My only partner in this work

The only partner I have had in this……………………………………….is you.

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The only partner I have had in this to wait, to listen, and to see me through, unknown, yet inches from this line, is you; yet I might know you well enough to kiss— with each always purchase of the other, with each a continent to understand, with each a hidden people, hidden land sharing all lines and the quilted cover of the Earth, now surveyed; waiting to be remade. —from FRAMESHIFTS, PART 3, VOL. 2, P. 376 BY RICHARD ROSE (2011)

Calamities are downfalls for some and windfalls for others. We are givers and takers, partners and apart, in shifting realms and roles in a turbulent world. The practice of frame-shifts is like planning for emergencies.

Recently, I’ve been receiving training in giving emergency services during disasters. It doesn’t seem that different from imagining stories, poems, and music, or graphic arts like this quilt made in 1944 by Mary Hobson. How’s that?

A quilt–or a story, or a poem–begins with a frame of reference. The quilts currently on display at the Virginia Museum of Fine Arts from Gee’s Bend Quilters of Selma, AL immediately raise questions with their house-tops, staggered bricks, partial frames or different frames overlaid for a stereoscopic effect, silk and corduroy lines, and repeated patterns of unrepeated designs–what Edward Tufte might have called “small multiples” in his works on envisioning information. Then consider how they were made. As Rita Mae Pettway said, “Piecing them up, you do that by yourself; but quilting we all did it together.” (See #treeoflifevmfa and https://www.facebook.com/QuiltsofGeesBend/).

Arts embody understandings. The artist gives you a story to enter, a role or song to play, a gesture or poem to repeat and comprehend. These imaginative frames of reference are given to hold between you–the artist on one side, you on the other, like the women holding a quilt between them. The work of stitching draws in the calamities of the community, the givers and takers making sense of their turbulent worlds.

Amusement is not at stake.

Amusement is not at stake; we are surfeited by amusing distractions. The arts give us objects to hold between us. This is the meaning of  “entertainment,” coming from the French words for “holding between.”

Holding a frame of reference–someone else’s understanding of the world–between us has been called “suspending disbelief,” but it seems to me that it is more like the emergency planning of first-responders as they imagine what they will do in different scenarios, and then go on to plan rehearsals. Entertaining ideas is different from seeking amusement: it’s a serious business even when we’re laughing about it. We are always in rehearsal. As Joe says in Saroyan’s play The Time of Your Life, humans are always rehearsing and have to keep rehearsing finally to become themselves. Arts help us with the work on ourselves.

I write speculative fiction, poetry, and music, so pardon my suggestion that the speculations offered by writers, poets, visual artists, performers, and composers are not back-scratchers to touch an itch you can’t reach–an itch to be amused.  They are given to stitch worlds together, to hold like a life-line between the givers and the takers; they are offered for the entertainment of ideas. And for finding partners.

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Since 2011, I’ve been peddling my works in various ways.  Here’s an invitation to any partners out there:

TO READ A SAMPLE OF FRAMESHIFTS: Berkeley Hotel chapter from FS

To buy BOOKS FOR A QUILTED HUMANITY BY RICHARD L. ROSE:  Find them on Amazon. When you read one, please leave a review!  Currently available by clicking on the icons on this page are      FRAMESHIFTS (2 volumes) and Coming Around (journeys in and out of Richmond over 200 years, since the time it was a sales center for enslaved human beings.) Also on Amazon is an e-book, Death Wears A Tricorn, the first story in Frameshifts. And . .

COME TO  MY Reading at the Writing Center in Charlottesville (508 Dale Ave. 22902) 2-4 p.m. Sunday, Sept. 29, See http://writerhouse.org/

OR COME TO THE Book Festival in Fredericksburg, 10 a.m to 4 p.m. on Saturday, September 21

OR COME TO: Booklovers’ Festival at Jefferson Park in Richmond on Saturday, October 19,

OR COMMENT ON THIS BLOG.

PEACE,

Richard L. Rose

 

REVIEW OF THE DAMASCUS ROAD: A Novel of St. Paul by Jay Parini (2019)

“The world is always ending but the Earth remains.”

Richard L. Rose (https://frameshifts.com/2012/10/)

Why does a prominent poet, teacher, and literary biographer turn his attention to the life of the first traveling salesman of Christianity, a wandering Jew whose significance has been reduced to proof texts for contradictory claims, and whose outdated opinions are lampooned and reviled? Parini has gone twice before into the unforgiving territory of religious interpretation with Jesus: The Face of God  (See https://frameshifts.com/2013/12/ .) and The Way of Jesus: Living a Spiritual and Ethical Life, but these were nonfictional works in which he could distinguish sources from personal opinions and generally protect himself against anachronisms. The Damascus Road is a more personally vulnerable work.  Instead of explaining religious ideas as they historically arose, Parini seeks to engage the reader in a story that embodies the early Christian community.  A skilled interviewer, he does this by imagining conversations with two witnesses from the First Century: Paul and Luke.

History is a succession of dynamic situations with ragged edges, the transitions absent or elusive. Stephen Jay Gould, in describing the anomalies and even chimerical forms of the fossils in the Burgess shale, wrote, “The history of life is not a continuum of development, but a record punctuated by brief, sometimes geologically instantaneous, episodes of mass extinction and subsequent diversification.” (Wonderful Life, p.54). Discontinuity is the rule; loss is routine; absence of some key source is always guaranteed. Full of ourselves and our information-rich age, we find this difficult to accept.

