Welcome back, friends, to the third installment of my attempt at a literary reaction vlog. I approached it a little bit differently this time. Less text. Almost entirely vlog. I’ve created two parts. The first part is a kind of “previously, in The Magic Mountain” type of introductory video, designed to catch you up, albeit superficially, on what’s happening in the novel, 176 pages in. The second part is a new reading accompanied by my reaction in real time. I think I like this approach, except, wouldn’t you know it, technical difficulties resulted in a reaction video without audio–so, what you have here is a second take. I know, it’s kind of cheating. It was super frustrating, because most of the time, in keeping with the “reaction video” concept, the first take is the best and the one you want to keep. Oh well. Without further ado:
Part One: Previously, in The Magic Mountain . . .
Part Two: Chapter 5, Eternal Soup and Sudden Clarity . . .
Already, I find it necessary to amend the rules of the game. The Magic Mountain, by Thomas Mann, in my edition, is nearly 700 pages long. I would have you know that I am not what you could call a fast reader. Initially, I thought that each of my reaction vlogs might be about a different piece of literature. At my rate, that would mean a new reaction vlog might go up every other month or so. And while I promised in my introductory entry that I would not be reading out loud and commenting on an entire novel, it does seem kind of ridiculous to do a reaction vlog for the first four paragraphs of a novel, and then a few days later another for the first four paragraphs of a different novel, especially if the somewhat selfish goal of this project is to get myself to read more, and to read books that have been beckoning for some time! So, here is my conclusion: I intend to finish The Magic Mountain. I can see myself doing several reaction vlogs along the way. One every 50 to 100 pages, say. That way, you, the viewer, get a sense of closure and continuity. That way, I, the blogger, can finish a damn book.
Here’s another idea that might be helpful. Rather than providing a series of cold readings and reactions throughout, before each new video, I will attempt to provide some context, in other words, address what kind of twists and turns have occurred since the last reading, try to describe what I have learned that might be helpful to you as you read, watch, and listen. Ergo:
Today I read about 60 pages into The Magic Mountain. This is what I’ve learned and observed:
Our hero, Hans Castorp, is a young man studying to be an engineer, specifically one that designs sea faring vessels. His parents died when he was very young, he was raised for a time by his grandfather until his death, and then finally was raised by an uncle. Outside of his early and somewhat traumatic experience with a number of family deaths, Hans has led a life of privilege.
Hans loves to smoke cigars. He can’t imagine a life without cigars.
Hans, as is established in the first four paragraphs of the novel, is on his way from his hometown of Hamburg to Davos-Platz in the Swiss Alps. He’s headed there for two reasons. First, a doctor advised him, that after intense schooling and examinations, the 20-something year-old should have a change of scenery, take in some new air. Secondly, while he is there, he will visit his cousin Joachim for three weeks.
Joachim Ziemssen is a young army lieutenant on an extended stay inside a sanatorium in the Alps.
What’s a sanatorium, you may well ask. I did. And I found out that during the late 19th century and into the 20th, when tuberculosis killed one out of seven people living in the United States and Europe, a “cure” was believed to be rest and relaxation in a more hospitable climate inside a sanatorium, essentially, a resort for people dying of TB. Joachim does not appear to be seriously ill. In fact, many of the characters living with Joachim do not seem seriously ill–but clearly, as Joachim reports, they are, and residents are dying all the time; in winter, when travel is difficult, their bodies are sent down the mountain on bobsleds, and a resident, he says, died just days before Hans arrived for his visit, a resident who had been living in the very apartment, sleeping in the very bed, where Hans will stay for three weeks. Joachim tells Hans that most of the deaths happen “behind the scenes” and the residents are usually kept in the dark, but on one occasion Joachim witnessed the disturbing death struggle of a young woman who was, in essence, refusing to die, hiding under her bed clothes, kicking and screaming, while the doctor kept telling her not to make such a fuss.
