Have you got anything without spam?
Dealing with the junk mail, I find an envelope from our auto insurance provider, Nationwide, and on the off-chance it’s something I should pay attention to, I open it. —It’s an offer to switch our auto insurance policy to Nationwide, where we could save up to $523 a year over our current rates.
Kiss them for me.
Hey! It’s the weekend of the massive San Diego Comic-Con. We didn’t go this year, but it sure sounds like Jesse Hamm’s enjoying himself.
Coffee.
The Spouse and I recently went through a couple of weeks where we eschewed coffee and alcohol and sugar and bread and nuts and milk and eggs and cheese and butter and yogurt and red meat, that last not proving too difficult, as I’m nominally vegetarian (though I’m eating more fish, which is completely the fault of the decent sushi joint that’s walking distance from our house), and as I’m nominally vegetarian and do most of the cooking, the Spouse finds herself vegetarian de facto. Even the lack of coffee wasn’t too bad after the first few days with the headaches and the grumpiness. I drank a lot of green tea.
And it wasn’t as bad as you’d think. Anytime you force your diet out of its usual rut you get creative, or so I’ve found. Menus spark up. I found whole chunks of cookbooks I hadn’t seen yet. That lovely gratin with the red onions and the olives and the tomato and the thyme. That “Mexican” stir fry, with the black beans and the corn. The Tuscan white bean and tomato soup with the kale roughly chopped and tossed in to wilt. —Though the tofu with the tasty spicy sauce didn’t turn out exactly as Madhur Jeffries advertised. (Really, the worst of it—aside from the daily infusions of foul herbal nostrums which, we do this again, I’ll just skip, thanks—was the lack of cheese. And eggs. I do like the dairy.)
But the point is not to trade recipes whose names and particulars I can’t bring to mind here at work, away from my cookbooks. The point, despite the relative ease with which I did without it over the course of the two weeks, is the coffee.
Before we did this two-week purge, I used to drink my coffee out of a mug like this:
With milk enough and two spoons of sugar. (It’s a big mug; a bowl of coffee, as the Spouse would put it.) I’d have two of those as I read my blogs and newsfeeds before I considered myself human enough to face the rest of the day.
Now, though? I drink one, maybe two, of these:
And I drink it dead black. No sugar at all. The very idea of doctoring the stuff is on the edge of ick to me, now; has become, oddly, alien.
Weird.
Oh, right.
I was—“procrastinating” is such an ugly word—I was organizing some notes, looking over the list of proposed titles for upcoming fits and remembering which ones I’d found epigrams for and which ones I hadn’t, when I tripped over “Frail,” there between an as-yet unnamed bit at no. 14 and “Plenty” at no. 16.
“Frail.” Hadn’t that been the one with the O’Brian quote? Aubrey to Maturin, or Maturin to Aubrey, one of ’em anyway laughing at what little it is that separates quickness from death? Which the hell book was that from? And why isn’t the quote in the neat little text file I’ve got of all my other epigrammic candidates?
So I opened up the various other text files I’ve accumulated over the years where notes have been stashed and squirreled away, and searched them with the various search tools at my disposal, looking for “frail.” Bupkes.
Did I forget maybe to put it somewhere? Noted it en passant, said to myself, oh, hey, keen, let’s remember to come back and get this later, okay? And then forgot? As it wouldn’t be the first time.
Okay. Okay. We could go look for it. Except I ran across it the last time I was bingeing through the first seven or so of the Aubrey-Maturin books, and I have no earthly idea which one it was in. And I don’t remember enough of the context to make skimming at all viable. Not through seven books. (Maybe I should start bingeing again? Put down The Orientalist and Evasion and Civilizations Before Greece and Rome and The Demon Lover and pick up Master and Commander for another go-round, grimly determined to pounce this time?)
I think I was actually typing “frail” in the Seach Inside the Book! feature over at Amazon when it hit me: maybe I’d written it down. You know, on paper. With a pen. In the main black notebook I’ve been using when I’m not, you know. Near a keyboard.
