Bent Pin: The familiar discomfort - Foster Trecost & MarkMcGuire-Schwartz

The familiar unhappiness is often more comfortable for human beings than making a difficult extended change.  This week we have one humorous poem about a couple aware of their own peculiarities, and a bit of flash fiction where the narrator is seemingly unaware of his own slightly sadistic pleasure in the discomfort of those around him. The works are Thoughts At The Table by Foster Trecost and Heartless by Mark McGuire-Schwartz.

The incomplete Bent Pin Archive can now be found at http://benpinquarterly.blogspot.com   Unfortunately this page is not online as yet.

-- MM Walker

What art can reveal

Writing prompt: If you joined the circus, what act would you most want to perform?

If I joined the circus I would certainly not want  to be the fire-eater. I already have enough heart-burn for two or three people.  The trapeze is too far off the ground, the fat-lady and the bearded lady are both unjustly reviled by many. The face painters have to listen to bratty kids , the knife thrower can never get enough insurance and the bareback riders wear little tutus that ride up their behinds.  Putting your head inside the lion's mouth is fool-hardy at any age.

If I could join the circus today, I would be the snake charmer. So many things are hidden, uncoiling their motives only when poised to strike. Like a skillful snake charmer, I would use a little music, a metaphor or two, a little color maybe, to coax a smooth, indifferent reptile out into the light so  its true nature can be examined.

-- Mar Walker

Dog and Cat Kiss: Interpretations differ - what's your take?

Many folks look at this photo and see a pretty little dog and cat kissing. What we see depends a lot on what we expect. I live with these two characters and what I see are two rivals inspecting the competition.  My pets are companionable but not affectionate with each other, and are often jealous of, or at least very interested in the attention or tidbitts the other gets. In this photo, I think they are checking each others cheeks and breath to see if one has eaten anything the other has missed, checking each others physical status and mood. This sweet little kitty often bites the dogs ears, lips or toes to drive her out of a spot of sun that the cat wants for herself.  The dog, who is aware that direct aggression on the cat is not an option within this pack, for her part will secretly steal the cat's food whenever she has the opportunity.

We often find it necessary to anthropomorphize or romanticize animals, especially when describing them to children, but they have their own agenda and motivations which differ greatly from our own.  This is the cause of a lot of injury.  A child assumes this is their beautiful stuffed toy to hug and drag about by an ear or a limb.  The cat, dog, rabbit, hamster responds with teeth to this attack, ends up euthanized, not beause they were evil or dangerous -- but because their owners were irresponsibly ignorant of their needs and nature.  When any dog is left alone with a small child and injury results it is most usually the fault of the supervising human being. If you own a gun and your toddler shoots someone with it, you are negligent and you get a fine. If you own a dog, and someone is injured, you might pay damages, but in the final tally its the poor dog that pays the price for your lack of objective knowledge about nature.

-- Mar Walker

iPhone App Art with a homecooked sound track

Yes, is true that I like to fiddle around with materials and with technology. This is a video slide show of art made on an iPhone. Click on the photo to watch the video.

ARTWORK: The slides were created in SpinArt a $1.99 cent IPhone app.
MUSIC: The sound track is made in three distinct tracks each recorded driectly into iMoive HD (the old iMovie) For one track I used "mouth percussion" on another I smacked the TV remote against a lamp, on a third I improvised a tune (me singing). Then I manipulated each track using IMovie's audio editor applying pitch changes, delay and reverb i varying proportions and doing a little graphic equalization until the three tracks together had a sound I liked. It's short so give a little listen....  I kind of like the effect even though it's different from both my acoustic songs and from the classical music I used to do.

-- Mar Walker

Poem: Wannamakers Rising - from Inverse Origami

This is a poem from my first chapbook, Inverse Origami - the art of unfolding. (Puzzled Dragon Press 1998) It's about the progress of personal growth.    Wannamakers is or was a big department store in downtown Philadelphia.

---

Wannamakers Rising

We'd like to rise
on the gliding stair
of effortless progression
a smooth escalator ascent
over a receding panorama of display.
More often we grope blindly
up sweaty
closed stairwells
steep and demanding concrete
followed by
emergence.

