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New from NER 35.3 | Travels with Richard Tillinghast

Categories: Nonfiction

Eastward Bound, Across a Storied Landscape | Richard Tillinghast

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Leaving Portland, with its microbreweries, Pacific Rim restaurants, lumberjack chic, and drive-through coffee stations, I drove east along the Columbia River Gorge on the first leg of a four-thousand-mile trip that would take me to northern Michigan and then down to South Carolina and Tennessee. The Gorge’s mist-wreathed granite cliffs, rising above the onrush of the Columbia River, look as though they could have been painted by a Chinese landscape artist from the Tang Dynasty. In late-afternoon light the stone takes on a purple glow. Taoist hermits might be meditating in caves up in those hills.

Above White Salmon, Washington, where I spent my first night, pioneer days had not, it seemed, entirely ended. As I drove up precipitous roads that reached up from the Columbia River to my nephew’s house, where I would spend the night, some of the hillsides had that desolate, shredded look that follows clear-cutting. One little house partway up, a shack really, was flanked on one side by a pile of rough-cut logs, each about the length of an American car from the fifties. It looked as though the householder had wrangled them there for sizing into smaller chunks as fuel was needed during the long winter. The month was May, but a cutting wind sliced across the steep hills. My nephew and I took his son, six years old, to his baseball game down in the town of White Salmon. The diamond, with its boys’ and girls’ coach-pitch three-inning game, and the pure Americanness of the scene, were thrown into perspective by the massive, timeless hills, verdant with the spring rains, towering above it.

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Richard Tillinghast is the author of twelve books of poetry and four of creative nonfiction. His Selected Poems came out from Dedalus Press in Ireland in 2009. He was a 2010-2011 Guggenheim Fellow in poetry. His latest nonfiction book is An Armchair Traveller’s History of Istanbul (Haus Publishing, 2012), which was published in the UK and nominated for the Royal Society of Literature’s Ondaatje Prize. Tilinghast, who lived in Ireland for five years, returned to the States in 2011 and now divides his time between Sewanee, Tennessee and the Big Island of Hawaii.

New Essay from Natasha Lvovich

Categories: Nonfiction

Sister in Russian, Cousin in English | Natasha Lvovich

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She is walking on Park Avenue, elegant and slim, irreproachably fashionable, drumming Sinatra’s “New York, New York” with her high heels. Her allure is businesslike and confident: she is focused on her destination, on the potholes in the asphalt, and on countless rushed yet important thoughts, while at the same time she talks into her phone. Only real Manhattanites, fortunate to have been born on this celebrated land—firmly grounded, perfectly well-oriented, perpetually overbooked, and multitasking with ease—move with such a gait. She murmurs into her phone in a language that has been for centuries, for millennia, for eternity, her own: “Honey, don’t wait for me, just order yourself some Chinese. I’ll be home in a little while. Yeah, I know, I know. I’ll get you some. Love you.”

The trace of a Russian accent is almost imperceptible. Thank goodness for those caramel English words, which make her a different person and a different mother than her own, less dramatic and less rough around the edges, with the sweetened texture of an American mom raised in an Upper West Side apartment. She looks at her watch; she checks her messages; she passes her hand over her platinum hair as if to make sure the makeover hasn’t melted away.

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Natasha Lvovich is a writer and scholar of bilingualism and of translingual literature—literature written in non-native language. Originally from Moscow, Russia, Lvovich teaches academic and creative writing at City University of New York. She is the author of a collection of autobiographical narratives, The Multilingual Self (Routledge, 1997). Her creative nonfiction has appeared in numerous journals, including Life Writing, New Writing, Big.City.Lit, Post Road, Paradigm, Nashville Review, and Epiphany, and has been nominated for a Pushcart Prize.

New From Kate Lebo in NER 35.2

Categories: Nonfiction

The Loudproof Room | Kate Lebo

 

1024px-Tidens_naturlære_fig40

 

An Earmoir

I was born with a strawberry hemangioma splashed over the bottom half of my right ear and two inches down my neck. The sort of red that has purple trapped inside it. A swollen, shocking hue. For the first year, I had no hair to disguise it. The sight of me made strangers uncomfortable.

My birthmark was so red and angry and I cried so murderously when my parents bathed it that it became, as I grew, the explanation for a lot of things. Why I was teased in school, why I cried easily. Why I couldn’t hear conversational tones out of my right ear.

By the time I was ten the skin faded to a mottle of mostly normal looking tissue. It looks enough like a burn scar that no one asks what happened. Mostly I forget it’s there. When a new friend asks me “what’s up with your ear?” I need a second to remember what she’s talking about. My father and I were in a motorcycle accident when I was five, I say. It tore my ear half off. When she looks sorry for asking, I tell her I was born this way. Which isn’t exactly the truth. If it was, I’d still have a stoplight for an ear.