Found it in two: “Bless you, Jack, an inch of steel in the right place will do wonders. Man is a pitiably frail machine.” —Although I still don’t know which book. Or what context. Oh, well.
(At least I got a blog post out of it. Now. What in hell am I going to quote for “Surveilling”?)
Something I read that I liked.
There ought to be an anthem for grocery shopping, because carefully and clinically choosing the stuff you’ll be made out of is grade-A autonomy.
gimcrackeryPorch, with occasional rainbow.
Scott McCloud was here on Sunday. Fun was had.
Apparently, I’m waiting for something.
Though I know not what. —Y’all see anything likely, let me know, okay?
Monkeys and Wolves and termites, oh my!
The Known World is back from database hell. (For those interested in such things, of course.)
A twinkling merriment behind it all.
“Funerals,” the Operacycle; “Gonna Miss You,” Hub Moore and the Great Outdoors; “Tear in Your Hand,” Tori Amos; “Bhangra Fever,” MIDIval PunditZ; “Turning the Pearl,” Jeff Harrington; “Myth,” k.d. lang; “The President,” Robyn Hitchcock and the Egyptians; “I Want to be a Sideman,” Dave Frishberg; “Dizzy,” Siouxsie and the Banshees; “Hear Me Talkin’ to Ya,” Ella Fitzgerald.
Oh, Paarfi.
On the subject of returning, to which we just made reference in the previous sentence…
—Steven Brust, The Viscount of Adrilankha
“‘He rose from the chair upon which he was sitting.’ Well, which other chair should he have risen from, if not from that upon which he was sitting?” —And why did it take me so long to get back to these books? Teeth!
Don’t mind me.
You know. Distracted. Reading. Painting shelves. Pushing a reel mower through a month’s worth of shin-high grass. That sort of thing.
I thought I’d gone mad for a while there and was imagining we’re now a country that sanctions torture and secret imprisonment without trial and monarchial, even theocratic power vested in a deeply unpopular ruler and preemptive war and the use of nuclear weapons, but then I got better.
I know what you want; your magpies have come.
“And She Was,” Talking Heads; “Cory’s Song,” Kid Creole and the Coconuts; “Green Finch and Linnet Bird,” Sweeney Todd, the Demon Barber of Fleet Street; “Appalachian Spring (As at first, slowly),” Leonard Bernstein, the New York Philharmonic; “Come to Daddy (Little Lord Faulteroy mix),” Aphex Twin; “Gateway,” the Seatbelts; “Yes, Anastasia,” Tori Amos; “The Natural World,” Robin Holcomb; “Lute Score,” Momus; “Broken Arm,” the Weird Weeds.
Something to keep in mind (Jupiter drops).
It’s maybe, what, fifteen blocks from our house to Salon Bédé? We usually walk it. And if I am for whatever reason walking by myself, I take my iPod. I take my iPod whenever I’m walking anywhere. It’s nice to have on the bus—that and a book and you’ve got your isolation bubble firmly in place (you and maybe half of everybody else)—but when I’m walking, I can hear it better. When I’m walking, I’m not doing anything else.
Last night, around about 42nd, something, I don’t remember what, but let’s say it was “Cyberbird” for the sake of argument, it fluttered to a stop, and then that rising ghostly hum-chord began, and crawling up out of it that unearthly backwards guitar, and maybe it was because it was a chilly night and I’d only grabbed a light jacket, but you know how Robert Graves goes on about poetry and the shaving mirror and the hairs on your chin? It was like that, only all the way down to my toes, and I stood there hanging between one step and the next until he began to sing, and it’s not the first time that’s ever happened.
And yet it isn’t the song, is it? Just? I’d play it for you, and you’d say maybe that was nice, or huh, but you wouldn’t hang there, unstuck from the moment-to-moment. (Unless.) —It’s everything I’ve put into the song, everything that unfolds when I hear it begin to play, a key only I can use for a lock only I’d want to open. —It’s all so very, very big. Without the song, where would I put it?
