On reading poems from Donika Kelly’s ‘Bestiary’ in jail.

On reading poems from Donika Kelly’s ‘Bestiary’ in jail.

This post briefly touches on sexual assault and child abuse.

Many of the men in jail have struggled with interpersonal relationships.

After reading Bruce Weigl’s “The Impossible,” a poem about being sexually assaulted as a child, somebody stayed after class to ask if there were resources to help somebody recover from that sort of experience.  The next week, he brought a two-page account of his own abuse.

After reading Ai’s “Child Beater,” many men proffered their own horror stories.  Sometimes they offered excuses for their parents: “My mom, she had me when she was thirteen, I guess what you’d call it now would be ‘statutory rape.’  So she didn’t know what to do with us.  But there were plenty of times, I’d be mouthing off, she’d tie my arms to rafters in the basement with an extension cord, and … “

Seriously, you don’t need to hear the rest of that story.  Nor the conversation (we’ve read “Child Beater” about once a year) when the men discussed which objects they’d been hit with.  They appraised concussions and trauma with the nuance of oenophiles.

Consider this gorgeous poem by Mouse:

 

THAT CAT

– Mouse

 

We had this cat

Small gray and frantic

Always knocking over my mother’s lamps

 

Me and my sister can’t sit on my mother’s furniture

But that cat can

My mother would whoop my ass for her lamps

Knocked over and broken

 

One day my mom bought me a dollar sign belt

Made of leather and metal

I put that belt to use every time I

Got my own ass whooped

 

We humans evolved to hunt.  By nature, we are a rather violent species.  But these cycles – people’s crummy childhoods; institutional violence during schooling and incarceration – amplify aggression.  Our world “nurtures” many into malice.

If you ask people in jail why they’re in, almost everybody will say that they were busted for drugs or alcohol.  But if you look at bookings, or hear from somebody what sort of case he’s fighting, about half the time it’s domestic violence.

So we’ve been reading poems from Donika Kelly’s Bestiary, a charming volume that uses abundant animal imagery to elucidate human relationships.  The men need a safe space to discuss love and romance.  Obviously, a dingy classroom inside a jail is not the ideal place, but this is what we’ve got.

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Kelly’s “Bower” opens with:

 

Consider the bowerbird and his obsession

of blue,

 

… then catalogs some of the strange objects that a male bowerbird might use to construct his pleasure dome.  They are artists, meticulously arraying flowers, berries, beetles, even colorful bits of plastic, striving to create an arch sufficiently beautiful that a visiting female will feel inclined to mate.

Among tropical birds with female mate choice, most males will remain celibate.  They try to woo each visitor, but fail.  Usually one single male – he of the most impressive aerial gymnastics (among manakins) or he of the most impressive bower – will be chosen by every female in an area.  Because the males don’t actually raise their young (their contribution ends after the ten or twenty seconds needed to copulate), any given male will have more than enough time for everyone who wants him.

Every male bowerbird devotes his life to the craft, but most of their creations will be deemed insufficiently beautiful.

 

And

how the female finds him,

lacking.  All that blue for nothing.

best

I love the irony of this ending.  This bird’s bower has failed.  The bits of blue that he collected were not sufficient to rouse anyone’s interest in him as a mate.

But life will generally seem pointless if we focus only on goals.  Most bowerbirds won’t mate; Sisyphus will never get that boulder up; you and I will die.    This poem is heartbreaking unless we imagine that the bowerbird takes some pleasure in the very act of creation.

(The natural world is not known for its kindness, but in this case it probably is – because every male bowerbird feels compelled to build these structures, it’s likely that their artistic endeavors feed their brains with dopamine.)

Indeed, most poems that we humans write will go unread.  Even for published poets, it’s probably rare that their words woo a future mate.  But even if Kelly’s own creation did not bring her love (and, based on what little I know about the publishing industry, it almost certainly did not bring her great fortune), it’s clear that all that effort was not for naught.

She made something beautiful.  Sometimes, that alone has to be enough.

At another class, we read Kelly’s “What Gay Porn Has Done for Me.”

Thanks to the internet, many people learn about sexuality from pornography.  One flaw with this “education” is that even when the female actors mime pleasure, they do so while gazing outward.

 

Kelly writes:

 

Call it comfort, or truth, how they look,

not at the camera, as women do,

but at one another.

 

In generic heterosexual pornography, there is a distance.  There is no “relationship” shown between the actors – they’re not even looking at one another.  Instead, the female actor is expected to gaze at a camera, and the (likely male) consumer is gazing at a computer or telephone screen to make some simulacrum of eye contact.

 

Each body is a body on display,

and one I am meant to see and desire.

