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The first time that Agha Shahid Ali, the great Kashmiri poet, spoke to me about his approaching death was in April of last year. The conversation began routinely. I had telephoned to remind him that we had been invited to a friend's house for lunch and that I was going to come by his apartment to pick him up. Although he had been under treatment for brain cancer for some fourteen months, Shahid was still on his feet and perfectly lucid, except for occasional lapses of memory. I heard him thumbing through his engagement book and then suddenly he said: "Oh dear. I can't see a thing." There was a brief pause and then he added: "I hope this doesn't mean that I'm dying..."
Although Shahid and I had talked a great deal over the past many weeks, I had never before heard him touch on the subject of death. His voice was completely at odds with the content of what he had just said, light to the point of jocularity. I mumbled something innocuous: "No, Shahid--of course not. You'll be fine." He cut me short. In a tone of voice that was at once quizzical and direct, he said: "When it happens I hope you'll write something about me."
I was shocked into silence, and a long moment passed before I could bring myself to say the things that people say on such occasions: "Shahid, you'll be fine; you have to be strong..." From the window of my study I could see a corner of the building in which he lived, some eight blocks away, where he'd moved to be near his sister, Sameetah, after learning of his tumor. Shahid ignored my reassurances. He began to laugh, and it was then that I realized that he was dead serious.
"You must write about me," he said.
By the end of the conversation I knew exactly what I had to do. I picked up my pen, noted the date and wrote down everything I remembered of that conversation. This I continued to do for the next few months: It is the record that has made it possible for me to fulfill the pledge I made that day.
I knew Shahid's work long before I met him. His 1997 collection, The Country Without a Post Office, made a powerful impression on me. His voice was like none I had heard before, at once lyrical and fiercely disciplined, engaged and yet deeply inward. Not for him the mock-casual almost-prose of so much contemporary poetry: His was a voice that was not ashamed to speak in a bardic register. I could think of no one else who would even conceive of publishing a line like: "Mad heart, be brave."
In 1998 I quoted a line from The Country Without a Post Office in an article that touched briefly on Kashmir. At the time all I knew about Shahid was that he was from Srinagar and had studied in Delhi. We had friends in common, however, and one of them put me in touch with Shahid. But we were little more than acquaintances when he moved to Brooklyn. Once we were in the same neighborhood, we began to meet for occasional meals and quickly discovered that we had a great deal in common. By this time, of course, Shahid's condition was already serious, yet his illness did not impede the progress of our friendship. And because of Shahid's condition even the most trivial exchanges had a special charge and urgency: The inescapable poignance of talking about food and half-forgotten figures from the past with a man who knew himself to be dying was multiplied in this instance by the knowledge that this man was also a poet who had achieved greatness--perhaps the only such that I shall ever know as a friend. He had a sorcerer's ability to transmute the mundane into the magical.
Shahid was legendary for his gregariousness and his prowess in the kitchen, frequently spending days over the planning and preparation of a dinner party. It was through one such party, given while he was in Arizona, that he met James Merrill, the poet who was to radically alter the direction of his poetry: It was after this encounter that he began to experiment with strict metrical patterns and verse forms such as the canzone and the sestina. No one had a greater influence on Shahid's poetry than James Merrill: Indeed, in the poem in which he most explicitly prefigured his own death, "I Dream I Am at the Ghat of the Only World," he awarded the envoy to Merrill: "SHAHID, HUSH. THIS IS ME, JAMES. THE LOVED ONE ALWAYS LEAVES." Merrill loved Shahid's cooking, and on learning that Shahid was moving to upstate New York, he gave him his telephone number and asked Shahid to call. On the occasion of Shahid's first reading at the Academy of American Poets, Merrill was present: a signal honor considering that he is one of America's best-known poets. "Afterwards," Shahid liked to recall, "everybody rushed up and said, 'Did you know that Jim Merrill was here?' My stock in New York went up a thousandfold that evening."
Shahid placed great store on authenticity and exactitude in cooking and would tolerate no deviation from traditional methods and recipes. He had a special passion for "Kashmiri food in the Pandit style." I asked him once why this was so important to him and he explained that it was because of a recurrent dream, in which all the Hindus had vanished from the valley of Kashmir and their food had become extinct. This was a nightmare that haunted him, and he returned to it again and again, in his conversation and his poetry.
At a certain point I lost track of you.
You needed me. You needed to perfect me:
In your absence you polished me into the Enemy.
Your history gets in the way of my memory.
I am everything you lost. Your perfect enemy.
Your memory gets in the way of my memory...
There is nothing to forgive. You won't forgive me.
I hid my pain even from myself; I revealed my pain only to
There is everything to forgive. You can't forgive me.
If only somehow you could have been mine,
what would not have been possible in the world?
This was at a time when his illness had forced him into spending long periods in bed. He was on his back, shielding his eyes with his fingers. Suddenly he sat up. "I wish all this had not happened," he said. "This dividing of the country, the divisions between people--Hindu, Muslim, Muslim, Hindu--you can't imagine how much I hate it. It makes me sick. What I say is: Why can't you be happy with the cuisines and the clothes and the music and all these wonderful things?" He paused and added softly, "At least here we have been able to make a space where we can all come together because of the good things."
Of the many "good things" in which he took pleasure, none was more dear to him than the music of Begum Akhtar. He met the great ghazal singer when he was in his teens, through a friend, and she became an abiding presence and influence in his life. In his apartment there were several shrinelike niches that were filled with pictures of the people he worshiped: Begum Akhtar was one of these, along with his father, his mother and James Merrill. "I loved Begum Akhtar," he told me once. "In other circumstances you could have said that it was a sexual kind of love--but I don't know what it was. I loved to listen to her, I loved to be with her, I couldn't bear to be away from her. You can imagine what it was like. Here I was in my mid-teens--just 16--and I couldn't bear to be away from her." It was probably this relationship with Begum Akhtar that engendered his passion for the ghazal as a verse form. Always the disciplinarian in such matters, he believed that the ghazal would never flourish if its structure were not given due respect: "Some rules of the ghazal are clear and classically stringent. The opening couplet (called matla) sets up a scheme (of rhyme--called qafia; and refrain--called radif) by having it occur in both lines--the rhyme immediately preceding the refrain--and then this scheme occurs only in the second line of each succeeding couplet. That is, once a poet establishes the scheme--with total freedom, I might add--she or he becomes its slave. What results in the rest of the poem is the alluring tension of a slave trying to master the master." Over a period of several years he took it upon himself to solicit ghazals from poets writing in English. The resulting collection, Ravishing DisUnities: Real Ghazals in English, was published in 2000. In establishing a benchmark for the form it has already begun to exert a powerful influence: The formalization of the ghazal may well prove to be Shahid's most important scholarly contribution to the canon of English poetry. His own summation of the project was this: "If one writes in free verse--and one should--to subvert Western civilization, surely one should write in forms to save oneself from Western civilization?"
For Shahid, Begum Akhtar was the embodiment of one such form, not just in her music but in many other aspects of her being. An aspect of the ghazal that he greatly prized was the latitude it provided for wordplay, wit and nakhra (affectation). Begum Akhtar was a consummate master of all these, and Shahid had a fund of stories about her sharpness in repartee. He was himself no mean practitioner of that art. On one occasion, at the Barcelona airport, he was stopped by a security guard just as he was about to board a plane. The guard, a woman, asked: "What do you do?"
"I'm a poet," Shahid answered.
"What were you doing in Spain?"
No matter the question, Shahid worked poetry into his answer. Finally, the exasperated woman asked: "Are you carrying anything that could be dangerous to the other passengers?" At this Shahid clapped a hand to his chest and cried: "Only my heart."
This was one of his great Wildean moments, and it was to occasion the poem "Barcelona Airport." He treasured these moments, and last May I had the good fortune to be with him when one such opportunity presented itself. Shahid was teaching what turned out to be the last class he ever would. I had heard a great deal about the brilliance of his teaching, and it was evident from the moment we walked in that the students adored him: They had printed a magazine and dedicated the issue to him. Shahid, for his part, was not in the least subdued by the sadness of the occasion. From beginning to end, he was a sparkling diva, Akhtar incarnate, brimming with laughter and nakhra.
Toward the end of the class, a student asked a complicated question about the difference between plausibility and inevitability in a poem. Shahid's eyebrows arched higher and higher as he listened. At last, unable to contain himself, he broke in. "Oh you're such a naughty boy," he cried, tapping the table with his fingertips. "You always turn everything into an abstraction."
But Begum Akhtar was not all wit and nakhra: Indeed, the strongest bond between Shahid and her was, I suspect, the idea that sorrow has no finer mask than a studied lightness of manner. Shahid often told a story about Begum Akhtar's marriage: Although her family's origins were dubious, her fame as a beauty was such that she received a proposal from the scion of a prominent Muslim family of Lucknow. The proposal came with the condition that the talented young singer would give up singing: The man's family was deeply conservative and could not conceive of one of its members performing onstage. Begum Akhtar--or Akhtaribai Faizabadi, as she was then--accepted, but soon afterward her mother died. Heartbroken, Akhtaribai spent her days weeping on her grave. Her condition became such that a doctor had to be brought in to examine her. He said that if she were not allowed to sing she would lose her mind: It was only then that her husband's family relented and allowed her to sing again.
Shahid was haunted by this image of Begum Akhtar as a bereaved and inconsolable daughter, weeping on her mother's grave; it is in this grief-stricken aspect that she is evoked again and again in his poems. The poem that was his farewell to the world, "I Dream I Am at the Ghat of the Only World," opens with an evocation of Begum Akhtar:
A night of ghazals comes to an end. The singer
departs through her chosen mirror, her one diamond
cut on her countless necks. I, as ever, linger
Shahid's father's family was from Srinagar and they were Shia, a minority among the Muslims of Kashmir. When Shahid was 12, the family moved to Indiana (his father was getting a PhD), and for three years he attended school in Muncie. After that they moved back to Srinagar, which is where Shahid completed his schooling; it was that early experience, I suspect, that allowed Shahid to take America so completely in his stride when he arrived as a graduate student years later. The idea of a cultural divide or conflict had no purchase in his mind: America and India were the two poles of his life, and he was at home in both in a way that was utterly easeful and unproblematic.