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New From John R. Nelson in NER 35.2

Categories: Nonfiction

Mr. Forbush and Mr. White | John R. Nelson

800px-289_Solitary_SandpiperFor a bird-fancier, I was late in getting to Edward Howe Forbush’s three-volume Birds of Massachusetts and Other New England States, published in the 1920s. I assumed that much of Forbush’s work would now be dated, supplanted by fresh scientific knowledge and more scrupulously kept records of the distribution and habits of birds. And the weight of it, fourteen hundred pages in all—that’s a lot of damn bird-lore to lift. But in 2012, when I took on the task of writing a hundredth anniversary history of the Brookline Bird Club (BBC), I knew I could put the man off no longer. The preeminent New England ornithologist of the early twentieth century, he’d been the first speaker at the annual BBC meeting (his stereopticon malfunctioned), and the club had lobbied the Massachusetts legislature to fund publication of his three volumes. In my research his name kept springing up everywhere. One could not write any history of New England birds without looking into Forbush.

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Francis-Noël Thomas | An Examination of Flemish Painters

Categories: Nonfiction

Rogier van der Weyden and James Ensor: Line and Its Deformation

From the new NER, 35.1

The grand and bombastic building on the Leopold de Waelplaats in Antwerp that has housed the Koninklijk Museum voor Schone Kunsten (Royal Museum of Fine Arts) since 1890 closed on October 3, 2010, for a major interior reconstruction that is not expected to be completed before 2017. During this reconstruction, some of the museum’s better known nineteenth- and twentieth-century paintings have been exhibited as far from Antwerp as Japan; some of its rare fifteenth-century panel paintings were exhibited last year in the beautifully preserved sixteenth-century Rockox House, just a twenty-minute walk from the museum.

The Seven Sacraments

There is something to be said for seeing nineteenth- and twentieth-century paintings and fifteenth-century paintings in separate and respectively congenial settings, but the 1890 building did more than provide wall space for paintings that had little in common with its architectural ethos and belonged to separate and sometimes antagonistic cultural worlds. The museum went beyond exhibiting individual paintings, even individual styles of painting; it exhibited antagonistic concepts of painting.

When it was inaugurated in 1810, the museum absorbed what had been the collection of the city’s Academy of Fine Arts. In 1841 that collection was supplemented by a bequest from one of the earliest and greatest collectors of Early Netherlandish painting, Florent van Ertborn, a former mayor of Antwerp. In the 1920s, it began to collect contemporary painters, notably James Ensor.

Van Ertborn’s collection was assembled at a time when the Early Netherlandish masters were out of fashion, their work unknown to all but a tiny public. Panels from what is now one of the most famous European paintings of the late middle ages, the Ghent Altarpiece (1432), were kept out of sight by nineteenth-century bishops of Ghent, who were scandalized by the life-size nude representations of Adam and Eve.

When I first went to Antwerp, it was expressly to see paintings that were part of the van Ertborn bequest, although I knew nothing about the bequest at the time and had never heard of Florent van Ertborn. I had fallen in love with the Early Netherlandish paintings I had seen in American museums and in printed images illustrating books on the subject. I knew very little of the history of the painters’ reputation.

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New from Larry I. Palmer in the new New England Review—35.1

Categories: Nonfiction

The Haircut | Larry I. Palmer

It was a Wednesday around 8:30 p.m., a week before Thanksgiving, 1958, when I strolled down the third floor corridor of Bancroft Hall towards Ted Bedford’s faculty apartment. He was on duty that night—thus the open door. Jef, one of my fellow preps (what ninth graders were called at Phillips Exeter Academy), had invited me and his roommate, Brink, to spend the holiday break with his family in Salem, Massachusetts. It was the first time I had visited Bedford’s faculty office, a space sealed off in the back foyer of his family living quarters by a mahogany door exactly like the one I lingered just outside of now, in the dorm hallway, an unsigned permission slip from the Dean of Students in hand.

Bedford sat at his desk, facing away from the hall and poring over some papers as I waited for him to notice me. He turned his head towards me with a glance that asked, “What’s up?,” his eyebrows becoming question marks as he peered over his glasses. I handed him the slip and asked him to sign it because my adviser was out of town. Bedford pushed his chair away from his desk and spun to face me, his smile so wide it seemed to touch his sideburns. “Well, I got a deal for you. Before I’ll sign, you must get a haircut.”

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NER Classics | The Long March of “Orientalism”

Categories: NER Classics, Nonfiction

The Long March of ‘Orientalism': Western Travelers in Modern China,”
Nicholas R. Clifford’s report from abroad, appeared in NER 22.2:

Graves, graves, graves, countless ancestral graves in countless ancestral fields! Always the presence of death! A few naked trees along the railwayembankment . . . now and then the dark crenellated walls of some ancient city . . . (Agnes Smedley, 1943) . . .442px-Brooklyn_Museum_-_Chinese_Ship_(Tosen_Zu)_with_Listing_of_the_Sea_Route_from_China_to_Japan-2

They are drawn conventionally enough, these pictures. Travelers finding in a foreign land—here, the China of fifty or sixty years ago—a waste of unchanging hopelessness: a land perceived as corrupt, superstitious, and burdened by a conservatism so rigid it might be taken for stupidity. The images themselves betray a frustration, a kind of fed-upness by the observer with the observed. In no sense are they original, for their pedigree reaches back a century and more, each succeeding generation adding its own detail and coloration to the features conjured up by Western fancies of the country.