How is it then that a poet and biographer comes to write a novel about an anomalous and almost chimerical First Century founder of the Jesus Movement? Compared to Burgess fossils, the material on Paul of Tarsus may seem rich, but in fact, primary sources are rare and provide nothing of the specificity that even a short scrap of nucleotides might reveal about a fossil. Paul is a transitional figure between the gatherings of early followers of the Way and the later Hellenistic church, about which the primary sources are abundant.  They are so abundant that Albert Schweitzer took theologians to task for attributing late First and even Second Century ideas to Paul. (The Mysticism of Paul the Apostle, 1930) Self-deception is enhanced by an abundance of documentation, however irrelevant. Paul may have grown up in Cilicia and learned the Torah from the Septuagint, but in his letters, he does not introduce or modify the practices of the Way, create a mystery cult, or feature himself as a mystagogue.

Within only thirty years after his death, however, the Pauline conviction about the imminent physical return of Christ, or Parousia, had waned; the message had become spiritualized, the ceremonies formalized, the gospel stories compiled, and the messianic Way had become the Church. Like Socrates, Paul had midwifed a new tradition, but what was gained and lost in the transition?

Readings of the sayings of Jesus, shared meals, and baptisms were practices of Jewish and Gentile members of the Way in Jerusalem, Antioch, and Damascus well before Paul’s conversion.  Paul’s contribution was a reasoned, conceptual foundation for the existing practices.  As a rabbi and Pharisee, Paul was taught to expect a predetermined messianic fulfillment of God’s promises for chosen people, a physical resurrection of the dead, and the elimination of the heavenly layers of demonic angelic powers that separated believers from God. After his conversion, his rabbinical training took on a new meaning. The end of history was at hand, as Jesus had taught his followers. The immediacy of this event was underscored by signs and wonders, like Paul’s vision on the Damascus Road. Parini retells this event many times, as Paul would have done in his preaching. At each telling, Paul probes more deeply into the meaning. Ecstatic in nature and therefore emptying him of his former life, the vision had left him re-clothed “in-Christ.”  It was not God, but Christ who filled him. Christ was the necessary mediator, the virtuoso of divine knowledge and compassion, the “human face of God.” To Paul, anyone who joined the elect—woman, slave, Greek, “tax-farmer” for the Empire, centurion, aristocrat, tycoon—was on the same footing with any other member. Because each of them was “in-Christ,” their community was the “body of Christ.” One joined the elect by beginning a life of continuously dying and rising in Christ. For Paul, this was a physical experience, as concrete as the obstacles on the missionary path or the heavenly beings who put thorns in the flesh, or who appeared as welcome helpers in a prison, or who carried him through the three heavens to the divine realm. These travels and visions were only possible because he was “in-Christ,” not because he had found oneness with ultimate reality or Atman, spoken the logon prayer of the Mithras cult, or been deified through a cultic practice. Even baptism was not always necessary to be “in-Christ,” according to Paul, who often welcomed new members to a community only upon their acceptance of the new life in Christ.

In contrast, the mystery cults of the First Century were available to all, not to a predestined group. Ethical requirements were minimal. Ascent and rebirth into deity was the desired outcome of mystical union. Concern about the end of history was not a feature of these cults, many of them based on agricultural concerns and a cyclical view of time.

In messianic eschatology, time was an arrow whose flight ended in a new world, the Kingdom of God,  of which the brief Hasmonean Kingdom had been a very imperfect precursor. History would soon end. For Jesus and for Paul, the Kingdom was at hand. Jesus would return to gather the faithful. In contrast to the ascent of worshippers through the Eleusian or Mithraic rites,  Pauline baptism was simply the bonding with Christ in his death and resurrection and the beginning of a life of continual deaths and resurrections for believers, now “in-Christ,” including many sufferings and martyrdoms, until the impending end of history; the new life was in Christ, therefore ethical, and the union was with Christ, not God, because YHWH was too removed, holy, and surrounded by heavenly beings to be approached. Jesus’s physical resurrection had overcome the angelic powers, in all their height and depth. By suffering and rising with him, the community also would ultimately overcome its adversaries.

Paul’s troublesome situation lies at the ragged edge between the Way and the Church, the messianic message and its Hellenistic interpretation. Certainly, his ministry installed the original gospel message, or kerygma, and his dominant subtext about being”in-Christ,”  in many towns and cities of the empire. And his letters and leadership made an international community from hundreds of scattered “house gatherings” (οικοι). But his rabbinical training in disputation and the physically concrete understanding of his vision and mission were rooted in Pharisaic Judaism. Textual analysis, for example, demonstrates that Paul never wrote about “rebirth” or being one with God. (The Mysticism of Paul the Apostle,, 13-15) The language of the Gospel of John comes from a later period. Indeed, both the Gospels and the Talmud were collected only after the writing of Paul’s first letters. Undoubtedly, Paul’s teaching shaped the composition of the Gospels, even if the biographers were reacting against him, as Parini suggests about John Mark.  And Paul’s teachings certainly must have shaped the two books by Luke, who, though careful to document the missionary travels, takes liberties with quotations, as was the common practice of Herodotus and other historians of the period.

It is only by accepting questionable quotations, ignoring the absence of references to rebirth, and disregarding Paul’s repeated references to the end of history and to being “in-Christ,” but not a deity, that it is possible to think of Paul having created a Hellenistic gospel message. In fact, however, the message he preached remained a Jewish eschatological message and his mission, as he saw it, was to facilitate access to the message by Gentiles because he was convinced that God had included some Gentiles within the Elect.

The troublesome nuance about Paul’s situation is that, in order to facilitate access to the kerygma, Paul would undoubtedly have spoken to Gentiles in terms that they understood, but we do not have a record of those conversations. Would he have spoken about the Logos, “soul wisdom,” the cult of Mithra, or even have brought up the Timaeus or Phaedrus to Athenians? All one can say is that it’s plausible. As a novelist, however, Parini can say much more.