After 1975, when he moved to Pennsylvania, Shahid lived mainly in America. His brother was already here, and they were later joined by their two sisters. But Shahid's parents continued to live in Srinagar, and it was his custom to spend the summer months with them: "I always move in my heart between sad countries." Traveling between the United States and India he was thus an intermittent but firsthand witness to the mounting violence that seized the region from the late 1980s onward:
It was '89, the stones were not far, signs of change
everywhere (Kashmir would soon be in literal
The steady deterioration of the political situation in Kashmir--the violence and counterviolence--had a powerful effect on him. In time it became one of the central subjects of his work: Indeed, it could be said that it was in writing of Kashmir that he created his finest work. The irony of this is that Shahid was not by inclination a political poet. I heard him say once: "If you are from a difficult place and that's all you have to write about then you should stop writing. You have to respect your art, your form--that is just as important as what you write about." Another time, I was present at Shahid's apartment when his longtime friend Patricia O'Neill showed him a couple of sonnets written by a Victorian poet. The poems were political, trenchant in their criticism of Britain for its failure to prevent the massacre of the Armenians in Turkey. Shahid glanced at them and tossed them offhandedly aside: "These are terrible poems." Patricia asked why, and he said: "Look, I already know where I stand on the massacre of the Armenians. Of course I am against it. But this poem tells me nothing of the massacre; it makes nothing of it formally. I might as well just read a news report."
Anguished as he was about Kashmir's destiny, Shahid resolutely refused to embrace the role of victim that could so easily have been his. Had he done so, he could no doubt have easily become a fixture on talk shows, news programs and Op-Ed pages. But Shahid never had any doubt about his calling: He was a poet, schooled in the fierce and unforgiving arts of language. He had no taste for political punditry.
Such as they were, Shahid's political views were inherited largely from his father, whose beliefs were akin to those of most secular, left-leaning Muslim intellectuals of the Nehruvian era. Although respectful of religion, he remained a firm believer in the separation of politics and religious practice.
Once, when Shahid was at dinner with my family, I asked him bluntly: "What do you think is the solution for Kashmir?" His answer was: "I think ideally the best solution would be absolute autonomy within the Indian Union in the broadest sense." But this led almost immediately to the enumeration of a long list of caveats and reservations: Quite possibly, he said, such a solution was no longer possible, given the actions of the Indian state in Kashmir; the extremist groups would never accept the autonomy solution in any case, and so many other complications had entered the situation that it was almost impossible to think of a solution.
The truth is that Shahid's gaze was not political in the sense of being framed in terms of policy and solutions. In the broadest sense, his vision tended always toward the inclusive and ecumenical, an outlook that he credited to his upbringing. He spoke often of a time in his childhood when he had been seized by the desire to create a small Hindu temple in his room in Srinagar. He was initially hesitant to tell his parents, but when he did they responded with an enthusiasm equal to his own. His mother bought him murtis and other accoutrements, and for a while he was assiduous in conducting pujas at this shrine. This was a favorite story. "Whenever people talk to me about Muslim fanaticism," he said to me once, "I tell them how my mother helped me make a temple in my room. What do you make of that? I ask them." There is a touching evocation of this in his poem, "Lenox Hill": "and I, one festival, crowned Krishna by you, Kashmir/listening to my flute."
I once remarked to Shahid that he was the closest that Kashmir had to a national poet. He shot back: "A national poet, maybe. But not a nationalist poet; please not that." If anything, Kashmir's current plight represented for him the failure of the emancipatory promise of nationhood. In the title poem of The Country Without a Post Office, a poet returns to Kashmir to find the keeper of a fallen minaret:
"Nothing will remain, everything's finished,"
I see his voice again: "This is a shrine
of words. You'll find your letters to me. And mine
to you. Come soon and tear open these vanished
This is an archive. I've found the remains
of his voice, that map of longings with no limit.
The pessimism engendered by the loss of these ideals--that map of longings with no limit--resulted in a vision in which, increasingly, Kashmir became a vortex of images circling around a single point of stillness: the idea of death. In this figuring of his homeland, he himself became one of the images that were spinning around the dark point of stillness--both Sháhid and Shahíd, witness and martyr--his destiny inextricably linked with Kashmir's, each prefigured by the other.
I will die, in autumn, in Kashmir,
and the shadowed routine of each vein
will almost be news, the blood censored,
for the Saffron Sun and the Times of Rain....
Among my notes is a record of a telephone conversation last May 5. He'd had a brain scan the day before that would determine the future course of treatment. When he answered, there were no preambles. He said: "Listen Amitav, the news is not good at all. Basically they are going to stop all my medicines now--the chemotherapy and so on. They give me a year or less."
Dazed, staring blankly at my desk, I said: "What will you do now, Shahid?"
"I would like to go back to Kashmir to die." His voice was quiet and untroubled. "It's still such a feudal system there, and there will be so much support--and my father is there, too. Anyway, I don't want my siblings to have to make the journey afterwards, like we had to with my mother."
Later, for logistical and other reasons, he changed his mind about returning to Kashmir: He was content to be laid to rest in Northampton, Massachusetts, in the vicinity of Amherst, a town sacred to the memory of his beloved Emily Dickinson. But I do not think it was an accident that his mind turned to Kashmir in speaking of death. Already, in his poetic imagery, death, Kashmir and Sháhid/Shahíd had become so closely overlaid as to be inseparable, like old photographs that have melted together in the rain.
Yes, I remember it,
the day I'll die, I broadcast the crimson,
so long ago of that sky, its spread air,
its rushing dyes, and a piece of earth
bleeding, apart from the shore, as we went
on the day I'll die, past the guards, and he,
keeper of the world's last saffron, rowed me
on an island the size of a grave. On
two yards he rowed me into the sunset,
past all pain. On everyone's lips was news
of my death but only that beloved couplet,
broken, on his:
"If there is a paradise on earth
It is this, it is this, it is this."
Shahid's mother, Sufia Nomani, was from Rudauli in Uttar Pradesh. She was descended from a family that was well-known for its Sufi heritage. Shahid believed that this connection influenced her life in many intangible ways. "She had the grandeur of a Sufi," he liked to say.
Although Shahid's parents lived in Srinagar, they usually spent the winter months in their flat in New Delhi. It was there that his mother had her first seizure--from what would prove to be a malignant brain tumor. The family brought her to New York, where an operation resulted in her partial paralysis. Shahid and his siblings moved her to Massachusetts, where they were living. When she died two years later, in keeping with her wishes, the family took her body back to Kashmir for burial. This long and traumatic journey forms the subject of a cycle of poems, "From Amherst to Kashmir," that was later included in Shahid's 2001 collection, Rooms Are Never Finished.
During the last phase of his mother's illness and for several months afterward, Shahid was unable to write. The dry spell was broken in 1998, with "Lenox Hill," possibly his greatest poem. The poem was a canzone, a form of unusual rigor and difficulty (the poet Anthony Hecht once remarked that Shahid deserved to be in Guinness Book of World Records for having written three canzones--more than any other poet). In "Lenox Hill," the architectonics of the form creates a soaring superstructure, an immense domed enclosure, like that of the great mosque of Isfahan or the mausoleum of Sayyida Zainab in Cairo: a space that seems all the more vast because of the austerity of its proportions. The rhymes and half-rhymes are the honeycombed arches that thrust the dome toward the heavens, and the meter is the mosaic that holds the whole in place. Within the immensity of this bounded space, every line throws open a window that beams a shaft of light across continents, from Amherst to Kashmir, from the hospital of Lenox Hill to the Pir Panjal Pass. Entombed at the center of this soaring edifice lies his mother:
they asked me, So how's the writing? I answered My mother
is my poem. What did they expect? For no verse
sufficed except the promise, fading, of Kashmir
and the cries that reached you from the cliffs of Kashmir
(across fifteen centuries) in the hospital. Kashmir,
she's dying! How her breathing drowns out the universe
as she sleeps in Amherst.
The poem is packed with the devices that he perfected over a lifetime: rhetorical questions, imperative commands, lines broken or punctuated to create resonant and unresolvable ambiguities. It ends, characteristically, with a turn that is at once disingenuous and wrenchingly direct.
For compared to my grief for you, what are those of Kashmir,
and what (I close the ledger) are the griefs of the universe
when I remember you--beyond all accounting--O my mother?
For Shahid, the passage of time produced no cushioning from the shock of the loss of his mother: He relived it over and over again until the end. The week before his death, on waking one morning, he asked his family where his mother was and whether it was true that she was dead. On being told that she was, he wept as though he were living afresh through the event.
In the penultimate stanza of "Lenox Hill," in a heart-stopping inversion, Shahid figures himself as his mother's mother:
"As you sit here by me, you're just like my mother,"
she tells me. I imagine her: a bride in Kashmir,
she's watching, at the Regal, her first film with Father.
If only I could gather you in my arms, Mother,
I'd save you--now my daughter--from God. The universe
opens its ledger. I write: How helpless was God's mother!
I remember clearly the evening when Shahid read this poem in the living room of my house. I remember it because I could not keep myself from wondering whether it was possible that Shahid's identification with his mother was so powerful as to spill beyond the spirit and into the body. Brain cancer is not, so far as I know, a hereditary disease, yet his body had, as it were, elected to reproduce the conditions of his mother's death. But how could this be possible? Even the thought appears preposterous in the bleak light of the Aristotelian distinction between mind and body, and the notions of cause and effect that flow from it. Yet there are traditions in which poetry is a world of causality entire unto itself, where metaphor extends beyond the mere linking of words, into the conjugation of a distinctive reality.
Shahid thought of his work as being placed squarely within a modern Western tradition. Yet the mechanics of his imagination--dreams, visions, an overpowering sense of identity with those he loved--as well as his life, and perhaps even his death, were fashioned by a will that owed more perhaps to the Sufis and the Bhakti poets than to the Modernists. In his determination to be not just a writer of poetry but an embodiment of his poetic vision, he was, I think, more the heir of Rumi and Kabir than Eliot and Merrill.
The last time I saw Shahid was at the end of October, at his brother's house in Amherst. He was intermittently able to converse, and there were moments when we talked just as we had in the past. He was aware, as he had long been, of his approaching end, and he had made his peace with it. I saw no trace of anguish or conflict: Surrounded by the love of his family and friends, he was calm, contented, at peace. He had said to me once, "I love to think that I'll meet my mother in the afterlife, if there is an afterlife." I had the sense that as the end neared, this was his supreme consolation. He died peacefully, in his sleep, at 2 AM on December 8.
