Pat Seman – Photos from Crete

Pat Seman
Photos from Crete

                                          There is a land called Crete…
                                          handsome country, fertile, thronged with people
                                         well past counting, boasting ninety cities

                                                            the Odyssey, Book 19, line 194

One such city was Tylissos, not far from the palace of Knossos, where Odysseus found shelter when he was blown ashore by a fierce storm on his way to Troy.

Pat Seman, Tylissos, photograph, 2016

      But the place in Crete that has drawn me back repeatedly is Ancient Eleftherna, site of one of the island’s most important ancient city-states. It lies on the slopes of Mount Ida, the birthplace of Zeus, amongst swathes of olive trees, carobs and oaks, its high ridge looking over the distant sea.
      Here excavation is still on-going. Recent finds include a tomb housing the cremated remains of warriors from Homeric times, brimming with opulent grave gifts of jewellery and weapons. And a cremation site with funerary pyres, which conform in every detail to Homer’s description of the pyre built for Patroclus in the Iliad.

Pat Seman, Eleftherna Acropolis, 1, photograph, 2017

      The archaeologists plan to eventually return the warrior’s remains to their place of rest in the sheltered valley where they had lain in peace for so many centuries.

Pat Seman, Eleftherna Acropolis, 2, photograph, 2017

Bob Ward – Classical European Architecture

Bob Ward
Classical European Architecture

Bob Ward Roman temple, Nimes, France, photograph, 2016

Roman Temple, Nimes, France
When the Romans forced their way into France the people of Nimes chose to co-operate with rather than challenge the invaders. In consequence the city retains many features from that time, notably this Roman Temple, which is one of the best preserved of its kind.

Bob Ward, Roman Aqueduct, Pont du Gard, South France, photograph, 2016

Pont du Gard, southern France
The Romans were brilliant engineers as evidenced by this huge aqueduct built in the 1st C. CE. It spans the River Gardon and looks good to last well into the future.

Bob Ward Norwich Cathedral Spire from Cloisters, photograph, 2019

Norwich Cathedral, UK
Founded soon after the Norman conquest of England. The cathedral spire, one of tallest in Britain, is seen here through an archway in the cloisters. It provides a nesting site for peregrine falcons. Among the many notable features of the cathedral are the roof bosses, which vividly depict biblical scenes. Edith Cavell’s simple grave lies within the cathedral precinct.

Bob Ward Norwich Cathedral Cloisters, photograph, 2019

The Norwich Cathedral Cloisters
Many of the roof bosses mentioned above are situated in these cloisters. Along the walls are many fine murals and heraldic memorials.

Bob Ward, Detail from Il Duomo, Firenze, photograph, 1993

Florence Cathedral (detail), Italy
This building, completed in the 15th C. CE, is a key work arising from the Italian renaissance, which claimed to be reviving the classical values and style. The immense dome constructed by Brunelleschi consists of an inner and an outer shell. It is possible to reach the look-out point at the summit by wending a way between the two layers, an awesome experience.

AQ31 – The Classics

Pat Seman – Covid and Amsterdam Photos

Pat Seman
Covid and Amsterdam Photos

For 33 years, Pat Seman has lived in a street that ends at the Amstel River. Every morning she walks along the river and sometimes takes photos with her Samsung smartphone, an SM-G930F. Since Covid, the river path has become much busier with people of all ages exercising, walking, and jogging. As a result, the grass verges have been worn away, as well as the usual spring flowers. River cafes have also been closed; their terraces empty. Seman took the photos of the social distancing poster and electronic message board in March 2020. Her photo of the ice-covered Amstel is from February 2021, contrasted with one a month later, at the beginning of spring.

Pat Seman, City of Amsterdam Social Distancing Poster, photograph, 2020

Pat Seman, Electronic Social Distancing Poster, photograph, 2020

Pat Seman, View of the Amstel, February 2021, photograph, 2021

Pat Seman, View of the Amstel, March 2021, photograph, 2021

Matthew Wood – Tour de Lockdown

Matthew Wood
Tour de Lockdown

Walking brings a meditative escape to what is my busy work life in Children’s Social Care. Photography allows me to appreciate and live in that meditative moment. Tour de Lockdown was photographed on what a year ago would have been a bridge bustling with commuters, tourists, and vehicles. Though it is an eerie scene now, more so with the lighting and mist, it expressed the positive with life cycling into another year as it were. I admit I do enjoy photographing the beauty of bleakness.

Matthew Wood, Tour de Lockdown, photography, 2020

Bryan R. Monte – AQ30 Spring 2021 Book Reviews

Bryan R. Monte
AQ30 Spring 2021 Book Reviews

Kim Addonizio. Now We’re Getting Somewhere, W. W. Norton, ISBN 978-0-393-54089-5, 96 pages.
Colin Bancroft. Impermanence, Maytree Press, 978-1-913508-09-8, 29 pages.