Like Richard Moulton in the Modern Reader’s Bible (1946), Parini plots his story by interpolating the authentic Pauline letters with the account of Paul’s journeys in Acts. But Parini has written a novel, not a harmonization, biography, hagiography, or pious story. Like Paul’s own message, the novel is a disruptive story, open to criticism and vulnerable to misunderstandings. Like Schweitzer, Parini reveres “truth, as something that must be a factor in our faith if it is not to degenerate into superstition.” (The Mysticism of Paul the Apostle, xxvi) Because Paul’s words have been interpreted to support so many contradictory positions, it may seem that he was conflicted or confused, but the consistency and logic of his argument become more evident as Parini allows Luke and Paul to tell the story in their own words.

The early gatherings and simple ceremonies of early followers often took place in the homes of members of synagogues and wealthy supporters such as matrons or businesspeople, whose property included slaves. In fact, women were usually the key supporters to anchor and lead the early Jesus Movement. And not only the poor and disenfranchised but all social classes were represented in the community. Paul visited these assemblies as an enthusiastic new convert, confident that Jesus had personally told him to preach to Gentiles as history sped to the end. Paul was keenly sensitive to the imminence of the end times and therefore disregarded, and encouraged others to disregard, long-term plans of any kind, including marriage.

The teaching of Paul evolved through remarkable experiences and encounters with new audiences. Parini skillfully shows how Paul, Luke, and other early witnesses came to explain their experiences in different ways. As differences in selective perception lead one court witness to claim that the defendant came out of the alley while another insists that she saw him at home, so the different accounts by witnesses of Paul’s prison escapes, shipwrecks, and miracles reflect the interests and intentions of the storytellers. In one retelling of the Damascus Road, Paul speaks of talking face-to-face with Jesus, who said, “that I could become like him, part of the Eternal Mind. He told me that time only existed for those who were lost. To be ‘found’ was to find myself outside of time.” Luke mentions that he preferred the earlier version, in which Paul was knocked from a white horse, struck blind by a bright light, and asked, “Why do you persecute me?” Both stories are true. That is, a foolish literalism misses the kind of truth conveyed by fiction.  As Luke says, “I quite preferred that version, although I perhaps have combined the details of many versions in my own way. A good story is a running river that never empties itself. ” (p. 48)

Surely, in the early gatherings, Jesus’s followers tried to tell everything they could recall from their experiences with Jesus. They remembered and they misremembered. As twenty-first century readers, we understand that every story, even the one that didn’t make it into print, was true, or aligned with respect to the experience of the storyteller. No canon existed. Perhaps it would not be needed since history would soon end.

But history hasn’t ended yet and during the interregnum, many canons have come and gone. Many kinds of experiences have been accepted or rejected—some considered exaggerations, others, heresies for which many have paid with their lives. And  some of the retained versions of stories have been distorted for various applications.  Is it possible that the church may have lost or culled a conversation like the one Paul has with Elon, a leader of the synagogue in Thessalonica?

“Only God matters,” Elon said.

            “And how do you know anything about God?”

            “We know him by his actions.”

            I pressed here. “What might those actions be?”

            “The creation of the world!”

            “Ah, yes. But that was not a single event in the past,” I said. “Creation is an active and continuous process.”

            This puzzled, even annoyed him.

            “The world dawns every day,” I said, “and it’s always new. The creation overwhelms us with its beauty, its changes.” (p.201)

By proposing such conversations, Parini urges us to consider the fluid nature of the received texts. One’s experience is never settled. New words and stories are needed even for the life-changing events that will never be forgotten. Such an experience exceeds our ability to capture it in words or images. “Art is an act of attention,” Luke writes, “and I was writing down everything at night, making notes while the rest of our company slept. My story of the adventures of Paul would attract readers. How could it not? Someone had to remember everything that had happened, what we did, what Paul had said and accomplished. In his letters, he refused for the most part to talk about himself, addressing problems at hand . . .” (p. 266).

Even so, Luke selects materials with care, omitting some of Paul’s more manic utterances and censoring conversations like one about a sexual indiscretion, in which, grateful for Luke’s forgiveness and understanding, Paul finally says, “Suddenly I understood in a most visceral way the crooked timber from which God had fashioned us, and knew it was impossible to live in the purity to which I aspired. That had been a fantasy of mine.” (p. 228) Indeed, although the statement seems to foresee Kant or Isaiah Berlin, it is primarily a corrective for narrow interpretations of Paul’s general teachings, if he had any, about sexual practices. Such interpretations, from the anti-Pauline Encratites to the Shakers and Southern Baptists, could have profited from the correction that Parini offers. Straight and gay men, lesbians, matriarchs, capitalists, marijuana-users, effete aristocrats, noble officers, and temple-prostitutes populate this novel, along with violent mobs and brutal soldiers. Luke says, “we occupied a highly wrought, aggressive, and intensely political world. The Pax Romana persisted, with the imperial ‘peace’ guaranteed by the use of selective brutality. It would never be simple to follow the Way of Jesus without offending someone . . .” (p.212)

One might even offend someone by writing a novel that suggests that religious language leaps “from metaphor to metaphor,” as a poet does, and not by moving “slowly and carefully, amassing evidence, making our deductions. But Paul didn’t operate in this manner. His energies poured out freely, touched his listeners in unexpected ways, and the world around them blazed with new meaning. And sometimes he angered those who heard him.” (p.206)

One has the sense that this novel is a personal summation by Parini, propelled by a sense of urgency to fulfill obligations to family, to profession, to self, and to a national community that in its longing, confusion, inequities, violence, and waywardness seems so much like the community of the First Century. If so, I echo his concern:

“. . . it seems to me that all traditions say that humans remain unenlightened when they live in a trance and forget three realities: their animal nature, and tree-rootedness in what is given, their limited understanding and scale, and the inter-relationships affected by their self-dazzling control of everything.”                                                                                                          (https://frameshifts.com/2014/05/)

The compressed energy of Paul’s anticipation for the Parousia, like the liquid oxygen of a rocket booster, was needed to lift the Way into flight, to transform it into the Church, and to prevent it from petering out like so many other First Century sects. Once aloft, however, the next stages of the journey had different requirements. The eager cry, “Maranatha! Come, Lord Jesus!” was tempered by cautions, usually ascribed to Jesus:

“The kingdom of God is not coming with signs to be observed; nor will they say, ‘Lo, here it is!’ or ‘There! For behold, the kingdom of God is in the midst of you.” (Lk 17:20).

