collector of books

I was fifteen years old when I saw Joyce Carol Oates read; she came to my summer camp (an academic one), and read to an auditorium full of precocious teenagers. Hearing her read the title story from Collector of Hearts sparked a full-blown obsession with her work. I had read "Where Are You Going, Where Have You Been?" in classes before, and knew in a sort of offhand way that I liked her work, but the reading started me on the inevitably strange and wonderful journey of reading every single one of her books that I could get my hands on.

Though I am a completist, it soon became clear that I couldn't read them all, not least because I lived in a small town in Maine, and couldn't physically get them all. Even now, though, with Powell's just a few blocks away, I can't read them all. It's not that she has written too many books (what would that even mean?), just that there are so many books in the world and there is never enough time to read.

false start

Having been raised in a household where Joyce was considered canon and books a necessity easily on par with food, it is perhaps as unsurprising that my literary tastes tend toward the unusual as it is that my appetite for literature is voracious.

not quite fiction

This is the danger of commuting: one day you wake up and you're five miles down the road. You're in the right place, in the right gear, going the right speed, and you have no idea how you got there. Equally unclear is what you've been thinking about along the way, and what would have happened had a cat leapt out in front of your car.

This morning, I could reconstruct some of it. I was thinking about stockings, about how I can't wear them without destroying them, and how some people seem to be able to keep them for years. I remember looking down at my legs and wondering how much of the day would go by before the telltale skin would begin to show, and the ladders would start climbing up my leg. I don't remember my estimate, but the first one started even before lunchtime.

Suffice it to say, it was not an auspicious morning.

memes

Published in 1986, Ghost Dance was Carole Maso's first novel. I know this not just because all the reviews talk about it, but because I wrote my thesis on another of Maso's books, and that involved doing quite a bit of research about her and her bibliography. That's why I was really puzzled when I came across this.

After a little bit (okay, a lot) of googling, I reached two not-very startling conclusions. One is that misinformation spreads a lot faster these days, thanks to the miracles of the internet, and the second is that it's always worth double-checking your databases. Data entry is a tricky business, easily mismanaged by those clumsy human fingers we all have.

I noticed, first of all, that while 27 Amazon sellers wanted me to purchase this book, none of them had entered any supplementary information about it. Odd. Nobody on LibraryThing owned a copy of the book, either. None of the Bookfinder or Alibris sellers knew much about it, either. And it was at Alibris that things became clear, because I finally searched by title instead of author. And noticed the ISBN problem.

seriously, what the eff?

As a small and unassuming girl who swears both frequently and creatively, I am astonished by how often the people who hear me swear are astonished. I know several people who have said to me, with awe in their voices "I've never heard you swear before!" and who have then said the exact same thing to me a few weeks later. And again, later. They're rarely right, but something about my appearance leads to the impression that I'm far more mild-mannered than I am.

Reading Steven Pinker's excellent article about cursing, I couldn't help but wonder if the problem is simply a disconnect in their minds caused by the fact that I am not just clean and blonde and pretty, but also very good at performing my femininity. In other words: girls don't shit. But we do! And we piss and fuck and use the most remarkable language when we get cut off in traffic or stub our beautifully-shod toes. And as I read along, I felt sure that Mr. Pinker understood all of this. Until:

Men swear more, on average, and many taboo sexual terms are felt to be especially demeaning to women-- hence the old prohibition of swearing "in mixed company."

A sex difference in tolerance for sexual language may seem like a throwback to Victorian daintiness. But an unanticipated consequence of the second wave of feminism in the 1970s was a revived sense of offense at swearing, the linguistic companion to the campaign against pornography.

Apparently, we're all prudes: either Dworkinites or Victorian throwbacks. And in two relatively short paragraphs, he almost managed to ruin the whole article for me, relying on lazy (and nonsense) evolutionary psychology arguments about how women have so little to gain from sex and are thus uncomfortable with even discussing it. Nowhere else in the article does he fail to consider the ways in which social structures influence our usage and understanding of language, so the misstep here is puzzling.

so, so many

A gift from my afternoon gmail inbox: it's not quite an infinity of poems, but it's damn close. I have a copy of the Oulipo Compendium, which he took this translation from, and there's something wonderful about leafing through it and using some agency in combining (composing? not quite)the lines, but this web version has a certain automatic charm of its own.

And of course, I'd love to own one of these. But that's not likely to happen any time soon.

one word

I used to write poems that reveled in brevity, poems that maxed out at three lines, three short lines, even. They weren't easy to write, unless they came to me entirely whole, already created out of the ether. Those were lovely, to be sure, but the majority of them were heavily polished little gems, careful creations masquerading as feats of inspiration.

Sometimes, the titles were longer than the poems. Other times, the titles were the only things shorter. Sometimes, they just had numbers. Lately, I can't write like that, but this delightful post (found via Bookslut) about short poems reminds me of how satisfying it was.

Last night, we were talking about The Fear of Losing Eurydice and AVA, because I'm re-reading the first and always thinking about the latter, and because there is a resonance between them that I was trying to explain. I think it boils down to this: each sentence in each book is as dense and vivid and carefully self-contained as one of these poems. Even in Eurydice, where they're not set apart visually, each sentence is a separate revelation, a discrete and lovely work that is linked thematically but not grammatically to the surrounding text.

Last night, I said they were similar "flights of language," a phrase I meant to reference the irresistibly infectious quality of flights of fancy, but also the delicious experience of flights of wine: words that take wing, and words that allow you to taste a range of ideas and images. Each word a rare bird.