As editor of Amsterdam Quarterly I have the privilege of reviewing poets’ books whether they are just starting out, in mid-career, or have had decades of acclaim. Two poets, one each in the first and last categories are Colin Bancroft and Kim Addonizio respectively. Addonizio’s new book Now We’re Getting Somewhere, is scheduled to be released in March 2021 by W. W. Norton, a well-known, independent, American publisher, whilst Colin Bancroft’s pamphlet (Amer. English: chapbook), Impermanence, was released in October 2020 by Maytree Press, a small British publisher. Both, in my opinion, are well worth AQ’s readers’ attention.
      Now We’re Getting Somewhere is Addonizio’s fourth poetry book from W. W. Norton and her eighth poetry book in total. It is divided into four sections: ‘Night in the Castle’, ‘Songs for Sad Girls’, ‘Confessional Poetry’, and ‘Archive for Recent Uncomfortable Emotions’, the third section being the most minimal, experimental, and incongruous, which immediately drew my interest due to my graduate school immersion in post-Modernism criticism which places the most emphasis on focussing on erasures, gaps, holes, or inconsistencies in the narrative style to identify the most significant parts.
      Now We’re Getting Somewhere is dedicated ‘To the Makers’ who Addonizio informed me in her interview in this issue, are the poets (from the Greek word poësis) or ‘those who make rather than break things’. It has two epigraphs—the first from Leonard Cohen song referencing a leader’s untrustworthiness and the second by Elizabeth Taylor referring to alcohol, beauty, and sex.
      The first section starts with a bang with the section’s title poem, ‘Night in the Castle’. Danger is present from the very first line with a ‘scorpion twitching on the wall’. The speaker, who is ‘on an artist’s grant’ to write in a medieval, Umbrian castle, wonders if she ‘should slam it with this book of terrible poetry’ (the one she’s writing or reading?) or ‘murder it with my sandal’ since ‘I gave up on mercy a while ago’.
      However, in the sixth through eighth stanzas, the focus changes to the poet’s fantasy of what would do if she had the power. She imagines herself as ‘an underage duchess whose husband has finally died / of gout’ … or maybe ‘She might even have poisoned the duke’ to have ‘more secret liaisons with the court musician’. Then she fantasizes about what she would do as ‘a feared & beloved queen ordering up fresh linens & / beheadings’. Her fantasy is re-enforced by further punitive desires of ‘locking up bad poets in their artisanal hair shirts’ and ‘torturing academics with pornographic marionette performances’.
      The poem ends with an imaginative leap in its penultimate and final verses. ‘(T)he scorpion is still there twitching blackly / reciting something about violence and the prison of the ego’ and the speaker imagines ‘the clashing armies on the wide lawn outside / sinking down into history & then standing up again’ as does the castle to this day.
      It’s a good summary of Addonizio’s past themes and concerns, external and internal; her wider awareness of artistic, geo-political, and historical power which is reinforced in other poems in this section. These include the themes of the global travails of people of colour in ‘Black Hour Blues’, ecological, planetary degradation in ‘Fixed and In Flux’ and ‘The Earth Is About Used Up’, migrants working in dangerous conditions in ‘Comfort of the Resurrection’, and gun-toting, religious racists in ‘Grace’. In ‘Animals’, Addonizio explores and destroys Whitman’s naïve trope of the natural world’s beauty and deceptive harmony. However, three poems later she remarks on its surprising comforting in ‘High Desert, New Mexico’ where horses ‘stand outside and wait for you to come / with a single apple’. Moreover, ‘In Bed’ the poet realizes that sex and love aren’t worth as much as lying in a Proustian bed ‘between cork-lined walls / writing very long sentences in French’.
      The second section, ‘Songs for Sad Girls’, contains a series of poems about women’s search for sex and lasting companionship—from the gothic and exotic narratives in ‘Wolf Song’, ‘Ghosted’, ‘All Hallows’, and ‘AlienMatch.Com’ and highly imagistic on-liners in ‘Ways of Being Lonely’, (which I consider one of this book’s best poems), to the more realistic ‘August’, ‘Winter Solstice’ and ‘Small Talk’, the terminal line from which gives this book its title. ‘Songs for Sad Girls’ also contains one of Addonizio’s most well-known poems, the sonnet ‘To the Woman Crying Uncontrollably in the Next Stall’, which is one of Addonizio’s most quoted poems on social media. ‘Résumé, is a tribute to Dorothy Parker’s poem of the same title about suicide. However, instead of listing the disadvantages of using razors, rivers, guns, etc., to kill oneself, this poem discusses the failings of rehab, lovers, and friends to help one stay sober, the poem ending with the couplet:

                  You’ll soon be subtracted;
                  You might as well drink.

      As mentioned previously, the third section’s, ‘Confessional Poetry’ is the most minimalistic and experimental. This poem, with a few lines spread over 13 pages, is a meditation on various subjects such as the real power of writing, the importance the poem’s space to the poet, self-pity, dealing with traumas, public bathroom sex at a conference on pornography, censorship and men’s criticisms, rape, pollution, drinking, and inspiration. Some of my favourite lines in this section are: ‘Writing is like firing a nail gun into the center of a vanity mirror’,… /‘or beating a piñata selfie… so you can pet the demons that fall out’, and five pages later… ‘Not wearing waterproof mascara while you’re being tasered’, as well as two lines, three pages later I quote in their entirety because of their resonance with most poets:

                  I really like feeling something when I stagger into a poem
                  & having a place to lie down & cry.

