The Book I Read: Rock Star Fiction, Erasure, and Mother Love

(Books discussed in this blog: Wolf in White Van, John Darneille; Her Read, Jennifer Sperry Steinorth, and Paddock, Mary Lou Buschi)

In April of 2019 I thought I would begin a series of book review blog entries titled after one of my favorite early Talking Heads songs, “The Book I Read.” So I did that. The trouble is: that first entry was the only entry! You know what they say: the best laid plans something something blah blah blah. Today, two years later and some change, I still think it’s a good idea. I am a person that is perpetually in a state of dissatisfaction about how much I read; every year of my life since leaving a formal education program where I am pretty much forced into the endeavor, I vow to read more, and specifically, to read more for pleasure. “The Book I Read” series seemed to be a tidy way to hold myself accountable, both for the reading and for the other thing I’d like to be doing more often–writing. And, too, I think the review, while I know nothing about how to do one properly, keeps me engaged in an activity I have always found, as an English teacher, to be a pedagogically sound practice: Okay, you’ve read a thing. Write about that experience! And as a student, I always found that my writing about my reading helped me to internalize the experience and to remember more of what I read. Perhaps this practice is why I have a much better book memory than a film memory. All I can tell you about a film I saw two years ago, or even two months ago, is whether or not I liked it. Don’t ask me to tell you what it was about–except to say something like, you know, it took place in outer space, or in the future, or it was about a boy and a dog and some vampires.

Because I am a musician that writes, or a writer who makes music, I have a soft spot, or an affinity, with others like me. Some famous rock musicians are very good writers. My first experience reading a rock star who could really write was Bob Geldof’s autobiography of the late 80’s. I’ve read David Byrne’s stuff. Mark Oliver Everett, The Eels guy. I’ve got Ben Folds on the shelf waiting. With Wolf in White Van, I have my first experience reading a rock musician fiction writer. John Darnielle of The Mountain Goats, a band I have been smitten with over the last two or three years, is the author of this gem, and this was my first summer reading project.

Here’s a quick gloss of the premise: a young man, terribly disfigured by an accidental gun shot to the face, makes his way in the world as a role-play game designer, the protocols of which are extremely lo-fi. For a subscription fee, his customers play his RPG through written correspondence–that’s right, letters. He sends them a scenario, they send him a kind of narrative account of the choices they make, and in return, he sends them options for their next “move.” There are a few key dramatic arcs in this novel–or, a few key questions that provide readers with the impetus to keep on trucking. One: how did he fuck up his face? Two: is he responsible for the deaths of two of his players–killed no less in the process of “literally” acting out the scenarios in Sean’s RPG? How does one so disfigured navigate the world? Why doesn’t he seek plastic reconstructive surgery? What’s up with his parents? Is a relationship between Sean and his childhood friend Kimmy possible post-accident?

I liked reading this novel. Darnielle can really craft a sentence, and the novel is evocative, poetic, sometimes funny, and philosophically engaging, cerebral. It can also be frustrating. The first big question, how’d he fuck up his face, is ultimately answered, but we are made to wait until the very end to find out–and the answer is not altogether clear or satisfying. The other seemingly big question about the deaths of his customers is answered rather economically before we’re really half way through the novel–it turns out for the reader to be a kind of dashed expectation–at least it felt that way for me, as I expected it to be a key plot feature. Perhaps neither of these questions are the important ones, and it seems that Wolf in White Van may not be a novel driven by plot–but rather, by voice, by character; and the thing that moves us through as we bip back and forth in time with our narrator should really be the psychology of this guy, unraveling and understanding his nihilism despite his privileges and gifts. Certainly, the key might be in the unpacking of this potential metaphor of the Role-Play Game. People spend a whole heck of a lot of time pretending to be in a world that doesn’t exist, in the same way that people who are not gamers at all spend a considerable amount of their time on the planet skirting reality.

This next thing, Jennifer Sperry Steinorth’s Her Read, is unlike anything I have ever seen. It is manifestly unique. The book, about 260 pages long, is a single poem–a poem in a form we call an erasure. We have an erasure, essentially, when a poet has taken an existing non-poetry text and created something new and unique through the process of blocking out significant chunks of the original. I have come to know it as a common teaching technique in writing classes where the goal is to have students thinking about language and the various choices poets make–while simultaneously easing the anxiety around the blank page–everything is there for you already; you just have to find it. It’s like sculpting–you remove stuff in order to discover the shape or the image or the meaning inside. Super fun. I’ve only encountered erasure poems by serious poets on a few occasions, most notably, Tracy K. Smith’s erasure poem from the Declaration of Independence, a poem that totally transforms and reframes our understanding of American history.

But Steinorth’s poem is not simply an erasure–it is, as the cover announces, a “graphic poem.” It is a full color printing replete with drawings, photos, diagrams, and replications of the original source–a book originally published in 1931 called The Meaning of Art by Herbert Read–so that the reader can visually see Steinorth’s white out erasures, her doodling, her coloring, her stitching, her cutting and pasting, her manipulation of classic paintings–and the ghost of the original text, sometimes attempting to peak its way out from under the white-out, sometimes appearing vividly around the new poem, crossed out against Steinorth’s circled choices or otherwise as a kind of backdrop or wall paper out of which the new text or an art image leaps out. Without saying anything about the poem’s subject matter or themes, I must begin by just saying what a blast this piece is to read. It is tremendous fun. It gives new meaning to what folks sometimes say about any literary work–that the reader must learn HOW to read it. On almost every page, we are faced with a new kind of puzzle, sometimes a straightforward and easy adjustment, other times diabolically difficult. And, decidedly, it is just a beautiful thing, an art object as well as a literary artifact.

