So it’s almost the New Year and I can’t believe that I’m actually only starting to make use of the random itunes mix. I’m listening to Bellydance music from one of Kaeshi’s choreographies’, then Eminem and then Tori Amos and then a riff from Auld Lang Syne.
Oh, and I’m writing from Glenwood Springs, Colorado, btw.
Spent last night swimming in the legendary Hot Springs —the Utes believed doing these medicinal mineral baths provided ‘good medicine’ for the upcoming hunting season. Doc Holiday and plethoras of others, used them to try and cure Tuberculosis. Earlier that afternoon we’d hiked up to Doc’s grave stone—evidently the mineral baths hadn’t saved Doc in time…
Went to the Vapor Caves today, also part of the hot springs. Am getting ready now for a “Blue New Year” party at the Roxy, the only club in Glenwood. Don’t have much blue with me so will have to borrow. Watching the coverage of Times Square and its almost New Years in New York now; they’re all wearing blue as well. Just learned they’re dropping a bigger ball this year. Anyone know what happened to the previous one?
These are my top ten Auld Lang Syne Covers.
Happy New Year!!
Saw Dr. Atomic, written/directed by Peter Sellars and composed by John Adams, screened in a movie theater in Woodland Hills this morning as the matinee was being performed live at the Met. The ending, so softly humanizing. Rather than startle you with the impact of the inevitable explosion this entire opera is leading up to, it brings you inside Oppenheimer’s intellectual and emotional dreamscapes.
As the team at Los Alamos gets closer and closer to the actual test, the dreamscapes bleed together. Something terrifying and inevitable is moving towards them which they have no more control over than they do the desert thunderstorm.
I’m going to try and assemble some of this, to try and give a sense. Of course, I didn’t get the full experience myself because I saw it in a movie theater and not at the Met. Hopefully, at some point, Dr. Atomic and I will find ourselves in the same city at the same time. In the meantime, I’ll post photos and text since I can’t say much beyond what the opera itself says.
Much of the text from the opera was adapted from declassified U.S. government documents and communications among the scientists, government officials, and military personnel who were involved in the project. Other borrowed texts include poetry by Baudelaire, John Donne, and Muriel Rukeyser, the Bhagavad Gita, and a traditional Tewa Indian song. Marvin Cohen, head of the American Physical Society, has criticized some parts of the libretto for not being strictly scientifically correct, in particular the opening lines (below). [1]
The opening chorus is an incomplete excerpt from the 1945 Smyth Report:
“Matter can be neither created nor destroyed but only altered in form.
Energy can be neither created nor destroyed but only altered in form.”
Act I concludes with an aria sung by Oppenheimer with text from Donne’s Holy Sonnet XIV:
Batter my heart, three person’d God; for, you
As yet but knocke, breathe, shine, and seeke to mend;
That I may rise, and stand, o’erthrow mee, and bend
Your force, to breake, blowe, burn and make me new.
I, like an usurpt towne, to’another due,
Labour to’admit you, but Oh, to no end,
Reason yhour viceroy in mee, mee should defend,
But is captiv’d, and proves weake or untrue.
Yet dearely’I love you, and would be loved faine,
But am betroth’d unto your enemie:
Divorce mee, untie, or breake that knot againe;
Take mee to you, imprison mee, for I
Except you’enthrall mee, never shall be free,
Nor ever chast, except you ravish mee.
Kitty Oppenheimer’s aria, “Easter Eve, 1945″, by Muriel Rukeyser is from her poem of the same name.
The Act II, scene iii chorus, borrowed from the Bhagavad Gita (translated into English by Swami Prabhavananda and Christopher Isherwood) reads:
At the sight of this, your Shape stupendous,
Full of mouths and eyes, feet, thighs and bellies,
Terrible with fangs, O master,
All the worlds are fear-struck, even just as I am.
When I see you, Vishnu, omnipresent,
Shouldering the sky, in hues of rainbow,
With your mouths agape and flame-eyes staring-
All my peace is gone; my heart is troubled.
Act II is peppered with a repeated refrain from Pasqualita, the Oppenheimer’s Tewa Indian housemaid. The text comes from a traditional Tewa song:
In the north the cloud-flower blossoms
And now the lightning flashes
And now the thunder clashes
And now the rain comes down! A-a-aha, a-a-aha, my little one.
In the west the cloud-flower blossoms
And now the lightning flashes
And now the thunder clashes
And now the rain comes down! A-a-aha, a-a-aha, my little one.
And now the rain comes down! A-a-aha, a-a-aha, my little one.
One of the only scenes of actual connection (though still full of loneliness and longing) is Baudelaire’s “A Hemisphere in Your Hair” is used verbatim in the scene w/ Kitty Oppenheimer:
A Hemisphere in Your Hair
Long, long let me breathe the fragrance of your hair. Let me plunge my face into it like a thirsty man into the water of a spring, and let me wave it like a scented handkerchief to stir memories in the air.
