentle goddess specializing in the care of children.  It was up to the early church to turn her to a witch who stole unbaptized children.  But at midnight on the Eve of Epiphany, it’s said that a man walking home heard voices, many voices, behind him and stepped aside in time to allow Frau Holle and her passel of children and her flowing white train to pass him, the children laughing and running beside her.  The last of the children, the smallest, kept falling behind from tripping over his nightshirt.  The man gave him his own belt to tuck the shirt into.  Frau Holle saw this and rewarded the man with a gift that his own children would forever be without want.  It is important that we recall Frau Holle or Mother Night or Mother Carey or Mother Chrismas as a mother.  She is both nurturing and kind and a shrewd judge of character and it’s for these aspects we honor her.

            Following is Day three:  the Day of Holy Innocents.  In the Middle Ages this day of Childremass was considered particularly unlucky; nothing begun on December 28^th would be completed, since children have remarkably poor attention spans and tend to wander around abstractedly.  The practice for this day is an ancient one that survived until the 18^th century: regularly beating children on this day.  The idea was that by mercilessly flogging and smacking children on the 28^th, one would both drive out the evil spirits that had lodged there the previous year and serve as a surrogate for any deserved beatings the following year.  The practice evolved into a call for ritual, painless token beatings between children and parents, husbands and wives, masters and servants.  On this day we honor children and correspondingly honor both our wishes for what they will become and our recognition of the reality of who they are.  We also recall our lives before their arrival, although it’s probably best not to think of that before we whip them.

            The fourth day is one we might be a little familiar with.  This is the Feast of the Fools, celebrated in the Hunchback of Notre Dame and a few other novels and a MASH episode.  This is the day when the normal order of things is reversed.  Servants become masters, pupils become teachers, women behave like men, and the fools rule.  Naturally, this is my favorite day.  Parties were held, masques given, general mayhem encouraged.  It was a ritualistic method for blowing off steam, the opportunity for people who lived by the strictest restrictions to behave in the riotous, cavalier way they had foresworn in order to keep their places in the community.  At one time, this day was more celebrated and better-remembered than Christmas.  So when someone tells you that we ought to put the Christ back in Christmas, you ought to remind him to put the Fool back in Fool’s Day.

Day five is the Feast of the Boar’s Head.  On this day, two ceremonies are honored:  the Scandinavian tradition that Frey, the god of sunshine, rides across the day atop Gulli-burstin, his golden boar, whose spikes are the rays of the sun.  The second is the older, now lost, tradition in England of the boar’s head, whose meat graced the Christmas table until probably the mid Twelfth century when it disappeared, being brought in as the final remnant of the sacred meal and distributed among the revelers.  It is meet we should remember the boars, now gone in both England and here, by leaving for them a small offering to their memory, an apple or orange, in the event one is still snuffling around.

New Year’s Eve, that most festive of drinking holidays, is day six, and in many places supersedes the celebration of Christmas itself.  In Gaelic Christmas is called An Nollaig Mhor “big yule” and New Year’s Day An Nollaig Bheag “little Yule.”  And why not?  The change of year has sturdier and more aged roots than the ostensible birth of the Christ.  Still, how anyone might have guessed this day would become the night when everything switches off for one year and switches on for the next is a feat of mathematical dexterity I couldn’t begin to fathom.  Nevertheless, December 31^st’s feast is known as Hogmanay and it was the day when the Druid priests cut the sacred mistletoe and distributed sprigs among the people.  Hogmanay itself is a corruption of the French term au gui menez “lead [us] to the mistletoe,” and in some parts of France children still celebrate the day with a race during which they cry, “Au guy l’an neuf, au guy Gaulois” “to the mistletoe, to the French mistletoe.”

