Friday, December 29, 2023

The Stupidity of War

 by Brett Rutherford

Adapted from Victor Hugo, l'Annee Terrible, "January 1871"

III

War works at her loom, an eyeless and imbecile
Penelope, humming a lullaby of chaos
from the oscillation of unbeing,
Oh War, attending to the clash of squadrons,
ears full of the furious noise of the bugles.
Thirsty, she reaches for a tankard of blood,
and, fierce and withered, would make others drink.

She is draped in a cloud of deformed destinies,
     from the sight of which God flees.
The light that illumines her is no light at all
     but something blacker than night
          that casts inverted beams that singe.

Immense madwoman, a whirligig of wind
     and a lightning-bolt armory,
what use are you, giantess,
     what use, you being of smoke and fire
if all that collapses before you
only rebuilds another evil,
if yours is the unthinking
     and automatic murder of beasts,
the way the wolves descend upon sheep,
if you, slouching at ease in the shadows,
defeat one Emperor only to make another!

Monday, December 18, 2023

Letter to a Lady

by Brett Rutherford

Translated and adapted from from Victor Hugo, l’Année Terrible, “January 1871”

From Paris, terrible and gay, and fighting on —

Good-day, Madame.

 We are one people, one world, one soul.
We give of ourselves to everyone,
      and no one thinks of himself alone.
We endure without sun, without support,
     and without fear.

 Things will be fine if we never sleep.
Schmitz sends out engraved bulletins
     on the enormous war,

like Aeschylus translated by Father Brumoy.[1]
I paid fifteen francs for four fresh eggs, not for me,
but for my little George and little Jeanne.
Paris eats donkeys and horses now,
     along with bears and rats.

Paris is so well besieged and surrounded,
     walled up, tied up, and guarded,
that her belly is Noah’s ark.
Into our flanks every beast, honest or ill-famed,
enters, and dog and cat, from mammoth
to pygmy, hippo to flea, everything enters,
and the mouse meets the elephant.
If we see a tree, we cut it down, we saw, we split;
the Champs-Elysées goes up the flues of Paris.
With frost on our windows, our fingers are numb.

Washhouses lack fuels to dry our laundry,
and we don’t change our shirts anymore.
In the evenings a great dark murmur
swells up on the street corners,
it’s the crowd; sometimes gruff voices threaten,
sometimes a song calms them, sometimes
a loud voice stirs all to bellicose shouts.

The Seine drags slowly on, with archipelagos
     of hesitant, heavy ice cubes,
and the gunboat runs, leaving behind a foaming rut.
We live on nothing, we live on everything,
     we are, in our mad way, content.

 On our napkinlessless tables, where hunger awaits us,
a potato plucked from its crypt is hailed as a queen,
and onions are with the gods as in Egypt.[2]
We lack coal, but then our bread is black.
No more gas; Paris sleeps under a large snuffer;
by six o'clock in the evening, we are plunged in darkness
Bomb-storms make monstrous noise above our heads.
I use a well-formed piece of shrapnel as an inkwell.
Murdered Paris does not deign to scream.

Townspeople stand on guard around the wall;
These fathers, husbands, brothers, get machine-gunned,
     keeping their caps rolled up in their pea coats,
Others wait to be called, no bed but the plank of their benches.
It’s one or the other, ramparts or down-below:
     Moltke cannonades us here,
      and Bismarck starves us everywhere.
Paris is a hero, Paris is a woman;
He knows how to be valiant and charming; her eyes shine,
smiling and pensive, in the great deep sky,
in the pigeon that lights on the rising balloon.

It’s quite something; the formidable has emerged,
     putting aside the frivolous.
I’m happy just to see that nothing collapses.
I tell everyone to love, to fight, to forget,
to have no enemy but the enemy; I cry out:
my name is not my name anymore,
     my name is Patrie!

As a woman, you can be very proud of ours:
while everything is tottering, they are simply sublime.
Theirs is the beauty of the ancient Romans,
who under their humble roofs, tended domestic life,
their fingers were not dainty, but black and hard
from the harsh wool they spun and wove;
their sleep was short, and they feigned calm,
with Hannibal outside the walls,
and their husbands standing on the hill-gate.

Such times have returned. The feline giantess,
Prussia, holds Paris, and, tigress, she bites
half to death this great beating heart of the world.
Well, in this Paris, under such inhuman embrace,
the man is only French, but the woman is Roman.
They accept everything, the women of Paris,
their hearths extinguished, their feet bruised by the ice,
holding nocturnal watch at the black threshold of butchery,
cold urns of snow and hurricane emptying upon them,
famine, horror, combat, seeing nothing but the company
of the great gone before them, and the great duty now;
and poet Juvénal, deep in the shadows of time,
     would recognize them as Roman.[3]

The bombardment makes our citadels rumble.
The dawn drum speaks, the bugle calls distantly.
Diana wakes up, in the fresh morning wind.
The great city, pale and still in shadow, takes form.
A vague fanfare wanders from street to street.
We fraternize, we dream of success;
we offer our hearts to hope, our brows to lightning.
The city chosen by glory and misfortune
sees one more terrible day and salutes it.

Indeed, we shall be cold! True, we shall be hungry!
What is this but night? And what will the end be?
A dawn! We are suffering, but with certainty.
Prussia is the dungeon and Paris is Latude.[4]
Courage! the old days will repeat themselves.
Paris will drive out the Prussians within a month.
Then we plan, my two sons and I, to live
out in the country, with you,
     who say you are willing to follow us,
Madame, and we will come in March to ask you,
that is, if we are not killed in February.

