David said a perfect thing to the students this afternoon, as he was hosting them for good, hot, strong coffee and rich, sustaining sweets. He said that history bubbles up out of the ground in Brittany, the way that oil bubbles up out of the ground in Texas. We had a day filled with adventure, a comedy of errors, poignancy, and this history, this insistent history that keeps bubbling out of the ground. Barenton Fountain fooled me and I missed a turned and I knew we'd gone too far, and I was mortified even though the students were fine and along comes a knight in shining armor. Not really, a Breton on a bike. But it felt the same. He led us to the path's entrance and in we went up to the fountain and its trees, which I find even more beguiling. I don't know how images load up on Blogger on an iPad, but I have him below. I love his proud stance, single rescuer of 25 happy students, one relaxed adult, one nervous adult, and a totally ebullient kid. I also have a picture of those trees. I want a huge photograph of that. I want to keep that, even as it bubbles forth. A history of nature is an interesting proposition. Barenton Fountain is one f the few to _not_ be Christianized. It stands with its trees and its strange soil, and its unexpectedly clear water, in a historical trajectory. Locmariaquer (and I'll try to include a picture), lives under the crushing weight of its own poignancy, having fallen, being 60' (not a typo) tall.
Poignancy has multiple scales. I couldn't believe our beautiful friend Jose wasn't there this afternoon. I felt audacious in telling David I missed him. But I do. And David understood perfectly, of course. Oliver's sheer joy at being there, and his sweet assurances that all was well were so dear. I don't know that I've ever cried for so many things all at once. The walk away was really hard this time. But a return trip due to a student's forgotten backpack afford me an extra kiss on Oliver's cheeks. We are so lucky. To catch this history as it bubbles up. To be here now, enjoying this wonderful delusion that we have Brittany all to ourselves. Tomorrow, if it is not too muddy (oh please oh please), we raise a megalith. I have the students reading Tim Morton's "poetics of anywhere" section from _The Ecological Thought_. We'll see what bubbles up out of the ground, shall w e?
Sunday, January 6, 2013
Friday, January 4, 2013
History of Emotions
Is it the third time that makes it familiar? does the third time make it mine? Coming in and out of jet lag unconsciousness on the bus, I read Campaneac, Malestroit, one fleeting glimpse of Josselin before turning off for Vannes... I love this place so much: even this litany of names fils me with pleasure. And now to share it with 25 students. To have them shape their own relationships with this landscape, these names. Tonight Vannes, tomorrow Carnac - becoming at ease in the footsteps of a medieval city, standing in awe amongst 3,000 stones. Harry asks Oliver what he's most looking forward to on the trip and Oliver says "Seeing David Stein." This is the central warmth of this trip: to see our friend, to claim our friendship once again, to live it for a few wonderful days. And then Vannes unfurled before us, and all the rest to look forward to. This place, this place that I still want to _be_ into in so many ways. Here where I dare to let myself imagine Neolithic efforts, and medieval fantasies, 19th century fervor, WWII fear and courage. the history of emotions is such a cool project for the simultaneous displacement and sympathy it asks a for. Tomorrow, Carnac: do I think upon the stones or the people who erected them? Both, of course, intertwined, animated by each other. For now, bed -and a return, to here, to writing (for I have missed it), other moments of striving.
Thursday, December 13, 2012
"Long Live Restless Texts!"
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| Yvain Lunete, Laudine. Paris, BN, fr. 1433, f. 118 |
We read the
- Song of Roland
- Conquest of Orange
- Floire and Blancheflor
- Crusader Songs
- Yde and Olive [does anyone know of a translation? we used Anna Klowsowska's marvelous chapter in Queer Love in the Middle Ages which provided translated passages, but I crave the entire work in an edition I can teach to undergrads!]
- fabliaux
- Ibn Hazm
- Andreas Capellanus
- Chrétien de Troyes: Lancelot
- Hartmann von Aue: Iwein
- Gottfried von Strassburg: Tristan
- Sir Gawain and the Green Knight
- and the Romance of the Rose interspersed with the Quarrel of the Rose and other writings by Christine de Pizan.