 

Generic heterosexual pornography seems to objectify the actors much more than gay pornography because the focus is on a performer’s body more than the romantic acts depicted.  Because so much of this pornography is consumed by a homophobic audience, male bodies are depicted minimally – usually only a single organ within the frame – which prevents couples from being shown.

The pleasure offered isn’t quite voyeurism, pretending to watch another pair make love.  It’s fantasy, the chance to imagine being the bearer of the male genitalia.  But this fantasy, independent a fantasy of conversation and mutual seduction, makes others’ bodies seem a thing to be used, not a carriage for the partner’s personality.

 

I am learning

 

what to do with my face,

and I come on anything I like.

 

To desire, and to be desired, need not be degrading for anyone involved.  This is a hard lesson to square with the sort of “sex education” that I received in school, which was sufficiently Christian that sex was presented as both desirable and bad.  If a person thinks that he or she is wicked for wanting, it’ll be hard to discuss what each person wants.

There’s no way to pretend “I’m a good person who just got carried away!” if you make a sober, premeditated, consensual decision to do something bad.

Of course, sexuality isn’t bad.  But many people still posture as thought it is.  When these people feel (totally natural!) desire, they’re forced to create dangerous situations that might excuse their subsequent behavior.

Which, because of those excuse-enabling contortions, often winds up being bad.

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On Daniel Handler’s “All the Dirty Parts”

On Daniel Handler’s “All the Dirty Parts”

Heartbreak smells the same in any language.

During my second year of graduate school, my advisor wanted me to do an organic synthesis using cyanide.  I’ve long since forgotten what we were trying to make.  All I remember is that I promptly said:

“Almonds.  The official scent of unrequited love.”

“Oh, you can smell it?” my advisor asked.  “That’s good.  Some people can’t.  You’ll be much less likely to die.”

41Bn22qtn6LI actually, I had no idea whether I could smell it.  Still don’t, since my advisor fired me before I got around to that synthesis.  I was just riffing on the opening to Gabriel Garcia Marquez’s Love in the Time of Cholera (translated by Edith Grossman):

It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love.

It doesn’t matter whether you call it heartbreak or desengano amoroso or any other name – it’s going to hurt.

*

Kids needs to learn about heartbreak.  They will feel sorrow.  Especially while they’re in high school, tugged by turbulent emotions but inept in so many ways … like conversation, like forbearance, like patience.

I know I was miserable during high school.  And, yes, the wellspring of my misery was my own incompetence.

Reading more would have helped.  Engaging fiction bolsters emotional maturity.  When we empathize with characters in books, we might skip some of their suffering – we can’t learn without making mistakes, but fictional characters can make mistakes for us.

And so we expect high schoolers to read stories of heartbreak, things like Ethan Frome, Romeo and Juliet, The Great Gatsby … novels in which intense emotions are described in school-appropriate language.

This is heartbreak.  Learn it well, young person.  You too will hurt.

*

proust_yuc7utMarcel Proust wrote a scene for In Search of Lost Time (translated by C. K. Scott Moncrieff) in which his narrator tumbles in the park with his first love, grasping after a letter she is holding.

and we wrestled, locked together.  I tried to pull her toward me; she resisted; her cheeks, inflamed by the effort, were as red and round as two cherries; she laughed as though I was tickling her; I held her gripped between my legs like a young tree that I was trying to climb; and, in the middle of my gymnastics, when I was already out of breath from the muscular exercise and the heat of the game, I felt, as it were a few drops of sweat wrung from me by the effort, my pleasure express itself in a form I could not even pause for a moment to analyze; immediately I snatched the letter from her.  Whereupon Gilberte said, good-naturedly:

You know, if you like, we might go on wrestling for a little longer.”

At that moment, Marcel, the character, was no longer interested in wrestling.  He’d rubbed his pelvis against her body enough to climax in his pants.  Now he “wished only to sit quietly by her side.”  It would be a few hours, perhaps, before he desired her again.

He felt joy that afternoon.

But then, months later, that same joy stabs him.  Their relationship has ended.  Marcel fancies himself indifferent.  Then, one day, he sees her walking alongside someone else – suddenly he is in pain.  The memories of his own happy times with her swell unbidden:

The accident comes from the side to which one was not paying attention, from inside, the heart.  Giberte’s words: “If you like, we might go on wrestling,” horrified me.  I imagined her behaving like that, at home perhaps, in the linen closet, with the young man whom I had seen escorting her along the avenue des Champs-Elysees.

He loved that she loved him.  He hates that she might now love another the same way.

And that, kids, is what life is like.

*

But … how many high schoolers will sit down and read In Search of Lost Time?  I certainly didn’t.  Proust’s words would help, but they don’t reach young people.