Now, in his absence, I am amazed that so brief a friendship has resulted in so vast a void. Often, when I walk into my living room, I remember his presence there, particularly on the night when he read us his farewell to the world: "I Dream I Am at the Ghat of the Only World." I remember how he created a vision of an evening of ghazals, drawing to its end; of the be-diamonded singer vanishing through a mirror; I remember him evoking the voices he loved--of Begum Akhtar, Eqbal Ahmad and James Merrill--urging him on as he journeys toward his mother: "Love doesn't help anyone finally survive." Shahid knew exactly how it would end, and he was meticulous in saying his farewells, careful in crafting the envoy to the last verses of his own life.
They're looking for help with college and a reason to believe in government.
Mahmoud Darwish burst on the Arab poetic scene in the mid-1960s with the publication in Beirut of poems written while he was living in Haifa, Israel, and working as a translator and editor for the Israeli Communist Party, Rakah. As Munir Akash points out in his introduction to this volume of selections from Darwish's recent work, with their fiery intensity and assuredness, the early poems touched a raw nerve in Arab readers. In a matter of a few years Darwish had become the most vocal and eloquent poetic spokesman of the Palestinians, and the foremost practitioner of what had come to be known as "the poetry of resistance."
Among poets writing in Arabic today, in fact, Darwish is the most widely translated. His work has made a home for itself in more than twenty-two languages, the bulk of it in some twenty books in French, which are bestsellers. By contrast, English has so far been less receptive to Darwish's poetry, except for a handful of volumes mostly out of print and a number of individual poems published in English-language literary magazines and anthologies. The Adam of Two Edens is only the second book-length volume of translations into English currently available to readers in the United States. Adam invites into our midst a deeply lyrical, sorrowful and unforgettable poetic voice.
The selections in The Adam of Two Edens are from Darwish's later works, mainly Ahad Ashar Kawkaban (Eleven Planets, 1992) and Limatha Tarakta al-Hissana Waheedan (Why Have You Left the Horse Alone?, 1995). Both collections were occasioned by a constellation of historic and personal events, at the center of which was the flawed Oslo Declaration of Principles in 1993. That year Darwish resigned from the PLO Executive Committee in protest and returned to the Middle East after an eleven-year exile in Paris. He settled first in Amman, the Jordanian capital, and then in the Palestinian town of Ramallah, where he also edits the Modernist Arabic literary journal al-Karmel, which he founded in 1981 in Beirut and continued editing in France.
Akash notes that the differences between Darwish's early, more declarative "poems of resistance" and the later works are striking--in thematic complexity and expressive sophistication. The curve of Darwish's poetic progress is little short of staggering--not only in the volume of his writerly and editorial output but also in the ways in which his writing has enlarged itself, consciously and systematically. For more than a decade now, the poet has slowly steered toward more open spaces and brought into his poetic sphere voices from other literary traditions and grafted their symbols, concerns and directions onto the trunk of Arabic poetry. His aim has been to create a poetic community of cultures, especially those that have been obliterated or are threatened with erasure--from the Native American to the Andalusian to the Palestinian and beyond.
Paradoxically, the expansion has also made Darwish's poetry more interior and personal. In this newly crafted lyrical space, atop the Palestinian soil, the experience of migration and the longing for solidarity with those who have embarked on the same trail have found an enduring anchor:
In migration we remember shirt buttons we lost,
forget the glittering crowns of our days,
recall the scent of apricot sweat,
forget the dancing horses on our wedding nights.
("In the Great Migration, I Love You More")
But even in its most intimate moments, his lyrical voice is often tempered with irony and seasoned with the salt of many departures. The intensity is always held in check, somewhat distanced and detached. Like the birds that inhabit Darwish's Mediterranean sky, his poems often flutter between poetic assertion and its difficulty in the face of the Palestinian national narrative of the nakba (catastrophe) of 1948:
I illuminate tomorrow's present in the moment.
Time separates me from my place.
My place separates me from my time.
All the prophets are my kin.
But heaven is still far from its earth
and I am still far from my words.
("On a Canaanite Stone at the Dead Sea")
The distance and separation are geographical, historical and personal. The Edenic title of the collection reverberates from poem to poem, as Darwish weaves symbolic nets that connect the biblical expulsion with the expulsion of the Arabs from Andalusia in "Ruba'yat":
I've seen all I want to see of the sea:
gulls flying through sunset.
I close my eyes:
this loss leads to Andalusia--
this sail is doves' prayers
pouring down on me.
And centuries later, with the migration of the poet from his native village of Birweh in the Upper Galilee, which the Israelis set ablaze and razed in 1948:
Do you remember our migration route to Lebanon?
Where you forgot me in a sack of bread
(it was wheat bread).
I kept quiet so as not to wake the guards.
The scent of morning dew lifted me onto your shoulders.
The metaphor of migration wanders the entire universe of Darwish's poetry. It crosses cities, cultures, regions, landscapes and historic periods, reproducing itself in an abundance of doubles and ironic twists to finally return home to the most bitter and prophetic irony of all: Home is another form of occupation, which robs people of their ability to dream of paradise. In a poem in 1982, Darwish asked, "Where should we go after the last frontiers?" In the poems of this collection, he tries to describe that rudderless, shadowy territory where everything has been co-opted by the mirage and rhetoric of peace.
Still, in these later works Darwish knows that the best the poet can do is populate these shadowy territories with the products of the only tools he has at his disposal--imagination and language:
My mother illuminates Canaan's last stars
around my mirror
and throws her shawl across my last poem.
In a poem dedicated to an Iraqi poet, he writes:
I'll remove the fingers of my dead from your body,
the buttons of their shirts and their birth certificates.
You'll take the letters of your dead to Jerusalem.
We'll wipe the blood from our glasses, my friend,
and reread our Kafka,
and open two windows onto a street of shadows.
("A Horse for the Stranger")
The image of two Arab poets rereading Kafka against the open window of uncertainty is a telling example of the kind of grafting that is common in Darwish's poetry: The poetic voice is also a communal voice--of García Lorca and Yeats, Homer and the bards of ancient cultures.
But these alliances, which Darwish weaves so masterfully, are also emblematic of the direction of his more recent poetry. Borrowing Adorno's term, Edward Said has noted that Darwish's "late style" opens onto a realm of irresolution and fracture, where poetry itself becomes the tenuous terrain of a lost homeland and an imagined community. Evoking the Arab expulsion from Granada in 1492, Darwish writes:
One day I'll pass by her moons and
scent my desires with lemon.
Embrace me, so I can be reborn
from aromas, from sunlight, from the river
thrown over your shoulders.
From two feet scratching the twilight
to make it weep milk tears
for a night of poetry!
("One Day I'll Sit on the Sidewalk")
In the end, what remains, what is permanent and real, is something as fleeting as a night of poetry whose fragile shoulders must carry not only the poet's longing for return but also the load of history, the long trail of expulsion and migration. In these dark, plaintive poems, though, poetry performs its essential task:
I'll shed my skin and from my language
words of love
will filter down through the poetry of García Lorca
who'll dwell in my bedroom
and see what I've seen of the bedouin moon.
("A sky Beyond sky for Me")
As an introduction to Darwish's later poetry, The Adam of Two Edens is an indispensable source. Akash's introduction --part memoir, part tribute, part analysis, part historical context--is both moving and effective in bringing Darwish and his poetry to life for American readers. Even those who have never read Darwish will know that they are in the company of a great poet whose imagined worlds are informed by great erudition, mythic sweep and meticulous lyricism.
Despite its noble aims, The Adam of Two Edens is limited in one key area. It lacks the translator's deliberate self-consciousness about the project at hand. We are told that several writers who are themselves versed in Arabic and English translated the individual poems, which were later "polished" by the American poet Daniel Moore to make them "harmonious in a single voice." But a translation's primary aim is to recast the music of the original in a wholly new expressive context, and to do so in bold ways. The collection would have benefited immensely from a discussion of the issues that the translators and Moore faced in this passage from Arabic to English, and how these issues were resolved, dodged or reframed.
Every translation renews the language of the original as well as the adopted language. So, too, with every poem. Darwish is well versed not only in Arabic and Hebrew poetry but also poetry written in English and French. The range of his poetic concerns is evident in a groundbreaking book of conversations with Arab and Israeli interviewers, La Palestine comme métaphore (Palestine as Metaphor, 1997; alas, not available in English). Part argument, part meditation, part analysis, it outlines not only Darwish's literary biography and the ways in which Palestinian and Israeli literatures have shaped his writing but also his efforts at forging an alliance between his native Arabic poetic tradition and the currents of Modernist poetry. But the introduction of The Adam of Two Edens merely notes that Darwish's "sense of cadence is symphonically structured," which, says Akash, has few equivalents in American poetry. That begs the question: What are the hurdles that a translator of Darwish's poetry faces in executing a translation into a poetic tradition and idiom that seems to lack what is so essential in the original?
Darwish's poetry, for example, sometimes displays instances where a line or a phrase or a word is repeated, and language seems to fold in on itself. This kind of creasing, which has its sources in the classical Arabic tradition of recitation, is a very effective device in giving the writing a pause, a suspended quality. A poetry reading by Darwish is always a huge cultural event in the Arab world, and this attribute places him in a line of poets who were also great reciters of their poetry--with Yeats, Ginsberg, Voznesensky, Dylan Thomas and others. But Darwish's Modernist impulses subvert the traditional comforts of this kind of creasing, turning this poetic device of classical Arabic into a source of both pleasure and anxiety. English, by contrast, does not tolerate repetition as well as Arabic does, and the translator has a huge problem in reinventing the original. It may be that with the best of intentions, the translators of the present volume have ended up being too loyal to the original, too willing to assume that there is a natural congruity between Arabic and English poetic cultures. The result is that sometimes the creases and folds seem clunky and pull the poem down.
The cadence of Darwish's Arabic sometimes has an eerie, miragelike feel to it, as if the lines were about to go into nothingness. Often the progress of the poetic line is musical; it seems to hover at the edge of something unknown, at the point where it can quickly become other than itself--a whisper, a silence, perhaps even a muffled sob. Darwish has argued at some length for the fraternity of music and poetry in the Arabic poetic tradition, even describing himself as something of a "reactionary," who, unlike some of his Arab contemporaries, has neither destroyed the poetic meter nor chosen prose over poetry. In the translations of The Adam of Two Edens we often do not have this sense of impending loss; the lines sometimes have a prosaic security that is at odds with the fragility of Darwish's poetry--reading it, writing it, listening to it.
In 1945 Czeslaw Milosz asked:
What is poetry which does not save
Nations or people?
Against hope, Darwish's poetry still speaks of coexistence and a shared culture:
Stranger, hang your weapons in our palm tree
and let me plant my wheat in Canaan's sacred soil.