This is the day when we take care of the things we have missed taking care of throughout the year.  The trash is taken out and fresh sheets placed on the beds.  Socks are darned and brass and silver shined.  Pictures are hung straight.  This is the day for Reclaiming Unfinished Business, clearing up all those things we neglected the rest of the year.  Everyone experiences a new beginning, a new clearing of the old.  After sunset, juniper branches and fresh water were brought into the house.  The branches were dried out overnight, and in the morning the head of house drank the first sips from the water and sprinkled everyone else with some.  Then the dried juniper was lit, the doors and windows latched, and the house was fumigated with the burning branch.  This ensured the gifts of the new year were appreciated appropriately.  The new year’s blessing was brought by the first person to cross the threshold to visit, called “first footing.”  All the lights were put out except for a single candle, and then that first visitor must step outside, protecting the candle from the elements.  At the stroke of twelve, he reenters, is given a mug of eggnog, and sets about relighting all the candles and lanterns of the house, blessing the house with new light.  Often that person also gives a handsel, a gift of coal or whiskey to make the blessings concrete.

Day seven of course everyone sleeps in.  This is the Kalends of the new year, the hopefulness of the new day.  The old year is now officially dead and while we may not immediately see any benefits yet to the new, there is always a reason to be thankful, even if it is our ability to have made it through another year.  In contrast to New Year’s Eve day, nothing is taken out of the house this day—trash, bones, excrement, they are all left inside until the next day, to ensure blessings of the first footing do not escape. 

One of the nostalgic traditions we think of as Christmas in origin is caroling, but this is actually done on the Seventh Day and is referred to as Wassailing.  Wassail is a heated, alcoholic apple cider and is meant to be shared with the trees of the orchard as well as with the visitors who sing.  Robins are the guardians of apple trees and it was them that the wassail was intended to provoke, cake pieces and bread pieces soaked in the wassail being stuck to branches to reward them for their past year of faithful service.  On this bleak day it is beneficent to intone, “The luck of the year, it is the bird-quiet hour, the midday contemplation of the sun.  On this bleak day, when no sun shines, what wraps the birds in silence, what power blankets their song?”  It’s the day of prophesying and divination—weather divination especially, as you can imagine from a people reliant on weather for their well-being, and one saying from Scotland runs, “Wind from the west, fish and bread; wind from the north, cold and flaying; wind from the east, snow on the hills; wind from the south, fruit on trees”—and the first day’s water drawn from the well is considered especially blessed and called the flower of the well. 

The Eighth Day is the day for sitting inside to contemplate and reflect on snow.  It’s imperative that we remain on snow’s good side, since to be in opposition to snow is to be in opposition to winter and that’s simply a waste of energy.  We pay our respects to snow on this day, for its cancelling out the darkness at midwinter and its transformation of even the bleakest spaces into places of wonder and enchantment. 

The Cherokee have a story about the Ninth day, which is devoted to evergreens.  The Druids of course revered the oak and during Kalends yew and juniper play a major role.  In the middle ages there was a well-known play about the Paradise Tree, a descendant of the original Tree of Knowledge, which Adam smuggled out of Eden and planted in the outer world, where it grew to huge proportions and provided the wood for the cross on which Christ was crucified. 

Back to the Cherokee.  When the Great Mystery created all the trees and plants she wanted to give something to all of them.  But she couldn’t decide among them who best deserved it, so she proposed a contest.  Whoever could keep watch for seven days and seven nights would receive the gift.  All the trees were atwitter to be given such an important duty and had no problems remaining awake the first night.  But on the second night they found it hard to stay awake, and the flowers were the first to fall asleep.  By the third night, the birch and grasses were drooped, and by the fourth night the elms were snoring.  On the fifth and sixth nights, the maples and even the oaks had drifted off, until, by the eighth morning only a few—the pine, the cedar, the spruce and fir and holly and laurel—were still awake and watchful.  “What great endurance you have!” cried out the Great Mystery, and so she gave them the gift:  they would remain green forever and keep guard throughout the winter while all the others sleep.  The evergreens, this story says, are always awake.  And always watching. 