      Some lines in this section are more compelling than others, but that’s what one would expect in this rather experimental section. These poems are perhaps not as taut and strong as the surrealist, one-liners in ‘Ways of Being Lonely’ in the second section, but they are more urgent, naked, raw, and personal.
      The general themes of desire, decay, disease and death are interwoven in several poems in the fourth section. More specifically, this section addresses the themes of ageing, alcoholism, the impermanence of love, and the poet’s musings and concerns about her legacy. The poet repeats thrice in ‘People You Don’t Know’ the phrase ‘the early delusional phase of love,’ yet that does not keep the speaker from entertaining the thought of going with a ‘stranger’ at the bar to a room ‘with a creeping mold … with a parking lot view.’ In ‘Ex’ the poet says when she was younger she thought:

                  …nothing could ruin our love which is what everyone /
                        thinks at first
                  but it turns out everyone is wrong

In this section’s title poem, ‘Archive of Uncomfortable Emotions’, the poet adds:

                  The I’m sorry I gave you those blow jobs and did you not understand the
                        meaning of “reciprocal” feeling

Here the poet imaginatively catalogues other feelings of loss:

                  The trees are no longer my friends feeling

                  The my friends are no longer my friends feeling

                  The once I was a nineteenth-century Russian novel but now I’m a frozen
                        chicken entrée feeling

      Her poem ‘Still Time’ mentions Keats’ last days, and after his death how ‘they take his body out and burn the wallpaper.’, her own loss as a child of a plush lion, her parents, as an adult, and how she ‘finally stopping sobbing in the bathroom at weddings’ and then circles back to Keats’ again, and rues she ‘can’t go back to 1821 and invent streptomycin / or stop the poet’s kindly doctor from bleeding his patient’. She does however, ‘see the flowers on the ceiling, the same ones Keats held / for weeks in his fevered gaze.’, and realizes ‘That’s as close as you can get’.
      Mortality comes up again in ‘Happiness Report’ where the poet writes: ‘I hate the term bucket list’. She also regrets that ‘it’s too late to drink myself to death at a young age’.
      In ‘I Can’t Stop Loving You John Keats’, the legacy theme is especially strong. Here the poet, fantasies she could ‘fall through a wormhole or get knocked on the head or go though / some stones in Scotland… with medicines sewn into my in pantaloons’. She describes how she would make Keats ‘forget about Fanny Brawne & the big difference in our / ages … (and) lie on the grass & drink French wine & you lay your / head on my breast’. Later she says she wants to be ‘a woman from the future changing literary history forever / …while you steer our little boat out of Lethe / & into the lilies / trailing my hand in the canonical water,’… and that she doesn’t ‘want to stay in this world watching Truth bound and gagged on the / railroad tracks’.
      This legacy theme is also mentioned in ‘Art of Poetry’ where the poet imagines her work discovered ‘sometime before the death of the sun’, which will be ‘display(ed) in a luminous floating interdimensional sphere’. Her mortality is reflected upon at the poem’s end:

                  The days & nights keep drunkenly arriving, the guests are all dying
                  & I’m starting to feel pretty sick.

Yet another poem, ‘Little Old Ladies’ begins with:

                  We know we’re supposed to shut up now and tremble off
                  into the wilderness of a golf course on the edge of a retirement community’

      She describes the sight, sounds, and smells of the aged delinquents ‘pissing vodka in our bedpans / Pulling the fire alarm, wandering out into traffic’… no one ‘wanting to breathe us in.’ This fourth section contains poems attempting to imagine and perhaps negotiate the end before it comes.
      On a final note, two aspects of this new volume, of which I personally wanted more, were Addonizio’s inventive sonnets and more poems about Italy. Perhaps her investigation of the strictures of the sonnet and her Italian ancestry might help expand and define her sense of her past, present, and future, and help give the book’s last section a more positive or at least a more balanced perspective.
      A poet who first came to my attention when he submitted two poems, ‘Marsden’ and ‘Atmosphere’ to AQ27 is Colin Bancroft. As I read these two poems, the whole room and my usually whirring mind stopped as they captured my attention—which is my test of whether I want to publish someone’s poetry. The bio he sent noted an upcoming pamphlet, Impermanence,, which I requested from his publisher, Maytree Press in Scotland.
      I must say I am very impressed with this collection. Its Turneresque cover, by Kevin Threfall, depicts an autumnal landscape ablaze with soft focus swaths of green, yellow, orange, and red, and a long white house or barn at its centre, reminiscent of Turner’s lone ship in fog. This cover is definitely an attention grabber.
      And Bancroft’s twenty-three poems inside are just as arresting. Though many are composed in rhyming verse, the range of subjects they cover and the voices they include are far from the usual fare. ‘Tethered’, the first poem, describes, on one level, a channel storm about to blow a couple’s tent down. On another level, it addresses the couple’s relational tension. In the next poem, ‘Pheasant’, the speaker is parked in a layby to clear his head. He hears a pheasants call, thinks it’s a bit ‘mechanical’ and likens it to an instrument recording of a ‘Your broken heartbeat.’ The poem ‘Absence’ almost seems to describe the Impermanence’s cover. ‘Just the blank canvas / Of fog, primed with rain…Trees loom as ragged patterns cut / From this fine cloth of mist.’
      ‘Mis-en-scène’ contains the thoughts of a young man waiting to enter an amusement park or museum he visited as a child, with his partner, who is a few weeks pregnant, planning his future family. He imagines ‘The cot, the pram, the bike, the toys, the pets, / And all the untold stories that would unfold’. Unfortunately, ‘Three days later / there was a change to the script and we were left / With our plotlines torn,’. ‘Snapshot’ makes an interesting if not uncommon comment on marriage. Set at a café reception in the Borderlands, the speaker comments how ‘that it’s all downhill from here.’ In the next poem, ‘Fallen’, Bancroft’s poetic language becomes more inventive, where he compares a dead tree in a hedge to a skeleton ‘which we let it lie there for days in state upon its ground / Touching the earth at last, where its shadow once reached.’—a fitting elegy.
      His poems ‘Marsden’ and ‘Atmosphere,’ both at the centre of this pamphlet, are about gradual and sudden change. The former is about an abandoned village on ‘a windswept headland’. The latter is about the discovery of an overnight snowfall and its effect on the speaker. These poems were originally published by Amsterdam Quarterly at https://www.amsterdamquarterly.org/aq_issues/aq27-beginnings-endings/colin-bancroft-marsden/ and at https://www.amsterdamquarterly.org/aq_issues/aq27-beginnings-endings/colin-bancroft-atmosphere/. They still have the ability to stop me in my tracks, which is why I decided to publish both in AQ27’s Beginnings and Endings issue. Other poems, such as ‘Overgrowth’, ‘Ambleside’, ‘The Clearing’ and ‘Criccieth’, all succinctly describe the feeling of the English country-, lake-, or seaside.
      Next however, come three poems, which were real surprises: ‘The Broken Tower’, ‘After Frankenstein’, and ‘Census’. In the first, the speaker steps out of himself and imagines the life of Hart Crane just before he committed suicide. In the second is in the voice of a young woman who goes to bars, bringing various men with different physical attributes home to try to reconstruct a past, lost lover. The last describes the squalid scene a census taker noted a century or so before. It this ability to step outside of himself into different personae and eras, in addition to his description of natural scenery and relations closer to home, which set Bancroft apart as a true poet.             AQ