("On a Canaanite Stone at the Dead Sea")
His vision of peace is the poet's prerogative, of course, but it may, in the end, be the only one that stands a chance--if not of saving nations, then at least of perspective and moderation:
All I want of love is a beginning.
Doves flew above the roof of the last sky,
flew off and kept flying...
After we're gone there'll be plenty of wine in the jars.
A little land is land enough for us for a place to meet,
enough for peace to descend...
("All I Want of Love is a Beginning")
In this most emotionally charged of times, I think that many of the moral issues we face are overlaid by an oft-expressed tension between the need for security and the full protections of human rights. It is always expressed as a tension, freedom as opposed to security. It is a false dichotomy but understandable, given how afraid we all are. And so we limit our sights to the need for good policy, good intelligence and strong, democratically inclined, diplomatically gifted leaders.
But I am also a lawyer, and a child of the civil rights era, which was, a bit like these times, a dangerous time, troubled by terrorizing outlaw behavior, a violent time. Yet what guided us, black and white, men and women, minority and majority, through that time was a determined appeal and, ultimately, adherence to principles of morality, justice and law. Dr. King's appeal to a transformative progressive society, to what he referred to as The Beloved Community, was of course an overtly theological argument, grounded in a love of all humanity. But it was also a metaphor, and that metaphor was grounded in a legal case, in a series of legal cases that held steadfastly to notions of fairness, equality and due process of law. The legal and political triumphs of the civil rights era remain a monument to America's best ideals.
Those times too were fraught with passion and grief. There were those who thought that Dr. King's work for racial equality was too radical, too deeply subversive, or unpatriotic. There were those who thought his opposition to American policy in Vietnam merited the response Love it or leave it. Similarly, there are those who have taken George W. Bush's oft-repeated statement--originally a warning to Iraq, as I recall--of "you're either with us or against us" and applied it broadly and inappropriately to men and women of conscience who express their concern that international conventions and norms of human rights be scrupulously applied in the battle against Al Qaeda.
Trust, don't ask, some have said. Say something positive or shut up. I worry a lot about the predominance of flat "either-or" dualisms that by their very syntax eliminate the middle ground so necessary to political debate. Love it or leave it. But Dr. King loved his country, and there was no "or" about it. He did not leave America but worked to impart a legacy that changed it and the world for the better. He appealed to a society that is committed to unity and yet vaunts individual freedom, including the freedom to dissent.
These tensions are often placed like roadblocks: security versus freedom, community versus dissent. That pervasive sense of opposition was a challenge for Americans in Dr. King's time, and it is a challenge for Americans now. And because the United States is a model others copy as well as a global force to be reckoned with, the citizens of the world are, one by one, having to resolve these tensions as well. As Dr. King said, "Civil rights"--or human rights I think he would add in today's global context--"civil rights is an eternal moral issue..."
Whatever the issue, whatever the time, we must resist a mindset that defines those who are "with us" as those who accept all policies as untouchable, all military action as automatically legitimate, all criticism as giving aid and comfort to the enemy. Otherwise we consign people who are engaged in the essence of democratic debate to the conceptual dustbin of those who are "against us." You're either on board as a team player or (according to the last few days of the New York Post alone) you're a brainless, overintellectualizing, group-thinking, anarchist, socialist, communist, stalinist, nihilistic, solipsistic, atheistic, politically correct, race-card-playing feminazi crackpot.
I sometimes wonder if we've forgotten who the enemy is.
But it is not unpatriotic to question and argue about our public policy; it's a duty of citizenship. It is not disrespectful to the Republic to ask, when our Defense Secretary says the men held in Guantánamo Bay are receiving better treatment than the Taliban ever gave their prisoners, what that means precisely. That they have not yet been beheaded? Or that the norms of the Geneva Convention and the Constitution are being rigorously observed?
I worry too about the degree to which we keep referring to these enemies as The Evil Ones or The Bad Guys--such odd terms, as though our leaders were speaking to very young children. By this, Al Qaeda is placed in an almost biblical narrative, ready to be smote and cast out. In this model, giving The Evil Ones so mundane a forum as a trial is literally "courting" the devil. While this sort of embedded language has certainly galvanized the people in a time of great crisis, I don't believe it's a useful long-term model for a democratic secular government trying to fight real political foes, particularly stateless enemies who are religious zealots in their own right. This sort of narrative obscures the adult reality that they are enemies, not viruses. They are humans, not demons. They are criminals, not satanic extraterrestrials. They may indeed be our New Age Goebbelses and Goerings, but we did not put Nazi war criminals in cages. We brought them to justice.
Given all this we will need all the thoughtful voices we can get to help our beleaguered leaders figure out a world that is growing more mobile, more diasporic, more riven by racism, xenophobia, anti-Semitism (and I mean anti-Semitism in the broad sense of prejudice against all Semitic peoples, including Jews, Arabs and some Asians), religious intolerance, economic disparity and struggles for land. Indeed, recent tensions are such that some are calling this a "clash of civilizations." This too is something we should be wary of. Organized crime syndicates--whether the Ku Klux Klan in the civil rights era or Al Qaeda now--do not a civilization make.
As we move into Black History Month, it is good to remember that Dr. King's message was far more complex than the naïve rosiness to which he's often reduced. He insisted on equal protection even for those we do not like. He insisted on due process of law even for those whom we have reason to fear. And he demanded that we respect the humanity even of those we despise.
Zero built a nest
In my navel. Incurable
Longing. Blood too--
From violent actions
It's a nest belonging to one
But zero uses it
And its pleasure is its own.
(from The Quietist)
The limits have wintered me
as if white trees were there to be written on.
It must be purgatory
there are so many letters and things.
Faith, hope and charity rise in the night
like the stations of an accountant.
And I remember my office, sufficiency.
The stains of blackberries near Marx's grave
do to color what eyes do to everything.
Help me survive my own presence, open to the elements.
Fog mist palloring greens, no demarcations,
but communitarian gravestones.
Celts lost to Anglo Saxons who endlessly defended marks.
Guerrilla war, terror:
the tactics for landless neo-realists.
The Lenore Marshall Poetry Prize of $10,000, awarded annually for the most outstanding book of poems published in the United States by an American, is administered mutually by the Academy of American Poets and The Nation. In the past decade, winners have been David Ferry (2000), Wanda Coleman (1999), Mark Jarman (1998), Robert Pinsky (1997), Charles Wright (1996), Marilyn Hacker (1995), W.S. Merwin (1994), Thom Gunn (1993), Adrienne Rich (1992), John Haines (1991) and Michael Ryan (1990). This year the award goes to Fanny Howe for her Selected Poems. Jurors were Elaine Equi, Bob Perelman and Ann Lauterbach, who contributed the following essay. Other finalists for the award were Your Name Here, by John Ashbery (Farrar, Straus & Giroux); Republics of Reality 1975-1995, by Charles Bernstein (Sun & Moon); Atmosphere Conditions, by Ed Roberson (Sun & Moon); Plasticville, by David Trinidad (Turtle Point); and The Annotated 'Here' and Selected Poems, by Marjorie Welish (Coffee House).
In the days and weeks following the events of September 11, one poet, one poem by one poet, seemed to come into circulation: W.H. Auden's searing "September 1st, 1939." Set in New York, the poem's narrator, chastened by events into chill eloquence, speaks in slow rhymes, as formally reassuring as they are devastating in content. Like other Modernists, Auden cultivated a poetics of narrative statement that gave public voice to private perception. It is a voice that turned the unruly emotions of sorrow, fear and rage into ideas of order. But just as hot war tactics and cold war rhetoric feel outdated and dangerous in our terrible new world, the pacifying sonorities of Auden seem strangely out of tune.
On the evening of September 10, my colleagues and co-judges, Elaine Equi and Bob Perelman, and I met at my loft on Duane Street in TriBeCa to converse about our choices for finalists for the Lenore Marshall Prize. Over the summer, we had each read more than 200 books, some, but by no means all, of the collections of poetry published in 2000. These books were written by poets of national stature and poets of only local repute; they included hefty life-works and first slim volumes. It was a daunting task, by turns exhilarating and infuriating. To choose from among them the "most outstanding" tested not only our individual judgments but our shared belief in a poetics responsive to the contemporary moment.
The six finalists, John Ashbery, Charles Bernstein, Fanny Howe, Ed Roberson, David Trinidad and Marjorie Welish, are remarkable writers. Together, they have contributed immeasurably to contemporary poetry in America: expanding formal range, resisting reductive subjectivity and its narrative claims, attending to the exigencies of both language and world. To chose one from among them seems arbitrary, but there is only one prize to give. We have awarded the Lenore Marshall Prize for the most outstanding book of 2000 to Fanny Howe for her Selected Poems.
Fanny Howe is the author of more than twenty books (poetry and fiction) published by some of the most adventurous and enduring small presses in America. This beautifully designed and produced book is the third in a series called New California Poetry from the University of California Press, edited by Robert Hass, Calvin Bedient and Brenda Hillman. Until recently, Howe was professor of American writing and American literature at the University of California, San Diego. She has now retired to her native New England.
Howe works in sequences of poems made of minimally punctuated short lines. The individual poems are untitled. This notational, almost diaristic format gives the impression of a seamless intimacy and urgency, as if the reader were present at the act of writing. A spare tonality moves against the density and complexity of her vision, where a classical lyric voice is annealed to a spiritual quest buffeted and embattled by resisting political and social realities. This tension is what gives the poems their power.
Small birds puff their chests and feathers
With the pleasure that they know better
High morning clouds unload themselves
On the world. Blue peeps through
Sunny boys have spacious souls but killers
Build war zones in the sky where they go to die
Blue poems. Blue ozone. A V-sign
Sails into the elements: an old ship
Named Obsolete though Lovely is easier to see
Now visualize heaven as everything around it
(from Introduction to the World)
Howe's diction is not conventionally poetic, not dressed up, not avuncular, not pretty. It is peculiar, compelling and provocative, with moments of absolute clarity adjacent to moments of mere glimpse. This quixotic, pulsating quality lends a sensuous mystery and scale to the landscape of her work, as if the lines were emanating from a lighthouse whose signal is intensely bright one moment and scanning the horizon at the next. There is an asymmetrical oddness and frailty to her cadence that contributes to the dissonance between private and public event:
If goals create content stealth creates form
The air force hits space
with the velocity of a satanic wrist
How to give birth to children under these conditions
Favor the ghost over the father, maternalist
Howe stitches into a single poem materials from diverse, often divergent, experience. Affective language is laid beside statement but is not subsumed by it. The voice is personal, but there are no invitations here to bear witness to the concrete details of a life; or rather, that life's details are drawn through the poem as a thread in a variegated fabric. In a world strewn with bare facts, Howe's reflective meditative lines are consoling, not for their content, which is as charged with pessimism as Auden's, but because they invite us, or remind us, to attend. The poems act on us like pilot lights, igniting the receptive synapse of language. Like all true poetry, her work is difficult to excerpt, impossible to paraphrase. Howe is compelled by the distinction between, and proximity of, History and story; her work brings us to the threshold of accountability.