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The Image Factory | Rick Barot

Categories: Nonfiction

A first look at NER Vol. 34 Nos. 3–4

http://www.sxc.hu/photo/909552I was born in the Philippines. When I was ten, my family immigrated to the United States, settling in Oakland. My father worked in a factory that made cardboard boxes, my mother worked at a government office. Between them were over a dozen siblings, scattered throughout California: aunts and uncles who were accountants, nurses, telephone company workers, postal service workers. They had all gone to college, but had the immigrant’s understandably practical view of why you went to school, why you went to work, what things you could get from working. Among these aunts and uncles were readers of books and lovers of jazz and opera, and distantly, in past generations of my father’s side of the family, there had been writers. But otherwise life was family, work, and church. Nothing here was a spur or a hindrance to my becoming a writer, and so I went ahead. Because I had gotten good grades all my life, everyone assumed I knew what I was doing with myself—even if, in the years I’m talking about, I always had my eyes averted, I was always a blur at the edges of gatherings and conversations.

And if I knew at some level that poetry was supposed to encompass the whole of who I was, it would be a very long time before I knew what that whole could include. Poetry was this paradox: it invited a largeness of self even as it foreclosed my ability to see myself as anything beyond the poet I desperately wanted to be. Poetry was emotion, it was intense language. It was a tradition, a canon. Poetry for me was a deeply literary identity before I saw it as a space where sociological, social, political, and other elements of identity also converged. Being an immigrant, being gay, having had an ambitious education, having grown up middle class in a liberal, diverse, culturally abundant part of the country—these were real enough facets in the lived life, the way categories of identity could be checked off on an application form. But in the poems I tried to write, these things were abstract, puzzling, barely available and acknowledged resources. I didn’t know how these things could be expressed in my poems, nor did the poems and poets that I loved at the time give sanction for expressing them in the first place. A time would come when I realized those resources were there; but that was much later.

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The Trial of Joseph Brodsky | Frida Vigdorova

Categories: Nonfiction

From the current issue, NER 34.3–4
Translated from the Russian by Michael R. Katz
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Today marks the 50th anniversary of the first hearing in the trial of Joseph Brodsky (1940–96), who was, in 1964, a 24-year-old poet and translator at the start of his career. In the Soviet Union, every able-bodied adult was expected to “work”—those who refused risked being criminally charged. The poet Brodsky was, by this logic, accused by Soviet authorities of crimes against the state and found guilty of “social parasitism.” A smuggled copy of Frida Vigdorova’s court transcript, newly translated and annotated here by Michael R. Katz, documented the courage and candor with which Brodsky responded to the Judge, and brought his work to the attention of the West. 

First hearing of the case of Joseph Brodsky.
Session of the Dzerzhinsky District Court.
City of Leningrad.
February 18, 1964.

Judge: What do you do for a living?

Brodsky: I write poetry. I translate. I suppose . . .

Judge: Never mind what you “suppose.” Stand up properly. Don’t lean against the wall. Look at the court. Answer the court properly. (To me) Stop taking notes immediately! Or else—I’ll have you thrown out of the courtroom. (To Brodsky) Do you have a regular job?

Brodsky: I thought this was a regular job.

Judge: Answer correctly!

Brodsky: I was writing poems. I thought they’d be published. I suppose . . .

Judge: We’re not interested in what you “suppose.” Tell us why you weren’t working.

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Confessions of a (Six-) Figure Painter | By Peter Plagens

Categories: Nonfiction

From the current issue (34.2):

Bad Boy jacket image - © Eric Fischl by Gérard Rondeau 1993

To get a couple of things out of the way at the top: Eric Fischl isn’t all that bad, either as a painter or a person. As a smart-ass conceptual artist friend of mine (who has no particular affection for the dauber’s craft) points out, “He can move it around.” But before I get to Fischl’s recent memoir,* this personal anecdote:

My wife, Laurie Fendrich, teaches at a university that, in 2006, organized a symposium about the terrorist attacks of September 11, 2001. She invited Eric Fischl, whose commemorative bronze sculpture, Tumbling Woman, had met with great protests and ultimately a rejection, to participate. He did, for free. The school scheduled several simultaneous sessions, so that the audience for the Fischl panel was much smaller than it should have been, and, moreover, the tech stuff got screwed up so that the artist was unable to project images from his computer. But he took the snafu like a trouper and, afterwards, over a cup of coffee, waxed calm and philosophical about the whole event. A real gentleman, she said.

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