Wednesday, December 12, 2012
Whispering In the Reeds
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| My dad holding Oliver in 2002 |
Ian Bogost has a post up about Object Oriented Ontology and suffering that I got to through Levi Bryant's response to it. (Because yes, I was reading these before I was writing this). It's really just two things that I would pull out for this space: the first is Bogost's idea of attentiveness to all things, the second is Bryant's idea of relation and/over content. Bogost and Bryant are ultimately talking about the human/post-human debate in philosophy and how OOO operates, but here, in the wee hours, I'm finding their thinking tremendously helpful in framing my own life/death debate in my thinking about my dad. It's a debate because here I am rethinking these worries I had in his life, which somehow are leading me further into my own living with his death. I remember thinking about bacteria, about their existence, about how if they were to develop into what we would call pneumonia, it wouldn't be personal - it wouldn't be intentional or moral. It helped, at the time, in that worry, to remember that my dad was part of an enormous web of living things, thriving and pulsing, emerging and receding. I fully understand that these thoughts were easier to have because he was in his late 80s - it's much harder to see that web making sense if you're thinking about someone young. But this attentiveness to that which I feared was a place that made sense to me. (It also relies, to a certain extent, on the idea that philosophy is there to ease human suffering - but that truly is another debate.) I recall a New Yorker article of many, many years ago in which an oncologist wrote of a young woman coming in to look at her cancer cells under the microscope. He described her quiet and the time she took, and I've always thought about her, her attentiveness to the thing that was causing her suffering. This is where Bryant's comment about Lacan and relation over content comes into play. (Again, he's talking about discourse, I'm talking about memory, but this is my whispering in this set of reeds). The content of suffering and of death, too, is at once much too personal and much too universal to contemplate. I cannot describe my father's suffering (at any time in his life), I can hardly describe my own. And yet everyone does suffer, and see, it's almost equally trite and painful to say that death comes to all. But the relation between self and suffering, and between multiple selves around suffering, can be articulated, it can be honored specifically: in memory, especially - in the stories we tell, the pictures we keep, in what we wake up thinking about at 3 a.m.. Worry, love, fear all mingled together in this memory of past colds - but it recalled a primary dynamic in the relation I had with my dad during his last years: to watch over him as he'd watched over me.
The second thing I realized vividly and absolutely in this night was just how much love this man had shown me. I remembered all of a sudden in a way I haven't thought about in probably thirty years, how he would soothe my childish qualms, his hand covering my forehead to check for fever, his thumb stroking my temple to say it was going to be ok, his telling me a story. I just lay there thinking "Wow! That was a lot of love." It's why I put this picture of his holding Oliver ten years ago (probably close to the day, actually!). This picture was taken before the brain injury, and I just love to know that my dad was talking with our friends, all the while holding Oliver who was so comfortable in his arms. I love to see my dad's hand there on Oliver's back, holding him safe. A photograph is a relation that philosophers (and everybody else) has delighted in for well, close to 150 years now. It's related to the relationships that Baxandall talks about in Painting and Experience in Fifteenth-Century Italy - it's a repository for those relations. But you don't have to be a powerful Florentine banker any longer to enjoy it. A snapshot, even more than a photograph, can acknowledge even that most mundane of relations and make it wonderful. For the time it bridges, and the intervening events it ignores, patiently waiting for you to enter into relation with the event it holds for you.