The messianic message was spiritualized using Greek language about the soul and Word and Greek and oriental concepts about gaining secret knowledge of God and ascending through sacred rites into communion with God. Challenges to the concept of the Elect and changes in hermeneutics and textual criticism were evidence that the experiences of the believers of the Way were already fading from memory. The journey of the Church had begun.

Parini guides us through the towns of the First Century Mediterranean world, filling in the details about local cultures and practices, and letting us eavesdrop on conversations that can only be imagined. As conversations and memories faded, the world did end. A new world of understanding had begun. And, as anticipated, when the world as they knew it came to an end, some were prepared for the new journey. May we learn from their example.

SONS LOST, FAMILIES GAINED

 

Reviewing and reflecting on three books

The Human Comedy by William Saroyan (1941)

Celebrate What Is   by Doris Standridge and Carol Tomlinson (1981)

An American Family by Khizr Khan (2019)

 

Some of the figures crowded around a car in the faded black and white photograph were familiar, but I didn’t know the boy sitting on the running board.

“That was Louis,” my father said. “Granddaddy Mack took him in when his parents died in 1918.”

Both parents had died of influenza shortly after Louis was born and he was brought up by my grandmother’s parents. There were several family stories like this. My mother was rescued by her aunt from being sent to an orphanage when her mother became sick with tuberculosis. During the Depression, my grandfather took in a whole family. Later, the eldest son of that family, who remained a family friend, and became a successful businessman, always spoke of the wonderful taste of my grandmother’s rice dishes. Taking people in, rescuing them, saving them—this is a memorable family tradition.

Throwaway people, human refuse, and other no-counts populate the daily news. By bribes, tricks, and subterfuge they slip into our society to graze on our welfare and take away our jobs. This explanation comes from a different tradition.

At the same time that my family was rescuing people, our country was turning immigrants away. The rationale and sentiment of those times are repeated today.  The “wretched refuse” of Emma Lazarus’s poem were considered poor genetic material, illiterate, unskilled, criminal, and probably, if somewhat illogically, both communist and feeble-minded.

But the immigrant Khizr Khan was a highly trained Pakistani lawyer, devout Muslim, linguist, and meticulous worker with experience in working for a Texas oil firm in Dubai when he came to the United States.  He didn’t want to practice law in a country where “professional witnesses” were routinely hired to strengthen a case and where legal advancement depended upon paying bribes.  In a first-year course on constitutional law, he had read the American Constitution, and been astounded by the idea of creating a system of laws, not men. Privilege, graft, nepotism, and corruption were accepted legal practices in Pakistan, India, and most of the world. The American system offered a more honorable professional path. Living and working as a green-card holder, Khan saw for himself that the ideas of the Constitution were visible in Americans’ daily lives—even though they didn’t notice this fact. He sent for his wife and children, became a citizen, and sponsored the “chain migration” of his mother, siblings, and their families.

Hitler once previewed his genocidal intentions by asking, “Who remembers the slaughter of the Armenians?” Who indeed? William Saroyan was a second-generation Armenian-American who spent five years in an orphanage after the death of his father before his mother could rescue him and his brother by proving she could raise them on the salary of a cannery worker in Fresno. His first novel, The Human Comedy, incorporated his personal story into a larger story about the incredible toughness of human love and acceptance. Written at the very time that Hitler was clearing a path through Poland both for the invasion of Russia and the establishment of a network of extermination centers, The Human Comedy may strike readers as simple-minded and sentimental.

The cynical or at least critical irony we have come to expect from writers is, in fact, missing from all three of these books. As Tomlinson and Standridge describe Blair, the boy who ultimately dies from an accident, it is difficult to accept that such a cheery, even Apollonian, person could have existed. He seemed to float over the ground like a demi-god—even when he wasn’t skydiving. Similarly unbelievable is Khan’s exhilaration while sleeping on a Boston park bench for a week because he had spent everything he had in order to complete his law course at Harvard and pay for his family’s expenses in Houston. Perhaps most unbelievable, however, are Saroyan’s philosophical sentences:

Mrs. Macauley began to speak, but she did not turn to him. “You will find out,” she said. “No one can tell you. Each man finds out in his own way. If it’s sad, nobly or foolishly, the man himself will make it so. If it’s richly sad and full of beauty, it’s the man himself so, and not the things around him. And so it is, if it’s bad, or ugly, or pathetic—it is always the man himself, and each man is the world. Each man is the whole world, to make over as he will and to fill with a human race he can love, if it is love he has, or a race he must hate, if it is hate he has. The world waits to be made over by each man who inhabits it, and it is made over every morning like a bed or a household where the same people live—always the same, but always changing too.  .  .  It was pity that made you cry,” she said. “Pity, not for this person or that person who is suffering,  but for all things—for the very nature of things. Unless a man has pity he is inhuman and not yet truly a man, for out of pity comes the balm which heals.”

Did any mother ever say such things to a fourteen year-old son? One either dismisses the unbelievable passages in The Human Comedy as, at best, homilies disguised as dialogues or accepts them as good-faith expressions of Saroyan’s experience. Perhaps we can accept that in war time, any situation may lead to questions of meaning and existence, particularly for a boy who has become the breadwinner.