It seems grim, yes? And yet, while it’s not a “comic” novel, there are moments of hilarity peppered throughout. Some extremely colorful characters populate the sanatorium. A Russian married couple in the apartment next to Hans are playing some really strange erotic sex games late at night. A woman can whistle with one of her collapsed lungs. And there are these wild conversations, between Joaquim and Hans, and between the two cousins and the physicians and residents of the sanatorium, that, while philosophical in nature, sometimes border on the absurd. Conversation, it seems, is a big deal in this novel. Not so much to further the plot, maybe a little bit to develop character, but mostly, it seems to me, to push forward certain thematic threads.
Time and space, baby. Which has the most influence? How are they inextricably tied? Is time a thing? Does it really exist? Can it be measured or defined, really? Why does it sometimes go by so quickly and other times so slowly? Is dying so terrible? What does it mean to be ill, or healthy for that matter?
The narrator of The Magic Mountain is a third person omniscient that sometimes refers to himself in the first person plural, the royal WE. It’s funny, especially as he seems careful not to characterize Hans in a negative light: “As is apparent, we are attempting to include anything that can be said in Hans Castorp’s favor, and we offer our judgements without exaggeration, intending to make him no better or worse than he was.”
The novel is structured in 7 total numbered chapters, but each chapter has a number of titled sections.
The prose, again, an English translation from the original German, continues to be scintillating.
That was somewhat difficult to do economically. Perhaps it will be less necessary as we move through this tome. I sense, because the essential plot of the novel has already been laid out, that catching you up, dear reader, might not be as necessary moving forward. I could be wrong about that, but as I see it, the dramatic questions seem to be thus: How will this three week stay with Joachim at the sanatorium change our good friend Hans? How is the mountain magic? Is Joachim in serious danger from his TB? Will he survive the visit? Will the questions raised by the above thematic threads be answered? Is TB contagious? Otherwise, why would a husband and wife live there together when only one of them is sick, or a family for that matter? Inquiring minds need to know. A quick little research excursion reveals that, yes, TB is contagious. It spreads, oddly enough, in the same way the coronavirus spreads. Is Hans safe? Might he contract TB? How odd that I chose this book first out of all possible books, I, who did not know what a sanatorium was three or four days ago!
Meanwhile, here’s today’s reaction video to a section titled “One Word Too Many” from Chapter 3!
Okay, here it is. The first foray into a new series whereby I record myself reacting to a literary text I’ve never read. My first choice, Thomas Mann’s The Magic Mountain, a book that has sat atop my “should read” list for many, many moons now. Below you will find a video of my reading of and reaction to the first four paragraphs of the novel.
A tiny bit of background. Thomas Mann was a German novelist, born in 1875 (it was his birthday just four or five days ago), and he lived until 1955. He won the Nobel Prize for literature in 1929. He lived in exile from Germany during World War II and spent a significant portion of his later years living in other countries, including the United States, ultimately earning American citizenship. Here’s a lovely little description from the folks at Brittanica.com about his literary legacy:
Mann was the greatest German novelist of the 20th century, and by the end of his life his works had acquired the status of classics both within and without Germany. His subtly structured novels and shorter stories constitute a persistent and imaginative enquiry into the nature of Western bourgeois culture, in which a haunting awareness of its precariousness and threatened disintegration is balanced by an appreciation of and tender concern for its spiritual achievements. Round this central theme cluster a group of related problems that recur in different forms—the relation of thought to reality and of the artist to society, the complexity of reality and of time, the seductions of spirituality, eros, and death.
Again, I come to this novel by recommendation from a half a dozen writers that I love and respect who claim this particular work to be of pivotal importance to them. William Stafford, former poet laureate of Oregon and one of my literary heroes, wrote a poem for this novel. Father John Misty has a song by the same title. I’m hard pressed to think of stronger recommendations. So let’s give this a go, shall we?
