Monthly Archives: September 2013

What is it about opera? It’s so over-the-top!

And now comes the time for a full confession.  Recently (my last post, in fact) I wrote a bit about being away from home, travelling, and therefore not doing as much posting as usual.  A few weeks ago, I wrote a little post about Monsters’ Den:  Book of Dread and Monsters’ Den Chronicles, which was yet another of my excuses for not posting on my old regular schedule of once every three to four days.  Now is the time finally to make the third part of my tripartite revelation, and say what else I have been doing (partially on my summer vacation) that has taken me away from the posting screen on my computer at WordPress.com.  And that’s listening to opera (and watching it) on my computer on Met Opera on Demand, which is immensely good and more affordable than full stage or screen opera for someone of my limited income, and which fills my very heart with delight.

That is, sometimes my heart is filled with delight.  At other times, my heart is filled with angst, or with bitter remorse as I recall an old relationship in which I acted much as some opera character acts.  Or perhaps moments of fleeting and evanescent passion or joy take center stage, and I allow myself to be pulled along with them, on wings of song (as the saying goes), loving and hating and sympathizing (or empathizing, if the feeling goes deeper) with the characters I see before me.  Just yesterday, as Magda in La Rondine left her lover, Ruggero, I thrilled with response as the young lover repeated over and over again to her “Love!  Don’t leave me alone!  Don’t leave me alone!”  A couple of weeks ago, the Romany Carmen likewise rejected her lover José (who by chance was the same tenor as Ruggero in that later opera I mentioned a moment ago).  But what a difference in attitude the tenor assumed!  Whereas Ruggero was incapacitated with grief and wept what looked like real tears from a reclining position on the floor, when José was once convinced that Carmen meant it, he leapt to his feet and with a final roar of “Carmen!” stabbed her to the heart outside the bullfight ring in Spain, where Carmen had gone to join her new lover, a toreador.  Do I approve?  Do I acquiesce?  Does it seem like a good idea, to watch people behaving like children and barbarians, weeping at length over what can’t be avoided and killing people who fall out of love with them?  I would just ask, do we ever with any drama apply the same rules we do to life?  And the answer is, “No, we don’t.”  Even with comedy, when the Barber of Seville gets up to his pranks and plots for his favorite customers, do we question their morality, and his?  No, we don’t, because we’re too eager to see him succeed!  We love the characters he’s plotting on behalf of, and hope they get their way free and clear.  By whatever means necessary, as government spies are wont to say.

It’s not, of course, that we don’t apply some of life’s rules to drama:  after all, would there be any way of understanding why Azucena in La Trovatore becomes so overwrought with a desire for vengeance that by accident she throws her own child into the fire, intending this end for an enemy’s child?  Or how understand Rigoletto’s final belief in the curse supposedly hanging over him when he exclaims “the curse!” in the final moments of Rigoletto, unless we saw that, true to life, his own character had caused him, in combination with circumstances inflicted upon him, to fall victim to the curse?  How understand the whole concept of Fate as it rules so many of these strange and outré dramas, and how accept the twists and turns of characters not recognizing someone they know well because the person is wearing a new hat or a cape in the comedies, and the mistakes and hilarious happenings that occur because of these?  We have to see that some of these things have actually happened once upon a time in real life, and upon that tiny hinge of possibility, the much larger door of probability swings open for the composers’ and the librettists’ imaginations.  And of course, we make moral judgements, but these judgements are delayed or attenuated into a last-minute resolution only after we have been treated to a full-scale examination of all the passion and humor and exaggerated emotion which can be extracted.

Because, that’s what opera is about more than any other form of drama–exaggeration, going over-the-top, having the full experience of pain or joy or fun in a concentrated form.  And that’s why music is the central part of opera, why music is at the very heart of drama and why the sets are so lavish or at least emphatic even when minimal, why the costumes, even those of a beggar, are gorgeous and grand and picturesque, because the exaggeration of emotion is central here.  Music of all art forms touches us most intimately, and though we are visual creatures, we hear before we can see, and thus the stunning visual effects here play handmaiden to the ear and its domain.

