Nine books lie
on my bedside
table, unread:
six poetry,
two non-fiction,
and Don Quixote.
I should finish
Cervantes—
or at least
start— once
again, now
that I’m older,
and his windmills
have turned to giants.
(March 24, 2026)
Category: books
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Sancho Panza
by
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It has been awhile since I read a sweeping epic of a sci-fi novel. I guess it is still awhile to go, since there are like nine more volumes of the series which are collected under the name The Expanse. I probably will not read the rest of the series. This is not to say I did not enjoy Leviathan Wakes, because I did have a good time. I read the book over the last few days. While it is over 500 pages long, it is a fast read uncluttered as it is with the subtleties of an analysis of the human condition. This is not to say it lacks depth, although the book is focused on the narrative more than sweeping themes. It does touch lightly upon colonialism; prejudices and bigotry against those not in your tribe (Earth v. Mars, Earth and Mars v. the Belt); corporations too powerful and focused on gathering more wealth and power over the interests of the people; science v. humanity; loyalty; honor; and love as a unifying force. But I could be over-reading the novel. As they say, sometimes a cigar is just a cigar. I would have loved these books as a teen ager. There is an equally enjoyable television series, The Expanse, which arose from the books. Both the book and the series are worth the time it would take to enjoy them. Sometimes escapism in literature is a good thing.
(March 13, 2026)
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I re-read Randall Jarrell’s The Bat Poet late this afternoon (It is short, 36 pages so don’t be too impressed). I first read The Bat Poet as part of The Hill Country Writing Project (the precursor to the Heart of Texas Writing Project) in 1987. It is such a lovely book about becoming a writer. Lots of analogies between the narrative of the bat and the stages newbie writer’s go through on their journey to being a poet—1) seeing a world different than your peers; 2) finding a mentor (text); 3) writing your first poems 4) mimicking others’ voices 5) finding your voice in your identity; 6) returning to your community with your vision: a mini-hero’s journey! I love the scene between the bat and the mockingbird (the accomplished poet no one understands) when the bat reads a poem he wrote about the owl to the mockingbird. The mockingbird explains the technical aspects of the poem he liked, befuddling the bat who just wrote the poem like the owl was oblivious to the academic names for what he was doing. The illustrations by Maurice Sendak for the book are a bonus.
(March 5, 2026)
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I finished The Brief Wondrous Life of Oscar Wao by Junot Díaz, the RFB book for February, just now. By the end I liked it better than I did while I was reading it. In other words, Diaz brought it to a close masterfully. It is a sweeping family drama story on a simple level. But more so how history-in-person, history-in-place, and how the stories you hear from your family’s history form a large part of your destiny, identity and “fuku” (curse, I believe). Ultimately it is a story of love, albeit a tragic story of love. A line from near the end of the book: “ She was the kind of girlfriend God gives you young, so you’ll know loss the rest of your life.” A line from the narrator, which I believe is the opposite of what was given to Oscar, which was more the kind of girl God gives you so that you will know the power of love to bring you happiness. Even if only for a brief wondrous moment of your life.
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“So many of us use when at our craft/of transmuting our life into words.//The essence is always lost.”
I have read three other books by Borges over the years: Labyrinths, The Book of Sand, and Ficciones. They have all been thought provoking and strange. I first heard of Borges as a fictional character in Umberto Eco’s “The Name of the Rose,” which makes sense as I finished “Dreamtigers” this afternoon. In “Dreamtigers” one of the themes Borges causes the reader to think about is identity. Specifically who is the real “Borges” (and us by extension) the one created by us that we present to the world as us, or the one that created the presentation. “Dreamtigers” is divided into two sections. The first comprised of parable-like reflections revolving around themes of memory, identity, creativity, and mirrors. The second section made up of poems, which touch upon similar themes and images. One of the ideas that have lingered with me after finishing the book is the thought that our unique experience of life which each of us possess and create though our life…vanishes as we die. “Events far-reaching envoy to people all space, whose end is nonetheless tolled when one man dies, may cause us wonder. But something, or an infinite number of things, dies in every death, unless the universe is possessed of a memory, as the theosophists have supposed.” I know that this is obvious, but also profound. Nietzsche said that in the end we only experience ourselves. And Borges extends this with the thought that this individual experience dies with the life of the person. Unless as he says, the universe possess a memory. And even then, that memory is changed and erased by the future which remembers us in their own individual experiences. “There is not a single thing on earth that oblivion does not erase or memory change, and when no one knows into what images he himself will be transmuted by the future.”
