In other news...

The Washington Post has an intricate examination of the five second rule of eating dropped food. Apparently Clemson has done a (truly groundbreaking) study revealed that food can acquire bacteria from the floor in less than five seconds. But, the article argues, this rule is more about desire than about reality.

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Those of you who know me in the extra-bloggery world know that, in defiance of the facts that I am in my late twenties, have lived a significant period of my life in the south, and spent quite a bit of time in Los Angeles in recent years, I am a non-driver. I am not in possession of a driver's license, although I did, for a terrifying time, have a learner's permit. If I were in some kind of serial-killer-chasing-me-have-to-escape-in-this-car-right-now type situation, I could drive - I have the ability to operate a motor vehicle, either standard (although it has been a while) or automatic - but in every other life situation I do not, for reasons having to do with profound anxiety, lack of extreme need, persistent pennilessness, and, um, environmentalism (this last is severely undermined by how frequently I fly. Which may, come to think of it, have something to do with how penniless I am). So, with the much appreciated help of very indulgent friends who take me to the grocery store and airport from time to time, I have become increasingly savvy about how to get through life in a profound state of carlessness. In fact, from time to time, when visiting D or family, I realize that I haven't actually been in a car in months, a realization that is mostly triggered, I am sad to say, by extreme motion sickness.

This long preamble is meant to introduce a quite fascinating (especially if they move forward on some of their promised innovations) website called Walk Score, which will assess your neighborhood for its walkability. Unfortunately, they define walkability by proximity to various facilities (stores, restaurants, schools, parks, etc.) rather than by safety, prevalence of pedestrian usage, size of streets and other (harder to fit into an algorithm) factors. This might be why our LA neighborhood scored in the very reputable high 70s, despite being right in the middle of one of the world's most unwalkable cities. Nonetheless, I have been waiting for the web to pay more attention to pedestrians for many years (when will there be a website along the lines of Google Maps or Mapquest that tells you how long it would take a sedately paced person to WALK from one point to another instead of driving???), so I am delighted to get a hold of Walk Score.

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I have mentioned before how fascinating I find the examination of the relationship between reading's public and private aspects in the Dogeared Project. An endeavor called Book Inscriptions provides a different approach to the same issue, providing photographs of notes and missives written inside books that have later wandered free of their original owners. The inscriptions are enthralling, and I felt a curious sense of intrusion reading them, as if I was trespassing into someone's private correspondence. At the same time, I am aware that books are artifacts that roam more freely and publicly than any private papers ever could/should - they survive their original owners and (unfaithful things) go on to form new relationships quite heartlessly.

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My favorite thing I've read today, from an interview with Simon Van Booy at Estella's Revenge:
I was robbed in Athens at gunpoint. It was midnight and I took a different path from my usual route, through a park. They held a gun to me and patted me down, stripped me of everything they considered valuable. I don’t know if the gun had bullets, but the man who took my wallet came back. After the man who held the gun on me left, he came back and gave me the picture of my girlfriend from my wallet.
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There have other daily experiences of verse since I last wrote, but let me give you instead the beginning of today's poem, "I Choke on Mortality and Wish for Something Less Orange" by Maggie Rowe (from the June 2007 issue of The Sun):
A week before reading of the sad incident in the paper
I have a dream in which I pick orange day-lily petals from the floor,
try to eat them, and choke. According to my friend Clare
I am already dead, unable to swallow the fact of the brevity of life: yes.

In the park my dog and I examine a butterfly as blue
as human milk, rows of jet points pricking
out the edges of its wings. My dog twitches forward
and swallows it. [...]

Wonderful (and frought) relationship to color this poem has, most pointedly in the very odd simile involving human milk. For a poem about death, there is a tremendous amount of fecundity floating about (perhaps unsurprisingly). And then, of course, there is the prevalent image of swallowing, choking, accepting knowledge (accepting the world) into your consciousness figured as accepting it into your body.

