We left the upper reaches of the Mississippi River, our last connection with what we knew, and ventured onto the plains of Minnesota and into North Dakota, 80 miles an hour through fields of sunflowers. Outside Minot, the two-lane highway was under construction, but there were no rows of orange barrels striped with reflective tape; instead, both lanes of pavement were ripped up, and I drove the dirt roadbed between earthmovers, graders, and dump trucks while my wife slept in the passenger’s seat and my seven-month-old son made faces at me in the rearview mirror from his car seat. Finally the roadwork ended, and we drove on through a valley where each hill held white rocks stacked to form the year of a high school’s graduating class. Almost twenty years were covered in as many miles, and I wondered what would happen when they ran out of hills. We crossed into Canada at a small town called Portal, then made our way across the plains, trying to remember to read our speed in kilometers. The city of Regina appeared on the horizon like a skyline drawn in elementary school art class: the sky and ground meeting on a ruler-straight line, while boxes and rectangles extended upward from it. Past that, the highway skirted the Arm River Valley, the only variation in the tabletop prairie, where each town was marked with a wooden grain elevator rising in the distance.
Jim’s Way
We — my uncles Jim and Larry, my cousin Lindsay, and I — went to Scotland on the sort of family business that is not business at all but is, rather, an excuse for a vacation. We are Scottish by an unremarkable fraction, but because that branch of family history is well documented, because we have things like a plaid and a crest, our unremarkable fraction can feel an awful lot like half.
Interview with Norman Lock
LINDSAY STERN interviews NORMAN LOCK
1. You are a self-described fabulist. In your opinion, what can a fable do that other literary forms cannot?
The fable can be said to be a metaphor or figure so ambitious that it has annexed unto itself the entire fictional space. Like all symbolic language, it possesses extraordinary power to render a particular notion of reality – an idea – with absolute simplicity and efficiency. By simplicity and efficiency, I mean the reduction of complex thought into a unifying field of imagery in order to understand and convey unseen connections between objects or phenomena. The abstraction needn’t be stark. On the contrary, it can be as highly colored and intricately wrought as a Persian miniature or a poem by Wallace Stevens. But however rich in complications and implications, the metaphoric reality (can I call it a “truth”?) is vastly less vexed than what surrounds and oppresses us – by day and by night: our conscious and unconscious, public and private lives.
By fabling, I can explore ideas – treat them playfully – while satisfying my need to make things and to produce beautiful surfaces created entirely of sentences and their syntactical relationship. And I will confess this much: that for a writer like me, no other literature is possible than that whose source is his own imagination and his art. As Stevens wrote, “Poetry is the subject of the poem.”
Painting Chairs
I have been painting chairs this summer. It is my second summer visiting my boyfriend at his country house in the Catskills, though it’s not only my boyfriend’s house. The house belongs to him and his wife. I am here because his wife is dead. She passed away two and a half years ago, and her death sometimes feels as blunt and brutal as the undeniable fact that the phrase “passed away” is trying to soften. I didn’t know her, but she was a powerful woman who died too young and left behind an adolescent son and a husband of twenty years.
Between Two Places
Driving with LLL Louise Landes Levi from Amsterdam up to Riva San Vitale in the Alps to visit Franco’s place at the Franco Beltrametti foundation:
Moonstone
Three days of dirty weather and everyone saw it on their way home from work. It was dumped onto the Silver Strand State Beach parking lot— the keel naked and scabbed with barnacles, the mast canted. Someone said the park maintenance people must have hauled it up out of the surf. It looked like a forklift had punched two holes in the hull.
Lit Magathon at NYC
This weekend The Common will be at CLMP’s Lit Magathon in NYC! There will be a reading on Saturday at 4pm in the DeWitt Wallace Periodical Room.
Lit Magathon
This weekend The Common is going to the 2012 Lit Magathon in NYC, hosted by CLMP. There will be a reading on Saturday at 4pm.
Inside Passage
Review: The Cat’s Table
Book by MICHAEL ONDAATJE
Reviewed by
Welcome Aboard
My childhood years were marked by the roar of sea waves. I would wake up early on Sunday mornings to the sound of the waves rushing forth and striking the shore before withdrawing. The growth of coconut trees outside my window meant that I could not, from my room, watch the Bay of Bengal—for that I would have to climb up the staircase, a task that, to a ten-year-old, is not even conceivable on Sunday. So I would lie there, blinking in the leaf-filtered sunlight, listening to the waves. I fancied they had a dialogue: saying I am there, when striking the shore, and then I am not there, when withdrawing.
So years later, it was a windfall when I bought Michael Ondaatje’s novel, The Cat’s Table—that is about a sea journey—and on the same day, a little ship that had been put together by a Turkish artist from scraps found along the sea: driftwood, sail, and mooring hooks.