Author Archive

Gerrymeandering

It’s difficult to keep Jerry away from me. I had my first real Scranton adventure of the summer last night.

I parked in the Scranton Mall parking lot yesterday. I read another essay by Borella, “Brooklyn Bridge” by Hart Crane (just as a side-note–in my opinion, the attempted epic, though pretty weak as a whole, is better than the actual thing), an essay by Tate, almost finished reading B16’s (at the time, Ratzinger’s) Principles of Catholic Theology, and sat around in Scranton drinking coffee until ten at night. Unfortunately, the mall parking garage closes at 9 PM, and the authorities that be are quick to tow any abandoned cars. I had several options. I could have–and this would have been the prudent decision–tried to get hold of someone at Saint Greg’s to pick me up, and resolved the car issue next morning. (Obviously, I’m not an exemplar of prudence: I did not take this road. Also, my cellular device died last night around midnight.) I could just run back, I thought; no need to bother the lads at this time. That would be an appropriately Jerryish decision, no? Unfortunately, that wasn’t going to happen, either. See, I was carrying a heavy backpack. And, that would be about a ten mile run. And, I didn’t have appropriate shoes. And, most importantly, I was low on cigarette papers. Well, I worried that too much exercise without enough remedial carcinogens might lower my blood pressure too much, causing my instantaneous death. Luckily, I had another Jerryish option out there: find a bar, close it out, and spend the rest of the night trying to stay awake by reading a Milan Kundera novel (they’re so good!), some poetry (Roethke and Stevenson), and essays by Auerbach (I’m almost done with Mimesis), and then try to pick up my car the next morning.

Life in Scranton is pretty slow on Tuesday night. After about 2 AM, I gerrymeandered to a lovely area, scented with pine, outside of the Scranton University library. It was a freshman year sort of gerrymeander, too, accompanied by the familiar sounds of “step, swish, slap:” most of the fake leather of my fake penny loafers has already rubbed off, and last night my right sole began to come off as well. The only person I met on the streets was a tiny guy about fifty years old, a bum I will refer to as “Jerry,” whom I have run into many times before. He always has the same few questions for me (“Gerry”). Last night, our conversation went something like this.

Jerry (catching sight of Gerry): “Hey! Hey! Do you speak English?”
(Gerry pretends not to hear.)
Jerry (hurrying up to Gerry): “What are you doing tonight?”
Gerry (having failed to avoid an encounter): “Well, I’m planning on going to sleep pretty soon.” (Gerry is not, strictly speaking, truthful in this.)
Jerry (concerned): “You got a place to stay?”
Gerry (again exercising mental reservation): “Yes, I’ve got a place.”
Jerry (disappointed at this answer, but hopeful for a negative answer to the following): “You staying there with a girlfriend?”
Gerry (thinking, ‘uh oh; hard to reserve mentally for this one’): “No….”
Jerry (exuberant): “OK, so you want to come to my place then?” (Conspiratorially): “I’ve got a secret place!”
Gerry (uncomfortable): “Thanks very much, but … I don’t think so.”
Jerry (pensive): “So … what do you want to do for fun?”
(Gerry says something about drinking heavily, because Jerry doesn’t dig on the booze at all.)
Jerry (glum): “When will I see you again?”
Gerry (having seen him wearing a Scranton Marathon Volunteer shirt): “Well, I plan on doing the marathon again next Fall.”
Jerry (bright again): “OK! So … what are you doing tonight?”
Gerry: “Cheesesticks?”
Jerry (as a last resort): “You got a cigarette?”
Gerry: “I can roll you one.”

His last question makes me wish that his other questions were less uncomfortable, because he’s harmless, and it seems that he would have some neat things to say, and because he could really be a type of Jerry. He is always so grateful to me for being willing to spend time talking with him (which consists in, mostly, answering variations of the above questions) over a cigarette. Plus (and this is a dead Jerry giveaway) he has even asked me for the time before.

His questioning and his manner suggests that he is some slightly eccentric man who is nevertheless harmless, and who spends his days sleeping and his nights/mornings wandering around the streets of Scranton. This is conjecture, but I would even bet that his “secret place” he claims to have is owned by his brother, who Jerry claims is the parish priest at Saint Peter’s Cathedral in Scranton. I think that he’s telling the truth. He is always clean (for a bum), always dressed neatly (for a bum), his shoes are in better shape than mine, and I have walked into the cathedral for Confession before Mass of mornings and found him there chatting comfortably with the ushers and with those awesome old ladies who seem to be the backbone of every parish. Everybody knows him, and everybody seems to know of and be indulgent toward his eccentricity. (I wish I had paid attention to those conversations in the church. Does he ask those old ladies the same questions about girlfriends and his “secret place?” I really want to hear him try to bum a cigarette off of them, too.)