I realize, after watching my video, which, as it should be, was the first and only take, that one of the occupational hazards of doing a literary reaction vlog might be a misreading here and there. I’m not too worried about that, but it seems appropriate to say that Hans is taking a journey by train, by boat, and then again by train in order to get to his destination. In this video, my understanding seems to be that he’s on a train the entire time, that he crosses “abysses” on a train. I think he’s on a boat over these abysses. I make another mistake in understanding that he’s on his way to Hamburg. No, he’s leaving from Hamburg, his home town, to a place called Davos-Platz. In a way, this kind of reaction vlog can be a quick study of how easy it is, even for a good reader, to quickly come to a misunderstanding, especially when speaking extemporaneously, off-the-cuff–something my students do all the time. It’s kind of embarrassing. I know how they feel.
And Oh My God. Coulda shoulda woulda, a fool’s game, I know. But I wish I would have kept going for one more paragraph. The fifth paragraph of The Magic Mountain is a doozy, and totally worth the relative slog of the first four. Not that they were a slog, but they were not, as one might say about an extremely potent novel opening, in any way scintillating. I guess, as I am discovering, one of the benefits of a literary vlog accompanied by blogger text is that a person might, if they are so inclined, write about what they failed to talk about in the video. So I’m just going to share the fifth paragraph with you here and then riff for awhile in conclusion:
Two days of travel separate this young man (and young he is, with few firm roots in life) from his everyday world, especially from what he called his duties, interests, worries and prospects–separate him far more than he had dreamed possible as he rode to the station in a hansom cab. Space, as it rolls and tumbles away between him and his native soil, proves to have powers normally ascribed only to time; from hour to hour, space brings about changes very like those time produces, yet surpassing them in certain ways. Space, like time, gives birth to forgetfulness but does so by removing an individual from all relationships and placing him in a free and pristine state–indeed, in but a moment it can turn a pedant and Phillistine into something like a vagabond. Time, they say, is water from the river Lethe, but alien air is a similar drink; and if its effects are less profound, it works all the more quickly.
The Magic Mountain, Thomas Mann, translation John E. Woods;
Holy crap. And I say, holy crap, not because of some earth-shattering plot development or character reveal, no, but because of this almost Proustian turn from simple exposition about Hans on a train on his way to Davos-Platz to some profound philosophical exploration about the nature of travel, the way movement through physical space from one spot to another can have monumental effects on a person’s character–in the same way time can–only faster. Anyone who has significantly traveled could attest to the truth of this. I have not significantly traveled, but I know that the first time I flew by myself from one coast of this continent to the other, my life changed irrevocably. I transformed from a pedant to a vagabond–or something along those lines.
This fifth paragraph makes me believe that this novel will be a philosophical one, which excites me; I’ve always been more fond of IDEA than of STORY.
If you’ve perused the video introduction above, you get the gist of the idea. In keeping with the new interest in the REACTION vlog, in which a person reacts in real time to a media artifact like video or music that they have never seen or heard before, I propose to try a reaction vlog to a literary text.
I have a common disorder whereby I purchase more books than I can possibly read*. I’ve got books on the shelf I bought two decades ago that I have never cracked open. I buy books sometimes because I like the author, because they’ve been recommended to me, because I’ve read a review, because they were written by a friend, or, often, because it is a book I feel I “should” have read. My brand of the disorder is heightened when I find a book I “should” read published in a limited or “fine” edition. So, not only does the volume sit on the shelf for a very long time beckoning to be read, but it also looks very attractive while doing it. I’m not sure what the psychology is here: maybe I think I will be more likely to read a book if it is beautiful to look at and hold and smell. At any rate, if this IS the modus operandi at play here, it hasn’t worked especially well up to this point. The books beckon, they look nice, and they remain on the shelf.
What I’m saying is that I don’t have to look very far and hard for a book I have not read.