---

from Inverse Origami - the art of unfolding
--- Mar (Mistryel) Walker, © 1998
Puzzled Dragon Press

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Repackaging the familiar for a novel view

Anything, no matter how plastic, ubiquitous or overstated, can be framed purposefully to evoke something different or new.  This photo was taken at night, with a phone, while waiting in line for the drive-up window....

As I was writing the graph above - I  saw a very clever  TV ad by American Express that uses this 'reframing' idea. In it,  more than a dozen or so common scenes and/or objects were reframed as smilie faces or smilie frowns. The audio featured a gorgeous cello line, no shouting or flashing, and many of the changing pseudo faces required watching the screen intently.

The process was oddly involving, surprising, delightful - intriguing even, more than most shows these days.  I have a better impression of the advertiser for mounting such a clever ad campaign.   Reframing is a neat trick. Well done.

-- Mar Walker

Gertrude Stein: The Autobiography of Alice B. Toklas

A Cubist Memoir

 A response to Gertrude Stein's book "The Autobiography of Alice B. Toklas"

Gertrude Stein is a cubist name dropper! After introducing herself to readers as one of only three true geniuses in her acquaintance, she, as Alice B. Toklas, drops the name Gertrude Stein one to fives times on nearly all of the 252 pages in the Autobiography of Alice B. Toklas. While it is autobiographical, it is most certainly not about Alice B. Toklas, who 'sits with the wives of geniuses.' Instead it is Stein's own extremely self-reflexive cubist memoir which comments on itself, calls attention to its own materials and production processes, is obsessed with surface, is cyclic rather than linear and offers simultaneous views over time of both its own structure and its autobiographical vignettes. A genus? Yes, indeed.

As Stein clearly states, she is interested in surface versus interior, the outside of things as differing from the inside.  "She always was, she always is, tormented by the problem of the external and the internal," she says of herself on page 119. So with a wink, she writes, with the name and voice of her companion, her own story, dotes on herself as her lover and companion would and tabulates her own talent's progress in the voice of her mate.

Besides surfaces of name, there is also the narrative's surface - what was done and what was said, told with "the refusal of the use of the subconscious," and without emotiveness.  In this way she allows readers to make intellectual conclusions about the emotional nature of the narrative rather than offering a directed vicarious experience of it, so that experience of her life in print is essentially intellectual and analytical rather than emotional. Of writing this way she says "...that listening to the rhythm of his (the dog's) water-drinking made her recognize the difference between sentences and paragraphs, that paragraphs are emotional and the sentences are not."  --- In order for this to be so, one must detach from immediately experienceable emotion in any one sentence, so that the emotion becomes apparent only after the whole of the paragraph is perceived in the mind.

Stein's narrative is not linear but cyclic and gives one the feeling of moving ahead and at the same time going back. Stein was a friend of Picasso and Juan Gris and notes Marcel Ducamp's "Nude Descending a Staircase: on page 113.  It was not surprising to see it mentioned, as it had already come to mind by the second or third time the dinner where the painters sat opposite their paintings was described. This odd familiarity caused a hasty look back to see if I'd lost my place and was rereading the same paragraphs. The same thing happened in other places: the incident where Maitisse gets fried eggs rather than an omelet, the description of William Cook driving a taxi and of Gertrude Stein driving a car for the American Fund for the French Wounded, and the many returns to Paris. Each mention seemed familiar, out just a little off from the last time, with sometimes more and sometimes less of the incident visible, like one of the iterations of the figure's limbs as it descends the stars and seems to move, in Ducamp's painting.

Stein hints at her fascination with lulling repetition and the glint of surface: "It was this summer that Gertrude Stein, delighting int he movement of the  tiny waves on the Antibes shore, wrote the Completed Portrait of Picasso."  In the end, the tide of surfaces recedes and leaves a bit of truth dry on the shore. Stein admits many had badgered her to write an autobiography. In turn she badgered Alice B. Toklas to write one instead.

"About six weeks ago Gertrude Stein said, it does not look to me as if you were ever going to write that autobiography. You know what I am going to do. I am going to write it for you. I am going to write it as simply as Defoe did the autobiography of Robinson Crusoe. And she has and this is it." (pg. 252)

 Of course, like Defoe's work, it is about a stranded traveler and his companion. Yet it is about quite another thing than it purports to be and it glides along tongue in cheek, a surface cleverly concealing and revealing simultaneously.

--- Mad Mar Walker

Original date: Sept. 2003