Signage

As seen on a billboard: “We Are Into S & N.” That is, spaying and neutering. With a photograph of a cat and dog wearing leather.

Cute? Not so much.

Related reading
All OCA signage posts (Pinboard)

Missing pencil sculpture

A pencil sculpture — twelve-feet tall, 200 pounds — is missing from the campus of Purdue University.

Okay, whodunit?

*

November 20: The pencil has been found.

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All OCA pencil posts

Sardines and cigarettes

 
[“Baskets of sardines.” Cigarette card from the George Arents Collection. From the New York Public Library Digital Collections. Click either image for a larger view.]

Not quite the ring of “coffee and cigarettes.” (A fine movie, Jim Jarmusch.) “Pilchards and cigarettes” doesn’t quite work either. But “semolina pilchard” — now there’s something.

A recent story from a British tabloid gives new meaning to “sardines and cigarettes.” Proceed at your own risk.

Related reading, via Pinboard
All OCA cigarette posts
All OCA sardine posts

A brief message from the Academy of Lifelong Learning

A problem should retain its shape and size. If a large problem cannot be found, a small problem ought not to step in to take its place.

[Me, today, UPS and USPS.]

Robert Walser: “a sleeping sardine”

Since arriving in Berlin, I’ve lost the habit of finding humanity laughable. At this point, by the way, I myself request another edible wonder: a plank of bread bearing a sleeping sardine upon a bedsheet of butter, so enchanting a vision that I toss the whole spectacle down my open revolving stage of a gullet. Is such a thing laughable? By no means. Well, then. What isn’t laughable in me cannot be any more so in others, since it’s our duty to esteem others more highly than ourselves no matter what, a worldview splendidly in keeping with the earnestness with which I now contemplate the abrupt demise of my sardine pallet.

Robert Walser, “Aschinger,” in Berlin Stories , trans. Susan Bernofsky (New York: New York Review Books, 2012).

Related reading
Aschinger (Wikipedia)
All OCA Robert Walser posts (Pinboard)
All OCA sardine posts (Pinboard)

Robert Walser: comestibles, ephemeralities, liverwurst

How enchanting this is: being permitted to take a bit of pleasure in something rustic, even only a grosch’n’s worth. Fresh eggs, country ham, country and city liverwurst! I have to admit: I do like standing and scallywagging about in the proximity of tempting comestibles. Again I am reminded of the most vivid ephemeralities, and what is alive is dearer to me than the immortal.

Robert Walser, “Market,” in Berlin Stories , trans. Susan Bernofsky (New York: New York Review Books, 2012).

Related reading, via Pinboard
All OCA Robert Walser posts
All OCA liverwurst posts

Robert Walser, Looking at Pictures

Robert Walser. Looking at Pictures . Translated from the German by Susan Bernofsky, Lydia Davis, and Christopher Middleton. New York: Christine Burgin/New Directions, 2015. 144 pages, illustrated. $24.95 hardcover.

The ancient practice of ekphrasis is a matter of speaking about a work of visual art, providing a verbal analogue of a mute image. (Think shield of Achilles , Iliad 18.) In these twenty-five short prose pieces, Robert Walser (1878–1956) writes about paintings, to paintings, and from within paintings. And at times he leaves paintings aside to discuss other things. Each work of art becomes an occasion for the writer’s own imaginative performance.

Walser writes about paintings (by his brother Karl, Fragonard, Watteau, Van Gogh, Cezanne, and others) as if no one had ever thought to do so before. Thus the element of arch naïveté in his prose: “A painter is a person who holds a brush in his hand. On the brush is paint.” “Every great painter the world has known has been cheerful, quiet, thoughtful, clever and superbly educated.” Historicizing a Fragonard painting, Walser presents himself as a game amateur doing his best: “Railroads didn’t exist yet, and the niceties of central heating had not yet been worked out. No one had ever heard of petroleum lamps.” And of Watteau:

Knowing little about him, I shall nonetheless promptly make my way, as if rambling across meadows, into the task of describing his life, as if stepping into an attractive, prettily wallpapered little house, this being a life devoted to gaiety, that is to art, in other words to a certain delight in one’s own person.

A delight in one’s own person indeed.