If only you knew all that I see! all that I feel! all that I hear in your hair! My soul voyages on its perfume as other men’s souls on music.
Your hair holds a whole dream of masts and sails; it holds seas whose monsoons waft me toward lovely climes where space is bluer and more profound, where fruits and leaves and human skin perfume the air.
In the ocean of your hair I see a harbor teeming with melancholic songs, with lusty men of every nation, and ships of every shape, whose elegant and intricate structures stand out against the enormous sky, home of eternal heat.
In the caresses of your hair I know again the languors of long hours lying on a couch in a fair ship’s cabin, cradles by the harbor’s imperceptible swell, between pots of flowers and cooling water jars.
On the burning hearth of your hair I breathe in the fragrance of tobacco tinged with opium and sugar; in the night of your hair I see the sheen of the tropic’s blue infinity’ on the shores of your hair I get drunk with the smell of musk and tar and the oil of coconuts.
Long, long, let me bite your black and heavy tresses. When I gnaw your elastic and rebellious hair I seem to be eating memories.
The best You Tube clip I could find was from the Amsterdam performance so the subtitles are in Dutch. The stage at the Met was more impressive (in my opinion) in the vertical dynamics. Is nevertheless worth checking out this clip, to get a sense..
Just finished reading it. This book; it’s so unbelievably sad and beautiful and, whoa. I mean, literally just finished with it. Trying to drive West on Wilshire with my eyes watering, nose getting all sniffley. In the midst of all this election, hype, who in the world is there to commiserate with over the tragic life of a fictional heroine who embodies the most extreme manifestations of loyalty and sacrifice. I’ll say it before; am saying it again. Khaled Hosseini is our Charles Dickens. He gives insights into parts of the world otherwise inaccessible through sophisticated mellowdramatic storylines, caricature. Hope, grief, hardship and regret. Still reeling from the experience of having just read this. And in case you’re thinking this comparison between Dickens and Hosseini is a bit much, try this. Compare the excecution scenes between A Thousand Splendid Suns and Tale of Two Cities. How the protagonist comes to grips with their inevitable fate by elevating it. Processing this in the middle of everything else; relating to many aspects of many of the characters and appreciating their inconsistencies and complexities reminds me that, despite the political zeitgeist, sucking me in like a tractor beam, my life isn’t really driven by blips and waves and bytes. Fact of the matter is, I’m truly looking forward to the election being over so I can get back to myself again; losen the grip of this driving need to be so plugged in all the time. Or at least, plug in a different way. One that is more heightened and grounding, perhaps. Still been enjoying the Palin haikus and all. Though, now that I think about it, perhaps it’s just another way of dealing. Okay, “dealing” is kinda strange verbiage. I find myself engaging in what’s happening in politics on the intellectual and emotional intensity that I engage on, also can –if I’m not careful– get overwhelming and even exhausting. Well crafted narrative fiction, by contrast, is back to the micro again. It’s one connection going on —author to reader— no responsibility to fix or communicate or persuade or retract or supercsede anything on the outside. Yet, the resonance of this author/reader intimacy is nevertheless, global in scope. Perhaps fiction does not function on the multiplatform level that politicians must to target the widest demographic. At the same time, it’s creating a corridor where there would otherwise be a wall. In the case of A Thousand Splendid Suns, it provided me with a connection to the dreams, hopes, sorrows, losses and sacrifices of those lives beneath the burkas.
Apologies to those of you who get this already. I am not posting it to talk down to anyone or anything. It’s just that several people have emailed me saying they love the idea of haiku but are not sure exactly how to write haiku or have to think about it for a while since they haven’t done this since high school or whatever. Might well be the reason so many people have written me that they’re not sure how to go about it is that it’s something so fresh and utterly in the moment that don’t realize how simple it is so long as the basic premise is followed. And if you get this already, you can go ahead and skip to the next blog post, I guess. At any rate, Eastern Haiku is a seventeen syllable poem. Divided into syllabic lines of 5-7-5 and are mindful of the topic, the haiku will write itself. Matsuo Basho is the Eastern haiku master—he created the brief simple 17 syllable form. Kerouac is the one who innovated the contemporary Western Haiku, created a haiku that does not adhere to such tight syllabic structure but rather, takes the relevant and re-appropriates. I find it liberating to embrace the opportunity to embrace the restrictions, thereby grounding the 17 syllable for against the formlessness of multiple combos times multiplex which is why I stick w/ the 5-7-5. While I don’t consider any of my haikus my best writing, I do like the process of constructing it. Light, accessible yet clean and elegant brain candy. Okay, enough from me, tho. Real reason I’m going on and on about this is to provide a link to this article about haiku that I found on The Huffington Post. Check it out, if you have (a) the inclination (b) the time (c) in inability to control the distraction (d) the impulse to invite distraction in (e) none of the above. There are some haiku blogs and essays out there that are kinda lame. Others are not particularly lame, per se. Just really obvious color by number-ish. This essay, I like, tho. Found it on Arianna Huffington’s Blog. So I link. Here tis—