Laughter--or slaughter--outside the door
And inside she was dying
To join in. So she had to go out
--a physical body
With subjective needs
Wing with the post-Christians. Her brow a headline
Reporting news of weather & mood
From masters of the military & amorous arts
Hide in her little close
Off the runway, or step into their story
(from The Quietist)
On the dust jacket, one person compares Fanny Howe to Emily Dickinson, a comparison all too easily invoked for writings by women. But in this case, there is justification. Like Dickinson, Fanny Howe animates her work with an austere logic, in which aspects of a unique response, spiritual, emotional and intellectual, are held in an uneasy, necessary relation. She makes demands on her readers. If those demands are met, the rewards are as inestimable as they are real.
Just a few return from dust, disguised as roses.
What hopes the earth forever covers, what faces?
I too could recall moonlit roofs, those nights of wine--
But Time has shelved them now in Memory's dimmed places.
She has left forever, let blood flow from my eyes
till my eyes are lamps lit for love's darkest places.
All is his--Sleep, Peace, Night--when on his arm your hair
shines to make him the god whom nothing effaces.
With wine, the palm's lines, believe me, rush to Life's stream--
Look, here's my hand, and here the red glass it raises.
See me! Beaten by sorrow, man is numbed to pain.
Grief has become the pain only pain erases.
World, should Ghalib keep weeping you will see a flood
drown your terraced cities, your marble palaces.
Earthsea, Ursula Le Guin's magical world of islands and archipelagoes, is going through a period of intense, uncomfortable social change. The old ways no longer work and the new ones are not yet clear. At last there is a central government, though its young head of state is still establishing his authority, and it's bumpy going in the wild Kargish lands, where the religion, language and ethnicity are different and the women wear burqas. He has also encountered some resistance from the college of wizards at Roke, a theocratic caste that has ruled for centuries and become rather stiff and doctrinaire, as well as hateful toward women. Now Earthsea has suddenly been plunged into turmoil by two simultaneous assaults. One is an invasion of the collective unconscious by the voices and images of the dead, who beg to be set free from the dry land behind the wall of stones where they are confined. The other comes in fire from the skies, as dragons zoom in from the west to attack farm and forest. What is the reason for these threats? Are they connected? And does this society have what it takes to meet them?
Such are the themes of Ursula Le Guin's two new Earthsea books: Tales From Earthsea and The Other Wind: the boundary between life and death, terror from the sky and how hard it is for male-dominant societies to listen to women. Timely themes, from an acknowledged master not only of fantasy but of science fiction as well, a feminist, anarchist and Green whose books are taught in universities, and who has won many literary prizes (five Nebulas, five Hugos, the National Book Award for children's literature, a Newbery silver medal, Horn book award). In a country that valued wisdom and symbolic thinking, these two books would have been met with hosannas from coast to coast.
Does it matter that they weren't? I think so. To me, Le Guin is not only one of the purest stylists writing in English but the most transcendently truthful of writers. The books she writes are not true in the way facts are true; they speak to a different kind of truth and satisfy a desire for narrative that is so fundamental it must be in our cells. As she puts it:
The great fantasies, myths, and tales are indeed like dreams: they speak from the unconscious to the unconscious, in the language of the unconscious--symbol and archetype. Though they use words, they work the way music does: they short-circuit verbal reasoning, and go straight to the thoughts that lie too deep to utter. They cannot be translated fully into the language of reason, but only a Logical Positivist, who also finds Beethoven's Ninth Symphony meaningless, would claim that they are therefore meaningless. They are profoundly meaningful, and usable--practical--in terms of ethics; of insight; of growth.
"The Child and the Shadow" (1975), in The Language of the Night
Le Guin wrote the first three Earthsea books thirty years ago. A Wizard of Earthsea (1968) is the coming-of-age story of the boy Ged, who meddles in forbidden lore and summons up a rough, bearlike Shadow, who attacks and nearly kills him. The rest of the book concerns Ged's struggle to understand this Shadow, so strong it could bring destruction to the world unless he can defeat it. What is this rough beast? Why does it increasingly resemble him?
The second Earthsea book, The Tombs of Atuan (1970) takes place in the Kargish lands, which are separate from and more primitive than the rest of Earthsea. It is the story of Tenar, who as a small child became Arha, the Eaten One, priestess of the tombs of Atuan, ruled by the old earth powers of death, blood and brooding revenge. Into this dark underground labyrinth comes Ged, looking for the ring of Erreth-Akbe, which bears a lost rune of peace that can bring about a new era. Injured, starving, trapped, he is not strong enough to fight the old earth powers and escape unless Tenar helps him. Her entire upbringing urges her to kill him, but he is the first man she has ever seen as well as the first wizard, and she is tempted. In the end, she chooses life and escape, seeing that, by freeing him, she can also free herself. But then what? Where can she go once she is free?
Although Le Guin has been heavily influenced by Tolkien, her cosmology differed from his from the beginning. While both write of lands ruled by magic, Tolkien's Middle Earth has states and civil society; Earthsea has principalities but is more or less ruled by a caste of celibate priest-wizards centered on the Island of Roke, whose inborn mastery has been schooled at the college. In Earthsea, power of this kind is based on the Language of the Making which is also the language of dragons, only they are born knowing it; men have to learn it. Names in the Language of the Making are the thing, and knowledge of them confers power, over nature and over other people. A wizard who knows someone's true name can control him. But mature wizards do not use their power any more than they have to, for the ruling principle of Le Guin's world is not Tolkien's struggle between good and evil, but equilibrium, balance. Earthsea is a Taoist world (Le Guin has actually translated the Tao Te Ching), where light and dark, life and death are yin and yang, intertwined rather than opposed. The world gets out of balance when one side of an opposition gets too strong: light, wizardry, men. When men of power use their knowledge to fence themselves off from the dailiness of ordinary life--farming, mending, giving birth, and women--trouble is coming. Such hubris can lead to denial of death itself. It does in the third book, The Farthest Shore (1972).
The Farthest Shore begins with the inexplicable: magic, the organizing principle of Earthsea, is failing and no one knows why. Gradually it becomes clear that a destroyer has arisen, a terribly powerful wizard, Cob, who awakens the terror of death while promising immortality to any who will follow him. His followers drift in dumb despair, work ceases and meaning drains out of the world. Ged, now Archmage (head of the wizard's council), and his young disciple Lebannen, destined to be the long-awaited king, must trace this peril to its source and defeat it. To do so, they must cross the wall of stones into the dry land, the land of death, where no wind blows, no sun shines, and people, still trapped in the prison of their names, wander forever, unable even to recognize those they once loved.
Through many perils Ged and Lebannen seek the physical entrance to the dry land but can only find it when aided by dragons. The plague of despair has affected the dragons too; their young are killing one another and drowning themselves in the sea, and even the wisest are in danger of losing their language and themselves. After a hard pursuit and struggle in the dry land, Lebannen and Ged together defeat Cob and Ged reseals the gap between life and death. But in doing so, he drains his own power; he is no longer a wizard, no longer strong enough even to walk. Lebannen must carry him over the Mountain of Pain, which is the only exit from the dry land, to the beach, where the dragon Kalessin, the eldest, awaits them. Now that Ged has lost his power, he can no longer be Archmage; Kalessin flies him on past Roke to his home island of Gont. But Lebannen will be crowned king and bring about a new era under the rune of peace that Ged and Tenar brought from underground so many years before.
So ends Le Guin's third Earthsea book. She thought it was the last. Then, twenty years later, she suddenly wrote a sequel, Tehanu (1990). I interviewed her at that time and asked her why. She said she had to tell what happened to Tenar. She had tried to earlier but couldn't; she was too caught in the tradition of heroic male fantasy to be able to figure out what would happen to a woman in a Tolkien world. "That is why I had to write this fourth volume, because I changed. I had to show the other side."
But what is the other side of heroic male fantasy? The answer is not as simple as flipping a coin with King Arthur on one side, Britomart on the other. Traditionally there are only four possible roles for women in this sort of book: absent beloved, evil witch, damsel in distress and girl warrior. Can one make room for real women without undermining the fundamental premises of the genre?
From Le Guin's practice, it would appear not. Tenar became a farmer's wife because...what else can she do on Gont? This is farm country, after all, and while she has some kind of power, it is not the kind of power of which wizards are made. Even if it were, they would never train her on Roke, where the wizards have the kind of attitude toward women one tends to find in celibate priesthoods. A widow now, Tenar has adopted Therru, a little girl who was beaten and raped and almost burned up in a fire by her parents, so that one of her arms is withered and one whole side of her face is a hardened shell of scars. Therru too has some kind of power but nobody knows what it is. Tehanu begins where The Farthest Shore ends, as the dragon Kalessin delivers Ged into Tenar's care. Tenar has always loved him, and the two finally get together, overcoming his lifelong celibacy and his shame at having lost his power. But peril persists from those who followed the destroyer and, at the end, they can be saved only by the little burnt girl Therru, who calls the dragon back in the Language of the Making, a language she has never been taught. "Tehanu," he names the child, and calls her daughter. We are left wondering, how can this damaged, tormented little girl also be a dragon?
After eleven more years, Le Guin answered that question with Tales From Earthsea and The Other Wind, which do more than undermine the conventions of heroic male fantasy; they retrospectively transform the very history she created in the first three Earthsea books. There are five stories in Tales From Earthsea, but the central one is "Dragonfly." Dragonfly is a big, ungainly country girl, whose real name is Irian. Like Tenar and Tehanu, she has some kind of power nobody can exactly name. She knows she isn't like other people and wants to find out what she is. Finally she encounters somebody willing to take her to Roke to find out. But when she gets there, she comes up against a wall. In the absence of an Archmage, Roke has become factionalized. Thorion, the Summoner, had followed Ged and Lebannen into the dry land. He stayed there too long and was thought dead; now he has somehow returned to life, by the power of his will, and seeks to rule, to become Archmage and preserve the old ways. He says no woman can be admitted into the school on Roke; Irian must leave the island. The wizards are divided; the Master Patterner, Azver, lets her stay with him in the Immanent Grove, and begins to love her. Yet he, like the few others who are willing to deal with her, seems paralyzed; none of them have the strength to stand against the dead man, Thorion, and those who follow him. So when Thorion finally comes to throw Irian off the island, she must defend herself. She challenges Thorion to meet her on Roke Knoll, the hill where things can only be what they truly are:
The air was darkening around them. The west was only a dull red line, the eastern sky was shadowy above the sea.