A family crisis like the fatal injury of a son paralyzed from a fall, as described in Celebrate What Is, or killed in battle, as in An American Family and The Human Comedy, quickly disperses the comfortable ironies, equivocations, and speculations that usually keep mortality at a distance. The stories of survivors, orphans, and immigrants show us with heart-rending clarity what sort of people we are because we are surprised by the unbelievable, simple humanity of the language:

A mother is stricken with guilt and frustration at the relief she had felt before she was told that her paralyzed son would live: “If we had been willing to let go of him, why hadn’t life been willing to let go as well?” (Celebrate What Is, p.145)

A father gives up playing through all the “what-ifs” about his son’s last moments: “My son was dead because he was trying to make sure a stranger wasn’t killed by mistake. He stayed true to the shape of his heart.” (An American Family, p.219)

Another soldier’s mother, Mrs. Macauley, foresees her son’s death: “There will always be pain in things . . . Knowing this does not mean that a man shall despair. The good man will seek to take pain out of things. The foolish man will not even notice it except in himself. And the evil man will drive pain deeper into things and spread it about wherever he goes. But each man is guiltless, for the evil man no less than the foolish man or the good man did not ask to come here and did not come alone, from nothing, but from many worlds and from multitudes. The evil do not know they are evil and are therefore innocent. The evil man must be forgiven every day. He must be loved, because something of each of us is in the most evil man in the world and something of him is in each of us. He is ours and we are his. None of us is separate from any other.” (The Human Comedy, p.189)

These remarkably unbelievable statements and questions are honest messages from the heart of human suffering. Only honesty can live with such suffering. The language is simple, heart-felt, and neither ironical nor vindictive. The stripped heart cannot be fed with hate or fear. As Ileana Cabra Joglar sings,

Let hatred be starved

                        By not feeding it.

                        Together, let us destroy

                        Walls, barriers, and wires.

    (From “Odio” or “Hate” by Ismael Cancel and Ileana Cabra)

“Yielding in protest” to the facts of death and suffering, Tomlinson describes a family who “learned to look for reason in unreasonable death (and) learned to look beyond death for a quality of life which knows no limits. Because of Blair.” (Celebrate What Is,  p.279). Tomlinson became part of Blair’s family, and was friend, colleague at the University of Virginia, and daughter to his mother for the rest of her long life. Khizr Kahn’s family grew by thousands as he and Ghazala established scholarships for other ROTC graduates from the University of Virginia and as they appeared at the Democratic Convention in 2016 to speak in honor of Capt. Humayun Khan and in praise of the Constitution.

The Macauley family lost and gained a son when the orphan Tobey, their son’s Army buddy, returned to tell them how Marcus died and how he had promised Tobey that his family would take him in after the war.

Mr. Spangler, a telegraph operator who sent so many messages from the War Department to so many homes, watched the dancers on July the Fourth. “The music was swing, jive, and boogie-woogie, and the dancing was terrific. ‘Americans!’ Spangler said. ‘Look at them. Americans—Greeks, Serbs, Poles, Russians, Armenians, Germans, Spaniards, Portuguese, Italians, Abyssinians, Jews, French, English, Scotch, Irish—look at them! Listen to them!’” All of them were brought together by African American music, another language of the heart. Then Spangler spoke about the dead—not the brave dead, or the sacrificed dead, or the patriots. That is not the simple language of the heart.

I’m not going to try to comfort you,” Spangler said. “I know I couldn’t. But try to remember that a good man can never die. You will see him many times. You will see him in the streets. You will see him in the houses, in all the places of the town. In the vineyards and orchards, in the rivers and clouds, in all the things here that make this a world for us to live in. You will feel him in all things that are here out of love, and for love—all the things that are abundant, all the things that grow. The person of a man may leave—or be taken away—but the best part of a good man stays. It stays forever. Love is immortal and makes all things immortal. But hate dies every minute.” (p.280)

Love is immortal but hate dies every minute.

 

We’re full.

We’re full.

We’re full. No others need apply.

We’ve limited the sky.

The songs are sung, the stories told.

The faithful sheep are in the fold.

All measures indicate

that we can calibrate our hate.

 

We’re full. We’ve eaten up the past—

the so-called millions gassed,

the border scans for feeble minds;

middle passage, trail that winds

in tears both west and north

are left behind as we go forth.

 

Yes, going forward from this day,

none hesitates to say

we’re full and need no longer wait,

or question how we legislate—

for whom, how much, or why.

 

For, you see, we’ve limited the sky,

detained invention, walled up hope,

banned intellect and scope:

So, do not question how or why

we’re full.

Believe.

Comply.

 

rlr & ltrs to congress

 

Promotion of my work is never easy for me.  Recently, it has simply stopped.

As planned, the release of Coming Around, in 2018 roughly coincided with production at several venues by Capitol Opera Richmond of the opera, Monte & Pinky and Amber (in a combined work called Strike the Rock!) But the releases of book and operas were not close enough so that I could easily use the operas to promote and sell the book, as I had hoped to do.

Since then, I have presented at a few book fairs and private readings, with disappointing results and other set-backs leading me to forget about blogs and promotion. I returned to my usual practice of handing my work to friends and those who show interest. Then came another disappointing set-back in trying to arrange a performance of music and poetry in a nearby town.

Sometimes you need a bump to get off dead center.  For me, it was the phrase “We’re full.” This stimulated me to write the poem above and the promotional blog and challenge to you   below.

COMINGS & GOINGS

Several local literary communities have recently welcomed me into their pages:

Jaybirds in the morning,” was published in the PSV Newsletter of the Poetry Society of Virginia See https://www.poetrysocietyofvirginia.org/content/about-poetry-society-virginia for information about PSV.  Newsletters are not shown on the site. The PSV Festival at William and Mary is on May 17-18.  I’ll bring some of my books.

“Emma Strawbridge” will be published in the next issue of Artemis, Maurice Ferguson, Literary Editor and Jeri Rogers, Founder & Editor.  See http://www.artemisjournal.org/  Here’s a promo for the annual event, which I will also attend:

Artemis Journal 2019, with the theme “Women hold up half the sky,” will launch its twenty-sixth journal next year on June 7, 2019, at the Roanoke Taubman Museum of Art. The journal will feature a stunning photograph from Sally Mann’s recent show “Sally Mann—A Thousand Crossings” at the National Gallery of Art, and poems by some of Virginia’s finest poets, including US Poet Laureate, Natasha Trethewey, Virginia Poet Laureate, Ron Smith, and acclaimed poet Nikki Giovanni.

