This was Wednesday, which felt like Thursday, because I thought Tuesday was Wednesday. When I finally came to grips with that and adjusted for chagrin, it made the entire day feel like … Tuesday. Which, just great.
But at least Thursday, tomorrow, will seem a surprise. Even if today, and yesterday, just seemed a repeat. A repeat of every other repeated day that repeats itself. I had one meeting that was more deja vu than meeting, another that was much the same. The same things were resolved as the time(s) before.
I’m even watching the same shows. It’s a weird loop out of time, a long running loop with no end possible. And it’s only a Wednesday. Of August.
There’s one brief moment where my bike points west in the morning, and the sun has cleared the trees and there’s nothing in the road and the pavement is clean and I can take a shadow selfie.
In the evening as I ride back to the house I see different shadows. I’ve been meaning to take a different sort of picture here for some time now, but this one seemed to work in a different kind of way. I like the lines. They, too, repeat.
In between, at the office, the view of the destruction of the Poplars Building shows two good days of scraping. Not sure where the now familiar big orange has been moved to. Maybe there was a more pressing job, or they just moved it out of sight.
But there are some smaller, and no less impressive, heavy machinery tools out there rearranging the debris. I’m hoping they get to that elevator shaft or service core, or whatever it is, soon. In my imagination it’ll crumble like potato chips, or take an intricate and futuristic solution. These are the only possibilities I can picture. It’s empty and air, or a re-discovery of something impossibly strong from the mid-20th century table of elements. The rest is more of the same.
Back to Thomas Cahill’s How the Irish Saved Civilization. In the third section he’s finally got to Ireland. And after a very light summary of ancient Celtic texts (which read as hilarious, in parts) Cahill quotes Lord Kenneth Clark’s documentary, Civilisation.
So that’s a 1996 pop history book quoting a 1969 BBC2 series. Still resonates. Maybe they were onto something. Or, perhaps, we haven’t found a better understanding. How could we? We’re in the same paradigm.
My legs were tired on Saturday, so I took a bike ride on Saturday. They felt better on Sunday, so I let my legs rest. Today my legs feel only medium, who can figure any of this out? It’s a two-stairs-at-a-time day. Anyway, here’s a little bit of that Saturday ride. I like this portion of the route, because it is easy, and there are trees.
This morning I rode to campus and achieved a goal I’ve had for the last week or so. I wanted to make the trip without having to clip out of the pedals. There are a few tricky intersections to get through, and I benefited this morning from a school bus stopping behind me, and holding up traffic through the first one, a round-about. The second is a busy little intersection for a bicycle, and I timed it right, with a lull in the traffic. Later, I had a red light and a four-lane road to cross. Rather than try to track stand for the whole cycle (which I can’t do for that long) or I wheeled into an empty parking lot and did three donuts at the cell phone store until the light turned green. After that it was easy, a few hills, a left turn, a stop sign, and then … where did all of these people come from?
Oh yeah, classes. Today’s the first day of classes.
This did not sneak up on me. I am sure it snuck on some.
Oh, look, the itchy and scratchy crew are back for more work on the Poplars Building. They’re making good progress, too. You write one thing about them on Friday, and they’re pulling down more mid-20th century … whatever style of building that is all day Monday.
That 1960s dust and debris is probably what the big curtain is for, though today I’ve come to think that the crew is shielding the Poplars Garage from having to see what’s happening to the Poplars Building.
The parking deck will stay. It is currently closed, but — and here I will once again try flexing the power of this blog — we need it to re-open sooner than later.
Hear that, everybody?
It is time once again for the biggest hit of the site, the weekly visit with the kitties. They’re doing great. They just want all the pets. At least they take turns demanding attention, I’m not sure how they schedule that, but it is fairly considerate of them, alternating their neediness.
Phoebe will not share her toys.
Poseidon, meanwhile wants to come outside. Or wants me to come inside. Probably the former, but he’ll begrudgingly accept the latter.
It’s a funny thing, watching that loudmouth meow without being able to hear him because of the glass between. He will be heard, but I will not hear him.
I read Cartman Gareth’s We Rode All Day this weekend. It was a quick read, two short sittings got the job done. It’s about the 1919 Tour de France, the first Tour after the Great War. I don’t know anything of substance about the racing of the era, and then along came this most unconventional book.