You might be thinking, okay, it’s one thing to watch a video blogger react to a song or a video clip, but there’s no way I’m sitting through a video in which some guy reads out loud while reacting in real time to an entire novel. Let me set your mind at ease: I would not do that. Under only one condition would I do that: if I was being paid. Nope, not my job. My job is primarily to amuse myself, get some exposure to some texts that I have long wished to dive into, and hopefully, provide some entertainment, hilarity, and a light dose of instruction for any willing viewer. I have set for myself a certain number of ground rules:
1. I will select books I have never read, promise.
2. I will only read and react to short passages: the opening page or paragraph, a single poem, a section of a long poem, an excerpt from an essay.
3. I will not choose pieces by my contemporaries, unless one of them requests that I do so.
4. I will focus primarily on texts that are considered “classics.” And by that I mean works that have been widely read and revered, works that remain so to this day, and perhaps, works that were published pre-21st century.
5. None of the above is written in stone.
6. If this is a train wreck, which is a strong possibility, I will stop doing it immediately.
I would be amenable to suggestions or requests, although it would have to be a book that I already have in the collection (I’m not buying any more books, I’ve decided, at least in the short term, unless it is a book written by a friend). But I think I have my sights set (to begin with) on a famous German novel of the early 20th century, The Magic Mountain, by Thomas Mann. It is a book on the “should read” list and has been nearly at the top of that list for many, many years, a novel that, for some reason, has come across the radar as a seminal text for many writers that I admire. We’ll see how this goes. Onward and upward. Wish me luck. I hope you are amused and at least a little bit edified!
*Just learned that there is a word for this disorder. It’s called Tsundoku, a Japanese word for people who buy more books than they can read!
May 1st and May 2nd I spent all day both days not writing a poem. I continued not writing poetry on the 3rd, 4th, and 5th. It turns out, no poetry was written into the days and the week ahead, so that today, on the 10th of May, I have written not a single poem. Don’t get me wrong. After writing a poem every day for 30 days, it’s not like I’m tired of writing poetry (does anyone ever tire of doing the thing they want more than any other thing to do?). It’s just that I needed a break, a break, maybe, to write a paragraph, or a letter, or to dabble in fiction again, or to return to a project in progress, and to relieve the pressure (not that anyone’s holding their breath for it) of posting something to the blog every day for 30 days.
But wouldn’t you know it, I found another daily thing to do with words and pictures. If you’re a Facebook user, you may have noticed a recent spate of record album challenges. Musician and music fan that I am, I couldn’t let that one go. The rules are, typically, to post an album cover of a record that had a significant impact on your life–just the album cover, no comments, no explanation. Nominate a friend to play.
I bent the rules quite a bit. While I was nominated by a friend and was super willing to participate, I find somewhat distasteful the practice of nominating friends for things. They don’t need my nomination. If they’d been paying attention, surely this social media game would have been on their radar, and nobody really needs to be “chosen” to participate in a thing like this. Just do it, if you like, right? So I didn’t nominate anybody. And I didn’t post 10 records over ten days. I posted closer to 30 over 15 days. And I didn’t post just the album cover; I posted a selfie of me holding the album cover. And I didn’t forgo the commentary. I felt it might be interesting to see, for those who cared, some little explanation of how these particular records intersected with my life, why I loved them, how they influenced me, and why they matter. So I did that, too. It turned out to be kind of a cool little series, so don’t be surprised if a version of that Facebook activity makes its way on to the blog. Kind of a “light” version of an album listening project I started years ago and never finished because it was insanely hard. This may be the happy medium, the middle way, a sound compromise, to that crazy project.
Now what? Onward and upward. Here’s to music. It has saved my life.
I had no students.
As are all seniors in Oregon,
my seniors are done,
but I read a few lovely,
comforting notes of gratitude
from a few of them, and
some requests for letters
My sophomores, cared
for now by an extremely
competent, caring intern,
earning her Masters in
at a distance, are continuing
their learning with her,
which puts me,
more remote, more distant
than the longest line
between teacher and
student ever imagined
by an online educator.