 

Praestabat castas humilis fortunas Latinas,
Casulae, somnique breves, et vellere tusco
Vexatae duraeque manus, et proximus urbis
Annibal, et stantes Collina in turre mariti.
                                                         —Juvenal



[1] Father Brumoy. Pierre Brumoy (1688-1742), a Jesuit scholar and editor who published Le Théâtre des Grecs (1730), with abridged versions of seven Greek dramas, some no more than summaries.

[2] Onions were used in many Egyptian rituals, including the Opening of the Mouth in the awakening of the dead in the afterlife.

[3] Roman poet Juvenal praised the virtues of Roman women under duress and some of Hugo’s praise is paraphrased from Juvenal’s Satire VI, 287.

[4] Latude. Jean Henri Latude (1725-1805), a French writer who repeatedly escaped from imprisonment in the Bastille.

 

Sunday, December 17, 2023

The Jumbo Sandwich

by Brett Rutherford

On Kingview Road in Scottdale,
weeks passed sometimes
in which the only meat
was something called Jumbo Bologna.
The sign lied, since it
was pronounced BALONEY
and no one knew what was in it.

“Eyeballs and guts,” my friends said.
“’Possums and groundhogs maybe.”

Though I was proud to own
my Tom Corbett, Space Cadet lunchpail,
I never let anyone see
that Monday it was Jumbo on Wonder Bread,
and Tuesday, and Wednesday, too.
On the Thursday the credit ran out
at the corner store, and I went forth
with green peppers and margarine
on Wonder Bread. Two bites were all
I could manage before the bitter taste
compelled me to throw the rest away.

On Kingview Road in Scottdale,
dinners comprised
fried Jumbo Bologna on Wonder Bread.
Some nights it was just bread
with gravy poured over it,
gravy from bacon grease.

Pointless to sneak at night
to peek in the icebox: beer, milk,
and eggs and bacon, the wrapped
remnants of bologna for tomorrow’s lunch.

Payday was little better. With luck,
my father would toss
a pack of hot dogs on the table
announcing, “Here’s dinner.”
He gambled every penny
and lost it all.

The meatless meal
of canned peas mushed up
in mashed potatoes —
with luck a smattering of gravy
added — my mother,
who had waitressed once,
called it “schmung.”

Since Father required
his breakfast before
the trek to the glass factory,
eggs, bacon, and Wonder Bread
were always there:
that can be said,
although a doctor looked
at my pencil-thin arms and asked,
“Don’t you ever feed this child?”

Strange it seemed, that others
knew how to eat, no matter
their poverty. Grandparents
decades on welfare had a garden
and when we went there,
we feasted on corn,
and fat tomatoes
green onions and radishes.

Sometimes I visited
a schoolmate’s home.
Italian immigrants,
just scraping by.
Smell the kitchen:
they ate like gods.

On Kingview Road in Scottdale,
the smell of myrtle
must linger still,
(the one fine spice
that made bologna palatable.)

So once a month,
in memory of poverty,
which after all,
is never far away,
I eat a Jumbo sandwich,
scented and sweet
with the poor peoples’
frankincense.

 

 

 

The First of January

 by Brett Rutherford

Translated from Victor Hugo, l'Annee Terrible, "January 1871"

As you grow up, you will later be told
how your grandfather adored you;
that he did his best on earth,
with little joy and hounded by envy,
that when you were little, he was old,
that he had no gruff words or morose looks,
and that he left you in the rose season;
that he died, that he was a merciful man;
that, in the famous winter of the great bombardment,
he crossed that tragic Paris full of swords,
to bring you all those toys and dolls
and puppets, making a thousand comic gestures;
and thinking of him you will grow pensive
     beneath the trees’ dark shade remembering.

Saturday, December 16, 2023

Review of "Maestro"

This afternoon I viewed the film, Maestro, a biographical film about the personal life of composer and conductor Leonard Bernstein. It is a powerful and convincing impersonation of a man whose appearance, speech, and mannerisms are already known to millions. It is a daring thing to do.

What most everyone has always known is that Bernstein was a gay man in a generation where that mere fact, on top of being Jewish, would have meant no conducting career with a top-tier orchestra. So like many in his generation, he hid behind a marriage. That he loved his wife Felicja is undoubted, and they had three children. The film depicts the kind of marriage that existed then, when a wife endured and overlooked her husband's boyfriends as long as he was "discreet."
 
It is a torture to see this, and I have seldom seen this caged unhappiness so well portrayed. Bernstein's giant talent and giant ego made it all the more difficult. He is the greatest American-born conductor of the 20th century.
 
I did not enjoy seeing Bernstein drunk and snorting cocaine, and I assume this is all true since it is an honest, and authorized, biographical depiction. But these are further demonstrations of emotional repression. Despite his triumphs, this is not a happy man.
Those who love Bernstein the musician may not care a jot about his personal life. I think it matters that people should know, especially in this time when some want to drive gay people underground again, what that dishonesty costs.
 
The only lengthy musical excerpt showing Bernstein conducting is the finale of Mahler's Second Symphony, and this is the high point of the film. For those coming to the film knowing nothing about Bernstein, this recreation of his conducting style with the most wildly stirring finale in all Western music, shows what he meant to musicians and to his listeners. He did indeed set people on fire.
 
That said, do not expect this to be a film with long musical intervals. It's an emotional and packed life history. You have to bring your own memories of Bernstein's recordings to it.