It’s told in the first person. Gareth is writing for the voices of four racers and two organizers.
It isn’t my style of book, generally, but I found it growing on me because he kept it moving. Mostly, I want to learn more about those old races — this one was the second longest Tour ever, if I’m not mistaken. It was a different type of racing than the modern version, and in this book Gareth twice makes a point of saying the 1919 race was also altogether different than the rougher in the 19-oughts. An Englishmen writing, in English, for French cyclists using modern English colloquialisms. This must drive the French and Francophiles crazy.
It is interesting, and maybe worth reading, but I’m not sure if it was entirely satisfying.
Last night I started Thomas Cahill’s How the Irish Saved Civilization. After Rome fell came the Middle Ages. And in this pop history book we’re going to study some of the crossover between those times. Should be fun because, as Cahill points out, historians are experts in a period, but not in the transitions.
The idea is that some people on an island off Ireland saved literacy, the church, western culture and so on. Monks with silly haircuts living in stone huts, not too long after they’d figured out the written word themselves, really. It’s a part of the Irish mythos, but not talked about in the wider world, so here’s Cahill.
To understand what happened in the fifth century, and why Rome fell, he asks why the Romans didn’t notice the problems. What were they doing? To answer that series of questions, Cahill goes back a further century, introducing us to the poet and teacher Decimius Magnus Ausonious for reasons that aren’t yet clear to me. He says his verse is no more fresh than the modern day sympathy card. I’m not sure why it is important to pick apart a man that’s been dead for 16 centuries, but he’s having fun doing it.
So it’s a personal anecdote as microcosm. They did because they could. Resources and needs and distractions and all of that. Cultivation of crops allows for a social evolution, rather than foraging and hunting for your every meal. Cultures can emerge and can flourish and, apparently, write bad poetry.
Ausonious winds up tutoring the heirs to power, and that increasing his status a bit, as well. In times past, being named to one of the two consulships positions was a huge and important honor. By his time, though, it was all coming undone. It was civics, not suddenness.
At least so far. I’ll learn more tonight. Cahill has made this great point about Rome’s notable historians — Augustine, Petrarch, Machiavelli and Gibbon specifically — tending to view things through the lens of their time. (All different, all correct insofar as they go, proving once again that there aren’t often simple answers to complex longitudinal questions.) With that in mind it should be no surprise that something written at the end of the 20th century would see the fall of Rome as taking place with not a little ennui.
Which is precisely when you need some Irish people to show up. And I’m sure they will arrive in this book this evening.
It is official. This building has sort of pox. They haven’t torn down any more of the Poplars Building within the last week. Though work is going on at the rubble level, today.
I’m sure there’s a reason. I’m sure it makes sense right away, but I can only see the cost of non-working heavy machinery. (Where they really make their money!) Perhaps next week they’ll be back at it. Maybe the big crane operator is on vacation this week. Whatever it is, this is slowing down the reopening of the parking deck, which is going to be a problem starting Monday.
And that eyesore will still be here on Monday, as well.
Elvis stayed there once, you know, in the dilapidated administration building’s first life as a hotel. He was booked for two nights. He skipped out on the joint.
Maybe the work crews have, too.
I am contemplating the undertaking of a new project at the house. Here is a hint.
If it all works out it should probably take about two hours. Which means it would take me two weeks, because these things never go to plan.
And just when you have built a rhythm, you make some foolish mistake that makes you second-guess everything. And there might not even be enough of this project to build a rhythm anyway. Many utterances will be uttered. Oaths may be taken. No new skills will be learned. Pride will not be established.
Splinters may be avoided.
That’s worth two weeks, if you ask me.
Watering the flowers. I did this just after dinner.
Dinner tonight was one of those nights where you push up the routine, because I was hungry, and then making a deal with yourself. “OK, 6:30, we heat up dinner.”
And then, “Hey, look, 6:27. Close enough. And then you’re going to eat and go to sleep.”
So I’m that old now.
Oh, look at how that salvia holds on to the water droplets! So long as you have the wonder of small things, how old you are, or how old you feel, might not matter all that much.