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I finished Rub Out by Ed Barrett last night. I have no idea where or when I bought this book. But I found it on my shelf a few months back and have been reading at it since then. It is an interesting set of poems as a mystery novel/1940’s crime noir as if written by John Ashbery. I’m thinking I need to read it again, over a shorter amount of time. I also think I should find someone to read it with, so that I have someone to talk to about it. Here is a quote I copied down several weeks ago: “expectation outweighs desire for most of life”
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It has been several decades, at least, since I read Eliot’s Four Quartets from beginning to end in one sitting. But since the poem came up in a conversation a couple of days ago, and Lisa has gone out of town, I read them out loud to myself in one go. It is an amazing work of art: time, faith, God, identity, sense of place, abstract while being incredibly precise in concrete details which fold back into the abstract. The usual allusions to everything in world literature and religion, but so subtle and fast it becomes as if you are reading about Jonah, Arjuna, Charles the 2nd, and many others for the first time. And such a magisterial voice and a musicality which lifts the reader to intellectual heights before they realize what is happening. When, 30 years ago, I read The Quartets for a class on the Modern long poem, Walt Litz, my prof, described it as “philosophical poetry, not philosophy as poetry.” If you haven’t read it, and want something deep, but not as daunting and dark as The Wasteland, then you should read it. It made me think about the first time I heard Beethoven’s Ninth, or Handel’s Messiah all the way through. And if you have read it, then it might be time to look again. I remember reading once that different poets often speak to you differently at different times of your life. The Four Quartets speak differently now than they once did. “My words echo/ thus in your mind.”
(December 16, 2025)
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I finished the Memory Police last night, but couldn’t summon enough energy to write a response. It was curious. It was interesting. It was ART!! Were there great lines and thoughts? Yes. Did it make sense? Not at first glance, which this response is. The novel (as the blurb on the back states) takes place on an unknown island where objects keep disappearing. Disappearing completely, even from the memory of most of the people on the island. Those who can still remember are taken away to some unknown place, for some unknown fate by the Gestapo-like Memory Police. The last sentence of the blurb says “The Memory Police is a stunning novel about the trauma of loss.” I guess that is true, but only on one level. I would say it is more about the control of a community’s narrative; How history can be erased, and how we all just go along. How writing extends and saves individual memory for the next generations, who lose and save and create their own memories. How small seemingly unimportant objects can embody massive recollections.
Random Thoughts/Questions: None of the characters have names. There is a narrator, the novelist; the old man, who used to be the ferryman before the ferry disappeared, and R, who does not forget. The novelist is writing a novel, which sporadically we (the reader) get to read.Is the old man an allusion to Charon? Are the people who forget dead? The narrator is writing a novel, but loses her voice and can’t remember how to write. R, who used to proofread the narrator’s novels, keeps encouraging her to write, almost like editors who finish novelists books posthumously. Does “R” stand for reader? which is us, as we try to create meaning out of other’s incomplete memories?
Quotes:
“When I was a child, the whole place seemed… a lot fuller, a lot more real. But as things got thinner, more full of holes, our hearts got thinner, too, diluted somehow, I suppose that kept things in balance… And even when the balance begins to collapse, something remains.”
“I have the feeling my voice may come back one day if I study the letters imprinted on the used ribbon.”
“I’d imagine you’d be uncomfortable, with your heart full of so many forgotten things.”
“Memories don’t just pile up—- they also change over time. And sometimes they fade of their own accord.”
“Each one of us hides them away in secret. So, since out adversary is invisible, we are forced to use out intuition. It is extremely delicate work. In order to unmask these invisible secrets, to analyze and sort and dispose of them, we must work in secret, to protect ourselves.”
“Memories are a lot tougher than you might think. Just like the hearts that hold them”
“When you lost your voice, you lost the ability to make sense of yourself.”