I did, however, read certain paragraphs from John Fowles’s The Magus again and again at night.

all-the-dirty-partsAnd so Daniel Handler has written All the Dirty Parts.  When he was growing up and making his first forays into the “grown up” section of the library, Handler gravitated toward books with racy scenes.  Which is why his heartbreak novel is full of them.

Heartbreak hurts in the chaste language of Ethan Frome … but it hurts just as much in the ribald language of All the Dirty Parts.

You found it right away.

They always say guys can never find it, that it’s hard to find.  The clitoris is not hard to find.  I mean, it’s not like sometimes it’s behind her heel or in your desk drawer.  Go to where you think it is and root around and you will for sure know when you’re right.  And porn helps.  Find a shaved girl saying “lick my clit” and where he licks, that’s the clit.  It’s educational.

Or, on the same page:

I’m seventeen now, and no real girl has really told me to ejaculate on her face.  Maybe it’ll never happen, I told [my friend] Alec.  We’ve watched a couple blowjobs together, or not together but at the same time, me in my room and he in his, always slightly weird.

Pornography lied to us.

I’m writing my congressman.

OK but let’s watch another one first.

The protagonist of Holder’s All the Dirty Parts is a pornography-obsessed high schooler who proffers graphic descriptions of his conquests.  But he too has a heart.  And when he meets someone more callous than he is, he is doomed.

Officially together?

She repeats this in the tone of what’s-the-problem-officer.  I already thought it might not work, to ask her.

OK.

Do we need a permit?  Do I have to pay for the whole year up front?

I was just asking.

Can we just, play it as it goes along, by ear?

And, like a sock to the stomach, I get how every previous girl felt looking and asking that question, officially, at me.

They’re in high school.  Their relationship won’t last forever.  Which she knows.

So should he, since she is treating him the same way that he has treated everyone else.

And then, like Marcel, the protagonist of All the Dirty Parts will feel crushed remembering their embraces … knowing that now she is now sharing them with someone else.  Worse, by the time he loses her, he has behaved so badly that he has no one to talk to.  He sits alone in his room and ruminates:

I wasn’t just a fuck to them, any of them probably, is what I’m seeing.  For every girl I thought I was uncomplicated sex, it wasn’t.  Put it this way: if you can’t see the complication, you’re probably it.

And the book ends beautifully, with a pearl of wisdom, some words to live by delivered deus-ex-machina-style by an adult.

When you are older –

That’s the only part of the advice I hear.  But, Dad, I’m not.

*

I’m sorry, dude.  It does hurt.

And, yes, I’m sorry for all the high-schoolers out there, and the kids who aren’t in high school yet but are gonna be: it will hurt.  There might not be anyone you feel like you can talk to.

At least Daniel Handler wrote a book for you.

On romantic failure.

On romantic failure.

singularity-valentineMy first collegiate relationship survived almost the entirety of freshman year (ending via phone call the day before my birthday). The second held out through four months of sophomore year. The third, two months of junior year. And the last person with whom I had any appreciable romantic success during college dated me for about two weeks, just before graduation.

The half-lives of my romantic entanglements seemed to be dwindling inexorably toward zero. I feared that the duration of any future relationships would be measured in hours… or minutes… or seconds. How quickly might one progress from a first kiss to “I don’t particularly want to see you again”?

Instead, I passed through a singularity. My next relationship has held out for a decade and still seems to be going well.

Not that I deserve too much sympathy for my past failures. I was less than ideally suave.

naked-singularityI laughed aloud (while grimacing in recognition) at this passage describing a first date from Sergio De La Pava’s A Naked Singularity:

On Her Job:
“Plastic surgery? Really? That’s interesting.”
“Very lucrative.”
“It seems like a mostly New York/L.A. type thing right?”
“What do you mean?”
“Is actual plastic involved?”
“Sometimes. Why?”
“Well otherwise the term would seem to be a slap in the face at the type of person who becomes a patient.”
“I don’t think I have any idea what you’re talking about.”
“You know, like there’s surgery for when something is actually wrong and then there would be plastic surgery for plastic, superficial people who can’t cope with their nose.”

On Misunderstandings:
“No I didn’t mean to imply that at all.”
“Right.”
“I’m serious. What kind of a hostile lunatic would purposely insult their dinner companion? I was just trying to be funny.”

Trying – and failing – to be funny. Well, not failing, exactly. I think that is funny. But De La Pava’s protagonist, like my own younger self, was insufficiently careful in considering the audience for his jokes.