That’s what I say, out loud, to drown out the sound my knees can make.
I finished this book this evening. Lighter fare, but I read slowly, savoring words and sentence structures, especially of talented writers.
May Sarton wrote 50-something books, 34 of them were novels or nonfiction, 17 were poetry. This one, if you’ve been here the last few days, is about when she bought her home. Her parents had just died. She decided on a remote lifestyle so she could concentrate on her work, and she settled on a place in a small New Hampshire village. And over the course of the 188 pages of this book she looks back on her first eight years in the home, taming the property, meeting her neighbors, constructing her gardens. She goes on at some length about her gardens. The book is about the people, and the work, and from that she’s drawing the lessons and points she wants to make. She has an incredibly compact style, a great economy of words.
Here she’s talking about a winter of drought, when she was simultaneously being dismissed from a teaching job, and getting a book rejection from a publisher. Then, all on the same day, the artesian well diggers finally hit water, she got a letter with another job offer, and a letter getting that book accepted.
She celebrated by taking a nap.
That nap made a lot of sense today. It’ll take some time to figure out the part about making myths of our lives.
The book concludes a chapter or two later. She talks about the two days of the year that the whole community comes together. Once in March, and again in August. The first is for the big meeting to manage the village, the second is Old Home Day. It looks exactly as you’d imagine. People who have at any time been connected with the village come back. There’s a band, speeches, games. There’s a dance at the end of the evening.
Over the course of the book she has shared her friends, and now she’s showing them at play. And then, in the last two pages, after this admiration for her new neighbors, she shares an anecdote that sours the place. It’s two paragraphs. It seems obvious to anyone that’s ever been a visitor or a transplant to a place and, thus, the complaint is petty. Somehow, though, May Sarton manages to turn that into a part of her love letter. That’s a writer for you.
I got a decent shot of the fawn on the lawn as I rode through one of the campus neighborhoods. Three or four seem to sit there every evening. It’s a grassy, wooded lot that sits next to an odd rental, and just down from a Civil War-era home. They’re on a slight hill, in the shade, munching clover.
I just saw two of them on this pass. Last time I spied three. Next time, maybe zero. Who knows the schedules urban deer keep.
That’s a standard width sidewalk, and I was passing by close to it, on the two-lane road. The deer were not at all concerned with me, or the occasional passing car.
There are five houses on that block, and the one small stand of trees. One block down there’s a more densely wooded stand. I suppose that’s where they live.
Back to Sarton. I’ve worked my way through about two thirds of the book. She’s telling the story of her house. She bought it in her mid-40s after her parents died, and the memoir, written eight years later, is about the experience, the hidden New Hampshire village and, now, her neighbors.
I bought this book used, and I was pleased to see someone had underlined a few bits here and there. I probably haven’t always felt this way, but now I like idea of happening on someone else’s notes, but people seldom write in the margins anymore, it seems.
I think about a version of her support and freedom of a routine once in a while. I think it’s really about efficiencies. A routine gets done and redone, and you get better and better at it. So you become faster and so on.
Isn’t that the point of rote work? It’d be different, of course, if you were talking about true craftsmanship, which she does a fair amount. From time to time she tries to compare the craft work of others to her own craft.
And here she is at her craft, jamming an incredible amount of work into two pages. It is masterful, really. This is not the full story of her neighbor, Albert Quigley. (Even more about what is an interesting measureIt is not she includes about the man, but consider how much information is contained in these two short, clear pages.
The Quigley home is now Nelson’s library.
I’m still waiting on all of the context clues to flesh out where Sarton’s house is. I have a guess, and I could definitively figure this out online, Googlefu being a craft of a sort, but that seems to be against the spirit of the book.
Slow going across the way. The big crane didn’t move today. Perhaps it has developed an affinity for the Poplars Building, which would be the only one. Crews were doing some work among the rubble below.
We have learned that the adjacent parking garage, just seen to the left in our view and separated by a narrow alley, will remain closed until the razing is completed. They need to move faster, then. Parking is a consideration, which explains why they waited until the end of summer — and the beginning of a return to a “normal semester” — to undertake the project. I’m sure there were reasons.
