He could not shake the dream. He woke with it upon him. Overnight, his room-the dusty outdoor knowledge that it was–had reaaranged itself. Desks in the family for generations had sprouted feet while books readied themselves for a three-legged race. Important busts now stretched, shook themselves free of the stone dream of centuries. The mural on which he had painted the story of Don Quixote had turned into an actual butte, winds lifting tiny, sexual spirals of sand. And worst: the ashes of dead uncle Arthur had reconvened into a groaning, ululating mass behind the man’s third-grade ammonia-scented schooldesk, so that the head of Uncle Arthur now begged for codeine-laced syrup. Hold on! said the man to the inhabitants of his room. Just you wait! A whine to his voice though the man had seen worse. Once, in Mexico, hanging by fingernails onto the wagon, he had gotten the delirium tremors so strongly he’d believed his skin to be made of spiders and that he was caught in a terremoto, the kind to pull down thousands of aspirants. But even after he shook his head, there it was: everything he’d thought secure and true, immobile, now walking around the room. The only thing left for him to do, shaking his head still, was to look in the mirror. Cabeza de vaca-or cabeza de ass-hadn’t something new and awful formed from his mental lucubrations? You are what you think or eat: which applied here? Surely he was culpable, his guilt so pure it attained the quality of an Ararat vision. He shouldn’t have eyed the statutory waitress, shouldn’t have cheated on his income tax, shouldn’t have been North American, sinking toward or away from middle age. Had his skin been stripped from him? Only yesterday he had made a sly, derisive comment about his most enviable friend to another pal. Did he now have a womb? His rib cage certainly protruded, pregnant with horror. The mirror awaited him, more confident than a whisper.

Out in the fields, there rumbled talk of a work stoppage. A jackal had come with the news, or rather the woman whom people called the shape-shifter, her cleavage hard and pointy, her mouth chewing off the report with grim satisfaction. They’d seen their boss fleeing from his temporary dwelling that morning as if his tail was on fire. The jackal was the one who knew best. Some thought that somewhere in a bar-misty past there had been some shacking-up between jackal and boss. This peccadillo formed part of the contours of the boss’s vision for the field, because hey, he was human, and part of his humanity was his need for shacks and visions. It was not that he gave the workers ample shares of the profits-he did not-it was rather that he made them feel that far beyond plunging derricks into empty sand, they performed something of import and meaning. The jackal had on her bedside table a book that said every person needed three things in life–to look forward to something, to do something of meaning, and she couldn’t remember the last one. She was a shape-shifter but no one had to know that. When she’d slept with the boss, he had bitten off the tip of her tail and she’d relished the wound, had not shifted it. While listening to the jackal’s report in the field, no one noticed how the winds had picked up. She left a wake of gossip in her wake so that, similarly, no one ever noticed her unusual means of escape, a paradoxical relation to gravity, though if they had, it would have confirmed their deepest hopes.

The boss was relieved that though the mirror had deceived him that morning, when he stepped out, he seemed to have reassumed a human shape, though something a bit womanly obtained to the nether regions. The only way he knew to believe in his dream was to note his workers had shed the need to wear clothes and were having a bit of sport. He had, after all, encouraged worthwhile lunchtime amusements, and now they seemed to have stumbled upon a circus act to keep them entertained so they wouldn’t notice who happened to milk and deposit the majority of profits in his offshore account. He did wonder: was that a real mutant whom they trained or just some other workers drafted to play being a sweet-tempered, caterpillar-colored catlike beast? Were there shoes, in other word, protruding from under the costume? Because he’d never trusted his workers to do anything too sophisticated.
All the while, next to them a vastation was growing, a beautiful clearing in which, had anyone stopped to listen, something important was being said. But who had time to hear? The circus was all. In response to this odd burst of life among them, the boss thought it important to declaim and narrate, choosing to spend the day moving from sector to sector. Naked he might be, of womanly hip, but he would describe to them what they were doing and what would serve their purposes best. No one listened; they treated his words as background hum yet this hurt nothing. Because upon seeing the caterpillar beast, the boss found a catch in his throat, one needing to be expunged.
Among the sectors, whenever he found himself at a loss for words, he stuttered on the refrain my honor, my honor and an occasional worker would echo back your honor your honor.