The Summoner looked up at Irian. Slowly he raised his arms and the white staff in the invocation of a spell, speaking in the tongue that all the wizards and mages of Roke had learned, the language of their art, the Language of the Making: "Irian, by your name I summon you and bind you to obey me!"
She hesitated, seeming for a moment to yield, to come to him, and then cried out, "I am not only Irian."
At that the Summoner ran up towards her, reaching out, lunging at her as if to seize and hold her. They were both on the hill now. She towered above him impossibly, fire breaking forth between them, a flare of red flame in the dusk air, a gleam of red-gold scales, of vast wings--then that was gone, and there was nothing there but the woman standing on the hill path and the tall man bowing down before her, bowing slowly down to earth, and lying on it.
When the others come up to him, he is only "a huddle of clothes and dry bones and a broken staff." Aghast, they ask Irian who she is. She says she does not know. "She spoke...as she had spoken to the Summoner, in the Language of the Making, the tongue the dragons speak." She says goodbye to Azver, whom she loves, touching his hand and burning him in the process, then goes up the hill.
As she went farther from them they saw her, all of them, the great gold-mailed flanks, the spiked, coiling tail, the talons, the breath that was bright fire. On the crest of the knoll she paused a while, her long head turning to look slowly round the Isle of Roke, gazing longest at the Grove, only a blur of darkness in darkness now. Then with a rattle like the shaking of sheets of brass the wide, vaned wings opened and the dragon sprang up into the air, circled Roke Knoll once, and flew.
The Other Wind continues this theme of women who are also dragons, and plays it off against another central theme of these books, the relationship between life and death. For the terrible breach between life and death made by Cob continues. Now the dead have started appearing to the living in dreams, coming to the stone wall at the dry hill, begging to be set free, as if death were a prison. And at the same time, wild dragons have come to take back the land from men; they have come even to Havnor, where the young king, Lebannen, holds court under the rune of peace. All the patterns, clues and oppositions, set up over thirty years in five other books, come to fruition and are worked out in The Other Wind, but the book is so dependent on what came before, so complex, it is impossible to explicate here. It must be read--after the others--then thought on long and hard, for its meanings are not immediately manifest.
Long after reading, certain images stay in the mind. One is the dry land, this prison of death, and its relationship to immortality through the mastery of naming, of language. Another is women who are also dragons, who can find no place here on earth but must fly off beyond the west, on the other wind. Irian, excluded by the men of power, with only a few defenders, who are outnumbered and outweighed by the dead hand--there's plenty of resonance here for any woman who ever found herself a little bit too far ahead of the affirmative-action curve. As far as gender goes, these books seem to me a true symbolic picture of where we are now, with no untainted source of male power, no mature authoritative leadership of any kind, caught midway in our evolution as social beings, still trying to struggle up out of the ooze onto the land, no longer tadpoles and not yet frogs.
Science fiction and heroic fantasy began as the province of men, and the gradual entry of women into these genres has not necessarily produced more psychological depth overall. The best writers (including Octavia Butler, Samuel Delany, Neil Gaiman, Kim Stanley Robinson, Joanna Russ and Le Guin herself) have given us complex re-visionings of gender and power relations. But most writers have ambitions no higher than those of their counterparts who write in other commercial genres like espionage, crime or romance.
That is why Tales From Earthsea and The Other Wind are cause for celebration: they are books by a master stylist writing at the height of her powers. Although plenty of mass market fantasy is written in extremely pedestrian prose, style is key in fantasy, as in poetry. For fantasy is a pure creation of the imagination, summoned unto existence by the language of the making. Le Guin's style is as spare, plain, American and transparent as a northern lake: no tricks, no razzle-dazzle, no lists. "Why," she asks in an early essay, "is style of such fundamental significance in fantasy?"
because in fantasy there is nothing but the writer's vision of the world. There is no borrowed reality of history, or current events, or just plain folks.... There is no comfortable matrix of the commonplace to substitute for the imagination, to provide ready-made emotional response, and to disguise flaws and failures of creation. There is only a construct built in a void, with every joint and seam and nail exposed. To create what Tolkien calls "a secondary universe" is to make a new world. A world where no voice has ever spoken before; where the act of speech is the act of creation. The only voice that speaks there is the creator's voice. And every word counts.
From Elfland to Poughkeepsie, (1973)
If Le Guin is such a master and these books are so good, why have they been smuggled into the bookstore, largely unnoticed except in the professional reviewing periodicals? To understand the answer to this question, one must look at how genre is viewed in America and at the tyranny of contemporary realism in literary fiction.
Until the triumph of capitalism in the nineteenth century, the source of literature was thought to be the imagination, and the realistic novel was considered an inferior form, earthbound, compared to poetry, drama and the epic. In Shakespeare, Spenser and Milton, and even in the later, more contested work of the Brontës, Hawthorne and Melville, psychological realism exists in happy symbiosis with ghosts, fairies, demons and supernatural whales. With the triumph of capital and its handmaidens, science and rationalism, came a changed aesthetic. By the mid-twentieth century, the realistic novel of contemporary life had become so much the norm for serious fiction, at least in the United States, that anything else was trivialized or confined to a genre ghetto. We are, after all, a country run by hardheaded men who know the value of a dollar and who want no truck with moonshine. Many boast that they never read fiction. In such a culture, "magic realism" was acceptable only because it was imported; exceptions are always allowed for foreign luxury goods.
So strong was the idea that serious fiction must be a realistic picture of the present time that in the 1960s, when American novels began to combine some aspects of contemporary realism with monsters, ghosts, bodily organs run amok and other wild fancies (Ellison, Heller, Pynchon, Roth, Morrison), the writers were still considered realists or else given special dispensation as African-Americans, who, like foreigners, could be allowed their own cultural traditions because they were too marginal to threaten the mainstream aesthetic and politics. Living writers whose work was not grounded in a realistic, contemporary premise were relegated to the nursery or confined to special ghettos in the bookstore (historical fiction, science fiction, romance, fantasy), as though disqualified by genre from being shelved with "literature."
But surely this does not apply anymore; isn't this the Age of Harry Potter, when fantasy is king? Not exactly. It depends what sort of fantasy, and why. How different are the Harry Potter books really, in style and substance, from contemporary realism? Are they not parodies of same, combining realistic conventions with magical appliances and the war between good and evil? Is this parodic incongruity not, in fact, the reason they are so much fun? From the pinstriped cloak worn by the Minister of Magic to the disgusting variety of Bertie Botts Every Flavored Beans, the culture of the Harry Potter books is a faithful reflection of English schoolboy culture, including the cliques and teasing of the boarding school books that have molded generations.
And have they been treated seriously, as literature, or as a marketing phenomenon?
I would guess 90 percent of the articles I have read about J.K. Rowling deal with her not as a writer but as the commercial equivalent of a comet whizzing into the atmosphere from out of nowhere, a poor single mum writing her first book in a Scottish cafe. It's a great story, but you can only be a nine days' wonder once. After the novelty wears off, the commercial pressure remains; you are expected to do the same thing again and again and again, varying it no more than one flavor of yogurt varies from another. Every successful writer is faced with this choice: Do you stay faithful to the inner voice or turn yourself into a marketable commodity, producing a new product of the same kind every year or two? There are great social and economic rewards for the commodity production of the self.
Ursula Le Guin is doing something different. She has gone her own way, written forty books, not one of them either predictable or commercially motivated. She probably drives the industry crazy; it doesn't even know whether to classify the Earthsea books as children's literature or adult. In her foreword to Tales From Earthsea, she has some interesting things to say about commodification and why we read fantasy:
All times are changing times, but ours is one of massive, rapid moral and mental transformation.... It's unsettling. For all our delight in the impermanent, the entrancing flicker of electronics, we also long for the unalterable.... So people turn to the realms of fantasy for stability, ancient truths, immutable simplicities.
And the mills of capitalism provide them. Supply meets demand. Fantasy becomes a commodity, an industry.
Commodified fantasy takes no risks; it invents nothing, but imitates and trivializes. It proceeds by depriving the old stories of their intellectual and ethical complexity, turning their action to violence, their actors to dolls, and their truth-telling to sentimental platitude. Heroes brandish their swords, lasers, wands, as mechanically as combine harvesters, reaping profits. Profoundly disturbing moral choices are sanitized, made cute, made safe. The passionately conceived ideas of the great story-tellers are copied...advertised, sold, broken, junked, replaceable, interchangeable.
Le Guin's writing is on the edge, which is perhaps the same as the margins: idiosyncratic and hard to pin down. She is the kind of writer businessmen hate most, producing challenging, unpredictable books whose meanings are too elusive to be easily controlled. I can almost hear them saying, "No Earthsea books since 1990 and now two books in the same year? Hasn't she heard of regular marketing intervals?"
Unlike Le Guin's science fiction, her fantasies are not overtly political. The two genres have become almost interchangeable at the mass market level, but have different parents: science fiction derives from Victorian scientific speculation by writers like Conan Doyle and H.G. Wells, while fantasy grew out of myth. Le Guin's science fiction is about social and political life; some reads like ethnographies of imaginary societies, some deals with revolution. Because of its social themes, it appears more political than her fantasies, which deal with the inner life.
Nonetheless, the Earthsea books are profoundly radical because they lead one to think and feel outside of regular realistic patterns and the details of everyday life, laying depth charges that bring up long-forgotten reveries of childhood, unrecognized forms of heroism, secret challenges to power. Softly, elusively, they tear away at the wall of stones that keeps us in the dry land, the arid land of adulthood, the land of death-in-life, where so many of us spend so much of our time; they let the wind into our imaginations, and help to set us free.