Gregory Dally – Void of Souls

Gregory Dally
Void of Souls

Tagline
Some disasters leave humanity in a shadow so vast that it obscures the tragedy.

Characters
1918:
HARRY New Zealander. He has an air of thoughtful containment and melancholy.
LIAM Australian. A reformed wild man, uncultured but loyal.
TORVALD Norwegian. A precise thinker and a reliable friend.

Current era:
AURELIA Irish pathologist. She has the manner of someone used to commanding attention.

Costuming and Staging
The men are in period attire consistent with a cold environment—heavy trousers, duffel coats, boots. Aurelia is in modern sub-zero clothing.
      The performance space has a bisection: the left is the present; the right is late 1918. The men remain shy of the left; Aurelia never crosses over either.
      There is an optional visual effect: the Aurora Borealis.

HARRY and TORVALD emerge. Harry is staggering about, arms folded, coughing profusely.
LIAM enters. Torvald and Liam observe Harry anxiously. Torvald starts guiding Harry towards the front.

LIAM    Harry, cobber, let’s get you some whiskey, eh? Medicinal tonic. There’s a bar on the island.

Harry stumbles away from Torvald’s guidance and Liam’s advance.

HARRY    Better keep your distance.

LIAM    Careful on the ice. You’ll slide into the drink.

TORVALD    (Whispering) It might be a good idea to keep him away from other passengers.

Liam joins Torvald in steering Harry again, towards the front.

LIAM    I think you’re right, Torvald. If he’s got that lurgy they had in Frisco, it’s best to keep him off the ship, isolate him on shore.

TORVALD    I’ll call the captain. He’ll probably get him a bed in a cottage.

LIAM    Harry! Easy. The jetty’s not steady.

Liam draws Harry with him, away from Torvald. Harry collapses near the front. Torvald and Liam sit on opposing sides of him.

TORVALD    Harry, how are you?

HARRY    Not too bloody good, mate.

LIAM    Hell. You look like…

Now supine, Harry shakes his head. His friends share an apprehensive glance.

HARRY    (Upper class accent) Fresh fields, eh, chaps? Tally ho. The Promised Land. (Laughing, coughing viscerally.) This is it—the end.

LIAM    (Suppressed alarm) They did say this was the end of the world, eh.

HARRY    So this is how Captain Cook felt–in Hawaii. (Exhales.) Minus the heat.

LIAM    Minus, alright. Minus ten. (Sniggers.) And you thought Garston was cold. (Pause.) Cook in Hawaii, huh? It’s not that dire, is it?

HARRY    (Laughs, splutters) Hey, Liam.

Harry gestures Liam to approach. The Australian shuffles near.

HARRY    (Confidentially) D’you remember your, um, declaration of solidarity?

LIAM    You’ve lost me.

HARRY    What you said on the journey, that time I whipped your arse at quoits–that we’re like brothers now, like the real Anzacs down in Europe, the ones who didn’t have fallen arches or other excuses like us. (Pause.) You should probably think again about your promise—you know, that you’d die for me.

LIAM    (Quietly) Oh, Haz. You don’t wanna joke like that.

HARRY    I’m out of jokes. The rations are gone.

TORVALD    I think he means it.

LIAM    Come on, Harry. Who’s gonna excavate all that ore now, eh? You came all this way to get it, you silly bugger. You’ve gotta be tough, that’s all.

HARRY    Tough, huh? My Maori buddy Jack always said that. ‘Kia kaha, Harry. Stay strong.’ Easy advice. (Laughing) Not that it helped his mates, all carking it one by one out there in the sticks in Taranaki.

TORVALD    Sticks?

HARRY    Country, Tor. The countryside. In their maraes.

Harry inclines himself away from the others. Choking and coughing, he scrunches desperately into an embryonic position. Concerned, Torvald and Liam chat inaudibly.

AURELIA ENTERS, carrying a book and a steaming mug. Placing the mug down, she addresses the audience as though they are her colleagues. She can sit on the edge of the space or stand.

TORVALD STANDS AND EXITS. Throughout Aurelia’s monologue, the other men are in a silent parallel to her modern era. Harry is breathing heavily, ailing; Liam embraces him comfortingly. Eventually TORVALD RETURNS with a blanket, drapes this around Harry and sits next to them. Liam is distraught, Torvald stoic. Aurelia holds up the book. She is subdued, but determined.

