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I took up violin because my best mate had taken it up, so I did likewise.

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Violin

Four strings across the bridge,
Ready to carry me over,
Over the quavers, drunk in the bars,
Out of the realm of the orchestra,
Out of the realm of the orchestra.
Filling me up with the shivers.
Filling me up with the shivers and quivers.
Filling me up with the shivers.
Get the bow going!
Let it scream to me:
Violin! violin! violin!
Get the bow going!
Let it scream to me:
Violin! violin! violin!
Paganini up on the chimney,
Lord of the dance,
With nero and old nicky.
Whack that devil
Into my fiddlestick!
Give me the banshees for b.v.s,*
Give me the banshees for b.v.s.
Jigging along with the fiddle, oh, johnny.
Jigging along with the fiddle-dee-dee.
Jigging along with the fiddle, oh, johnny.
Jigging along with the fiddle-dee-diddle-dee-dee!
Get the bow going!
Let it scream to me:
Violin! violin! violin!
Get the bow going!
Let it scream to me:
Violin! violin! violin!
Get the bow going!
Let it scream to me:
Violin! violin! violin!
Get the bow going!
Let it scream to me:
Violin! violin! violin!

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Amy Lowell

The Cremona Violin

Part First

Frau Concert-Meister Altgelt shut the door.
A storm was rising, heavy gusts of wind
Swirled through the trees, and scattered leaves before
Her on the clean, flagged path. The sky behind
The distant town was black, and sharp defined
Against it shone the lines of roofs and towers,
Superimposed and flat like cardboard flowers.

A pasted city on a purple ground,
Picked out with luminous paint, it seemed. The cloud
Split on an edge of lightning, and a sound
Of rivers full and rushing boomed through bowed,
Tossed, hissing branches. Thunder rumbled loud
Beyond the town fast swallowing into gloom.
Frau Altgelt closed the windows of each room.

She bustled round to shake by constant moving
The strange, weird atmosphere. She stirred the fire,
She twitched the supper-cloth as though improving
Its careful setting, then her own attire
Came in for notice, tiptoeing higher and higher
She peered into the wall-glass, now adjusting
A straying lock, or else a ribbon thrusting

This way or that to suit her. At last sitting,
Or rather plumping down upon a chair,
She took her work, the stocking she was knitting,
And watched the rain upon the window glare
In white, bright drops. Through the black glass a flare
Of lightning squirmed about her needles. 'Oh!'
She cried. 'What can be keeping Theodore so!'

A roll of thunder set the casements clapping.
Frau Altgelt flung her work aside and ran,
Pulled open the house door, with kerchief flapping
She stood and gazed along the street. A man
Flung back the garden-gate and nearly ran
Her down as she stood in the door. 'Why, Dear,
What in the name of patience brings you here?

Quick, Lotta, shut the door, my violin
I fear is wetted. Now, Dear, bring a light.
This clasp is very much too worn and thin.
I'll take the other fiddle out to-night
If it still rains. Tut! Tut! my child, you're quite
Clumsy. Here, help me, hold the case while I -
Give me the candle. No, the inside's dry.

[...] Read more

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You're My Mate

Ill tell you what I think, I think shes a cow
Shes let you down too many times now
Lets go for a drink, forget it for now
Put It behind you, I think its your round
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
And in the face of things that could hurt you
Youre my mate and I will stand by you
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
And in the face of things that could hurt you
Youre my mate and I will stand by you
Cause youre my mate
Ill tell you what I think, I think hes a pain
He aint got a car, but he drives you insane
Lets go for a drink and sink a few
Enough about him lets talk about you
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
And in the face of things that could hurt you
Youre my mate and I will stand by you
Cause youre my mate
All I wanna do is get drunk here with you
All I wanna do is get drunk here with you
All I wanna do is get drunk here with you
All I wanna do is get drunk here with you
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
And in the face of things that could hurt you
Youre my mate and I will stand by you
Cause youre my mate and I will stand by you
Youre my mate and I will stand by you
And in the face of things that could hurt you
Youre my mate and I will stand by you
Cause youre my mate
Cause youre my mate
Cause youre my mate
Cause youre my mate
Cause youre my mate
TAXI

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The Cruise of the 'In Memoriam

The wan light of a stormy dawn
Gleamed on a tossing ship:
It was the In Memoriam
Upon a mourning trip.
Wild waves were on the windward bow,
And breakers on the lee;
And through her sides the women heard
The seething of the sea.

“O Captain!” cried a widow fair,
Her plump white hands clasped she,
“Thinkst thou, if drowned in this dread storm,
That savèd we shall be?”

“You speak in riddles, lady dear,
How savèd can we be
If we are drowned?” “Alas, I mean
In Paradise!” said she.

“O I’ve sailed North, and I’ve sailed South”
(He was a godless wight),
“But boy or man, since my days began,
That shore I ne’er did sight!”

The Captain told the First Mate bold
What that fair lady said;
The First Mate sneered in his black beard—
His eyes burned in his head.

“Full forty souls are here aboard,
A-sailing on the wave—
Without the crew, and, ’twixt us two,
I think they’ve none to save—

“Full forty souls, and each one is
A mourner, as you know.
They weep the scuppers full; the ship
Is waterlogged with woe.”

Again he sneered in his black beard:
“The cruise is not so brief,
But, ere we land on earthly strand,
All will have found relief.”

“Nay, nay,” the Captain said, “First Mate,
You have forgotten one
With eyes of blue; the tears are true
From those dear eyes that run!