            Day Ten is interesting because it is two different days for men and women.  For both it was the day when each had to return to the drudgery of work after the luxurious time off afforded by the festivities of midwinter.  In the case of women who in these preindustrialized times were often employed as weavers and spinners, it was known as St. Distaff‘s Day, while for the men who were also expected to return to work, it was known as Plough Monday.  Whether the day itself fell on a Monday or not wasn’t important, it was simply another Monday in their eyes.  This became the excuse for another day of celebration as mummers, the bemasked players who appeared throughout the year at festivals and feasts, now sped through town blessing the ploughs and spindles.  Today Plough Monday has been given its own day in England, January 8, separate from the twelve holy days, but it’s thought to originate in another ancient Roman celebration, Compitaline.  In this ritual a small shrine was built where four estates met to the four directions, with a miniature plough and wooden doll set on each alter, and then the first earth-breaking of the new year was done on each property. Until now we are living in Liminal Time, the threshold between extraordinary and ordinary events that for pagans began in late October or early November with Samhain. With St. Distaff’s Day we begin a return to normalcy, what Christianity calls Ordinary Time. 

            The Eleventh day of Christmas, January 5, is the Eve of Epiphany and the Festivalof the Three Kings.  This day is given over to the Magi whose journey is often a microcosm of the journey we ourselves make spiritually.  Consider, they were themselves seekers after something and doing what felt right to them to do, going where their inner compass told them to go, and for so many of us, here today in this church, we have traveled so far and so wide only on the basis of our own compasses, be they in our hearts or our heads.  As the Magi found what they sought in the form of a child, may you find what you seek here. 

            This is the day to consider too the gifts that so often become the major focus of these holy days, forgetting as we do that we are ourselves the recipients of a gift.  I quote now from JohnMatthews: 

At a time when the commercial Christmas has a tendency to swamp the sacredness of the season, we ask and are being asked, ‘What do you want this year?’  There are certainly things we would quite like, things that we hope will be brought for us, but these are not the same as our wants.  True wants are not small things satisfied by prettily wrapped parcels:  they are the immense needs of inner space that can be overwhelmed by all our little wants and yearnings.  To consider our real needs—the things we lack in our lives—is often too frightening, opening up an abyss of need that calls our very existence into question.

Our real wants eat holes in us:  never resting, never loving, never greeting, never finding, never seeking, never being satisfied deep down.  These ravenous wants define our treasures…they create a Christmas list that no store could supply:  time to stop and really enjoy, in a space of quietness and contentment all the things we were put on earth to do.

Space to give and receive love reciprocally.  The grace to seek and find our spiritual joy.  Freedom from the tyranny and burden of other’s expectations, of what others think.  Acceptance of ourselves as we truly are.

            This then is the gift afforded us on the twelfth day.  Epiphany.  It means manifestation, making an appearance, and refers theologically to the appearance of Christ to the Three Kings.  But it’s a lot more than that.  In literature James Joyce gave us another meaning in an early draft of what would become Portrait of the Artist as a Young Man.  He describes it as a sudden insight, an instant when reality shines through an ordinary object, when “its soul, its whatness, leaps to us from the vestment of its appearance.”  It’s the appearance of what we need.  Perhaps not what we want, because that’s always going to be something good, something we like, and our epiphany is more likely to be something we haven’t considered and don’t want and, god help us, we don’t like.  For me, epiphany is often the realization that the shift from dark to light carries with it a responsibility not to continue hunkering in but, like a bear or a vole, to start the stirring for the reawakening I undergo each spring.  For you it might be a recognition that you’ve had all your needs met and now it’s time to meet them for other people.  For others it may be exactly the opposite:  it’s time to consider yourself a while rather than others.  There’s no one size fits all when it comes to epiphany.  It can come in any number of ways:  in someone’s smile, in the smell of woodsmoke where we thought there were no houses, in the sudden, unexpected taste of a good wine, in the sound of voices where we expected to be alone, in the touch of flesh on flesh that reminds us we are with one another.  These tiny moments bring us out of ourselves and into the wider world. 