Yes, I made a Jerryish decision last night, and I’m kind of glad I did. Now, I’m sitting here in Scranton, drinking some more coffee (gotta keep that blood pressure up), trying to sober up, slightly tanked after starting drinking at ten AM so I could watch Landon Donovan score in the 91st minute to send USA, winners of group C, into the round of 16 (now, that game got my blood pressure up). Needless to say, I celebrated said score in true American fashion, by taking turns buying rounds with a group of recent university graduates. My Joshua Mahan-chosen “sexy jeans,” though quite blue, and my Dad-given purplish polo shirt (mixture of blue and pink [mixture of red and white]) did not even come close to competing with the outfits and paint that these guys were wearing. I’m not goning to lie; I like me some American Spirit.

Well, this Gerry is off to try to get his car back. I have an expired license and no registration, which might make things difficult. If I fail? Well, I know that I can always count on Jerry to provide.

"Really? You like rap?"

About rap in general, I have this to say: it is easy to see why rap is so popular with athletes, because rapping is a sort of athleticism transformed into words. How does a point guard, or a running back, or an inside center beat his defender? Now, one way is to overpower the defender; another is simply to outrun the defender. I suggest that neither of those ways requires athleticism as I define it. It doesn’t take an athlete to run someone into the ground (apologies to Misko, but no one would accuse him of being athletic, even though he frequently trucks people into the ground), nor does it take an athlete to outrun someone–I mean straight-line speed here. This part of my judgment stems from my long-distance-runner bias that speed is a pure and simple God-given talent–not that sprinters don’t have to work at things as well, but you never say of a sprinter, “Wow, that was athletic!” (I make no claim, mind, that long-distance running requires athleticism, either.) No, the athletic way to defeat a defender is with some type of juke. It seems also that more athletic pleasure derives from “faking someone out of their shorts,” or “breaking someone’s ankles,” than from trucking someone or outrunning someone (though these perhaps give more aesthetic pleasure). Any running back or inside center or point guard worth his salt knows that the best juke consists of the principle movements of “fast, slow, fast.” Put even simpler, the juke consists simply in changing the speed at which your body is moving, while keeping your running motion fluid and under control.

Music, or at least the music that holds the most interest for me, works similarly. Gregorian chant does not move at a straight-line speed; it moves in a free-flowing line of two- and three-note neums that may be sped up or slowed down at the discretion of the choirmaster. The free-rhythmic character of the beat in chant within otherwise strict guidelines is one of chant’s distinctive characteristics. The masters of classical music are known for their mastery of counterpoint, which served to check or speed up the otherwise regular meter of their songs. To give just one more suggestion, I remember Eileen’s insistence that the great lyricists are those whose irregular substitutions both work against the beat and uphold it. In other words, the beat is upheld but kind of violated at the same time. By contrast, Kundera’s judgment of the primitivism of rock: “The heart’s beat is amplified so that man can never for a moment forget his march toward death.”

Two kinds of rap that are not athletic: I need only refer to the “dey-dey” or the “wee-wee” schools of rap. The speech of deys impresses in its onslaught of verbiage that is, quite simply, words without thought. This type of rap may correspond with those “athletes” who simply have a God-given talent for speed, who can blow by their defender by simple virtue of having more talent. The speech of the wees, on the other hand, impresses with a sort of dull, rhythmic mind-numbing, sort of like those running backs who just try to run over everything in their path. Much as I love Ludacris, it seems that Chris isn’t that good at mixing these two styles. For example, the verses in “Roll Out” have the invariable sequence of wee, dey, wee, dey. For another, Luda’s memorable “Act the Fool” is written completely in the wee style. It’s sad, because I have great respect for Mr. Bridges’s beats and bass lines. An ideal rap world: Luda’s beats and Eminem’s words.

