Don Paterson: ‘A Private Bottling’
So I will go, then, I would rather grieve over your absence
……………………………than over you.
…………………………………………………………Antonio Porchia
Back in the same room that an hour ago
we had led, lamp by lamp, into the darkness
I sit down and turn the radio on low
as the last girl on the planet still awake
reads a dedication to the ships
and puts on a recording of the ocean.
I carefully arrange a chain of nips
in a big fairy-ring in each square glass
the tincture of a failed geography,
its dwindled burns and woodlands, whin-fires, heather,
the sklent of its wind and its salty rain,
the love-worn habits of its working-folk,
the waveform of their speech, and by extension
how they sing, make love, or take a joke.
So I have a good nose for this sort of thing.
Then I will suffer kiss after fierce kiss
letting their gold tongues slide along my tongue
as each gives up, in turn, its little song
of the patient years in glass and sherry-oak,
the shy negotiations with the sea,
air and earth, the trick of how the peat-smoke
was shut inside it, like a black thought.
Tonight I toast her with the extinct malts
of Ardlussa, Ladyburn and Dalintober
and an ancient pledge of passionate indifference:
Ochon o do dhóigh mé mo chlairsach ar a shon,
wishing her health, as I might wish her weather.
When the circle is closed and I have drunk myself sober
I will tilt the blinds a few degrees, and watch
the dawn grow in a glass of liver-salts,
wait for the birds, the milk-float’s sweet nothings,
then slip back to the bed where she lies curled,
replace the live egg of her burning ass
gently, in the cold nest of my lap,
as dead to her as she is to the world.
…………………………………..*
Here we are again; it is precisely
twelve, fifteen, thirty years down the road
and one turn higher up the spiral chamber
that separates the burnt ale and dark grains
of what I know, from what I can remember.
Now each glass holds its micro-episode
in permanent suspension, like a movie-frame
on acetate, until it plays again,
revivified by a suave connoisseurship
that deepens in the silence and the dark
to something like an infinite sensitivity.
This is no romantic fantasy: my father
used to know a man who’d taste the sea,
then leave his nets strung out along the bay
because there were no fish in it that day.
Everything is in everything else. It is a matter
of attunement, as once, though the hiss and backwash,
I steered the dial into the voice of God
slightly to the left of Hilversum,
half-drowned by some big, blurry walts
the way some stars obscure their dwarf companions
for centuries, till someone thinks to look.
In the same way, I can isolate the feints
of feminine effluvia, carrion, shite,
those rogues and toxins only introduced
to give the composition a little weight
as rough harmonics do the violin-note
or Pluto, Cheiron and the lesser saints
might do to our lives, for all you know.
(By Christ, you would recognise their absence
as anyone would testify, having sunk
a glass of North British, run off a patent still
in some sleet-hammered satellite of Edinburgh:
a bleak spirit, no amount of caramel
could sweeten or disguise, its after-effect
somewhere between a blanket-bath and a sad wank.
There is, no doubt, a bar in Lothian
where it is sworn upon and swallowed neat
by furloughed riggers and the Special Police,
men who hate the company of women.)
O whiskies of Long Island and Provence!
This little number catches at the throat
but is all sweetness in the finish: my tongue trips
first through burning brake-fluid, then nicotine,
pastis, Diorissimo and wet grass;
another is silk sleeves and lip-service
with a kick like a smacked puss in a train-station;
another, the light charge and the trace of zinc
tap-water picks up at the moon’s eclipse.
You will know the time I mean by this.
Because your singular absence, in your absence,
has bred hard, tonight I take the waters
with the whole clan: our faceless ushers, bridesmaids,
our four Shelties, three now ghosts of ghosts;
our douce sons and our lovely loudmouthed daughters
who will, by this late hour, be fully grown,
perhaps with unborn children of their own.
So finally, let me propose a toast:
not to love, or life, or real feeling,
but to their sentimental residue;
to your sweet memory, but not to you.