            Like anything artistic, epiphany can be ruined by over definition.  Let’s take a minute of silence to reflect on what we have been given. 

 

the bark of children like hot rain

My alma mater is hosting a worship service with Reverend Mark Kiyimba of Uganda this Tuesday and I've been asked, probably by dint of having the largest world literature library, to provide a prayer and perhaps a reading. I've chosen two potential prayers, both of which needed some revision to fit our purposes, and a reading culled from a great Ugandan novel.

The first prayer is itself Ugandan, but was originally fashioned as a plea for children. It required some editing.
 

You elders, you ancestors, you older people,

Today we give you your food.

Give us health and wealth.

Let everything evil leave with the setting sun,

Let it go far away.

Elders, our homestead is now silent.

We like the sight of old people dancing,

We like the sound of young men and young women laughing.

We like to hear the bark of children like hot rain on a tin roof.

The eigth and ninth lines are purely my invention, as is the second half of the tenth line (I am really proud of that turn of phrase). The second is actually a prayer from neighboring Sudan. But my reason for including it as a possibility is that it's from the Dinka people who have just this week opted to join South Sudan in its independence from Khartoum. It is a more general prayer about life.
 

In the time when God created all things, god created the sun.

And the sun is born and dies and comes again.

God created the moon,

And the moon is born and dies and comes again.

God created the stars,

And the stars are born and die and come again.

God created people,

And people are born and die but do not come again.

This only needed the exchange of "God" for the traditional "He" and "people" for "man." Finally, I've included a couple pages from the novel Snakepit by Moses Isegawa. It takes place during Idi Amin's solidification of his reign in the 1970s. I've been told that Isegawa's description of that nation is unparalelled.

There were days so fine, so suffused with bright light falling from high-domes skies, the beauty of delicate clouds, the perfume of gentle winds, the gloss of exuberant vegetation, the sheer delight of living in a bubble of peace amidst and inferno, that Bat [Katanga] felt totally in tune with life. He was not a religious man, but once a month he accompanied his wife to church. She chose the best suit for him, the darkest shoes, the best tie. For herself she picked the finest midi- or maxi-gown, matching accessories and a subtle, expensive perfume. They would emerge from the house and stand on the steps surveying the flower bushes, red and purple bougainvilleas; the towering thousand-year-old trees, majestic, their branches spread high above, the lake, a broken marble surface linking them to neighboring countries in a fraternity of water…They would descend the steps and drive away.

            At church they would mingle with well-dressed men and women who worked in the beleaguered civil service, the diplomatic corps, the remnants of the aviation service, and the armed forces. In mufti, the soldiers and the spies tried to make themselves as invisible as possible. Bat liked the fact that these days the church had turned into a human rights podium. Priests spoke out directly or indirectly against the disappearances, the killings, the abuses. The clergy had felt the bite of the bayonet, the sting of the bullet, and it made a difference. The words rolled off the priest’s tongue with conviction, steeped in pain. Bat liked to sit there and think of good memories, his achievements, because his captivity had taught him how precious and luxurious the fine moments were.

            On such days he liked to be surprised by uninvited guests who turned up to interrupt and enrich a day he had offered to the whims of time, to his wife, to leisure. If it happened to be his sister, they would talk about her son, her work, the state of the country. Living in a rural area, she would have a different view, a down-to-earth vision..

            When [his wife] Babit’s people turned up, he would drive them round the town, to the zoo, to the airport, to the Botanical Gardens, to the landing point at Katabi where food and fish came in from the islands. Standing there always reminded him that Entebbe was a peninsula, almost choked by water, which in places was just a few meters from the road to the city. It was not hard to imagine floods rising out of the lake or crashing out of an angry sky, submerging the town for weeks, and receding to reveal a new island or clutch of small islands…During these visits Babit led the conversation, and Bat enjoyed watching her and her people interacting

should books be destroyed?