But what’s this poem about? And is it a good poem? I am a poetry lover, not a poetry scholar. I don’t think of myself as much of a critic–only that I know when I’m reading a poem if I’m enjoying myself or not, if I’ve understood the poem or not, or if I’m able to appreciate the various moves the poet is making. I’ve already confessed that I enjoyed myself thoroughly reading Her Read. But it is what I would call a difficult poem–in that it’s meaning is allusive–or rather, that my understanding while I read was tentative, slippery. I take full responsibility for that. I can say, though, that Eleanor Wilner’s introduction is astounding and astoundingly helpful, and the author’s preface, “Her Apologia,” is also edifying. Perhaps most helpful is the revelation that the source text, The Meaning of Art by Herbert Read, makes mention of exactly zero women artists–and in a subsequent edition from the fifties, only ONE. So–my biggest take away from this beautiful book is that the poem is a kind of reclamation of the history of art by and for women writers and painters and art enthusiasts. This is after all, her read, her reading, Steinorth’s illumination of what was missing in Herbert Read’s original text–and yet, present all the same! I just blew my own mind right there. I doubt this is accidental: the whole time I was reading I kept thinking of Virginia Woolf’s A Room of One’s Own. I bet Steinorth would consider that pretty good company.

Finally, I arrive at Mary Lou Buschi’s Paddock, a volume of poetry so sparse and spacious, even at 64 pages, that it begs to be read more than once. So I did that. Outside of preparing for a writer’s workshop on a manuscript, I don’t think I’ve ever read a complete volume of poetry cover to cover more than once within the space of a couple of days. I felt it necessary perhaps to revel in its weirdness. That’s true. Or maybe I thought I’d understand it much better the second time around. That checks out, but still, I must confess, my understanding feels limited, superficial. Poetry like this makes one especially thankful for blurbs on the back covers, which, in the poetry world, are often little mini-essays in and of themselves. In the effort towards stepping away from Paddock with anything like an “understanding,” Patrick Donnelly’s blurb on the back cover was immeasurably helpful. He doesn’t have the answers either–but his speculating about what could be was a tremendous lifeline. Like Her Read, I found this volume to be a difficult but enormously rewarding reading experience. My own poetry, and (surprise surprise) the poetry I like best, is narrative in nature–where a story is being told or an experience is being described that is rooted in a comprehensible world–even if that world is exceedingly weird. I also enjoy lyric poetry that describes an emotional response or teases out a philosophical territory–and yet still is grounded somehow in a familiar world. The most rewarding reading experiences where neither of the above approaches, narrative or lyric, seem to be relevant or important, is in my deep reading over the years of Samuel Beckett. His disembodied voices, his gallows humor, his vaudevillian approach to the deepest existentialist questions, has been some of the most satisfying reading of my life. Paddock reminds me of Beckett more than anything else, and in particular, his play Waiting for Godot.

In Paddock we have three primary voices, girl 1 and girl 2, and a chorus. The chorus does what choruses do: sets the scene, provides commentary, maybe helps interpret the proceedings, lends a kind of mythic aura to the whole. The girls are our main characters–but in actual text real estate, their lines and their conversations are clipped, truncated, brief, and, like the conversations between Vladimir and Estragon from Godot, strangely surreal, comical, absurd. And like their Beckett counterpoints, they are on a mission it seems, not one of waiting, but one of looking, searching–and of trying at one and the same time to leave and to arrive. What are they looking for? Who are they leaving or hoping to join? Mother. And this, thankfully, is given us right out of the gate by the chorus: “Once, as there are many,/time stretches infinitely,/2 girls set forth,/to find a mother,/who is she,/who is I,/who is Dear.” Now the mysteries of this collection, similarly to the mysteries of Godot, are questions the reader may have that the text of the drama does not answer explicitly. Where are these two girls? In what state? Are they dead? Are they about to be born? Clearly, (I just said “clearly”) they are in some kind of liminal space. How are the girls related, or are they? What trauma has their “mother” experienced and by whose hands? Do they have the same mother or different ones? Is “mother” literal or metaphorical, symbolic? These are huge unanswerable questions–but again, like in Godot, the pleasure and the meaning is in NOT getting the answers you seek, but instead, more questions. In the end. . . No, I’m not going to give away the ending!

Paddock is not just a collection of poems–it is a singular and difficult drama. The more I think about it, the more likely I am to give it a third reading. It is beautiful and weird, nightmarish and strange, puzzling and profound.

And that, ladies and gentlemen, is a wrap on my second attempt in two years at a blog about books I am reading in the series I have called “The Book I Read.”

3 Comments

Filed under Literature, Reviews, The Book I Read, Writing and Reading

3 responses to “The Book I Read: Rock Star Fiction, Erasure, and Mother Love

  1. Alison Moore

    Hey, Michael, Hope to see you at Wally camp! Can you give me some tips about Zoom settings for live music? Phil and I will be playing a couple of songs at the auction interlude. We plan to set up a PA… Alison

    http://www.alisonmoorebooks.com

    >

    • Hey Allison! I’m sorry to say that I am a Zoom novice. The platform that I used this year for teaching was Google Meets–they’re very similar, though. And I’ve never done live music in either platform. I am guessing that a PA system would complicate things overmuch. If we’re talking about acoustic instruments and voice–I would just have a decent USB microphone hooked up to your computer and let that capture the performance.

  2. elinorcramer@verizon.net

    So glad to read your reads of the two poets! Keep going.

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