It was a quiet and uneventful weekend. I think I spent almost the entire time on the front porch, enjoying the breeze and the shade, and the neighbor’s 1980s tunes. How long does it take to clean a grill? Pretty much the entirety of the early 1980s pop catalog.
So no big events, but a host of usual things to make your visit worthwhile. First, the most popular feature on the site, the weekly check on the kitties. They’re doing great.
Phoebe is ready for her closeup.
Poseidon, meanwhile, is laying a trap.
He’s just waiting on someone to spring it.
And here’s the daily check on the chipping away of the Poplar’s Building. It was a 1960s dorm, but that was a bust. And it was a sorority house, another bust. And it lived for a time as a hotel, the first premium hotel here, apparently. And then it was a “research and conference center” before finally becoming administrative offices for the university. It was time for it to go.
But no rush. The big machines didn’t pull any of the building down Friday. No one was even on site, as far as I can tell. They did move that big orange monster today, once.
Most of the day’s effort, though, was on the ground and just out of our view. Maybe they needed to rearrange the rubble, or move some of it off, before the peeling away of the past continues.
I finally finished this book yesterday. It had been my late night reading, slowly peeling the past away of some of the history of American journalism. I’m glad this one is now in the “read” stack. I was ready to move to something else, so, yesterday, it become afternoon reading. Wrapping it up.
You don’t have different books for different times of day? I have books for all manner of different kinds of events and occasions, and it used to be much worse. It used to be as out-of-control as my bookshelves. But I digress.
This book started off on the wrong foot.
How many errors should I accept in a (good) book? Now I want to verify every anecdote and trivial bit.
1. Technically four, but I get it. 2. Missed the date. 3. You never study the messy 1876 election. Close, but no. 4. After two years in NYC. (He spent about a year in Philly.) pic.twitter.com/YqGO9j4Lay
But it grew on me over time. I stopped looking for errors and became impressed by some of the people that are in the book.
This part is about Jose Martí, a pioneer of social justice journalism. I have to agree with the authors, Gonzalez and Torres, that Martí’s “dispatches should long ago have accorded him a special place among America’s nineteenth-century newsmen.”
Almost everything he wrote seemed evocative.
There are a lot of stories in this book you’ve never heard of. For example …
“Only months after the US entered World War I, a frightening wave of racial violence rocked the country. The troubles began in East St. Louis in the spring and summer of 1917. The second of those disturbances culminated in one of the worst massacres of blacks in US history.”
Conversely, I grew up learning about the Scottsboro Nine, a 1930s Alabama case. I’d love to know who Ted Poston was talking about here, and who those people wrote for.
I might know some of their bylines by reputation.
Here’s another story I never got in a history class or any other book I’ve read.
The book is filled with a lot of tales of individuals, and some institutional and organizational anecdotes. It tells another, important side of the history of our media ecosystem. It tells of, as they make the point, the sides of American journalism history that were seldom noticed contemporaneously, and haven’t been deeply studied in retropsect. It’s a good book, if you’re interested in this sort of book. And it’s an important book, to be sure. But, and this is just the reader’s perception, I felt like I was reading it for forever.
So I finished that, yesterday, and I started this.
I bought that, and three other of May Sarton’s books, on the strength of this one quote. (Used bookstores offering free shipping are dangerous for my mail carrier and the local delivery folks.)
May Sarton – a poet, novelist and memoirist – sounds like a cyclist, @truebs.
I googled her, found someone suggested these four memoirs and made it about a third of the way through this one last night. She’s in her mid-40s, her parents just died, and so she’s buying her first home. This is a book about that house, in a small town in New Hampshire because she had to have somewhere to put the sentimental family furniture. Sarton is a poet, but this isn’t sappy or purple. It’s just good writing. She’s visited four houses and then, the fifth house, a rundown 18th century farm, it worked out. She’s writing this memoir eight years on.
“In the end I knew I would have to trust to instinct, not estimates …. What I came back to was that moment of silence, and the oriole. Everything here has been a matter of believing in intangibles, of watching for the signs, of trying to be aware of unseen presences. In the end the oriole tipped the scales.”