Low-cost mass production seems to diminish our sense of the sacredness of things, of food, of books, even of the Bible. Half a dozen years ago, I had the privilege of being at a conference with practicing Muslims. The reverence with which they handled their beautifully ornamented and scripted Ku'ran made me guiltily aware of my own dog-eared, written-in paperback Bible places casually on the floor beside my chair. As a Catholic, I am glad the days of chained Bibles are long gone and that we have easy access to the word of God. But perhaps I have become too familiar in my treatment of it; maybe I should kiss the Bible after reading it. Now, too, the thick leather-bound daily missals with gilt-edged onionskin pages, which some Catholics owned and used at mass, have given way to seasonal missalettes. Found in the pews of most parish churches, they are available to all. But they are paper-covered, printed on cheap gray stock--disposable. I am sure they are simply thrown away when outdated, or recycled, like newspapers and magazines.

Still, although I may have lost a sense of reverence for the sacred books themselves, the same sacramental principle that finds God in all things has impelled me to explore a spirituality of reading in different kinds of books, not just explicitly spiritual ones. Because in them, and especially in good novels, I find the astonishing richness of God's world--human, animate, inanimate--celebrated in all its haeccitas, its "thisness" (just the opposite of the mass-produced), as Duns Scotus named it.

--from Walking a Literary Labyrinth: A Spirituality of Reading by Nancy Malone

Malone, who is a retired nun (can one be? any more than one can be a retired teacher or preacher?), uses the example of the novels of Patrick O'Brian to explain what she means, the ever-opening world the Aubrey/Maturin adventures invite her to live in, calling his gift of giving words flesh a "marvelous alchemy. Or better, a transubstantiation, a sacrament." And she is right. But for me the more important question is one that arises in that final paragraph above. Are we right to destroy books when they've outlived their usefulness?

Having worked in bookstores for a long while, I'm familiar with the common practice, dictated by the publishers, the "owners" of the books, of ripping off the front covers of mass market paperbacks for reimbursement and recycling the rest (by federal law a book can't be sold without its cover, not even as a used book). We do the same with trade paperbacks and hardcovers that are judged to have outlived their shelflife: they are returned to the publisher for reimbursement and destruction, sometimes by pulping, sometimes by incineration. I understand and somewhat approve the economics of this practice. It makes sense.

But there remains a lingering impulse that books, once having taken form, represent a world and the hard work of someone whose existence might otherwise be passed by. Shouldn't there be some sense of mourning at the destruction of these testaments to a writer's time and effort?

However, the corollary question is, Should we save all books? Do we restrict eternal life only for religious books like the Bible and the Q'uran? What about compendiums of Buddhist or Jainist wisdom? Or books that are "like" bibles, like the AA's Big Book?

And if we salvage books of ancient wisdom, what about more recent books of wisdom? Do we keep copies of The Prince in perpetuity? What about The Rights of Man? Nixon's Six Crises? The latest Rush Limbaugh?

And that's not to take into account classics like Huckleberry Finn, Walden, Ulysses? And once we hold up Beloved as a contemporary classic, does that mean we also keep every copy of every book Toni Morrison will ever write? The Bonfire of the Vanities was Tom Wolfe's attempt to breathe new life into contemporary literature, and while I don't think he quite managed it, it's an ambitious try. Does anyone know what I Am Charlotte Simmons is?

Maybe what Malone calls a good book's "haeccitas, its 'thisness,'" is a more reliable indicator. That certainly cuts a lot of books out it would seem: Lord of the Rings over the Inheritance Cycle; O'Brian's Aubrey/Maturin series over Forester's Horatio Hornblower; John Le Carre over Eric von Lustbader. But each of those books will have its defenders. Who gets to choose? And what do we do with someone like the late Tom Clancy whose novels certainly are precise and technically intricate and place you in a world most of us aren't privy to, but whose characters navigating that world are, at best, paper thin?