What the boss didn’t know was legion. He didn’t know, really, how to knot a tie. How to get foodscraps out from between teeth. How to hold your hand out in friendly greeting toward a dog to give it a chance to sniff. How to meet a bald man and not remark upon the panels of pate shine. How to look a woman in the eyes and not below. How to give workers more than an illusion that their lives filled with meaning and purpose. To all this matrix of ignorance had grown a life underground. Every bit of ignorance had sprouted its reverse, so that even as the boss went out declaiming that it was a fine day, a fine day, my honor, something he tended to do not infrequently, there was a fellow who very well could have been mistaken for the boss’s double leading a reddish brigade just under the surface of the earth. Their plan was multiheaded, many cloveheads of desire. Not bad, these mutants, merely splintering off from the unawareness fostered by the boss, and their goal was not to enlighten, rather it was to confuse in a jolly enough way. In truth, it had been their initial interruption that had caused his odd morning, and given its success, they were coming to infiltrate through the pores as best they could.
Among all that the boss didn’t know, he had no clue why the jackal had such a beautiful navel. No one else in his kingdom had such a navel because in the main they were all self-authored. The one hitch was that each person was the author of another’s death, and hence they had a long legacy of guilt: you randomly had to decide how long your lifemate was going to live, and then such destiny was sealed. You’d think the kind-hearted would endow others with long lives but, to the contrary, sometimes the kindest souls saw that given the way things were going, a long life did nothing for one’s spirit, and so signed someone away at age 59 or 43 or 21 or 16, rather than 102 or 76. The boss had made a bet against his life insurance that he would die before an age he kept secret from his workers. If he died before, the workers would get all his profits. If he lived longer, they would get nothing, all of it going instead to the giant insurance company in the sky.
The latest posts at the blog of The Quarterly Conversation
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A fan of Herman Melville must have patience. He must appreciate digression and the dissolution of pattern or plan. He must enjoy the sheer rush of words, a proper Biblical torrent of them. And he must be able to find pleasure in philosophical dialogue as much as in wild anecdote. But must he read Clarel? Can [...]
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Ever since Penguin's 75th Anniversary roadtrip I have intended to address the somewhat simultaneous release of Penguin 75, a sort of vanity book of Penguin covers. This book is delightful, but flawed. Delightful, but misleading.
In The Unicorn Hunt (1993), the fifth book of Dorothy Dunnett’s cycle of historical novels of early Renaissance Europe, the House of Niccolo, Dunnett tells of the deficiencies of wealthy merchant Anselm Adorne’s relations with women thus: His wife Margriet could have warned him. He was familiar with motherly wives and the skittish ways of other [...]
Janet Holmes, director of Ahsahta Press, based at Boise State University in Idaho, took the time this week to share her thoughts on poetry publishing as part of my ongoing series of publisher profiles. Ahsahta publishes seven full-length collections of poetry a year, including recent works by Kate Greenstreet, Lisa Fishman, Rusty Morrison, and Julie Carr. Like some other small presses, Ahsahta offers a yearly subscription option, which is one of my favorite ways to buy poetry and encounter the work of many poets who are new to me, as well as poets whose newest books I always look forward to reading. Janet says more about this and what it's like to craft a press's identity and consistent aesthetic.
An unfortunate side effect to the lengthy transition of print to digital is our long suffering endurance of stale articles in mainstream media rehashing the same points as every other article in mainstream media.
The latest articles published in between issues
In Ransom, Malouf satisfyingly gives us a meeting between Priam and Achilles that builds from the interiority of Priam. The novel seems to want to teach the importance of doing something human to those who might never get around to picking up Homer or who, if they do, might wish they could get into the character's heads.
Winterson has always told and retold the same fictions: of parents and children; of origins, and adoptions; of differences, of margins; of love; of passion; she has always manipulated rhythm and language as an excavation of sources. Much of her fiction mirrors what we know of Winterson's own story, but she agitates against the idea that her work has to be considered as fiction or autobiography, laying claim to both. In Art Objects she writes: "The question put to the writer 'How much of this is based on your own experience?' is meaningless. All or nothing may be the answer. The fiction, the poem, is not a version of the facts, it is an entirely different way of seeing"; a "separate reality." At every turn she eludes the critic, the interviewer, the reader; she offers truth, but not the truth. "I'm telling you stories. Trust me."
It's difficult to pin down exactly why books as objects mean so much to me. I wasn't alive when William Goyen's excellent Come, The Restorer was published, but owning an original printing with the dust jacket—as it would have been purchased at the time of its release—makes the book more special to me than some beat-up paperback reissue. If it's signed, even more so. I'm only really interested in modern first editions (say, post-1950 or so)—before that books get quite expensive, but also I don't think they look as nice, since many were issued without dust jackets, and at that time the dust jacket wasn't considered a permanent part of the book, so they're often missing. So why the obsession and collecting, and why is it so important?
Wood can be harsh, yes, but he is seldom unfair. Wyatt Mason was wrong to accuse him of having suggested, by dint of a string of negative reviews, that no good contemporary literature exists. (He has written favorably of McEwan, Bolaño, Robinson, Ozick, Kirsch, Sebald, Roth, Saramago, Swift, Carey.) He never simply dismisses a writer (in the manor of, say, Dale Peck); on the contrary, his criticism, even at its most polemical and uncompromising, is inexplicably bound to larger concerns about the direction of contemporary fiction. Two major concerns have dominated James Wood's writing: realism and religion. In The Broken Estate: Essays on Literature and Belief, his first collection, newly available in paperback from Picador, these two concerns are beautifully imbricated, resulting in what is surely among the finest achievements in recent literary journalism.
To say that Mark McMorris's Entrepôt is about writing poetry is to do a huge disservice to this beautiful and penetrating book, whose ostensible subject of contemplation is how to live, love, and make do in a time of war, if not cultural crisis. On the other hand, the book's greatest service, at least to my eye, is in its exploration of just what it means to be a poet—I should be more specific and say a lyric poet—amid our contemporary terrors.