I still managed to put in
a six hour day, including
an hour I put in over the
weekend, which, I guess,
is still a thing: practice
with new remote techno,
an I.E.P. meeting, a conference
with the intern, reading
exit surveys (intended initially
to be entrance surveys)
from my seniors, more
practice with remote techno,
updating of grades pre-pandemic,
and finally, a conference
with a friend about writing
poetry, which, as long as
it feeds the teacher, feeds
the teacher’s students,
if the teacher had any.
Then I fired up the BBQ
and the work day was done.
On the one hand,
I feel like I’m getting away
with something; on the
other hand, I feel
I’ve been robbed by
the state of my purpose,
my raison d’être.
To be of use–that’s the hope,
that’s the desire, and
I comfort myself that I
was today of some use,
that I have been, and will
be again, even as, on a Monday
night, as the sun begins its setting,
I open up my third
can of cider.
Almost seven years ago today, I wrote a triolet about not being able to finish Moby Dick by Herman Melville. Here I am, in the same boat, so to speak, in 2020. A double poetic feature today: first, the triolet from 2013 (with some minor revisions), then today’s triolet. What’s a triolet, you ask?
On Trying to Read Moby Dick Again (2013)
I’ve never finished Moby Dick,
I’ve attempted it again and again.
It’s not, for me, that it’s too thick–
I’ve never finished Moby Dick.
Perhaps commitment is the trick,
I love what I’ve read to no end,
but I’ve never finished Moby Dick,
though I’ve attempted it again and again.
On Trying to Try to Read Moby Dick Again (2020)
The novel Moby Dick I still have not read,
but during the pandemic, I’ll have time on my hands.
If I could just get through this stack by my bed!
The novel Moby Dick I still have not read.
All these other titles begging to be read instead,
a problem only the book collector understands:
The novel Moby Dick I still have not read,
but during the pandemic, I’ll have time on my hands.
Today, was the third day “back to work” as a Distance Learning Public School English Teacher and the second day of National Poetry Month, April, 2020. My contact with students thus far, remotely, has been minimal. Our district has given us three days to prepare the rollout of some supplemental learning resources for our students, and then (while the tech department is delivering laptop computers to families without the technology), about ten calendar days after that to roll out Distance Learning officially, where students are not just offered optional opportunities, but are expected to proceed with their high school education via the powers of the internet, lessons, assignments, and grades all delivered remotely. Today, I offered up the first enrichment, supplemental assignment (what I like to call “extra soul credit”) to my IB Seniors: visit the NaPoWriMo website, learn some stuff about poetry, write some poems, if you want to or are able, one a day for a month! I don’t know how many takers I’ll have, but I assured them that I was doing the assignment as well, so that might motivate a couple of them. It is my general philosophy to never assign my students a task that I would not be willing to do myself. And the extra soul credit is always the best kind.
So, without further ado, today’s offering:
#346: Pandemic Shopping
I’ve taken out the Honda Fit
maybe three times in as
many weeks. I did some
curbside record store
retail therapy, and I’ve done
the pandemic shopping.
A few days ago, when there
was a break in the rain,
I walked this time
up Concord Road, crossed
McLoughlin Blvd., trudged
across the Harbor Freight
and Tools parking lot into our
neighborhood Grocery Outlet,
the bargain market, the store
a friend of ours likes to call
The Used Food Place.
That’s not fair, but
I find it really funny.
They have marked
the floors of the checkout lines
with duct tape in six-foot intervals
so that customers don’t get
too close to each other.
Everywhere else in the store:
it’s a free-for all.
They make you bag your own
stuff and that’s fine.
The clerks mostly act like
it’s just another day and
that is also fine. I bought
milk, half and half, hot dogs,
buns, and a six pack of beer.
Walking back home, I kept
switching the hand that carried
the heavy bag so I wouldn’t
end up with arms of uneven
lengths. And maybe while
I knew that was not a likely
consequence of favoring one
arm over the other, it felt
real, and that’s good, when
you’re pandemic shopping
and nothing else does.