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Finished this today. Kind of like The Metamorphoses’ Greatest Hits. That is not a criticism. I had not heard of some of the tales, and I liked the non-bowlderized versions of the others, having read most of the tales in kids versions to my children decades ago. It was a fun read. If you see it used somewhere, it is worth picking up. Trivia for some of you guys: Ted Hughes was married to Sylvia Plath. ( I like pointing that out since he was apparently an ass to her. Now to the younger readers, he is a footnote to her. He was no slouch as a poet, however. The Crow is especially good as I remember).
September 24, 2025)
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“You should understand
the way it was
back then,
because it is the same
even now.”
from Storyteller by Leslie Marmon Silko
Today I finished (for RFB) Storyteller by Leslie Marmon Silko. It reminded me of Way to Rainy Mountain by N. Scott Momaday in the way it blended personal narratives, with native-American stories, and history. The three aspects being, in reality, inseparable. In the case of Storyteller, the stories, poetry, photographs orbit around each other to create the idea of “story” as what defines us in our lives: the past, present, mythic all combine to create the culture we live in as well as the individual person who lives inside of the culture. It is a fairly subtle nuanced book. Silko does not spell it all out in the way Thomas King does in “The Truth About Stories,” a book I finished a few weeks ago. King also blends personal narrative, with myth, and history. Instead, Silko, lays out the parts of her collection in a type of collage, where the various parts generate a collective power creating a larger whole from the smaller parts.
Here are just some lines I underlined as I read:
“But sometimes what we call “memory” and what we call “imagination” are not so easily distinguished.”
“The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined these differing versions came to be.”
“We were all laughing now, and we felt good saying things like this. “Anybody can act violently—-there is nothing to it; but not every person is able to destroy his enemy with words.”
“even silence was alive in his stories”
“the memory
spilling out
into the world”
“So they pause and from their distance
outside of time
They wait.”
“laugh if you want to
but as I tell the story
it will begin to happen.”
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This is the second, maybe third, time I have read this book. It is that good. Oscar Wilde wrote that a book that isn’t worth reading twice is not worth reading once. The Truth about stories is worth reading once, maybe even three times. “The truth about stories is that is all that we are.” King repeats throughout the book as he tells stories within stories, mixing personal narrative with native “myth” and historical facts to illustrate, expand and deepen each section/chapter of his book. His themes are identity, how we become who we think we are, how we can change who we think we are; How others come to define us through the stories they tell about ourselves and themselves; and that we can change our world by changing the stories we tell each other. King is an indigenous Canadian. He focuses early on in the book about how one is an Indian, and how a large part of that definition is provided by the non-indigenous, from how one is supposed to dress to be seen as authentic, to convoluted arcane laws developed by the government in their attempts to control and eventually eliminate the Indian. He has a wonderful light touch in his writing style that makes an otherwise grim tale less horrific without sounding paternalistic. King begins each chapter with the story of the world carried on the back of a turtle, which is carried on another turtle ad infinitum. I assume to point out that there is never a sole basis for the story we live within. He ends each chapter in a similar way connecting the end to one of the stories from that chapter. Here is one of them: “Take it. It’s yours. Do with it what you will. Tell it to your children. Turn it into a play. Forget it. But don’t say in the years to come that you would have lived your life differently if only you had heard this story. You’ve heard it now.” -
I read Diane Wakoski’s Virtuoso Literature for Two and Four Hands over the last few days for the first time. I have had several of her books for several decades now, mostly unread. I would find volumes of hers at used book stores, pull them off the shelf, read a few of the poems, and think: I should read more of her. But then not read them once I had them home. I saw her read at the old Undergraduate Library at UT my senior year there back in the early 80’s. I don’t remember much about the night except she said something mildly disparaging about Gary Sanders earring. No big deal, but it is all I took away from the night. Oddly illustrating the importance of what one says out loud. Anyway, back to the response: She is very chatty, which fits her association with the Beats. Most of the themes are about family, identity, growing to be like your parents (mother in her case), missed opportunities, or rather regret for lost opportunity. She is highly accessible, which is not a bad thing, for the accessibility leads to a deeper text. For the most part I enjoyed reading the book, although she does tend to be a tad overly self-deprecating, which I find annoying as it occurs so often as to feel like false modesty.
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