“Three Stops on Route 15,” appeared in the Piedmont Journal of Poetry and Fiction (2017, 2018) http://www.piedmontjpf.com/three-stops-on-route-15-i

The poems “A Truth,” and “Lucretius,” and the story, “The Centerpiece,” appeared in The Best of Virginia Writers Club Centennial Anthology, 1918-2018, Betsy Ashton, Editor (2017) See https://www.virginiawritersclub.org/

“To a Self-Made Man,” appeared in Lingering in the Margins: A River City Poets Anthology, 2019, Joanna Lee, Judy Melchiorre, and Marsha Owens, Editors. This is a project of the River City Poets in Richmond.  See https://rivercitypoets.com/

Also coming up: The FOURTH ANNUAL FREDERICKSBURG INDEPENDENT BOOK FESTIVAL, SEPTEMBER 21, 2019.  I’ll be selling my books.  https://www.facebook.com/FredBookFest/

and  THE SECOND ANNUAL BOOKLOVERS’  FESTIVAL IN RICHMOND ON OCTOBER 19, 2019.  SEE: https://www.facebook.com/rvabooklovers/      I’LL BE THERE! 

A CHALLENGE FOR READERS

The original purpose of this website was to make my work publicly available. Having sixty years of poems and writing sitting in journals on the bookshelf is a discouraging situation.

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Posting blogs was intended to show new work and to call attention to previous work. At the beginning, that seemed like a promising kind of promotion for someone who would rather be writing than advertising.

As it turned out, however, the possibility of even being found on the internet turned out to be miniscule and the possibility that anyone would return to a site to discover other works was even smaller. What to do?

  1. Encourage readers who read the website to share it. Try to find or create a community of interest.
  2. Give readers a link to a list of all blogs, poems, music, videos and other publicly available writings.
  3. Continue to post coming events on the site.
  4. Encourage others to give a reading, workshop, performance, or to write a review, essay, story, or poem for the site.

So here’s a challenge for you who read this site:

IF YOU WOULD LIKE TO SHARE OR PROMOTE YOUR WORK ON THIS SITE, PLEASE CONTACT ME AT rlrose45@hotmail.com.  Include a few remarks about yourself with your submission.

IF YOU WOULD LIKE TO RESPOND TO SOMETHING ON THIS SITE: Follow the same instructions as above.

IF NEITHER CHALLENGE STIRS YOU, WHAT ABOUT THIS PROMPT?  “WE’RE FULL.”

And, of course, you can always leave a reply here:

 

 

The Blob vs. The Blog

I realize that a blog is meant to establish my brand. This realization comes late.  My original intention was simply to share my words and music. Turns out that you must have a presence on Instagram, Facebook, Twitter, and frequently say and show more of yourself than a prey animal would ever recommend. Brandishing my brand also means showing and reading my books:

TWO BOOKS

. . . at book festivals in Petersburg

RLR at Petersburg stall

. . . Richmond’s Book Lovers Festival

Booklovers Stall.jpg

. . . Charlottesville’s Blue Ridge Festival

My stall at Blue Ridge Festival.jpg

and then back in Richmond for the Virginia Writers Club Symposium and James River Writers Conference.  By the way, tonight (11/7/2018) I’ll be at an engagement at Stir Crazy Cafe on MacArthur Ave. in Richmond at 7 p.m.  It may later be broadcast on WRIR as part of the Prose&Cons program. Here’s an interview from that program that aired earlier in the year:  

Okay. Enough brand-ishing.

Election results are encouraging, but it remains to be seen whether folks can behave with civility and acknowledge that the public good is served through compassionate compromises.

Little gets said about actually attending to the magnitude and urgency of the socio-environmental issues of  climate, population, and industrialization.

It reminds me that the Blob is still frozen in the Arctic.

You know about the Blob, right?

The film documentary was made in 1958. We may not be concerned about climate science, but given that enough of Greenland and the Arctic have disappeared to encourage Russia to claim territory, shouldn’t we also be concerned about the return of the Blob?

This is supposed to be a rant, but like Emily’s complaints, it comes out slant–

Melting, and Other Slips of State

“How do you get people to protect themselves against something they don’t believe in?” and “I don’t think it can be killed, but at least we’ve got it stopped—as long as the Arctic stays cold.” —from The Blob, a movie in 1958

 

How do you get people to protect themselves

against something they don’t believe in?

A light’s required to see the Thing

against background light as the Thing is—

white on white, Malevich’s hand in it,

or Malewicz on Malevich, with Stalin’s hand.

 

White is the art. Arctic is its abstract grip

on cold ideals believed in

so much northern light conceals—

wedged, bowsprit jammed

down, a dory tipped and emptied—the scene

in grating ice, the ship of state.

 

I like to bear down on existence and coexistence by setting thoughts into the compressed and spiny, sea-urchin-like multiple prickly references of a poem whose comprehension requires the reader to spend some time with it–maybe even diagramming a sentence or two. The rant’s there, but it isn’t breathless or venomous.

Instead, I put together the elements of the script-line from The Blob, the  art & politics of Malewicz, the effects of climate change, the analogy of how insistent self-delusion is like trying to see white on white or like being distracted by a personal light-show like the aurora borealis, and the comparison of the sinking dory to our denied slow-motion environmental disaster.

I know, it’s all a bit much.

But this is the kind of problem poets set themselves.

Not brandishing–or ranting.

Not a page-turner but a page-pauser.