Maybe this is just a long argument to keep the status quo. After all, it's not as if anything could change even if all readers somehow got together and decided never to get rid of any of their books no matter how worn and tattered they become. I have several copies that long ago lost their back covers or their pages have slipped loose of the binding or a dog has gotten hold of it and ripped off part of its cover and spine. I'm uncertain exactly why, but I keep them. But I suspect that this is hoarder behavior and advise against it.

blinkered by the recent past

This passage resonated strongly with me, partly because of what it says about disillusion-ment and partly because of what I used to teach about language. I had to really press students in Comp I to understand that there was a variation of Aryan that didn't involve the Nazis and that originated in northern Asia than in Europe and that, linguistically, we had a very close connection to. We are so blinkered by recent history, and the Nazis did such an excellent job of co opting the term, that even when we're presented with proof that a word or idea predates what we think we know of it--stereotype is a less malevolent example--we find it almost impossible to see past it to its original use.

Try to imagine the scene: the Parsi grandee in the sanctum of his library, with his English friend..., a man driven by life into books, standing by an open window. So he's not completely sealed off, the library isn't a closed tomb, and through the window comes all the tumultuous sensation of the city: the scents of channa and bhel, of tamarind and jasmine; the shouting voices, because nobody ever says anything in these parts without first raising his voice; and the quarrel of traffic, the hooves, the sputtering exhausts, the bicycle bells; the brilliant light of the sun on the harbour, the hooting of warships and the electricity of a society at a point of transformation.

Now imagine a gust of wind, sweeping a crumpled page of newsprint off the filthy street, tossing it upwards in slow spirals like a dirty butterfly; until at last it passes through the window, the outside world penetrates the world within, and lands neatly by Sir Darius' polished oxfords, pleading for attention. This is a picture I keep seeing, although it couldn't be, could it, how it really happened...Prefer, if you please, some [more] prosaic version, but I'll stick with mine. Through the window came the newspaper, and Sir Darius, picking it up distastefully, was on the point of disposing of it when four words caught his eye. Aryan, Nazi, Muller, Dumezil. [These are two scholars Sir Darius and his friend study.]

Neither Sir Darius Xerxes Cama nor William Methwold ever believed for a moment that either of the great maligned scholars, dead Max or living Georges, had had a single racial-supremacist cell in his body. But when language is stolen and poisoned, the poison works its way backwards through time and sideways into the reputations of innocent men. The word "Aryan," which for Max Muller and his generation, had a purely linguistic meaning, was now in the hands of less academic persons, poisoners, who were speaking of races of men, races of masters and races of servants and other races too, races whose fundamental impurity necessitated drastic measures, races who were not wanted on the voyage, who were surplus to requirements, races to be cut, blackballed and deposited in the bin of history. By one of the wild improbabilities that, taken collectively, represent the history of the human race, the arcane field of research in which Sir Darius and William Methwold had chosen to sequester themselves had been twisted and pressed into the service of the great evil of the age. History had captured their field, and their love of it had placed them on the wrong side--the side of the poisoners, of the unutterable, of those whose crime was beyond words.

At the moment when things changed for them, Sir Darius and Methwold had been full of the delight of examining the parallels between the Viewing from the Walls in the Iliad (when the Trojans survey the besieging army while, for their benefit, Helen identifies Agamemnon, Odysseus, Idomeneus and the greater Ajax) and the similar scene in the Ramayana (in which a pair of spies, standing with the abductor Ravana on the ramparts of his fortress, identify the heroes Rama, Lakshmana, Vibhishana and Hanuman). Sir Darius read the scrap of newspaper that had blown in through the window and passed it to Methwold without saying a word. When the Englishman had finished reading, he shook himself, as if emerging from a long sleep, and said, "Let's call it quits." Sir Darius inclined his head and began to close the beloved books. It was September 1939. Rip van Cama and William Winkle stumbled blinking into the light, the roar, the stink of the real world.

--from The Ground Beneath Her Feet by Salman Rushdie