AURELIA    Pale Horse, Pale Rider. Got it in Seattle on the flight up. One of the few novels about the flu. (Laughs.) Man, I really am a virus hound–even in my spare time. I’ve got the bug, ha ha. If you’ve never heard of this book, fair enough. You haven’t heard of any items of fiction about Spanish Lady, have you? For some reason, not many people sat at their keyboards and started out like, ‘Flu killed all my friends.’ There’s minimal homage out there for twenty or forty million—whatever total you accept. In our research for this expedition, some references cited eighty million. (Pause.) And where are the Ground Zero memorials for the Lady’s fatalities? Oh, there are some. Longyearbyen, Boston, Alaska, the Fort Riley Monument in Kansas, where the epidemic might’ve started. There aren’t pilgrimages to them, though, are there? (Recalling.) ‘The most lethal pandemic ever.’ The single most deadly incidence of a virus. One of the plagues killed more, yes, the one-hundred-and-fifty-year one, but the Spanish Flu caused its attrition in a year or less. (Pause.) And apart from our vocation, who even spares it a thought? (Sneering) You’d think everyone should be into it, not just pathologists. (Pause.) You try to stay detached. They’re just subjects, not people, yada yada. There’s something about these ones, though–so pristine after all this time. (Raises her mug.) Salut, permafrost, an ally to our profession—and to the world, if the tissue samples we glean here yield a preventative or cure. (Smiles.) It’s impossible to understand why such a scale of horror hasn’t osmosed into the global consciousness more than it has. Covid’s given it cameos in the news. Yay, the pandemic. (Snorts.) It’s like no one wants to know about it. ‘Bring out your dead’ was almost a romantic slogan by comparison. (She looks right, through the adjacent tableau of travellers.) Where’s the romance for these wallflowers, the inhabitants of that illustrious little boneyard over there, our extractions? (She waves the novel.) Pale Rider is a measly epitaph for so many losses. (Pause.) The plagues, Dub Dub One and Two, AIDS—you name the calamity, there’s a buttload of fiction to eulogize it. (Laughs.) And then there’s this unexpressed vacuum that these poor sods fell into, and countless others globally. It’s like the rest of us have left them void of souls. They’ve been deleted from our minds, God help us. That’s quite a trick. Los Desaparecidos. They’re the out-of-mind experience for humanity. (Quietly) You know how you dislike someone just because they remind you of aspects of yourself that you despise? (Laughs.) You’re thinking, ‘What’s Aurelia on about now?’ (Pauses, sighs.) I reckon those forgotten tens of millions are like that. A curtain’s been raised against them, for fear of even recognizing something so…so insufferable. Maybe we comprehend evil in ourselves—or our human enemies—but can’t take the reality of such ruin from the invisible inside us. (Pause.) But plagues and AIDS and Covid were inside us, you say? (Chortles.) Plagues? Everyone blamed evil spirits and bearded ladies, then fleas and pets. AIDS? Monkey phobia, homophobia. Covid had the amplification of modern media. The flu? That’s sort of just us, to the standard logic. (Pause.) The original microscopic massacre—a tragedy too insidious for us to glorify.

As the men’s scene reactivates, AURELIA EXITS reverently, taking her book and mug. Harry sobs. Leaning away from the audience, he splutters uncontrollably, seemingly vomiting. He gazes abstractedly past his friends.

HARRY    I’d left all this behind. All those bodies slung across Hagley Park, my brother somewhere in that festering heap. Standing there, (Snorts.) I couldn’t help thinking about us playing tiggy with mates, and how he always got caught. Me? Never. (Pause.) I thought I’d escaped it.

LIAM    You made it here. You’ll make it through.

HARRY    Look at them, our lucky fellow passengers.

TORVALD    (Sympathetically.) The captain should be here soon, and the doctor.

HARRY    Oh, look at your face, Tor. You know you are looking at your deaths in mine, you and Liam. You know that this (Pointing at himself.) is your future.

Leaning away again, he makes a rasping, guttural cough.

TORVALD    Oh, Harry. Soon you’ll have no blood left.

LIAM    Is there nothing we can do to help him?

Torvald is looking at the area into which Harry is coughing.

TORVALD    It’s no good, Liam. The blood is coming from his lungs. (Yelping.) Herregud! The snow!

LIAM    What’s that stuff? Torvald, hold his head up so he doesn’t choke. Let’s get that crap out of his mouth.

Torvald obliges. Liam is facing away and Harry is partly obscured. Liam appears to be clearing Harry’s mouth.

HARRY    (Deliriously.) This is my halo, yes? (Laughs.) Liam, I’ve got a holy glow in the snow—a nice red halo.

Harry shrieks, an uninhibited outlet of grief. Liam and Torvald scoop Harry up. Carrying him, THEY EXIT.

Optional visual effect: a suggestion of the Aurora Borealis; kinetic, psychedelic tones. This can last until the finish.

AURELIA RETURNS, carrying some flowers and a sheet of paper that has text on it. She stands facing the audience and conducts a self-styled memorial. Sometimes dropping flowers, she refers to the sheet only cursorily during an eloquent address.

AURELIA    God bless these people we study. Unlike many unrecorded ones, at least they have the dignity of identities, the integrity of names. (Reading) Royle, Henry—brackets, Harry. Jolly, Stella. (Pause.) Armitage, Liam. (Pause.) Stigsen, Torvald.