The aesthetic of Looking at Pictures is a playful blend of realism and its alternatives. An imaginary painter writes in a notebook of painting “meticulously precise likenesses” of people and things. Elsewhere Walser praises painted bouquets as possessing “flower-bouquetishness,” and painted domiciles, “domesticity.” And of a Beardsley candle: “It may be that never before has an illustrator reproduced the flickering of a candle in so candle-like a manner, so flickery.” Paintings (or the figures therein) at times become so real that they talk back: Van Gogh’s Madame Joseph-Michel Ginoux tells Walser of her early life; Manet’s Olympia asks Walser to tell her a story. The high point of this play comes in a piece about Diaz’s The Forest Clearing : its landscape becomes the setting for a terrifying monologue by a mother abandoning her child, a mother conscious of her presence within a painting: “I swear to you, as truthfully as I am standing here with you in this forest painted by Diaz, you must earn your livelihood with bitter toil so that you will not go to ruin inwardly.” And the leaves on the ground offer their comment on Walser’s work:

“What has been written in this brief essay appears to be quite simple, but there are times when everything simple and readily comprehensible recedes from human understanding and only can be grasped with great effort.”

Elsewhere Walser leaves paintings behind. “An Exhibition of Belgian Art” begins with an undescribed visit to one exhibition site, followed by a stop at a café, thoughts about a girlfriend, recollections of military sevice, more thoughts about a girlfriend, an account of a dream, a story from Swiss history, until finally:

Pleased as I am to have had the opportunity to speak about a stately and beautiful artistic event, I consider myself obliged to limit myself with regard to the extensiveness of my remarks. Everything I have neglected to say can be given voice to by others.

The deciphering of Robert Walser’s pencilled microscripts and the rediscovery of his beautiful, funny, sad, enigmatic work (in German and in English translation) is one of the great developments in late twentieth- and early twenty-first-century literary culture. I look forward to further new arrivals in translation from both published works and the Bleistiftgebiet (pencil zone).

Related reading
All OCA Robert Walser posts (Pinboard)

[Thanks to the publishers for a review copy of the book. Cover image from the New Directions website.]

[Your selection here.]

Fresca posted a link to a video clip that begins with a few seconds of a pianist playing John Lennon’s “Imagine” outside the Bataclan Theatre. I watched, and I lost it. (And I don’t even much like “Imagine.”) And then I remembered the words Sonny Rollins spoke to an audience on September 15, 2001:

“Yes, ladies and gentlemen, we are here tonight, and we must remember that music is the — one of the beautiful things of life. So we have to try to keep the music alive some kind of way. And maybe music can help. I don’t know, but we have to try something these days, right?”

Without a Song: The 9/11 Concert (Milestone Records, 2005).

And then I remembered that the one thing I have found helpful in times of tragedy is music. Maybe music can help.

[The post title is no mistake. It’s meant as a suggestion to seek out something helpful. I’m listening to Miles Davis, Anita O’Day, and Steve Lacy, who for many years made his home in Paris.]

Douglas R. Ewart and Quasar

Douglas Ewart, sopranino saxophone,
    didgeridoo, flute, percussion
Edward Wilkerson, clarinet, alto clarinet, tenor
    saxophone, didgeridoo
Preyas Roy, marimba
Darius Savage, bass, percussion
Walter Kitundu, invented instruments
Duriel Harris, voice, percussion

Gelvin Noel Gallery
Krannert Art Museum
Champaign, Illinois
November 12, 2015

The Quasar ensemble’s performance last night began and ended with Douglas Ewart’s voice, first asking a fellow musician about homelessness (“Do you know how close you are to being homeless?”) and later offering life truths: “To get there fast, go alone. To create legacy, go together.” The evening’s performance, a single uninterrupted piece, joined music, poetry, and electronics in ever-shifting and compelling configurations: alto clarinet and bass creating an ostinato over which the sopranino soared, an interlude for flute and phonoharp that evoked the sound of the koto, a percussive exchange between marimba and bass. Harris’s poetry seemed to take up the spirit of inquiry with which Ewart began, asking questions about identity (“How many languages do you speak?” “What does your real voice sound like?”), privilege (“Would you say you’re lucky?”), and state power (“How much water?” “How many chokeholds?”)

About that phonoharp: a brief demonstration followed the performance. The instrument has three bass strings (to be bowed or plucked), a zither-like arrangement of doubled strings, and a turntable for sampling. Kitundu also played a kora, or kora-like instrument. Elaine took a photograph (with permission):



I believe in what Eric Dolphy said: “When you hear music, after it’s over, it’s gone, in the air. You can never capture it again.” But I still want to write about it.

Thanks to Jason Finkelman, who continues to bring the news of the new to east-central Illinois.

More about the musicians
Douglas Ewart : Edward Wilkerson Jr. on practicing : Preyas Roy : Darius Savage : Walter Kitundu : Duriel Harris

Three related posts
Douglas Ewart and Stephen Goldstein : Douglas Ewart
and Wadada Leo Smith : Gray, Ra, Wilkerson