A poem combines diverse elements to make a work that conveys an experience both in what it says and in how it says it.  In its completed gesture, it’s like a good meal or the musical experience from a pick-up group that brings everyone into the circle–like Barry Bless’s group at Crossroads Cafe on Friday mornings.

Or like a country that finds its strength in the trust and human treasures of all its people.

Crossroads w Billy dancing

 

 

 

Truths, Ta-Nehisi Coates, Updates, & Links for the Frameshifts Project

COMING EVENTS FOR THE FRAMESHIFTS PROJECT:  COMING AROUND  goes on tour.

Truths, Ta-Nehisi Coates, Updates, & Links

Living with a truth is like living with a teenager. Argument does not weaken him; nor is he moved to pity. He sullenly presumes your betrayal. Singing “And who can abide the day of his coming?” Truth will never let you off.

For example, it is true that humans are interdependent with each other and with other living beings. In a letter of condolence, Albert Einstein once called the sense of separation an “optical delusion of consciousness.” And, also speaking of separation, James Baldwin observed that some people, “because they think that they are white” bring “humanity to the edge of oblivion.”

Argue that separation is inevitable or sometimes beneficial: Truth simply shakes his head. Seek a concession or grandfather clause: He offers no loopholes.

Living with Truth in the house means that you must take a drive if you want to return to your Dream. But when you go back into the house, Truth is still there.

So, when Ta-Nehisi Coates, in Between the world and Me, writes to his son that America’s achievements derive from racist brutality, lynching, and looting, he is simply telling the truth.  And when Coates takes a drive around the block he finds the “gorgeous dream” of America. “It is perfect houses with nice lawns. It is Memorial Day cookouts, block associations, and driveways. The Dream is a tree house and cub scouts  .  . . (a dream that) persists by warring with the known world.”

It is a dream of how we choose to think about ourselves. Go back into the house. Just over the threshold, Truth is waiting.

Like the Departures and Arrivals Gate at the airport, the threshold between different frames of reference is always available. Shifting frames of reference is not a comfort.  Frequently trying on different frames of reference, like choosing shoes, may be annoying, but it does offer one benefit: it offers just enough depth to put your life in relief and lead you to ask, “Now what do I do with my life?”

Just don’t be too quick to answer the question with someone else’s idea of Three Easy Steps.  The only worthwhile answer to how we are to live with the truth that we are not separate must come from the work we do on ourselves–trying to master our own materials first, in our own studios (whatever they are), one step at a time.

In this way, Ta-Nehisi Coates answers his own version of the question: “How do I live free in this black body?”  Always a curious observer, and working on himself, he finds that the “greatest reward of this constant interrogation, of confrontation with the brutality of my country, is that it has freed me from ghosts and girded me against the sheer terror of disembodiment.”

The Frameshifts project is dedicated to shifting your frame of reference through stories, poems, and music. When we shift frames, we think differently about ourselves and others. We may even question unchanging ideas about how things are and should be and reconsider the unbidden systems we received at birth. Let ghosts go on their way.

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INTERVIEWS:   Listen to the interviews of authors Richard Rose and Bill Sizemore on Monday July 23, 2018 on WRIR 97.3fm at 11:00 a.m. (Afterwards, it will be available on podcast at http://proseandcons.org ). This features a short performance based on:  COMING AROUND,  released for sale on August 6, 2018. In nonfiction and poetry, both authors address their families’ past involvement with slavery and consider the present-day consequences. Sizemore’s book release will be at Chop Suey Book Store in Richmond on September 5, 2018.  Both books are published by Brandylane Publishing in Richmond.  http://brandylanepublishers.com/wp/books/

PERFORMANCES:   Also, check out the performances of some of Rose’s operas on his YouTube channel. Included are the April 2018 performances by Capitol Opera Richmond of “Monte and Pinky” at the Black History Museum and “Strike the Rock!” at the Church of the Holy Comforter.  “Monte & Pinky” is the musical companion of Coming AroundThe character “Pinky” first appeared in the first volume of Frameshifts, a book of poems and stories published in two volumes in 2011.  For the recorded performances, link to Rose’s YouTube channel:

https://www.youtube.com/channel/UCzqDZ6vviAQek_TArXuGKjQ

For  FRAMESHIFTS, https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=Frameshifts+Rose&x=0&y=0

THE BOOK TOUR: Two more stops on Richard Rose’s book tour for Coming Around are:

The Local Authors Expo: Over 30 authors will be present on Saturday, August 4, 2018 at Petersburg Main Library on 201 W. Washington from 10:00 a.m. to 1:00 p.m. to discuss, sign and sell their books.

The BookPeople Re-Opening Event: Richard Rose will present a performance based on Coming Around for the re-opening of a remodeled BookPeople in Richmond on Saturday, September 1, 2018, from 1:00 to 2:30.  Book People (536 Granite Ave # A, Richmond, VA 23226).

Recently, the online Piedmont Journal has published an issue in hard copy, which includes Rose’s series of poems entitled “Stops along Route 15.” Link:

https://www.amazon.com/Tracks-Piedmont-Journal-Poetry-Fiction/dp/0692157387/ref=sr_1_2?s=books&ie=UTF8&qid=1532084620&sr=1-2&keywords=Brooks+tracks

FOR UPDATES ON THE BOOK TOUR & PERFORMANCES, SEE:

https://frameshifts.com/coming-events-book-tour-for-coming-around/

To see more work by Richard Rose, see https://frameshifts.com/ or to subscribe to the blog and website, at http://eepurl.com/blVuIH.

Launch from the Lawn: A new book, a book tour, and another Fourth of July

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ComAro Cover Final

Launch from the Lawn: A new book, a book tour, and another Fourth of July

             Saturday morning, I cut the grass. Time to think. Lawns are a microcosm of culture: managed, monetized, mechanized, monocultural media of unminded conspicuous consumption. Thorstein Veblen would say even more.