So, that’s what I’ve been doing, and I intend to keep on doing it.  Obviously, the best place to see opera is the venue where it occurs, but not everyone can get to NYC or other famous opera locales, and not everyone can afford a season ticket.  If you’re interested in a huge inexpensive free catalogue of operas to watch and listen to, you can contact metopera.org and either opt for tickets for seeing some of the shows each season at selected movie theatres, or listening on the radio, or watching them on your computer, where as I can attest even those shows which are not in HD are of high quality.  As a novice at this form, however, having seen the occasional opera since my teens on PBS, but knowing little and only learning more now, I prefer to watch what operas I can in order to familiarize myself with the stories and to be able to visualize them; then, when I know what my favorites are, I can elect to hear certain artists I like especially perform on audio alone.  This season, I was able to obtain a subscribership to Met Opera On Demand (viewing and listening on the computer) for only $14.99 a month, and decided it was definitely worthwhile.  I hope you will be interested in doing the same, as opera is one of the few larger-than-life experiences guaranteed, like any art form, to supply drama and humor without personal pain.  I mean, you could be sniffing glue or blowing up buildings, but one would destroy you and the other would destroy other people and landscape, and who wants that, when they could watch Don Pasquale (in the opera of that name) try to work his way free of the toils his new “wife” is winding round him so that she can instead marry his nephew, and hear the nephew’s beautiful and evocative serenade to her from the garden?  There is a certain mercy obtained by living vicariously, and though opera among dramatic forms may not have a total corner on the market of vicarious blessing, it certainly is up there at the top.  What am I saying, though, it’s over-the-top, dramatic, larger than life, all the qualities I’ve discussed above (and now that like many an opera aria I’m beginning to repeat myself, I will just leave off with the coda and hope you may find your way to such pleasures on your own, leaving my recommendation to speak for me).

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Sorry, no literary post this week….celebrating!

Yes, I know, I promised not so long ago to increase the number of my posts so that I was closer to my original blogging schedule of at least 2-3 posts a week.  But life intervenes, in that inimitable way it has, and right now, I am away from home, waiting for my close relatives to come back from family soccer morning, sharing my solitude with 3 cages full of 8 baby bunnies that my brother and his son–the unforgettable Charles, who earlier if you will recall compared me to “Aunt Josephine” from The Wide Window in A Series of Unfortunate Events because I worry about him–have adopted.  Sad to say, the baby bunnies had sores and worms when they were brought home, which is what occasioned their sympathetic adoption in the first place, but my brother and nephew have treated them and brought them nearly to full health, with only a bit more to go before they can be caged outside in a warm hutch for the winter.

When I was young, I also had a rabbit, and my brother had one, but I didn’t pay much attention to it, or else I’ve forgotten some of its habits.  “The habbits of rabbits,” to coin a phrase, are funny.  They clean their paws, ears, and bodies much like cats, but make a great deal of noise licking and biting the water bottles that are attached to their cages.  They also eat a lot, almost constantly, it seems, though whether this is from boredom or necessity I don’t know:  you’d have to ask the rabbits in question.  They have big appealing brown eyes, and mostly pale, orangish-fawn colored bodies with the usual little white tails, except for the mottled and speckled two of the litter, which have the fawn and dark brown-sepia colored markings.  For some reason, evidently companionable concerns (it can’t be for warmth, since they’re inside the house), they can have a whole cage for space and yet prefer to sleep and cozy right on top of each other when they’re not eating or drinking.  They aren’t big on manners, since often when they’re eating, one or more of them will place both paws in the food bowl, effectively blocking the access of others.

Right now, the males and females are in separate cages, but my brother and nephew aren’t ruling out the possibility of increasing the litter for sale later on.  One thing’s for sure:  rabbits don’t smell like cats and dogs in their “toiletry” habits, which is great, because as long as the cage is clean, they are pleasant animals to keep inside (always barring the noise of their water drinking, which if it weren’t water ingestion would make you think you’d taken in a host of dipsomaniacs).  Another certainly (which my nephew and my brother both assure me of) is that I’m going to have to read Watership Down to fully appreciate rabbit culture.  And there, it’s a literary post in its way after all, with a commitment to read and review later on.  For now, I’m going to celebrate the family birthday we’re here for, and wish you the best until such time as I post again.  Hoppy trails!