Give me, on the other hand, the speech of a true athlete, like those verbal athletes Slim and Dre in “Forgot about Dre,” who will rap without succumbing to a single speed, who will linger over the short “i”s and the long “a”s at the end of every line–(this technique reminds me of early French poets, who employed rich rhyme, trying to rhyme assonantally at the end of lines as much as possible–see the three assonances at the end of each line below: i.e., “Slim Shady,” “twin babies,” “mid-eighties;” Marshall doesn’t just stop with three, either; for example, earlier in the song, “So, what do you say to somebody you hate? / Or, anyone trying to bring trouble your way? / Wanna resolve things in a bloodier way? / Just study a tape of NWA!” I apologize for the esoteric ‘junior poet terminolgy,’ but nothing else can come close to explaining the genius of these lines. See, each ‘line’ in the ‘stanza’ concludes with four ‘rich rhymes,’ and the first and last lines kind of give the stanza a ‘closed’ feel, ‘enveloping’ the middle two lines with ‘double rich rhymes.’ Dre does this well, too. Check out his verses in “Forgot about Dre.” First of all, it’s impressive that Dre is able to structure the entire first verse on just the assonance of long o plus long e (even though it gets a bit annoying, especially by the end of the verse); but, it’s even more athletic that Dre manages to include rich rhyme almost throughout the entire lines in the following section: “Hated on by most of these [people] / with no cheese, no deals, / and no gs, no wheels, / and no keys, no boats / no snowmobiles and no skis; / mad at me ‘cause I can finally afford / to provide my family with groceries….” Again [and it hurts me to do it; I love me Ludacris], compare Chris’s lyrical abilities negatively to really rich rhyme)–yet still pack words linked from line to line in a fast patter. The following is the bit that first enticed me to Mr. Mathers years ago (I first heard this at the Fort Scott swimming pool from the mouth of the instructor who was teaching swimming lessons with me):

Slim shady,
hotter than a set of twin babies,
in a Mercedes Benz with the windows up
when the temp goes up to the mid-eighties,
calling men ladies;
sorry doc, but I been crazy,
there’s no way that you can save me;
it’s OK, go with him, Hailey….

Let’s look, just briefly, at how Shady poetically grows his subjects. He might be praising himself, sure, but his diction and imagery seem well done, and his tone seems to me to develop away from simple egotism. Twin babies? Come on, you’ve got to admit that twins are pretty hot … and they’re in a Mercedes-Benz? Hot! With windows rolled up in eighty-degree weather? Now, that’s hot. Slim is working with “heat” on different levels here. Babies are “hot” in one sense; a nice car in another; and, of course, temperature involves a different type of heat than babies or cars. He is so hot, that he is going crazy, and must eventually lose his daughter (baby–note the repetition and development of Slim’s original image), and, even his impressive opinion of his own “hotness,” as reflected by the falling, resigned, almost tender tone of his voice as he concludes his verse. It is appropriate that Marshall resigns that blown-up image of himself at the end of the verse, because the chorus is a praise of Shady’s own mentor and the co-writer of “Forgot About Dre,” the good Doctor himself: “Nowadays everybody wanna talk / like they got something to say, but nothing comes out / when they move their lips, just a bunch of gibberish; / mother[lovers] act like they forgot about Dre.”

It’s not a question of verbal aesthetics, but of verbal athletics–and oh! but “Forgot About Dre” is a vintage draught of verbal athleticism!

Borella

I guess I need some help from the theologians/philosophers. See, I am reading this stuff by Jean Borella, and loving it–a collection of essays by Borella, arranged by some guy named Champeaux into The Secret of the Christian Way after the pattern of Itinerarium Mentis In Deum. I guess my question is, who is this Borella guy? At Josh–how legit is he?

Anyway, his essay on the essence of symbol is excellent; Paul McCleary/Boomer directed me towards Borella as someone who has a good grasp of what they are trying to define as poetic inspiration. Borella points toward three aspects of the symbol. There is the “concrete form,” or “vestigial being” of the symbolon, which reveals itself as “the present part of the absent whole” (62). There is the “memorial symbol,” which is the “traditional significance” of the symbol, passed down orally by authority. A symbol doesn’t just have meaning in itself, it also has meaning “for someone else” (64-66). There is also a third aspect of the symbol: it “directs” us towards recognition of reality through “ritual activity” (66). It is this third aspect of the symbol that I think best captures the poetry or the making behind any work of art. I mean, anyone can give us symbols without doing anything special with them (just offhand, I think of A Separate Peace and The Great Gatsby), and the second characteristic has more to do with something received in the symbol itself, not really created by the poet.

Borella concludes that the rainbow (Iris, in Greek mythology), is the ultimate symbol of God’s covenant with man. The rainbow, or rather, the half-completed arch, or the broken circle, is “the revelatory sign of that primordial pact at the foundation of every religion[; it] is also the [symbolon] that signs and seals the restoration of the divine nature in creatures: the nimbus of the Roman gods and Buddhist wisdom, the halo of the Christian saints, the noble turban of Islam, and the radiant war-bonnet of the Native American. In truth the orb of the symbol encircles everything: it is the radiance of Divine Glory” (68-69).

Rain, rain, and sun! A rainbow in the sky;
A young man will be wiser by and by;
An old man’s wit may wander ere he die.

My heart leaps up when I behold
A rainbow in the sky.

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