As one whose feelings come out in words and music, I can only report on how culture makes me feel.  Processing plants of all kinds—except for real plants—work on specialization, through-put, sampling and correction, unit-design and replication, efficiencies of scale, automation, and just-in-time expediting, inventory, and delivery. What appeals to us in making battleships or bottlecaps in this way is the possibility of arranging our personal and social lives in the same way.  Such engineered practices have a long history but the current culture of immediate communication seems to offer the greatest possibility that humans have ever had to create such a society and standard of personal life. Nazism could only go so far; now we have the internet.

Speaking of plants, and back to grass-cutting, I suppose that one could argue that cellular organization is like a factory. That’s how we teach it: a cytochrome system is like an assembly line, for example.  But don’t we use such analogies to simplify events so interdependent and intimately responsive that we have no conceivable equivalents? Were humans as adeptly responsive to their surroundings—and their surroundings as exquisitely suited to them—as organelles in a cytoplasmic matrix, our grasp of our experience would be within a different frame of reference. Certainly, we would not need to refer to factories.  We’re not there yet.

As one who is suited to making words and music, I simply watch the robins descend on the lawn to do their work and return to my studio to do my own work. Maybe in comparison to someone with ten talents, like Geoffrey Hill (See Paul Batchelor’s review in the current Poetry.), my single talent is minimal. I prefer to think that each of us is singular and our talents are not units but powers of ten.

So, with the lawn finally cut for the Fourth, I’m finally ready to put up information about the new book, the book tour, and—

Oh, I didn’t mention Ted Steinberg’s book, American Green, about our obsession with lawns. This source and others claim that 2-4-D, glyphosate, chlorpyrifos, and other residues affect us and our pets in various ways. Other sources make different claims. I discussed most of this in an earlier blog (See https://frameshifts.com/2016/03/ ),  but am buoyed by encouraging words from Pope Francis in A Man of His Word and Fred Rogers in Won’t you be my neighbor?  Fred said that his work and ours is Tikkun olam, a Hebrew phrase meaning “repair of the world.” ( BTW, The modern understanding of this phrase is more expansive than the original meaning.)

More generally, the Lawn As Microcosm of Culture is an example of a deep confrontation that has little to do with blue and red politics. Is life concerned with perfecting the customization of the world to human beings or with humans working on themselves to become more adept at adaptation and accommodation to the world and to others? Are family meals, for example, about “what would you like, honey?” or are they about learning to share the same food—which is to say, to share a common life? Is civilization better characterized by enthusiasts proposing the Anthropocene, the Free Market, or the Half Earth? Questions not for philosophers but parents.

Just as parenthood may be defined as the time to discover one’s principles and to learn to practice them, so adulthood may be defined as the time to live into one’s human responsibility and learn to practice life. Saying “to practice life” is a way of hinting that one works on oneself to approach life intentionally rather than to assume that life only happens to you. Part of that practice is finding out what you’re suited for and working on it.

Even if it’s the power of one talent, you are acting responsibly.

Even if it’s as corny as my new video for July 4. (See https://youtu.be/aS5AsjLSlVc )

Even if it’s writing and promoting a book of poems, like Coming Around, and starting a book tour with a podcast interview by Ben Krumwiede and Dominique James of WRIR, airing at 11 a.m. on July 23, 2018, which will thereafter be available online at proseandcons.org.

Even if it’s like my coming presentations at BookPeople   (See: https://www.facebook.com/Book-People-Richmond-127783920585870/ )  and other places, as advertised on this site.  (See Coming Events at https://wordpress.com/page/frameshifts.com/793 )

The practice of life:  it’s all about rehearsals. It’s about working in your own studio to master your own materials first, so that your own experience may speak. As my blog’s side-bar says, “you are not obliged to be admired… just don’t stand pat.” We may not all have the high exponential power of Fred Rogers or Pope Francis, but each of us is a singularity. As Fred repeated daily, “there is no one else like you.”

Meanwhile, if you’re planning a July 4th lunch on the lawn, please use a blanket.

 

 

MONTE & PINKY at BHMVA . . . and COMING AROUND at Tottering Tea Cup

Some Links to what’s coming up:

On Saturday, April 7, 2018, the opera Monte & Pinky, featuring Erin Wind as Monte and Del Sykes as Pinky,  will be performed by Richmond Concert Opera (http://www.capitoloperarichmond.com/)  at the Black History Museum in Richmond (http://blackhistorymuseum.org/) at 2:00 p.m.

It will be followed by dramatic readings featuring Del Sykes, Diana Carver, and Richard Rose on the lives of domestic workers during the Great Migration.

Besides the reading, another companion to Monte & Pinky is the publication of Coming Around, a poetry collection by Richard Rose.  Although the general release will be in August, some advanced copies will be available for some upcoming events.  Rose will speak during the RVA Literary Crawl (2018_RVALitCrawl ) at the Tottering Teacup (https://www.thetotteringteacup.com/)  with other poets on April 21 at 5:00 pm:  https://www.facebook.com/events/210108353078924/

On April 22, both Monte & Pinky and Amber  will be produced as STRIKE THE ROCK! in a concert reading at the Church of the Holy Comforter (http://hoco.org) at 2:00 p.m.

An extended reading from Coming Around is planned for late April or early May.  Details TBD.

STRIKE THE ROCK! opens at the Gellman Room, Richmond Main Library

HERE’S THE COMPANY OF CAPITOL OPERA RICHMOND SINGING A CHORUS FROM “STRIKE THE ROCK!”  AT THE HIGHLIGHTS CONCERT ON MARCH 31, 2018 IN THE GELLMAN ROOM OF THE RICHMOND MAIN LIBRARY ON FRANKLIN STREET. THIS BRIEF CONCERT WAS AN INVITATION TO COME TO SOME OF THE OTHER VENUES THIS MONTH.  SEE THE LINK TO “COMING PERFORMANCES” IN THE BANNER ON THIS WEBSITE.