Here’s an alternate take on “Ubiquity is the abyss”; a polished remix of the earlier rough demo track. “Songs are fascist immigrants,” says Momus, elsewhere; “conquistadors who’ve come, inevitably, to slay indigenous sound wherever they find it.” —Well, yes. But not just slay. And not just sound.
Just so you know:
if you’re making oatmeal for breakfast and you put on the butter and the brown sugar and the milk and haven’t had enough coffee yet to realize you’ve just grabbed the cumin and not the cinnamon, well, it’s still edible.
Jupiter drops (four).
Where were we?
Opening fanfare, check. The basic theme; motives, episodes; the countersubject—
I’m beginning to be dissatisfied with the idea of CDs, the way they make all music so available to us, the way that all musical experiences are supposedly able to be shrunk down to fit this little plastic disc. I’m beginning to think it should be as difficult to hear music as it was in the Middle Ages. Imagine just hearing a concert once a month, how amazing it must have sounded!
What a strange thing to say. —“I’m beginning to think it should be as difficult to read as it was in the Middle Ages. Imagine just seeing a book once a month, how amazing it must have seemed!” Imagine a glass of wine just once a year—the taste! (The anticipation of the taste; the concentration brought to the tasting; the memory of the taste—a whole language constructed to better remember that taste—) Imagine: sex, but once in your lifetime. What an amazing experience!
What a terrible price to pay, for such fleeting evanescence.
It’s a strange thing to say, isn’t it, for an airport musician, a furniture musician, a knife-and-fork musician?
The concept of music designed specifically as a background feature in the environment was pioneered by Muzak Inc. in the fifties, and has since come to be known generically by the term Muzak. The connotations that this term carries are those particularly associated with the kind of material that Muzak Inc. produces—familiar tunes arranged and orchestrated in a lightweight and derivative manner. Understandably, this has led most discerning listeners (and most composers) to dismiss entirely the concept of environmental music as an idea worthy of attention.
Over the past three years, I have become interested in the use of music as ambience, and have come to believe that it is possible to produce material that can be used thus without being in any way compromised. To create a distinction between my own experiments in this area and the products of the various purveyors of canned music, I have begun using the term Ambient Music.
—Brian Eno, “The ambient music manifesto”
To say that an airport musician has said?
As usual, Brian Eno was the first person I’m aware of to sound a warning note. In an interview he gave around the time he moved to St Petersburg, he said (I quote from memory)—
Yadda yadda concert but once a month amazing. —So I went and poked around for an interview given by Eno around the time he moved to St. Petersburg, in which he expressed his dissatisfaction with CDs. I wanted to see his own words, not Momus’s memory of his words; I wanted to get closer to how Eno had squared this particular circle. And I did find the column he wrote around the time he moved to St. Petersburg, in which he said:
I was in a big art gallery in Los Angeles once. There was a Frank Stella painting about 60 feet long, and next to it a tiny, jewel-like eight inch square collage, and a little further along a Boltanski piece using framed black and white photos and table lamps and boxes of old clothing, and next to that a Nam June Paik sculpture made of working TV sets. I found myself envying visual artists the endless range of forms their productions could take—big, small, 2D, 3D, 4D, colourful, dull, glossy, rough, smooth, figurative, abstract—and I compared it in my mind with making a CD. Suddenly that seemed like a narrow bottleneck through which all music had to be squeezed. Imagine if you said to all the visual artists of the world: “Okay guys… from now on the only way that people are going to see your work is in magazines—on 11" x 8" colour pages.” What would happen to painting? Well, Frank Stella probably wouldn’t bother with making his things 60 feet long—he’d make something that looked adequate at the 11" x 8" scale. Similarly all the others…. because if the final format is only capable of certain things, that’s what you’ll end up regarding as your working palette.