It is also possible that I have a soft spot for the poem because I once (teenaged) wrote a sonnet involving tiger lilies that I thought (at the time - it is now lost, mercifully) was a piece of intricate brilliance. One of the most charming things about my teenaged years was that I used to while away the hour of physics class writing sonnets. Am I a totally different person now?

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Ugh. So today is devoted to revising a writing sample/article, and I am feeling both efficient and battered (I am about halfway through my task). Since last I wrote I have finished two works of epic scale (David Copperfield and Harry Potter and the Deathly Hallows). The review I started of the latter has stalled out after several paragraphs in which I somehow managed to talk exclusively about Shakespeare, and barely mention J.K. Rowling's novels. Now I am working and lurking (a surprising effective combination), waiting for the mail to bring the first two ARCs I have ever received (when, oh when, will they arrive??).

August Reading Goals

August's reading has a theme: "getting caught up in all my long-neglected challenges."

  • ARCS from various sources
    • Sin in Second City by Karen Abbott
    • The Guardians by Ana Castillo
  • Book Groups
    • One Flew Over the Cuckoo's Nest by Ken Kesey (Classic Literature)
  • Challenges
    • Down Under
      • Gilgamesh by Joan London
      • Voss by Patrick White
      • The Cardboard Crown by Martin Boyd
    • NYT Notable Books
      • Gate of the Sun by Elias Khoury
      • Inheritance of Loss by Kiran Desai
      • Black Swan Green by David Mitchell
    • Non-Fiction Five
      • In Cold Blood by Truman Capote
      • 1599: A Year in the Life of William Shakespeare by James Shapiro
    • Book Awards
      • Empire Falls by Richard Russo
    • 52 Plays/52 Weeks
      • let's try again for 10 plays in 4 weeks
  • Preparations for teaching
    • The Iliad by Homer
    • Robinson Crusoe by Daniel Defoe
    • as much of James Joyce's Ulysses as I can manage
  • Other
    • Tales from Earthsea by Ursula K. Le Guin
    • Runaway by Alice Munro
    • The New York Trilogy by Paul Auster
    • Noisy Outlaws, Unfriendly Blobs, and Some Other things that aren't as scary... ed. Ted Thompson
  • Books from June/July [all optional, if I finish my August books - ha!]
    • [The Wind-up Bird Chronicle by Haruki Murakami]
    • [Hard-Boiled Wonderland and the End of the World by Haruki Murakami]
    • [The Vision of Emma Blau by Ursula Hegi]
    • [Gilead by Marilynne Robinson]
    • [The Bone People by Keri Hulme]

Furthermore...

D is off to jury duty today, so I made a valiant sacrifice and sent Harry with him to while away the hours. But not before I had made a troubling but utterly UNSPOILERY discovery (at 2 a.m., when I was surreptitiously reading it so that I wouldn't be totally left in the dust when he finished it today): Harry is my age. In fact, he is older than me by about two and a half months (or, to put it more clearly, he was born two and a half months before I was, although he is much younger than I currently am in the books). That just isn't right.

But it reveals a further interesting thing about the book's magically apocalyptic internal history (and I apologize if this sounds ignorant to those of you who have read the last half of Deathly Hallows - I am still only on page 350 or so): not only is it not set in our Muggle present day, but it takes place in the mid nineties, in a pre-9/11, pre-7/7, pre-Iraq and Afghanistan wars Britain. This had just never occurred to me before.

OK, maybe I should stop talking about the novel until I have actually finished the damn thing. Legal system of California! Let my boyfriend and his fat, fat children's book go!

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Today I am fascinated by micronations, tiny communities that declare their independence from other established countries. I was reminded of this interest while reading about Hay-on-Wye, the Welsh book town that was ruled for the last few decades by King Richard, a toilet plunger-wielding bookseller. But then I recalled my visityears ago to Christiania, a hippy micronation of squatters in an old military camp in Copenhagen. And we haven't even touched on the many libertarian maritime micronations of cruise ships and platforms, the odd commonness of micronational seccession in Australia in recent decades, or the new development of the purely conceptual, internet-based micronation.