Today is April 1 of the year of our pandemic, 2020, but it is also the first day of National Poetry Month, during which, over the past six years, I have celebrated by writing a poem every day for an entire month. This will be year seven in a poetry writing streak. To the best of my recollection, over the last six Aprils I have never missed a day, and if I did, I’d write two poems the next day to make sure I had a poem for every day of the month. I was hard core. Additionally, I started writing and publishing poetry here that was not written in April. I numbered all of the poems, more than anything else, to easily distinguish blog poetry from blog prose. I’ve got 344 poems here. But every once in a while I will have started a series that is also numbered–like this one you are reading right now, #13 of A Journal of the Plague Year.
I actually woke up in the middle of the night thinking about this, among many other things, that I do not want to stop writing A Journal of the Plague Year, that I do not want to skip this year’s National Poetry Writing Month, that I do not want to write two blog entries a day, that I do not want to cause number confusion, and finally, that I’m not sure how I feel about recording video performances of my own shitty rough draft poems, not after reading Rilke and Donne and Oliver and Stafford and Piercy and Wordsworth and Rumi and Dickinson, which has become a kind of tradition in my Plague Year Journal. For readers who were especially fond of that segment, who maybe (I shudder to think) skipped ahead of all the verbiage and went straight to the video–think how disappointed they might be to find me reading, not Berryman or Bishop, but me!
For now, I have reached this truce with myself: I will combine the Plague Journal with the original poetry for April. The poem will be imbedded within or conclude the day’s journal entry. I will continue with the numbering of both pieces. Maybe, they can work nicely in tangent; maybe the poem, in and of itself, can be The Journal. Still unresolved is whether or not to continue with the video recordings. That remains to be seen. Especially now that I am officially (but remotely) back at work. The time I spent “slaving” over those video recordings may just not be available to me anymore.
As I get to the end of this long preamble, feeling surprisingly fatigued from video conference calls and trying to get my brain wrapped around my new teacher reality and writing a longish letter to my IB Literature seniors, I’m having a difficult time writing the damn poetry. Visiting the napowrimo website for some inspiration, I left feeling uninspired. I can’t write a poem today about a bird and I don’t feel like a metaphor self portrait, although I did have some minimal fun with a “synaesthetic metaphor generator” where I found the phrase “the colossal bays of escarpments.” So I started from scratch today with three completely different ideas, all shelter-in-place-for-the-pandemic related, and I landed on this one.
#345: What Our City Looks Like from Above
A photographer took drone pictures
of our city during the pandemic.
Beautiful and haunting, beautifully haunting,
there are no cars, trucks, or busses on the freeways,
there are no cars, trucks, or busses on the bridges,
you can just imagine how
the freeways and bridges no longer
stink of exhaust, which is nice,
but also terrifying, and why I’ve
been sitting at home for two and
a half weeks, only now starting to
reconnect with the life of my school,
remotely, from a safe distance,
sheltering in place,
emanating zero exhaust.
Just a few observations today in no particular order, or, rather, more accurately, in the order in which they occurred to me:
War of the Worlds seems to be our binge-show of choice at the moment. There’s nothing like a great end-of-the-world story to get you through a pandemic.
In related news: my son and I are considering the purchase of the tenth season of The Walking Dead. It has been a thing of ours for years, ever since the day, when he was way too young, that I discovered he was secretly watching it on the iPad. Terribly aggrieved, I made a deal with him that watching with Dad was the only way he could continue with this deranged and terribly violent show.
Yesterday’s outing was successful. I pulled up curbside to Music Millennium, my favorite independent record store, called inside, and a blue-rubber-gloved young clerk come outside with my vinyl order: a 200 gram, remastered “25 O’clock,” the new Boomtown Rats album (the first in 37 years!), and a collaboration between The Flaming Lips and Deap Vally: Deap Lips, of course. The spelling is theirs, in case you were wondering. Music Millennium is closed to in-store customers. On-line and curbside sales only. If you have a favorite business operating this way, and you are able, try to help them out.