May Sarton is a writer that one grows into. One can read her when young, but if one re-reads her later in one’s own maturity, her words take on extra depth and meaning. When I was in my twenties, I discovered her journals and poems, particularly Journal of a Solitude, most likely still her best known book. While I liked it, I moved on. When I re-read Sarton in my early forties, suddenly every word was alive and deeply compelling. I had grown up enough to have caught up with her.
I’m basically Sarton’s contemporary today, but not in the age-is-just-a-number sense. I’m sure I’ll have much more to think about this as I work through the book in the next day or two.
But, first, we have something else to dive into.
We need to keep up with the Re-Listening Project. I am working through all of my old CDs in the car, repeating a project I did a few years ago. Only I didn’t write about it then. Shame on me! So I’m writing about it now. Shame on me! These aren’t reviews, usually. Mostly they’re just memories, or marking the time between good times.
This is strictly chronological, which is to say the order in which I bought all of these things. My discs crosses genres and periods in a haphazard way and there’s no large theme. It is, a whimsy as music should be. And this is purely a pop and rock update.
I bought “Slang” right as it came out, in May of 1996. If you had MTV in the 80s, or a rock station nearby in that same period, you couldn’t escape Def Leppard. They are as much the soundtrack of my early adolescence as anyone could be. We’ll catch back up with some of their earlier work later, when I started replacing old cassettes with replacement discs. (Format changes, am I right?) But this was new, and it was somewhat different. Their sixth album, first in four years, first with Vivian Campbell after Steve Clark died in 1991. Half the band was going through a post-successful rock period in their lives. They were trying to steer away from the first five records, and around grunge. There was a lot going on, and you hear it right away, there’s a sarangi, and other exotic (for them) instrumentation all over the place. It charted at #14 on the Billboard 200 and #5 on their native UK Albums Chart and was certified gold in both countries.
Since I’m doing two of these in this post, just a few selections. The first thing you hear when you load this thing up is “Truth?” Campbell’s sensibilities are an immediate addition here.
Everything on the record is solid to good or better, but it’s not especially cohesive. This is a good record to skip around, which simply does not fit my listening style. I’m a bit of a completist, and will only move over songs that just annoy or embarrass. What is unique about this record, to me, is that each track has a place, you just need the right mood for the moment.
So it was a good car record. I can’t imagine a lot of group listening to this, but I do suspect it got a lot of spins on longer drives. Probably a lot of interstates. The mind was already wandering anyway, right, what’s a little aimless singalong?
This is the ninth track, “Blood Runs Cold” it’s the closest thing I would say that is a bridge from their traditional sound and the themes of this record — and it’s a bit more emo than their glam origins and massive stadium anthems.
Mutt Lange did not produce this record, and that is how this song made it on the finished project. Not that it’s bad, but Pearl of Euphoria is just … different.
Just before Def Leppard put that on shelves, Hootie & the Blowfish released their second album, “Fairweather Johnson.” And if you couldn’t avoid Lep in the 80s, everyone within earshot of a pop, alt, rock, MOR or adult AC station was getting stalked by Hootie in the mid-1990s.
I still really, really enjoy Hootie & the Blowfish. Their sophomore effort debuted at the top of the charts, but has only sold 3 million records, but wasn’t the 21-times platinum that their debut was. So, somehow, this is a failure?
The music business is weird.
Just for fun, then, because this is a good record, here are a few of the songs that weren’t singles.
I sang this around the house all weekend. (Sorry, dear.)
When I decided to do the re-listening project again I was confronted by a problem right away. And the solution was, I’m just not ready to play a lot of Nanci Griffith after she passed away (a year ago last Friday). This is, perhaps, the only exception.
I’m pretty sure Darius Rucker growls through part of this song. He’s laying the groundwork for his solo projects, and staying true to his Carolina yell.
There’s a hammond organ throughout this record, and Jim Sonefeld’s wet drum work, and there’s a moment in this track at the end of the record when it seems that all of that, and the jeans and the weather-worn hats and that whole fratastic 1994-1996 counter-to-the-counterculture aesthetic maybe should last forever.
And it would last, for a little while longer, anyway. Music is a weird business.
But the next time we come to this feature, we’ll have some blue-eyed funk, which is still a little weird, a quarter-century on.