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Joe Ponepinto’s “The Face Maker and Other Stories of Obsession”–A writer’s professionalism, generosity, and talent

For those of you who regularly follow blogs they’ve originally met up with on WordPress.com, the name of Joe Ponepinto, or “jpon,” as he is known on his site (The Saturday Morning Post, http://joeponepinto.com), will not be a stranger.  It’s one of the sites published at least once a week, on Saturday mornings, of course, and has an intelligent and loyal following of folks interested in the many and sundry questions and dilemmas facing the modern fiction writer and aficionado.  For those of you who haven’t met up with Joe yet, I would encourage you to visit his site and follow the dialogues thereon, because you are in for a treat.  Even more, I would encourage you to buy his new book, The Face Maker and Other Stories of Obsession, available from Woodward Press, LLC (and Amazon.com).  My post today is mainly to communicate my sense of Joe’s professionalism, generosity, and talent, in that order, with talent in the ultimate position for purposes of emphasis, as one puts the most overarching consideration or the most all-inclusive last.

I say Joe is a consummate professional because not only has he been the Book Review Editor of The Los Angeles Review and Co-Editor of The Delphi Quarterly, but he combines this with an additional career path of freelance editing.  Finally, and for many people the most important factor, he is a writer himself, and thus is emphatically not in the position generally reviled as “those who can’t do, teach”; rather, what he can “teach” us is derived from his own experiences with writing and submitting works, and he is both up-front and conversationally inclined when it comes to discussing the ins and outs of story and book publication and its rewards, woes, and pitfalls.

I say Joe is generous too, meaning it in more than one sense.  For starters, once he had given his time and energies to being instrumental in the formational and continued stages of the Woodward Press, he generously offered, if sent mailing addresses, to send a free copy of his book mentioned above to each person who had been following his site and commenting regularly for at least a year or so.  I myself was in doubt as to whether or not I qualified, because though I have commented regularly on Joe’s site, I have only been blogging since July 4, 2012 and began following his site sometime after that.  But never fear, Joe accepted my interest in his proceedings as valid, and sent me a copy of his book.  And what I was to discover therein made me feel that Joe is a generous person all around, with his characters as much as with his readers, and that’s a good feeling to have about a writer.  After all, his avowed subject was obsession writ large, and so many writers would have taken the easy path and created a collection of notable eccentrics and cranks and let that pass for an honest effort.  But Joe Ponepinto’s characters live and breathe both genuine feelings and heartaches and sometimes have tainted victories, and their obsessions are truly honestly come by in the course of their attempts to resolve their differing dilemmas.  We live with them through their trials and can see the sometimes twisted sense of the solutions they come up with, knowing even as we do that they are not twisted individuals except in the senses in which what they are going through could happen to any one of us, given the same pressures and incentives.

There is one issue I would like to address about Joe’s book which made me a little less than happy until I thought it through, but then I realized that it was almost certainly meant in a more traditional sense than it seemed.  As those of you who follow my own site probably know, I am an inveterate reader of blurbs on books.  Although I do sometimes pick up a book, take a look at the cover, the author’s name, heft it in my hand, and go by such tangibles and intangibles as linger in that process, I also always read the blurb and see what weight it carries in my mind.  Here’s what Kelly Davio, the Editor of The Los Angeles Review, had to say about the book:  “In stories that range effortlessly across time period and place, Joe Ponepinto delivers the kind of masculine character we crave in literary fiction; these characters wrestle with the most essential questions of morality, and they bare-knuckle box with their human frailties.  If the characters’ decisions are disastrous, they are passionately made.  If their fates are tragic, their efforts are heroic.  Ponepinto is unafraid to follow human nature to its final conclusions, no matter how difficult those conclusions may be.”  What could bother me about that?  you ask.  Here’s my quibble, and also my resolution:

There is a bit of an ambiguity in the expression “the masculine character we crave in literary fiction….”  Who craves masculine character?  Is this a reference to the fact that most of Ponepinto’s central characters are male?  But he does have female characters, and his touch with them is equally talented.  What, then, is “masculine character” in fiction?  (I would just interject here that in his posts as in his stories, Joe’s touch with women and female concerns and issues is both adroit and politically sensitive.  So, what does this remark of Davio’s mean?)  Traditionally (to take it that way, as I assume it is meant), when critics or scholars spoke of the “masculine character” of fiction or a writer’s touch of masculinity, an unintentionally backhanded compliment when not applied to men but which in that character was sometimes applied even to women writers, they usually meant that the writing topics in question had “rigorous thought structure” and were “gifted with creatively inspirational moments.”  By contrast, critics of bygone times meant by “feminine character” in writing to deny or negate in the topic treated strength and agility of composition, as well as indicating that there was a nebulous sort of “hands-off,” “squeamish,” or “lady-like” appeal to the fiction frequently but unfairly assumed to be the sole province of women writers.  Don’t get me wrong, some very fine fiction was characterized also in this light, such as the fiction of the literary craftsman Henry James, whose writings were sometimes spoken of as “feminine” and “too sensitive” (as indeed was Henry James himself, in half-earnest jest, by another writer).  In any case, Joe Ponepinto’s writing shows a great deal of “rigorous thought structure,” like the underpinnings or bones of a face, and a plethora of “creatively inspirational moments,” like the nerves and flesh.  (And here, I’m borrowing some imagery from his award-winning story in the collection, entitled “The Face Maker.”)  As well, none of it is “feminine” in the former pejorative sense, by which I mean that Ponepinto does not once in my reckoning shy away from a challenging fictional turn of events or become too “squeamish” or “lady-like” to give his characters (and his readers) their full due.  So, though I object to the characterization of fiction as masculine or feminine, in this case I can allow that the terminology, while slanted is, if correctly translated, just.  Joe Ponepinto is a very talented, accomplished, and mature writer.

Perhaps my favorite story in the whole collection is “Living in Dark Houses,” a story in which a troubled and abused teen finds a hero and unlikely mentor in another teen, slightly older, who has had his own childhood likewise taken away from him.  The surprising ending is one which I leave Ponepinto’s readers to discover, along with all the other fine fiction contained in the book.  It is a veritable treasure trove of perspectives, all of which overtly examine the topic of obsession while not obscuring the path to it, which we may find ourselves going down any day.  Ponepinto is not wincing away from the path that leads willy-nilly through it and to startling and marvelously evocative conclusions, true pictures of the human condition which make us wonder if we are really any of us free of eccentricity and oddness.  It is this ability first and foremost to connect with one’s fellows which characterizes the best and most talented achievers of all time in the field of fiction, and Joe Ponepinto is seemingly quite capable of laying claim in the course of time and further writings to be one of that august number.  Way to go, Joe!  You’re an excellent model to follow!  (And now, we’re all waiting for the next book to come out!)

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“A thinking woman sleeps with monsters. The beak that grips her, she becomes.”–Adrienne Rich

Yes, my post today is about monsters.  Once again, monsters have solicited my attention (I actually went in search of some of the more literal ones, but more of that anon).  The first monster that I want to write about, however, is the monster of vanity.  As Adrienne Rich points out above, “a thinking woman” (which I like to believe I am) “sleeps with monsters.  The beak that grips her, she becomes.”  Having been gripped by the monster of wounded vanity (why is it, I asked myself, that so often when I write my little heart out fewer people read, and when I don’t write for a whole week, my stats go up?), in my injured pride I said, “Take a holiday from writing, you aren’t being appreciated anyway.”  (So as you see, from only being momentarily attacked by the vain impulse, I let it have its head and actually became that empty being for a week, one who could be writing but isn’t, out of a sort of misdirected, misbegotten spite.)

Then, I found yet another quote about monsters, also apropos of this situation:  as Francisco José de Goya y Lucientes said, “Imagination abandoned by Reason produces impossible monsters:  united with her, she is the mother of the arts and the source of their wonders.”  The fact of the matter is, I wasn’t being reasonable, but was indulging an overactive imagination.  What about the many times when I had written frequently, and been rewarded not only by readers on my stats, but also by “likes” and even more by comments in return?  So, even if sometimes people do seem to be reading more when I don’t write, they are at least reading, and my monstrous vanity should be restrained in its imaginative excesses by a dose of Reason, since I would like to be thought of as somewhat “artful” in my pursuit of literary topics and truths.  This is what I told myself, today when I checked my stats again and was once again puzzled, but decided to write anyway, because I have been busy off fighting game monsters for almost a week now, and felt it was time to stop sulking and do a post.  Maybe compare notes with others who’ve had the same experience?