She bows her head devoutly. TORVALD ENTERS coughing and stands near the front. He has a Bible and flowers. He stifles his coughing and delivers a tremulous eulogy. To him, the audience are other mourners in 1918. His composure is fragile; his strained English has an impassioned elegance.

Aurelia stays in a venerating pose, observing a period of silence.

TORVALD    This is…How would Liam say it?…a shitty little place. If we stand here much longer, we will freeze to statues, as still as him and the others.

Torvald almost seems to regard the modern day scientist for a moment, then readdresses the audience. As he continues, Aurelia looks up. Softly, restrained, she hums ‘Danny Boy.’ This is a consonance to Liam’s conclusion. As his requiem finishes, she might sing several lines.

TORVALD:    I could never forget that awful complexion they had, the colour of extinction–a strong purple, like lavenders. (Pause.) I’m sorry, Harry, Liam, that we can’t give you anything better than terrible crosses of wood to value your terrible deaths, your wonderful lives. You and these other unfortunates from the ship and this island deserve much more. But, dear ones, your deaths were so huge, we had to use dynamite to bury you! (Laughs.) It’s a pity you missed the explosions, Liam. You loved a good…How’d you say?…scrap, a fight. We had to fight to get you all under this cold, hard ice which has no life in it but yours. It freezes the earth and it holds you all, young always. (Coughs, places the Bible down, starts throwing flowers.) Liam predicted that the Aurora would appear by this time of our arrival. Heavenly colours fill the sky to honour our friends, to farewell them. (Pause.) In the end, we can offer them only flowers…and our love, which soon may vanish too. Harry would call me insincere if I speak of a God, (Snorting) as he put it, a godforsaken God. So I’ll just say,…you take with you the grace you brought to this world. I think he would accept that.

Aurelia’s humming or singing diminishes.