Monday, December 10, 2012
It's Hanukris Time: the Loaded Latke
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| zazzle.com |
LATKES with the following options:
Greek yogurt and honey with pomegranate seeds
sour cream and scallions
wasabi mayonnaise and caviar
and
traditional applesauce
the LAMBS
Butterflied leg of lamb with an artichoke stuffing
Pomegranate Juice infused leg of lamb
I'm totally falling down on the job with the "Christian side dish" - I just can't bring myself to open a can of cream of mushroom soup and cook ironically. So we had steamed asparagus. And then for dessert, my new thing: a cranberry meringue tart. Meringues are cool, alchemy for the easily impressed (which is totally me, since I think egg whites develop photographs, which they do, but not how I think they do). As wonderful, of course, is this occasion to be with our dear friends. Hanukris is a Thing now: the kids look forward to it. They start asking when it's going to be in late November. Oliver and Jakie came up with a restaurant they want to open: the Loaded Latke. I'd be first in line. Moveable feasts are great for reasons that I would love to elaborate upon at some point. For now, this piece from the Biblical Archaeology Society will do nicely as a meditation on the moveable feast that stopped moving: Christmas.
Can you tell there's a mountain of grading to be done? Can you tell that all I want to do is read and talk and cook? In three minutes, students will hand me another mountain. But I shall grade that one, too, and finish grading All Things this week. Next week will thus be completely mine for the final revisions to an article and the last polishing of the Ecology of Medieval Art syllabus. Huzzah!
Thursday, December 6, 2012
Swerving Into the Fray
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| Mandeville writing, British Library |
All the more disheartening, then, to not only see Stephen Greenblatt write a book that relies heavily on the Middle Ages being a Dark Ages (and honestly, writers haven't had to rely on the "closed" mind of the Middle Ages to make their own age "open" and "enlightened" in decades - shame on him), BUT to see him awarded for it. There are several brilliant conversations going on about this at In the Middle, and I highly recommend reading these smart and insightful critiques of Greenblatt's book and the concept of periodization in general, and a really smart analysis (with links to reviews) at In Romaunce as We Rede. Greenblatt's book was excerpted in a late-summer New Yorker and for the first time in my life, I was prompted to write a letter to the editor. I spent way too much time on it, but I was so unnerved to watch this scholar whose fascination with Mandeville kind of makes Marvelous Possessions for me insist over and over that the Middle Ages were closed to curiosity, questioning, pleasure, beauty and wonder that I wrote it and sent it in. (I guess that I need to reread the Mandeville chapter, look for more sinister ways to understand what he's saying). The letter to the editor never was published, of course, but, hey, I get to be the Boy Bishop out here, so I reproduce it herein forthwith.
Stephen Greenblatt's essay "The Answer Man," traces the excitement and poignancy of wonder and pleasure in the face of death with a thrill to discovery that made it possible to imagine Lucretius's project as never before. I would only question his characterization of a "Dark Ages," as a time in which "the idea of pleasure and beauty" was "forgotten" because of a gnawing fear of death and damnation. No culture is so monolithic as not to contain what to us might appear as glowing exceptions, and these often rethink our sure historical boundaries. When Hildegard of Bingen (1098-1179) saw herself as "a feather on the breath of God," or when Marbod of Rennes (c. 1035-1123) described coral's ability to quell lightning, they were turning a keen eye to natural sensations, their pleasures, and thrills. When Poggio discovered the Lucretius manuscript, he did so in the tradition of a long line of medieval marvelers who had translated Pliny, Vergil, Aristotle, Dioscorides, and many other classical authors of science. Medieval wonder is resplendent with different idioms than modern science, but to overlook its ability to marvel is to miss an important chapter in the history of human curiosity.
I stand by these words, more than ever. I can mourn the lost opportunity to further push restrictive boundaries of thought that Greenblatt has squandered, or I can invite you to join me in charivari laughter by following Bruce Holsinger's fantastic Twitter feed in which he uses quotes from the book itself to make apparent the absurdity and small-mindedness of relegating an entire era of human endeavor to darkness. I'll undoubtedly be doing both as we continue to think through the sense (or nonsense) we make of the past.
Friday, November 30, 2012
Medieval actually really does meet world!
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| Courtly Comb, the Bargello in Florence |
How about that? I have a post on the Material Collective blog! It's entitled "On Speculative Touch" and benefited from the Gothic Ivories project at the Courtauld (a wonder), as well as the usual gratifying pages of the Metropolitan Museum of Art (a trusted companion). The post itself is a meditation I've long considered on objects awakened by touch.
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