As George Seferis (Giorgios Sefiriades) made clear in his speech for the Nobel Prize, “When, on the road to Thebes, Oedipus met the Sphinx, who asked him her riddle, his answer was:  Man.  This simple word destroyed the monster.  We have many monsters to destroy.  Let us think of Oedipus’ answer.”  So, it’s not necessary to be an absolute drudge in one’s keeping of a series of posts, only a thinking woman [I take it Sefiriades wouldn’t have excluded Woman from the universal expression “Man”] who says something when she has something to say, and leaves the readers to enjoy what’s there when and if they can get around to it, just as she posts when she can get around to it.  Without fancy excuse or offended rejoinder.  And if by being more a part of Humankind and admitting to some faults one can best slay them, then all to the better.

Finally in my pantheon of notable quotes for the day, Friedrich Wilhelm Nietzsche had this to say about monsters and mirror images:  “Whoever fights monsters should see to it that in the process he does not become a monster.  And when you look long into an abyss, the abyss also looks into you.”  I have been playing (for at least the last five days, off and on) the Monsters’ Den:  Book of Dread follow-up game Monsters’ Den Chronicles.  It’s a new offshoot of the original game and has such weapons as vampiric swords and armor which suck your enemies’ health or power (or both, if you get a really prime piece of equipment), and “shadow” warriors on both sides, who mimic the abilities of the main characters or suborn their powers as their own.  Nietzsche wouldn’t have been amused (or would he?).  In this game, a misguided group of negative religionists have founded a dungeon that the player’s characters must go through, “defeating”–the word “killing” is rarely used–the enemy as best they can.  It’s not a matter of simply having a different religious preference (thank goodness for that, or who in their right mind would want to play it and incur the self-reproach of not being tolerant towards others’ beliefs?); it’s a matter of fighting “real-life” monsters like vampires, nightmares, banshees, ghouls, the general undead, and the acolytes, neophytes, and armored beings who keep them going.  That makes it safe for everyone’s conscience.  Certainly, however, the combative edge one needs to maintain means being ruthless, and many of the weapons and skill sets encourage this.

Why do I play, and what is the main thing I feel this game gives me?  Strategic lessons.  It’s not a multiple explosion, car wreck, violent blood spatter kind of game, but merely a game which occasionally has some imaginative visual effects of spells and potions and hits on enemy targets, and which sedately shows a small pile of bones like the ones on a pirate’s flag when you finally beat each enemy.  It requires careful thought and negotiations between various pieces of equipment you find/purchase in order to get the best “bang for your buck,” and you must constantly be on your guard and calculating the best means of balancing four characters’ differing skills and talents against any number of from one to six opponents of sometimes quite a superior number of “hit points” (life expectancy, potency, abilities).  I feel that my strategic thinking about what weapons to use in life has improved (whether we’re talking about words or tactics for living):  quick calculations of possibilities and potential outcomes is a skill like any other, and while some prefer to work crossword puzzles, I find this game more compelling (at least for now) than the crosswords I used to work so frequently.  And that’s my say (now, Nietzsche might think I’ve looked too long into the abyss and given it a chance to peer too deeply into me in return, but I don’t feel I’m a monster yet, if ever.  I’m extremely unlikely to assault anyone or act out in strange ways, as is the effect of some other sorts of computer games of the more violent variety, and as a really keen incentive, this dungeon system has a shopping emporium!  Could anything be more appealing to your average peaceable warrior than a chance to buy and sell equipment, potions, and miscellaneous items and upgrade all at the same time?).  Seriously, though, having fought my demons (even the vanity one) by taking a few days off and trying not to worry too much about stats (except the gaming kind) has given me a much needed breather from end-of-the-summer doldrums.  I do hope to continue to post regularly, but I thought a small dose of honesty wouldn’t come amiss, just in case you thought I had given up the ghost (let’s see, now, how many hit points does the average ghoul have….?).

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