So De La Pava’s protagonist returned home alone. Perhaps he then whiled away the evening reading some erotically-charged literature… like this eyebrow-raising article from the newsdesk at Science. Decidedly the most fescennine piece of writing I’ve stumbled across in some time. Each weekday morning I bring the kids to the YMCA to play while I check my email and do some typing, and I blushed while reading in the snack room.

So obviously I’ll share it with you now.

From Virginia Morell’s Science news article:

He did not penetrate her, but did ejaculate, and [she] then licked her back clean …

Which seems quite racy even knowing that the pronouns refer to a male macaque and a female sika deer.

Unfortunately, the article then alludes to violent rape porn – maybe this appeals more to all the Fifty Shades of Gray fans than it does to me. A kinky set of male fur seals has taken to pinning king penguins, thrusting for minutes (with, um, likely penetration), and, in a gruesome S & M twist, devouring the object of affection.

Just like rape culture in frat houses – or the White House – each assault makes future violence more likely. From Matt Walker’s BBC Earth article on the seals:

seals“Seals have capacity for learning – we know this from their foraging behavior for example,” explained de Bruyn.

So male seals may see each other coercing penguins, then attempt it themselves.

That might explain why the number of incidents appears to be increasing. “I genuinely think the behavior is increasing in frequency.”

15798589947_7b6d029ae8_zIt’s unfortunate that our press so rarely uses accurate language when describing violence against women… or against penguins, for that matter. “Coercing” sex is bad, but what these seals are doing is not coercion. Similarly, the word used for 45’s behavior toward women should not have been “groping.” The appropriate word is “assault.”

(A bit of linguistic mincing might be appropriate sometimes… like when describing the crabs who forcibly trigger asexual reproduction of anemones. Although the process sounds violent – “the crab tears the … anemone into two similar parts, resulting in a complete anemone in each claw after regeneration” – the crabs are acting calmly, and, besides, these anemones live only on crab claws and do reproduce this way.)

monkeydeerIn the case of the deer-humping macaque and those penguin-molesting seals, scientists have documented that low status individuals are the most likely to assault other species. The same principal holds among orangutans – only low-status males assault females.

Yet another indication – as if all the pomp and bluster and Twitter bullying and gold-plated doodads weren’t enough – that 45 is a pusillanimous individual at heart.

Because, after all, consensual behavior is more fun. Contrast those dour seals with the ribald joy of W. H. Auden’s “The Platonic Blow”:

We aligned mouths. We entwined. All act was clutch,
All fact, contact, the attack and the interlock
Of tongues, the charms of arms. I shook at the touch
Of his fresh flesh, I rocked at the shock of his cock.

If only those low-status seals – or our low-status president – calmed their desires with some Auden! We’d live in a world with fewer traumatized women (and penguins).

Or, if you’d rather get your kicks from prose, might I proffer this passage from Victor Pelevin’s The Clay Machine Gun (translated by Andrew Bromfield):

710579MGT2L._SY344_BO1,204,203,200_.gif“And you talk, talk …”
“Of what exactly?”
“Of anything at all, just talk. I want to hear your voice when it happens.”
“By all means. To continue that idea… Imagine that everything which a beautiful woman can give one adds up to one hundred per cent.”
“You bookkeeper…”
“Yes, one hundred. In that case, she gives ninety per cent of that when one simply sees her, and everything else, the object of a thousand years of haggling, is no more than an insignificant remainder. Nor can that first ninety per cent be subdivided into any component fractions, because beauty is indefinable and indivisible, no matter what lies Schopenhauer may try to tell us. As for the other ten per cent, it is no more than an aggregate sum of nerve signals which would be totally without value if they were not lent support by imagination and memory. Anna, I beg you, open your eyes for a second… Yes, like that… yes, precisely imagination and memory. You know, if I had to write a genuinely powerful erotic scene, I would merely provide a few hints and fill in the rest with an incomprehensible conversation like the… Oh, my God, Anna… LIke the one which you and I are having now. Because there is nothing to depict, everything has to be filled in by the mind. The deception, and perhaps the very greatest of a woman’s secrets… Oh, my little girl from the old estate… consists in the fact that beauty seems to be a label, behind which there lies concealed something immeasurably greater, something inexpressibly more desired than itself, to which it merely points the way, whereas in actual fact, there is nothing in particular standing behind it… A golden label on an empty bottle… A shop where everything is displayed in a magnificently arranged window-setting, but that tiny, tender, narrow little room behind it… Please, please, my darling, not so fast… Yes, that room is empty. Remember the poem I recited to those unfortunates. About the princess and the bagel… A-a-ah, Anna… No matter how temptingly it might lure one, the moment comes when one realizes that at the center of that black bage… bagel… bagel… there is nothing but a void, voi-oid, voi-oi-oooid!”