The Common joins the Emily Dickinson Museum for a garden party to celebrate “writers, their homes, and their legacies.” Margot Livesey will read from her latest novel, The Flight of Gemma Hardy. There will be light refreshments, tours, an open house, and a visit from A.N. Devers, the founder of Writers’ Houses:
http://writershouses.com/
More event info here: http://bit.ly/KLzmFP
Down around Port Arthur the tumbleweed, that mobile diaspore,
flings its seeds in a race with time, dying in a pool of rain or oil.
And what they have is a lot of sky and oil tanks coddling crude
and girls in much more underwear than they wear way up North.
Mining land is deeply scarred and raw, the gravel pits alien,
like lunar landscapes or the bank where Charon plies his trade.
The young ones necking in their cars, the ugly bars, showed you
the rocking road away from that stripped coastal town.
The dogs were the first to greet us. Two came trotting into the parking lot of the Masseria. A farm manor on a mountaintop, the Masseria was built into the cliff of tufa, the sandstone of the mountains that ring the Valley of the Jato. Like one of Michelangelo’s Captives struggling to be free of marble encasement, the house—with all its many additions—seemed caught in the act of struggling to free itself of the mountain.
By BRETT FOSTER
I recollect at last those first few weeks
on Beacon Street: broke newlyweds, we hid
our finite riches in a little room,
a basement studio whose cost seemed gruesome.
Fresh from Corpus Christi, you learned to speak
a northern language, talk of “quarters” wide-
mouthed like a Chowdahead’s wicked idiom.
On the stern of the Sharp, Mendee and I process fish diets. She slings a camouflage-green burbot over her thigh and slices its belly from tail to gills so the intestines spill out. Finding the stomach, she chops it off and splits it open, then hands it to me. It is rubbery and limp, like a popped balloon. I hold it over a petri dish and squirt water into the pink ridges so that the burbot’s last meal pours into the dish. This one had a few snails. The last one had three plump silver grayling stretching it taut, which we gutted in turn to see what they had eaten. This is how ecologists reconstruct a food web: unlocking who’s inside whom, like opening a Russian nesting doll.
By LYNNE WEISS
1) Five Names: Before it was destroyed by Cortez, the Aztec city that stood where Mexico City is today was called 1) Tenochtitlan. In the late 18th century the city was known as the 2) City of Palaces because of the grand mansions built by wealthy nobles and merchants. Today it is 3) Ciudad de Mexico or, as the capital of the nation, the 4) Distrito Federal, or 5) Mexico, D.F. (like Washington, DC).
Book by ANDRE DUBUS III
Reviewed by
Townie is a book about fighting and writing. But it’s mostly about fighting: wanting to fight, learning to fight, training to fight, getting in fights. In the end, it’s about learning not to fight. (I’m not giving much away: a whole lot happens in the middle, and the final scene in which Dubus peels himself away from the urge to fight is lovely and stirring.)
Andre Dubus III spends his boyhood getting beat up a lot. Still scrawny at fourteen, he tells himself:
“I don’t care if you get your face beat in, I don’t care if you get kicked in the head or stabbed or even shot, I will never allow you not to fight back ever again. You hear me?”
When the compartment door was drawn back, and I saw my room for the nearly twelve-hour trip home, I had to conceal my disappointment. The room was already occupied. Well, no problem. I thought to myself. Coming up to Johannesburg on the train I had been faced with the same problem. Then I had simply asked the conductor if I could change and he had found me a cabin where I could be on my own: to think my own thoughts, laugh out loud at my pettiness and, most importantly, write without distraction – all night if I so chose. Of course, things had been considerably easier on that occasion: my proposed companion had been an elderly white man who smoked like a steam engine and had the watery eyes and puffy nose of a heavy drinker. This time, however, I would have to make excuses for not wanting to share a cabin with a quiet middle-aged black man.
The New York-New Haven train (three or four cars, caboose, and an engine) leaves my hometown for Grand Central Station by day, by night, by day again, clack, clack, clacking through my backyard. Behind the storage tanks of B.J. Dolan’s Home Fuel Oil Company, the train pushes across the swamp meadows. Not so fast that I can’t see the passengers, though Margaret and Muriel and I hide in the tall grass because our mothers have forbidden, very forbidden, playing on the tracks. But fast enough so that the sticky milkweed and Queen Anne’s Lace bend backward, shocked, in the train’s wind wake. And then it’s safe to come out and look for the pennies we’ve laid on the tracks, thinned now, their presidential faces and patriotic mottos erased. These are the dog days of August, and we are the Lost Girls in ponytails, and though we have made a pact—together forever—I keep one eye always on the caboose as I listen for the fire siren that calls us to our five-o’clock suppers in our mothers’ kitchens.
Book by HÉCTOR TOBAR
Reviewed by
Where does Los Angeles begin and end? A response to that question stammers when faced with the infamous concrete sprawl of the city without a center. The hazy boundaries of the metropolis would seem to resist any effort at a comprehensive and coherent portrayal in novel form.
The wide maze of highways, the omnipresent gloss of billboards, the horizontal swarm of neighborhoods and business parks and shopping centers that resemble each other, and the army of cameras transforming the city into a vast stage set have led writers to describe LA as a projection of surfaces that blurs reality and fantasy. The long-established connection of LA to the film and television industry makes it easy for visitors to view the hybrid architectures of the city as mere props and the multicultural residents as typecast actors and actresses always “in character.” In Nathanael West’s seminal LA novel, The Day of the Locust, the protagonist Tod Hackett sees “people of a different type” standing apart from a passing crowd costumed in the latest fashions. About these marginalized onlookers, Hackett understands “very little…except that they had come to California to die.” By “California,” Hackett means southern California, Hollywood land—the living spectacle he aspires to depict in a painting called “The Burning of Los Angeles.” The moribund folks on the sidelines of LA’s trendy masquerade have recently migrated from the midwestern and eastern U.S., lured by the elegance and leisure depicted in movies and advertisements. The American migrants in West’s tale have “eyes filled with hatred,” an expression likely owing to the disenchanting realization, upon arrival in LA, that most occupants of Hollywood land do not live forever in the glimmering form of an image.
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