Nike-Zeus, Nike-X, Sentinel, Safeguard, Star Wars, X-ray lasers, spaced-based neutron particle beams, Brilliant Pebbles, Ground-Based Midcourse National Missile Defense, Midcourse Defense Segment of Missile Defense. Over the past fifty years America has poured approximately $100 billion into these various programs or efforts to shield the country against long-range ballistic missiles. Yet not one has worked. Not one. Nevertheless, except for the constraints imposed by his own "voodoo economics," President George W. Bush appears poised to pursue the development and deployment of a layered missile defense--as a hedge against more failures--that would force taxpayers to cough up as much as another $100 billion. In December Bush formally notified Russia that the United States was withdrawing from the 1972 Anti-Ballistic Missile treaty in order to "develop ways to protect our people from future terrorist or rogue state missile attacks."
Russian President Vladimir Putin labeled Bush's decision a "mistake," a mild reaction that should not disguise the fact that much of Russia's political elite is seething at the withdrawal. Already smarting from America's broken promise not to expand NATO and the US-led NATO bombing of Yugoslavia in 1999 (which violated the 1997 "Founding Act" between Russia and NATO), the coincidence of America's success in Afghanistan (obviating the need for further Russian assistance) and withdrawal from the ABM treaty is viewed as yet further evidence of American duplicity.
President Clinton diplomatically explained the Republicans' obsession with missile defense when he observed: "One of the problems they've got is, for so many of their supporters, this is a matter of theology, not evidence. Because President Reagan was once for it, they think it must be right, and they've got to do it, and I think it makes it harder for them to see some of the downsides." That's a nice way of saying that the conservative wing of the Republican Party abounds with missile-defense wackos. I've participated personally in two missile-defense conferences and was astounded by their right-wing, faith-based atmospherics.
Which is why Bradley Graham's engaging narrative of politics and technology during the Clinton years, Hit to Kill: The New Battle Over Shielding America From Missile Attack, seems destined for popular success, notwithstanding its serious conceptual limitations. Graham ably recounts the excessive exuberance of Republicans as they schemed to realize their missile-defense dreams. But he is equally critical of the Clinton Administration's attempt to actually build a missile defense: its "three-plus-three" ground-based midcourse program.
Offered in the spring of 1996, in part to undercut the Republicans, "three-plus-three" provided for three (or four) years of development, after which, if then technologically feasible and warranted by a threat, there would be deployment within another three years. In early 1998, however, a sixteen-member panel, led by retired Air Force chief of staff Larry Welch, condemned the plan as a "rush to failure."
But two overdramatized events later that year demanded even greater urgency. In July, the Commission to Assess the Ballistic Missile Threat to the United States, led by Donald Rumsfeld, asserted that America's intelligence agencies had woefully underestimated the capability of "rogue" regimes, such as those leading North Korea and Iran, to attack US territory with ballistic missiles within five years. It concluded: "The threat to the United States posed by these emerging capabilities is broader, more mature, and evolving more rapidly than has been reported in estimates and reports by the intelligence community."
When North Korea subsequently launched a three-stage Taepodong 1 missile past Japan in August 1998, many Americans put aside not only their qualms about the role Representatives Curt Weldon and Newt Gingrich had played in creating the commission, but also their suspicions about the blatantly pro-missile defense bias of most of its members. Although Graham generally portrays the commission's deliberations as unbiased, he does provide evidence that some of its briefers were not.
For example, one intelligence official betrayed visible irritation during his briefing of commission members, prompting General Welch to ask, "You're not happy to be here, are you?" The official replied, "No, I'm not. I'm ticked off that I have to come down and brief a bunch of wacko missile-defense advocates." His outburst infuriated Rumsfeld, who "stalked" out of the room.
Nevertheless, Rumsfeld's report and the launch of North Korea's missile frightened Americans and galvanized Republicans. Graham's investigative reporting gets inside the subsequent political war waged against a Clinton Administration that, itself, was slowly awakening to the possibility of a more imminent ballistic missile threat.
Graham brings an open mind to the hotly disputed technological merits of missile defense. Nevertheless, he cannot avoid the conclusion that George W. Bush's decision to expand missile defense beyond Clinton's ground-based midcourse program constitutes an acknowledgment that, after fifty years, "military contractors had yet to figure out how best to mount a national missile defense."
In theory, a ballistic missile can be intercepted during its comparatively slow, if brief, "boost phase," before its "payload"--warheads, decoys and debris--is released. Speed is of the essence during the boost phase. So is proximity to the target. According to Philip Coyle, former director of the Pentagon's Office of Operational Test and Evaluation, "The process of detection and classification of enemy missiles must begin within seconds, and intercept must occur within only a few minutes. In some scenarios, the reaction time to intercept can be less than 120 seconds."
Compounding concerns about boost-phase intercepts are questions about the ability of an interceptor to distinguish quickly between a missile's flame and the missile itself. Finally, boost-phase missile-defense platforms would invite pre-emptive attacks against those platforms by any state bold (and foolish) enough to launch ballistic missiles.
The "terminal phase" of ballistic missile flight is the final minute or two when the payload re-enters the atmosphere. Detection of the warhead is comparatively simple, but designing a missile fast enough to catch it and hit it--given the problems associated with sensor degradation in intense heat--is extremely difficult. Countermeasures, such as maneuvering capability or precursor explosions, would further complicate defensive efforts. Finally a terminal-phase missile defense can, by definition, protect only a limited area, perhaps one city. Thus, many such systems would be required.
The "midcourse phase" of ballistic missile flight is the period during which the payload is dispersed in space. It remains there more than 80 percent of the missile's total flight time. The Clinton Administration's ground-based midcourse program (continued by the Bush Administration) is designed to strike the warhead in space with a high-speed, maneuverable kill vehicle--thus Graham's title: Hit to Kill.
Easily the most developed of all programs, as recently as December 3, 2001, the midcourse program demonstrated the awesome technological feat of destroying a warhead hurtling through space--hitting a bullet with a bullet. Yet such a feat constitutes but the commencement of an arduous technological journey, not its endpoint.
As a "Working Paper" issued recently under the auspices of the Union of Concerned Scientists noted, America's ground-based midcourse program has not been subjected to real-world tests. Five hit-to-kill tests have resulted in three hits. But each test: (1) used identical test geometrics (the location of launches, trajectories of target and interceptor missiles); (2) released the same objects (payload bus, warhead and decoy); (3) occurred at the same time of day; (4) made the lone decoy obviously and consistently different from the warhead; (5) told the defense system what to look for in advance; (6) attempted intercept at an unrealistically low closing speed; (7) kept the target cluster sufficiently compact to aid the kill vehicle's field of view; and (8) provided the kill vehicle with unduly accurate artificial tracking data.
Any ground-based midcourse missile defense system has to contend with virtually insurmountable countermeasures, especially the decoys that, in space, are quite indistinguishable from the warheads. Yet the three successful hits did not have to contend with even the countermeasures that a missile from a "rogue" regime would probably employ.
A National Intelligence Estimate in 1999 determined that "countermeasures would be available to emerging missile states." In April 2000 a "Countermeasures" study group from the Union of Concerned Scientists and the MIT Security Studies Program concluded: "Even the full [National Missile Defense] system would not be effective against an attacker using countermeasures, and an attacker could deploy such countermeasures before even the first phase of the NMD system was operational." Consequently, "it makes no sense to begin deployment."
Craig Eisendrath, Melvin Goodman and Gerald Marsh (Eisendrath and Goodman are senior fellows with the Center for International Policy in Washington; Marsh is a physicist at Argonne National Laboratory) state the problem even more starkly in their recent book The Phantom Defense: America's Pursuit of the Star Wars Illusion: "This is the bottom line: the problem isn't technology, it's physics. Decoys and warheads can always be made to emit almost identical signals in the visible, infrared, and radar bands; their signatures can be made virtually the same."
If such information troubles Defense Department officials responsible for missile defense, they seldom admit it publicly. However, they're not nearly as irresponsible as the political and "scholarly" cheerleaders who remain unmoved by a half-century of failure and the physics of countermeasures. I encountered one of them last June at a missile defense conference in King of Prussia, Pennsylvania.
Representative Weldon delivered the conference's keynote address to more than 220 participants from the Defense Department, the military industry, think tanks, various universities and the press. Weldon is the author of HR 4, legislation that made it "the policy of the United States to deploy a national missile defense." (Senator Carl Levin was able to add amendments to the Senate bill on missile defense that made the program dependent upon the annual budget process and tied it to retention of the ABM treaty; Weldon referred to the amendments as cowardice. Nevertheless, they remained in the Missile Defense Act that President Clinton signed on July 22, 1999.)
Weldon told the audience that the United States requires a missile-defense system to protect its citizens from an intentional missile attack by a "rogue" regime presumably undeterred by the prospect of an overwhelming American nuclear retaliation. He even displayed an accelerometer and a gyroscope, Russian missile components allegedly bound for a "rogue." He then displayed an enlarged, poster-size photograph of Russia's SS-25 ICBM. Russia possesses more than 400 such missiles, he asserted, and any one of them might be launched accidentally against the United States, given Russia's deteriorating command and control capabilities.
It was a "no-brainer." Both threats demanded that America build a national missile defense system, capable of intercepting such missiles, as soon as possible.
However, when I asked Congressman Weldon to shift from the SS-25 and contemplate whether his modest missile-defense system could prevent the penetration of an accidentally launched TOPOL-M ICBM from Russia, he responded, "I don't know. That's a question you should ask General Kadish during tomorrow's session." Extending the reasoning, I asked Weldon whether his modest missile-defense system could shield America against a missile, launched by a rogue regime, that was capable of TOPOL-M countermeasures. Weldon again answered that he did not know. But rather than let such doubts linger at a conference designed to celebrate missile defense, Kurt Strauss, director of naval and missile defense systems at Raytheon, rose to deny that Russia possessed such countermeasures.
Presumably, Strauss was unaware of the work of Nikolai Sokov, a former Soviet arms control adviser and author of Russian Strategic Modernization: Past and Future. Sokov claims that the TOPOL-M features a booster intended to reduce the duration and altitude of the boost phase, numerous decoys and penetration aids, a hardened warhead and a "side anti-missile maneuver."
Strauss's uninformed denial hints at a much bigger problem, however: the prevalence of advertising over objectivity in a society where the commercialization of war and the cult of technology have reached historic proportions. In The Pursuit of Power historian William McNeill traces the commercialization of war back to mercenary armies in fourteenth-century Italy, pointing out the "remarkable merger of market and military behavior." And Victor Davis Hanson, in Carnage and Culture, sees much the same reason behind the decimation of the Turkish fleet, some two centuries later, by the Christian fleet at Lepanto--"there was nothing in Asia like the European marketplace of ideas devoted to the pursuit of ever more deadly weapons." McNeill concludes that "the arms race that continues to strain world balances...descends directly from the intense interaction in matters military that European states and private entrepreneurs inaugurated during the fourteenth century."