OUT

Franz Jørgen Neumann – Earth Year

Franz Jørgen Neumann
Earth Year

That Susan. She was right about catastrophe. And having planned so meticulously for its arrival, she’s not alarmed now that it’s here. She’s calm around the girls and around you and even when alone, like now. You watch her kneading dough, her lips singing a song you can’t hear through the window. Her hair is streaked with flour. She’ll still be lovely when she’s gray. You’re outside chopping wood and shooing biting flies, out of her league but somehow her husband and father to three girls. And yet you’re not completely on board with Plan B.
      For one thing, the five of you have only stayed here at the cabin during the warm summers, and never for more than a few weeks. Susan wants to remain through winter and then some, until the pandemic is over. There’s nothing you can say that will talk her out of it, especially as she’s already turned the cabin into a walk-in pantry. There are more dry goods here than in the nearest store, enough propane tanks for a thousand BBQs, toilet paper that could stretch to the moon, plus two packed refrigerators and a deep freeze, all powered by the solar array. And, whenever you finish splitting the wood, there’ll be enough fuel to get you through a Sierra winter.
      It’s not cabin fever you fear. There’s an old TV with a VHS player and plenty of tapes, and a wall with hundreds of books that Susan has brought up here on each visit to this getaway built by her grandfather on a grandfathered plot just within the border of Sequoia National Park. Susan has placed the unread books pages out so they’re not judged when it’s time to pick a new read. Reading is Susan’s thing. Your oldest, Amelia, is already reading at a high school level even though she’s only eleven. Millie, at eight, is hitting middle-school targets. Pearl, four, is right on track. She prefers drawing and building things with sticks. You would never tell the others this, but Pearl is your favourite daughter for being, like you, exceptionally average. Pearl, you’re certain, would also have reservations about Plan B, if she wasn’t four.
      Take it in. No redwoods, but plenty of lodgepole pines. There’s a decent meadow edged by a stream with a couple pools deep enough to swim and fish in. Right now your daughters sit out on the edge of the meadow having a picnic as you stack wood. It’s idyllic here, despite the ticks and flies. There’s no hint that everyone, everywhere else on the planet is—but Susan’s forbidden you to talk about it. First not with the kids, now not even with her. One of Plan B’s requirements is calling this time away from your lives in Sacramento Earth Year. Susan told the girls that everyone has agreed to take a year off from working, studying, travelling, and buying to help combat climate change and allow the planet to heal. It’s the reason she gave the girls for pulling them out of school a month before the shut down. If the girls have heard talk of the virus, they still haven’t put one and one together. Earth Year is a large fib, but not necessarily a lie, and Susan sees no point in the girls bearing the pointless burden of bad news. They’re safe here. Nature documentaries on VHS, but no internet; walkie-talkies, but no phones. No word can reach them to glum up their existence. You, of course, listen to the news from the jeep, parked at the end of a spur a quarter mile from the cabin, where the nearest fire road passes by. You, alone, know the shape of things.
      You wash up in the outhouse, which is far nicer than the bathroom in the rental you left. Here there’s a heated tile floor you installed a few years ago, plentiful light, even a tub that was a pain to lug in by foot, though it’s still hard to hide the dusty smell of primitive plumbing. You enter the cabin just as the soup is ladled out. There’s fresh bread laid out around sunny pads of butter. The girls talk about the scorpion they found in a rotted log that day, about the dam they built of stones, about the fool’s gold they’re collecting and which they’ve asked you to assay. ‘Could be, could be,’ you say. ‘There is gold in these mountains.’
      As you clean up the kitchen, Susan begins packing for tomorrow’s hike. The girls have wanted to go exploring, and you’re looking forward to a couple days without chopping wood, though you’re not the biggest fan of sleeping on the ground. That night, in bed, Susan tells you to be careful. You’re sure the girls are asleep up in the loft. Careful, she says again, but it’s because she’s out of pills—the one thing she didn’t plan for. You end up laughing at her oversight until the girls wake, climb down, and you have to come up with another joke to satisfy their curiosity.
      Susan’s prepper side didn’t arise until after Amelia was born. You forgave this quirk because Susan continued to have the optimism, beauty, and generosity that made—and continues to make—her seem ten times as alive as anyone you’ve ever met. Who wouldn’t want optimism, beauty, and generosity in their life—and once offered, take it? So pay checks have gone where Susan’s directed them: into extensive cabin repairs, the solar panel array and batteries, the new outhouse, generators, the jeep—while all other aspects of your lives have been put on hold or fallen into neglect. You remain the kind of family that exhausts their cutlery drawer by the end of the day. The kind of family not bothered by worn clothes or cracks in the walls or a little mould on the edge of a block of cheese.
      Still, in the last few years you’ve begun to feel that the investments in the cabin have gone too far. You’re both well past the age where you should already have a sizeable retirement savings, in addition to college savings for the girls. Instead, all your money has vanished into preparing for disaster. This is not how you feel now, though, not with disaster come calling. You’re grateful you listened to Susan. Any retirement or college investments would have been lost. Buying a place in Sacramento, Plan A, your plan, would have sunk and entrapped you both. And yet. Plan B. It has its flaws.
      You worry about having enough food, about being trapped, about accidents. Maybe the highway won’t be plowed come winter—the fire road certainly won’t be. What if there’s an accident, a fall, a burn, some incident that requires you to leave the mountains for help? You’d all be trapped in misery. Not Donner-party misery, but dangerous all the same. It’s not the bears or mountain lions you’re afraid of. It’s little slips, spills, and pricks of misfortune, and the snow that will say: no, you have to deal with it. Here. On your own.
      After breakfast, you all head out for the overnight trip, pack on your back, Susan and the two oldest girls ahead of you with their hair in matching bandannas cut and stitched from window curtains. Pearl sits on your shoulders, hands on your cap. You gave her a haircut last week and you’re glad you can’t see your handiwork. You follow the trail to the fire road. It’s always a relief to see the jeep parked there, even though it’s been only a few days since you snuck out here to listen to the radio. The car’s still covered in dust. Wash Me, Amelia wrote a month ago. It hasn’t rained since. Please!, Millie adds now, below. She underlines the plea, then shows you her fingertip, like the dirt is something you did.
      You walk the fire road until it intersects a park service trail. Susan sings camp songs as you head into the shade, the girls listening, joining in, making requests. Where the first sequoia appears, Susan tells all of you to breathe deeply and experience how clean the air is. You all breathe deeply. You see no one. Not even when the trail rises up to a curve of Highway 198. There’s not a single car, not even a construction crew using the opportunity to repair the roads. You walk in a row down the highway, under the dark shade of the towering Sequoias. A coyote jogs ahead of you for a good five or ten minutes, almost like it’s happy for the company. You imagine summers haven’t been this quiet since Colonel Young and his Buffalo Soldiers journeyed up here to build this road well over a century ago. Or maybe you’d have to go all the way back to when only native people were here. To re-energize the tired girls, you pretend you are all members of the Tübatulabal; you’re the chief leading the tribe here for the relative cool of summer. But you’re too tired for cultural appropriation, and anyway, what it really feels like is that you’re the only family left alive in the world. It’s spooky. You’d love to have to clear the road for a passing tour bus.
      At the General Sherman, Susan lets the girls climb over the barriers and hug the world’s largest tree. You do, too. You smell the bark, see the tiny cobwebs in the cracks, the wood fluid, flowing a few inches a century, every square inch a universe. You camp not far off and sleep under the slivers of star-filled sky. It’s not as dark as it could be; the light pollution hasn’t abated. You are a little relieved.
      In the morning you make coffee with the Primus burner turned down to a whisper, but in the forest it’s loud enough to rouse the others.
      ‘Shh,’ you say as they emerge from their bags. You point to the grazing deer.
      When you resume your hike, you let the girls go ahead, just out of ear shot. You try to tell Susan what you last heard on the jeep’s radio: that the virus spread rate hasn’t just levelled, it’s plummeted. Schools are set to reopen, some businesses, too. You might be able to get your job back. A harsh winter in the Sierras isn’t necessary or even wise. There are other reasons to head back down, too. Millie broke her glasses at the beginning of summer and needs new ones. The girls miss their friends.
      ‘Shh,’ Susan said, and gives you a quick close-lipped kiss. ‘Don’t tear yourself apart. Is there a vaccine yet? Then it doesn’t matter. Earth Year, Dan. Earth Year.’
      ‘But work.’
      ‘No one works during Earth Year,’ she says, reminding you of the rules of the game.
      And so you try to be here, try to take in the majesty of the sequoias, try to buy into Plan B completely. At the locked visitors centre, Susan commandeers a maintenance cart and backs it up. The noise of the beeping must carry a mile. There’s no one to hear it but you. The worry is within you. Imaginary.
      ‘All aboard,’ she says.
      She drives all of you the short distance to Moro Rock. You get out and climb the narrow twisting trail of steps to the top. There is no one coming down the other way. The air is cleaner at the overlook, but not entirely. There is still agricultural haze. Maybe already next week, with schools and businesses reopening, the tide of vehicular smog will wash back in. Staring the other way, across the width of the Sierras, you see flecks of snow on Mount Whitney. Come winter, snow will cover everything. White is also the colour of doom.
      ‘Have you ever seen such a view, girls?’ Susan says.
      It’s a strange question, because, yes, you’ve all been up here many times before. But never alone. You suspect that Susan hasn’t been preparing for disaster, but for this: a national park to herself and her family. She is a misanthropist in disguise, a glutton, an Eve back in the garden. You descend Moro Rock and return to the untouched cart. Susan drives you all to the nearby meadows. There, you watch a bear dozing on a log, its cubs rummaging through the tall grass, unseen. Marmots wait for the bears to leave. Woodpeckers hammer away in the high trees. There are wildflowers, thick and bee-rimmed, in blue and red and cream. And you feel it, suddenly: this is yours. Yours and no one else’s. Sharing isn’t caring. Sharing is contraction, noise, a trample of destruction. This here is yours. A gift. You should accept it until it’s taken away.
      You see no one on the long hike back to the cabin. No one stumbles and sprains an ankle. No one cuts themselves and suffers an infection beyond the healing ability of a squirt of antiseptic. Everything is good, as Susan said it would be.
      You see no one else for the next month, or the month after that. You finish chopping up winter’s fuel, you read endless books with calloused hands. You now know more about the Enlightenment, the Korean War, and the Raj than you ever thought your brain would ever come to know. The history of the world is a history of struggle and progress and the debt of that progress. You run the jeep once a week so the battery won’t die, but you do the right thing and leave the radio off. Mornings are cold, with a curious rainbow of frost on the meadow before the sun melts it.
      Just after the winter’s first light flurry, Susan breaks down to the girls’ daily requests for milk and sends you on one final run down into the valley before the first real snow comes. You take Pearl with you, planning to also get her new glasses. Pearl should be in her car seat, but there’s no one on the road. It’s safe when you’re the only family around. You turn on the radio when you’re out of the forest. Like the last time, there’s music and commercials, no hint of the pandemic. It’s over. It’s over. It never was Earth Year, of course. Your stay in the Sierras was a flash of fool’s gold. Though it’s curious that the roads are empty. You switch to the AM band, the frequency of disaster.
      That Susan. Correct again. Schools closed once more. Businesses shuttered. The financial report contains numbers both so enormous and so small that they would make you tremble if you had money to lose. Your investment is in the cabin, in your stores of food, in the solar array, the clothes, the cash that’s hidden in, of all places, the outhouse.
      The nearest optometrist is closed, but also out of business. As is the next. You didn’t tell Pearl you were planning on buying her new glasses, so she’s not disappointed. She’s happy you’re driving straight again, so she can get over her car sickness. You try to explain that motion sickness is a conflict of the senses, between what you see and what your body feels, but you’re not doing a good job explaining it. Maybe it’s better that the world around her is slightly blurry and more like a painting then a photograph; maybe it’s better she has, on occasion, a slight unease in her stomach so it’s not a stranger. She, like you, belongs to the average clan, and the average clan is not immune to feeling uneasy.
      You stop at a farm stand at the base of the mountains. You buy more than you can eat. The rest Susan will have to can. They sell milk and eggs here, too, out in the open air, and you buy half their stock of eggs and enough milk to reconstitute a cow. Behind the man who takes your money stands a woman braiding her daughter’s hair. None of you are wearing a mask. You can smile at each other, and do, and you realize you have fallen into fantasy, again. The world is far from ending. Not when it offers any stranger that might appear a cornucopia of fruit and vegetables, a taste of things that have not ended. Disaster would be fields dried to dust, no sign of life. This is the very opposite of disaster. This is plenty. You thank them and load the jeep. Inside, you wipe the dust from a pluot and hand it to Pearl who nibbles on it for a while before falling asleep on the long drive. She wakes again when you park as close to the cabin as you’re able. She feels absolutely fine, not the least bit car sick.
      You carry what you can and follow her on the trail. This is now Plan C: to live as though the world beyond exists and doesn’t exist, that you are safe and unsafe. You will try, as hard as you can, to not let the contradictions make you unwell. You give Pearl an egg to carry to teach her care and attention. And when it breaks, halfway to the cabin, you give her another. On your last run you remove the jeep’s battery, cover the vehicle with a tarp for winter, and carry in the last of the season’s fruit. Snow begins to fall. AQ