So what I find exciting now is discovering music that hasn’t obediently designed itself to slot within the constraints of this arbitrary medium—recorded music—and which is somehow bigger than it, overflowing at its edges, extending beyond its horizons. Yes—I want to feel the music is too big to fit on a little old CD, that there is more to it than that, that it has a separate life from my hi-fi—a life I can imagine and add to my aural experience of the music.
Not a word about the ubiquity of music. Just the ubiquity of CDs. Not a word about the Middle Ages, or concerts once a month, but more, much more, and other and better and bigger and different. —And I don’t want to suggest that my search was in any way exhaustive. There could well be another interview or column somewhere about St. Petersburg that I missed, which starts with dissatisfaction and ends up with self-denial. There could be a remark somewhere else entirely, taken out of its other context, conflated. But I don’t want to suggest that Momus misspoke, or misremembered; he has as much Google as the rest of us. Nor do I wish to imply that he made up an authority to cite, the better to drive home his point. (The lurkers support him in email!) But I do want to remind you of his current gig: he’s the Unreliable Tour Guide for the Whitney Biennial.
And anyway, it isn’t the ubiquity of music that Momus is railing against, any more than it’s the fornication and the silk and the wine and the musical instruments that will lead Allah to let the mountain fall.
34°4'48" N, 49°42'0" E.
Arak is not an old city, though it is the capital of the Markazi Province, one of the oldest settled areas on the Iranian plateau.
That white patch in the upper-right is a sometime lake and salt-flat, if I’m remembering correctly. It’s the Kavir-e Mighan (or Miqan, or Miyqan, or MeiQan, depending), except this page says it’s the Shur Gel. I don’t remember; I do remember seeing plumes of dust rising hundreds of feet into a hard blue-white sky, the only sign of a convoy of trucks driving across it, lost somewhere in the shimmering heat-haze.
There’s a university in Arak, now: the Islamic Azad University of Arak, founded in 1985, some 23,000 students, degrees in drama, agricultural science, Islamic theology, English literature. —Actually, there’s several universities: the Arak University of Medical Sciences, the University of Arak, the Tarbiat Moallem University of Arak, a campus of the Iran University of Science and Technology. I don’t know how old any of those are. I don’t remember any of them; I remember a small town and dust and open sewers and the incongruities of an American-style suburb thrown up away from all that, platted blocks of yellow grass and red-brick houses and the high-rise apartment towers off over that way.
If I’m remembering correctly, the suburbs were at the southern end of Arak; we looked out on the mountains to the south and west. We’d drive up there and go tromping about. I spelled my name in flat rocks with letters taller than myself in the snow, but when we got back in the car and drove back down to our house and I got out and looked back, I couldn’t see them. When we went out into the country for the last day of Nawruz, I remember it looked a lot like this:
And I remember we could look out the window of our car and see farmers threshing wheat the way they had for centuries:
But if nothing changed for centuries, a lot can happen in thirty years.
Thirty miles to the northwest these days there’s a brand-new heavy water production plant. Heavy water is water made with deuterium atoms, rather than simple, light-water hydrogen; it’s used to moderate neutrons in nuclear reactors that run off natural uranium, rather than enriched uranium. Just the ticket if you’re trying to get a nuclear program off the ground.
I haven’t seen the list of 400 possible sites the president plans to attack in Iran, but I can tell you the Arak heavy water facility is on it. I don’t know if it’s hardened enough to require a nuclear bomb. If so, it’ll (probably) be a B61-11, which could generate between 25,000 and 1.5 million tons of radioactive debris—depending on the yield “dialed in”—some thirty miles northwest of a house I lived in, thirty years ago.
If not, it’ll just take a lot of conventional ordnance. —And I know, I know: who cares? The Russians loved their children, too. So did the Iraqis.
I just can’t help but take this personally. I’m only human.
—cross-posted to Sisyphus Shrugs