The liquor and grocery store excursion seemed like any other liquor and grocery store excursion, except that I could tell people were being conscientious about distance. But is it possible in these situations to remain six feet away from every human being? I don’t think it is. If I wanted to, I could have reached out and touched someone on a number of occasions. You will be happy to know that I did not do this, however. Some were wearing gloves. A few were wearing masks. Was it less busy than usual? Maybe. The most striking difference was in the drive. The traffic was light, but not alarmingly. But there were so many businesses hanging signs that said “CLOSED.” Cafes, restaurants, small shops everywhere, closed.
The number of infected people in Oregon has nearly tripled since the last time I mentioned it. So has the number of deaths. 266 and 10, respectively.
A letter from our principal, my boss, arrived in yesterday’s email box. Beyond the joke about his attempt at homeschooling resulting in the near suspension and expulsion of his own kids, the news about next steps is still fuzzy, except for the fact that we may be called into work on the 30th or the 31st. I’m interested to know what we might do for an entire month before students are slated to return. He makes a plea for flexibility, a guarantee that our “roles will look different,” that we “may be asked to do things that are not in our job description,” whatever that means. “We are in uncharted territory.” Ain’t that the truth. Some movement is afoot, it seems, and that’s a bit of a comfort. Kind of.
The rhythm of our days has taken a dramatic shift. We stay up until midnight or 1 a.m., sleep until 9. Outside of a zoom conference call here and there, our schedules are wide open, but there have been a number of things consistently happening in the lives of the adults in the house. Chores. Meditating. Reading. Blogging. Drumming. News-binging. Social media-binging. Poetry-recording. Drum video-watching. Music listening. Meal-preparing and eating. Finally, evening movie or show-watching. The resident teenager seems to be engaged in a fewer number of activities, but engaged nevertheless. Video-gaming. Snacking. Drumming. Believe me, we’ve tried to get him outside. When the weather was good we played badminton for a half an hour. Now that the weather is shitty, getting him to come out of his room is a dicey proposition. Sometimes a meal will coax him out, or more snacks, or a grilled cheese sandwich. To be fair, he’s done some reading. He culled through some of his old toys. And he took a shower. Singular.
I decided that I cannot live with yesterday’s reading of “The World Is Too Much With Us,” so if you go back to yesterday’s entry, you might notice a second video, a revised performance of Wordsworth’s sonnet–after the original. It might be instructive or interesting to compare them, because I think, a wrong word was not the only thing that made me unhappy. You’re free to skip it, of course, if you like. I recorded it mostly for myself–and my friend Tracy. It turns out to have some surprises, this new performance–and a new error! The omission of the word “And” in line 7! Aaarrghhh.
As for today’s poetry reading: it will be, dear reader, viewer, listener, a commitment. It clocks in at about 10 minutes, baby. Almost everything I predicted about rereading the great “Tintern Abbey” poem was borne out through experience: the rereading, the weeping, the decision to record a sonnet instead. But then, I got a bug. Emboldened by the whiskey, perhaps, I recorded “Lines Written a Few Miles Above Tintern Abbey,” which is not even the full title, by the way, and miraculously, I got all the way through it in one take. I don’t think I substituted “coming” for “rising” once in the entire thing. I could be wrong about that. No matter. This poem, as much, no, more so than Wordsworth’s sonnet, is a much-needed tonic. It was then, it is now, and it will be for all time a poem with immense super powers. I hope my reading of it does it justice, even a little bit.
Final observation on “Tintern Abbey.” In the last section of the poem, Wordsworth directly addresses his sister. When I read it, and I got to that word “Sister,” I thought of her as a representative of all the women who have made such momentous impact on my life–and I felt like I was speaking to them, or to each one of them, individually. Some serious magical mojo going on there.