Algo – An Unknown Track

Algo
An Unknown Track

The currency of fear does not devalue
Nor does it enrich our lives.
Huddled behind closed doors,
Not unhinged,
But getting there,
And at the same time getting nowhere.
Everywhere forbidden unless essential.
Contactless and reverential.
The washing or wringing of hands.
Alcohol part of the ceremony.
Purification.
Puritanical.
Uncoupled,
Heading down an unknown track,
At great speed.

Lawdenmarc Decamora – Quarantine: A Song

Lawdenmarc Decamora
Quarantine: A Song
 
Somehow the cure is kept
 
in the hips of the wind,
 
in the neck of the trees
 
in your village where
 
you waited for me
 
to declare, oh, my mouth’s
 
a closed souvenir shop.
 
There was in my breathing
 
an image long quarantined,
 
a feeling squirming
 
through tiny cracks
 
and tight checkpoints.
 
A fresh start to trace
 
my path to your fever
 
dream’s thousand tremolos.
 
I kept silent, my lips fuller
 
from your pain’s sweet
 
medicine. They’re wet
 
with what you’ve overcome.
 
And like sugar in the new
 
normal’s breath, you gave
 
me morning, my dear,
 
as you gave abundance
 
to agriculture. Light
 
would embrace the shades
 
again. I thought I saw you
 
standing by the silver lake,
 
and then I thought
 
I found the cure.