The sun will close its circle in the sky
before I close my own, and drain the purely
offertory glass that tastes of nothing
but silence, burnt dust on the valves, and whisky.
from God’s Gift to Women (1997)
Claude Lévi-Strauss: Tristes Tropiques (1955)
I hate traveling and explorers. Yet here I am proposing to tell the story of my expeditions. But how long it has taken me to make up my mind to do so! It is now fifteen years since I left Brazil for the last time and all during this period I have often planned to undertake the present work but on each occasion a sort of shame and repugnance prevented me from making a start. Why, I asked myself, should I give a detailed account of so many trivial circumstances and insignificant happenings? Adventure has no place in the anthropologists profession; it is merely one of those unavoidable drawbacks, which detract from his effective work through the incidental loss of weeks or months; there are hours of inaction when the informant is not available; periods of hunger, exhaustion, sickness perhaps; and always the thousand and one dreary tasks which eat away the days to no purpose and reduce dangerous living in the heart of the virgin forest to an imitation of military service . . . The fact that so much effort and expenditure has to be wasted on reaching the object of our studies bestows no value on that aspect of our profession, and should be seen rather as its negative side. The truths which we seek so far afield only become valid when we have separated them from this dross.
*
The paradox is irresoluble: the less one culture communicates with another, the less likely they are to be corrupted, one by the other; but on the other hand, the less likely it is, in such conditions, that the respective emissaries of these cultures will be able to seize the richness and significance of their diversity. The alternative is inescapable: either I am a traveller in ancient times, and faced with a prodigious spectacle which would almost entirely unintelligible to me and might, indeed, provoke me to mockery or disgust; or I am a traveller of my own day, hastening in search of a vanished reality. In either case I am the loser . . . for today, as I go groaning among the shadows, I miss, inevitably, the spectacle that is now taking shape.
*
Susan Sontag: ‘The anthropologist as hero’ (1963)
“Let’s go and study the primitives,” say Lévi-Strauss and his pupils, “before they disappear.”
Max Ernst: The Robing of the Bride (1939)
Oil on wood, 96 x 130 cm
Venice, Peggy Guggenheim collection
*
JG Ballard: The Atrocity Exhibition (1970): Chapter Four: ‘You: Coma: Marilyn Monroe’:
At noon, when she woke, Tallis was sitting on the metal chair beside the bed, his shoulders pressed to the wall as if trying to place the greatest possible distance between himself and the sunlight waiting on the balcony like a trap. In the three days since their meeting at the beach planetarium he had done nothing but pace out the dimensions of the apartment, constructing some labyrinth from within. She sat up, aware of the absence of any sounds or movement in the apartment. He had brought with him an immense quiet. Through this glaciated silence the white walls of the apartment fixed arbitrary planes. She began to dress, aware of his eyes staring at her body.
Ballard’s annotation (1990):
The Robing of the Bride.
The title of one of Max Ernst’s most mysterious paintings. An unseen woman is being prepared by two attendants for her marriage, and is dressed in an immense gown of red plumage that transforms her into a beautiful and threatening bird. Behind her, as if in a mirror, is a fossilized version of herself, fashioned from archaic red coral. All my respect and admiration of women is prompted by this painting, which I last saw at Peggy Guggenheim’s museum in Venice, stared at by bored students. Leaving them, I strayed into a private corridor of the palazzo, and a maid emerging through a door with a vacuum cleaner gave me a glimpse into a bedroom overlooking the Grand Canal. Sitting rather sadly on the bed was Miss Guggenheim herself, sometime Alice at the surrealist tea-party, a former wife of Max Ernst, and by then an old woman. As she stared at the window I half-expected to see the bird costume on the floor beside her. She was certainly entitled to wear it.
Miriam Larici and Claudio Villagra: ‘Tus Ojos De Cielo’
music composed by Lisandro Adrover
Georges Seurat: The Bridge at Courbevoie (1886 – 7)
Oil on canvas, 45.8 x 54.6 cm
London, Courtauld Institute Galleries (Home House Trustees)
Francisco Goya: Two Still Life Paintings (1808 – 12)
A Butcher’s Counter, oil on canvas, 45 x 62 cm
Paris, Musée du Louvre
Three Salmon Steaks, oil on canvas
Winterthur, Oscar Reinhart collection