Post-cold war America, virtually alone, luxuriates in this dubious tradition. Yet it was no less than Dwight Eisenhower who warned America in his farewell address: "This conjunction of an immense military establishment and a large arms industry is new in the American experience. The total influence--economic, political, even spiritual--is felt in every city, every Statehouse, every office of the federal government."
Who could have been surprised, then, when Matthew Evangelista conclusively demonstrated, in Innovation and the Arms Race (1988), that commercial opportunities within America's military-industrial complex, much more than any Soviet threat, propelled innovation--and, thus, most of the arms race with the Soviet Union. A year later, the highly respected defense analyst Jacques Gansler identified the uniquely American "technological imperative" of commercialized warfare: "Because we can have it, we must have it." Such impulses caused the United States to run profligate arms races with itself both during and after the cold war. They also explain America's post-cold war adherence to cold war levels of military expenditures and, in part, our missile-defense obsession today.
This technological imperative had its origins in America's "exceptional" historical experience, which it continues to serve. Indeed, so the argument goes, Why should a country on a mission from God sully itself with arms control agreements and other compromises with lesser nations, when its technological prowess will provide its people with the invulnerability necessary for the unimpeded, unilateral fulfillment of their historic destiny?
Such technological utopianism, however, has its costs. In their book The Dynamics of Military Revolution, 1300-2050, MacGregor Knox and Williamson Murray demonstrate the very secondary role that technology has played in past military revolutions. They conclude: "The past thus suggests that pure technological developments without the direction provided by a clear strategic context can easily lead in dangerous directions: either toward ignoring potential enemy responses, or--even more dangerously--into the dead end, graphically illustrated by the floundering of U.S. forces in Vietnam, of a technological sophistication irrelevant to the war actually being fought." (In Hit to Kill, Graham has little to say about military strategy or the commercialization of warfare.)
In hawking a missile defense shield, Representative Weldon traveled in the first dangerous direction when he assured the defense conferees that although Congress was not ignoring the threat posed by terrorists with truck bombs, "when Saddam Hussein chose to destroy American lives, he did not pick a truck bomb. He did not pick a chemical agent. He picked a SCUD missile.... The weapon of choice is the missile."
Unfortunately, on September 11, America learned that it is not.
Potentially worse, however, is the Reaganesque theology propelling the Bush Administration's decision to withdraw from the 1972 Anti-Ballistic Missile treaty. Putting aside the question of whether withdrawal requires formal Congressional approval and other questions of international relations, one must ask why any administration would destroy the cornerstone of strategic stability. The ban on national missile defenses not only prevents a defensive arms race but also obviates the need to build more offensive missiles to overload the enemy's. Why would a country withdraw from the ABM treaty without knowing whether its own missile-defense system will even work, and before conducting all the tests permitted by the treaty that would provide greater confidence in the system's ultimate success?
Readers of Keith Payne's recent book The Fallacies of Cold War Deterrence and a New Direction, might guess the probable answer. Payne, chosen by the Bush Administration to help shape the Defense Department's recently completed but still classified Nuclear Posture Review, writes about a new, post-cold war "effective deterrence," to which even an imperfect missile-defense system might contribute: "In the Cold War, the West held out the threat of nuclear escalation if the Soviet Union projected force into NATO Europe; in the post-Cold War period it will be regional aggressors threatening Washington with nuclear escalation in the event the United States needs to project force into their regional neighborhoods.... In short, Washington will want effective deterrence in regional crises where the challenger is able to threaten WMD [weapons of mass destruction] escalation and it is more willing to accept risk and cost."
The real concern, then, is less about protecting America from sneak attacks by rogue states ruled by madmen, and more about preserving our unilateral options to intervene throughout much of the world. Thus, President Bush's speech at The Citadel in December was disingenuous. His rhetorical question asking what if the terrorists had been able to strike with a ballistic missile was primarily an attempt to steamroller frightened Americans into supporting missile defense. The speech simply seized upon the wartime danger to compel a military transformation that has been debated for almost a decade and resisted by the services and the military industry since the beginning of Defense Secretary Rumsfeld's tenure.
Lest we forget, China hasn't disappeared either. Its muted criticism of America's withdrawal from the ABM treaty was accompanied by a call for talks to achieve "a solution that safeguards the global strategic balance and doesn't harm international efforts at arms control and disarmament." Failing such talks, China may feel compelled to increase its offensive arsenal to insure penetration of an American missile defense, which could provoke India, and consequently Pakistan--perhaps rekindling tensions that have already brought them to the brink of war.
Russia, for its part, believes it has little to fear from America's current missile-defense programs but is awaiting the inevitable: the moment when the technological utopians push America to expand its modest system into a full-blown shield. How will Russia respond then?
To court such reactions by withdrawing from the ABM treaty before even testing against decoys is pure strategic illiteracy--which only a Reaganesque theology (founded on exceptionalism, commercialized militarism, technological utopianism and righteous unilateralism) shrouded by the "fog of war" might explain.
In the United States the writer tends to become an entrepreneur, competing with other literary vendors marketing their characters and language, their humor or drama, to a skeptical and distracted public. In Israel, it seems, they order things differently. For a nation perpetually in crisis, with an ancient prophetic tradition behind it, the serious writer remains something of a sage, a wisdom figure who speaks with authority. Amos Oz has been such a presence on the Israeli scene for close to four decades, publishing not only novels and stories but political journalism, literary essays and Op-Ed columns, never wholly disengaging his state of mind from the state of the nation. Yet his public pronouncements, always as beautifully crafted as his fiction, have never laid to rest the inner demons that power his creative work. This is especially evident in his newest novel, The Same Sea. Despite its deceptively light tone, it reads like one of the most personal books he has yet written.
The Same Sea is at once spare and lushly experimental, an unusual mixture of hard, precise prose that drives the story forward and often lyrical, evocative verse that bathes us in the mental glow of each of the characters. The musical qualities of this verse, strong in Hebrew, are largely lost in translation, but its strategic line-breaks and numerous biblical echoes, especially from the Song of Songs, save it from becoming altogether prosaic. The story is so simple that the author can sum it up in his opening lines. It centers on a triangle familiar from some of Oz's earlier books--the mild, practical father; the languid, troubled mother, who has recently died; and their only son, who has fled home in the wake of her death and, in this case, gone off mountaineering in Tibet. It would not seem possible for a writer to build his novel around three characters whom we never see in one another's company: the widowed father, trying half-heartedly to resume his life, the deceased mother, not yet fully accepting her death, and the distant son, surrounded by his mother's palpable presence, sleeping with women who bring her back to him, trying aimlessly to outrun his grief.
Yet this is a book in which the dead are never wholly dead, where memory and meditation are more vibrant than action, while time and distance are seen less as objective facts than as constantly varying states of mind. It's also a book in which the fictional narrator, who resembles the author in every biographical detail, repeatedly emerges from behind the proscenium to sort out his own memories, which are precisely the ones that fed into the story. Just as the characters swarm about him, they inhabit one another's minds as well, communicating across continents with some of the mobility and omniscience an author usually reserves for himself.
In short, this is a book about someone writing a novel, showing us how it lives within him while it is also spilling out onto the page. Yet somehow, even at this remove from direct storytelling, the characters resonate. Amos Oz has written other versions of this father, this mother, this boy, in Hill of Evil Counsel, for example, but never has mingled them so clearly with his own past, which instead of fading has grown more insistent with time. Confronting mortality himself, he feels more impelled to take stock of his own dead. The loss of his parents, especially his mother's suicide when he was 13, still obsesses him as he approaches 60. The narrator even has one of his characters, the son's carefree 26-year-old girlfriend, try to talk him out of his brooding mood. "Your mother killed herself/and left you quite shattered.... But for how long? Your whole life?/The way I see it being in mourning for your mother for forty-five years is/pretty ridiculous." The narrator sees it differently. How can he bail out? "How can you jump from a plane/that's already crashed and rusted or sunk under the waves?" For him the dead continue to haunt the living. Yet what she says has the authentic ring of the younger generation, and the author, with the warm generosity of Chekhov, respects its callow wisdom and healthy insensitivity, which part of him would love to emulate.
The Same Sea is magnanimous toward characters who could just as well be brutally satirized or dismissed--the coarse yuppie always on the lookout for a good deal, the ill-favored film producer, hopelessly unlucky with women, who becomes fixated on a character in a script, the girl who casually sleeps with nearly all the male characters, including (almost) her boyfriend's widowed father. An underlying tenderness softens their hard edges. As in a Renoir film or Chekhov story, they somehow surprise the reader into sympathy and a wistful tolerance. Unexpectedly, too, they begin to nurture one another.
One feature of this enchanting book that I have already mentioned stands out most strikingly. As the story unfolds, the author keeps intervening in it, at first pushing his pad aside and wondering "how on earth/he came to write such a story," but gradually interacting with his characters, commenting on the film script that the girlfriend is trying to sell, offering little scenes from his writing life and recollecting his own parents and childhood. At first it seems he is playing a postmodern game, violating the boundaries of the novel by wantonly mixing poetry and prose, fact and fiction, puncturing our suspension of disbelief. Worse still, we wonder whether the writer is simply losing interest in his own story, taking it over. But it soon becomes clear that, on the contrary, the story is so real to him that the people in it have invaded his life, and not only when he sits composing at his desk.
As he works in the garden, all the people in his head, real and imagined--where to draw the line?--the dead and the living, his children, his grandchildren, the characters from the novel, all his own selves, seem right there with him, tossed up from the same sea, pitching in despite their different views of how the gardener's work should be done. This is a fanciful conceit, often used in the Renaissance for poetic creation, yet something about it rings ingeniously true. This is no symbolic landscape of ideas and images but a scene showing us the writer himself, away from his work but with his mind still abuzz. In this flux, paradoxically, he feels a contentment that allows him to set his demons aside, the dead who will not stay dead, the characters who insist on a life of their own, the fears for the future that poison the present: "Grief fear and shame are as far from me today as one dream is/from another," he says. "Whatever I have lost I forget, whatever has hurt me has faded,/whatever I have given up on I have given up on, whatever I am left with/will do." For the time being, at least, he can dwell in the moment. "Later I'll go back to my desk," he concludes, "and maybe I'll manage to bring back/the young man who went off to the mountains to seek the sea/that was there all the time right outside his own home."
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