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My condolences go out to Skip Prosser's family and the Wake Forest community. The university's basketball coach died yesterday of a sudden massive heart attack. He was a credit to the schools he worked for, and had a great history with Wake Forest. I hope that fans from other schools in the conference will be empathetic with Wake's players and fans in the upcoming academic year and season.

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Years ago, I took a women's fiction course that began with the professor asking the question "Can the reader tell, based on an author's prose, what the gender of the writer is?" In other words, is women's writing (as an artifact: the writing-as-a-text rather than the act- or experience-of-writing) coherent and distinctive from men's? I would love to teach a course like this in the near future (perhaps incorporating creative non-fiction, poetry and drama as well), and I think this is a fruitfully troubling question with which to start. My professor said that she used to hand out unfamous passages from famous works of literature by men and women, and ask her students to identify the gender of the writer. They were almost always wrong.

Well, now there is the Gender Genie (a moniker that I am sure could yield a delightful feminist/identity studies reading). You can go to this website and enter in a passage of text (preferably more than 500 words long) from a book, your blog, your dissertation, whatever. It will then do a terribly-scientific-I'm-sure analysis of the types of words you use, and tell you what the gender of the author is.

To my great delight, I found out that most of my blog entries (especially those written with the more abstract language characteristic of my academic persona) reveal a thoroughly male author. [This blog entry, the part I have written so far, barely edges into the female side of the spectrum, with a female score of 737 and a male score of 702.] I know I am using a pseudonym here, and even my real name is actually somewhat gender-ambiguous, so I will hasten to add that I, like my blog, am female.

So, I don't really know what else to say about the Genie. Other than - wow. There is a great gender studies dissertation in there somewhere.

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What a very odd story from the New England Journal of Medicine about a nursing home-dwelling cat who appears to have the ability to sense impending death and the sympathy (an anthropomorphizing word, I know) to give comfort to the dying. Also intriguing is this discussion about Oscar's story from the Washington Post. I am fascinated by the range of responses the story has evoked, and by how much these responses say about our values (about how life ends as much as about how we relate to animals, including our fellow humans).

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Today's poem was again from the July 23, 2007 New Yorker (on whose cover polar bears and penguins frolic on a summertime NY street). My periodicals will probably be supplying most of the poetry for this project until I return to Connecticut in late August and am reunited with my library. At any rate, today it was David Ferry's poem "Lake Water" that came into my life, a poem in which (like Matthew Arnold's "Dover Beach") the metaphysical seeps into the poet's gaze over vasty waters.

In the long first section of the poem, in which the speaker describes the "plane of the lake" through a series of metaphors, slant glances at its sexuality and childlikeness, I distrusted the poem, which seemed to fill the mouth with too many words for comfort, beauty, or even basic communication. How delightful, then, to find that this distrust was a device, as the poet turns our suspicion back on the act of metaphorizing in the second and third sections.

The second section, my favorite, begins with a reversal of the first's metaphor:
The plane of water is like a page on which
Phrases and even sentences are written,
But because of the breeze, and the turning of the year,
And the sense that this lake water, as it is being
Experienced on a particular day, comes from
Some source somewhere, beneath, within, itself,
Or from somewhere else, nearby, a spring, a brook,
Its pure origination somewhere else,
It is like an idea for a poem not yet written
And maybe never to be completed, because
The surface of the page is like lake water,
That takes back what is written on its surface,
And all my language about the lake and its
Emotions or its sweet obliviousness,
Or even its being like an origination,
Is all erased with the changing of the breeze
Or because of the heedless passing of a cloud. (63, emphasis mine)
Here is the circularity of metaphor: the poem is (about) a plane of water, which is like a page of poetry, which itself lake-like it the delicacy of its surface tension, the precariousness of its balance, the mystery of its sources and movements.

The final section takes "Lake Water" in an unexpected direction, to the face, just after death, of someone the speaker knew: unaccessible, uncommunicative, like a poem, like a lake.

"But maybe," the final line adds, "my saying so is a figure of speech."