“She mourns her sweetheart drowned last year,

[...] Read more

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The Amber Whale

WE were down in the Indian Ocean, after sperm, and three years out;
The last six months in the tropics, and looking in vain for a spout,—
Five men up on the royal yards, weary of straining their sight;
And every day like its brother,—just morning and noon and night—
Nothing to break the sameness: water and wind and sun
Motionless, gentle, and blazing,—never a change in one.
Every day like its brother: when the noonday eight-bells came,
'Twas like yesterday; and we seemed to know that to-morrow would be the same.
The foremast hands had a lazy time: there was never a thing to do;
The ship was painted, tarred down, and scraped; and the mates had nothing new.
We'd worked at sinnet and ratline till there wasn't a yarn to use,
And all we could do was watch and pray for a sperm whale's spout—or news.
It was whaler's luck of the vilest sort; and, though many a volunteer
Spent his watch below on the look-out, never a whale came near,—
At least of the kind we wanted: there were lots of whales of a sort,—
Killers and finbacks, and such like, as if they enjoyed the sport
Of seeing a whale-ship idle; but we never lowered a boat
For less than a blackfish, —there's no oil in a killer's or finback's coat.
There was rich reward for the look-out men,—tobacco for even a sail,
And a barrel of oil for the lucky dog who'd be first to 'raise' a whale.
The crew was a mixture from every land, and many a tongue they spoke;
And when they sat in the fo'castle, enjoying an evening smoke,
There were tales told, youngster, would make you stare—stories of countless shoals
Of devil-fish in the Pacific and right-whales away at the Poles.
There was one of these fo'castle yarns that we always loved to hear,—
Kanaka and Maori and Yankee; all lent an eager ear
To that strange old tale that was always new,—the wonderful treasure-tale
Of an old Down-Eastern harpooneer who had struck an Amber Whale!
Ay, that was a tale worth hearing, lad: if 'twas true we couldn't say,
Or if 'twas a yarn old Mat had spun to while the time away.

'It's just fifteen years ago,' said Mat, 'since I shipped as harpooneer
On board a bark in New Bedford, and came cruising somewhere near
To this whaling-ground we're cruising now; but whales were plenty then,
And not like now, when we scarce get oil to pay for the ship and men.
There were none of these oil wells running then,—at least, what shore folk term
An oil well in Pennsylvania,—but sulphur-bottom and sperm
Were plenty as frogs in a mud-hole, and all of 'em big whales, too;
One hundred barrels for sperm-whales; and for sulphur-bottom, two.
You couldn't pick out a small one: the littlest calf or cow
Had a sight more oil than the big bull whales we think so much of now.
We were more to the east, off Java Straits, a little below the mouth,—
A hundred and five to the east'ard and nine degrees to the south;
And that was as good a whaling-ground for middling-sized, handy whales
As any in all the ocean; and 'twas always white with sails
From Scotland and Hull and New England,—for the whales were thick as frogs,
And 'twas little trouble to kill 'em then, for they lay as quiet as logs.
And every night we'd go visiting the other whale-ships 'round,
Or p'r'aps we'd strike on a Dutchman, calmed off the Straits, and bound
To Singapore or Batavia, with plenty of schnapps to sell

[...] Read more

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Mate-man, Mate-woman

Mate-man, mate-woman were expressions
Jack London’s wife and Jack would use,
not only in their mating sessions
but whenever they would schmooze.
Daddy-boy and Mother-girl
were alternatives, but I
prefer the mate words when I whirl
my woman round while feeling spry.
Partners should not be a daddy
or a mother when they mate,
for how could they then be the baddie
whom lusty lovers love to date?

I get pleasure in abundance
from my mate, though she’s a mother,
Croydon hoyden she, I London’s
imperfect product whom no other
has managed to call from the wild,
domesticate, however rash
I used to be, a London child.
For her I even take out trash,
mate-woman always to me, and
the trophy of the man she twirls
around her here in La-La land,
the greatest of all Mother girls.

Inspired by Thomas Meaney’s review of Paul Malmont’s novel “Jack London in Paradise” (“Jack London, island playboy, ” LA Times, January 5,2009) :

[T]he sex scenes in 'Jack London in Paradise' come as an unexpected pleasure. Here is Jack with his temptress wife, Charmian: 'With a mournful groan, he slid onto the bed next to her... she placed her hand tenderly on his belly then slowly slid it down to where everything remained soft.' To which Charmian responds, winningly: 'Here in Aloha-land you'll grow as strong as you ever were... My Mate-Man.' Under the covers, Malmont is at his campy best, whether he means it or not (and yes, he is on firm historical footing - 'mate-man' and 'mate-woman' were the Londons' actual pet names for each other) .

1/5/09

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You're The Violin

You're the violin
Nazareth
Some beat me like a drum
Some stroke me like a guitar
Some shake me like a tambourine
Some beat me into the wall
In the song of my life
Baby, you're the violin
Some blow me like a horn
Some slide me like a trombone
Some smoke me like a tuba dude
Some cut me like a saxophone
In the song of my life
Baby, you're the violin
When you touch me like you touch me
Don't it feel like a summer breeze
When you lay down in my lonely soul, ya
It brings me to my knees
Think i'm makin' love to you
Sweet baby, ya
When you touch me like you touch me
Well, don't it feel like a summer breeze
When you lay down in my lonely soul, ya
It brings me to my knees
Think i'm makin' love to you
Sweet baby, ya
Some beat me like a drum
Some stroke me like a guitar
Sh-sh-sh-shake me like a tambourine
Some beat me into the wall
In the song of my life
Baby, you're the violin
In the song of my life
Baby, you're the violin
(words and music by nazareth)
Copyright 1975 jenevieve music (bmi)

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Walt Whitman

Out of the Cradle Endlessly Rocking

Out of the cradle endlessly rocking,
Out of the mocking-bird's throat, the musical shuttle,
Out of the Ninth-month midnight,
Over the sterile sands and the fields beyond, where the child
leaving his bed wander'd alone, bareheaded, barefoot,
Down from the shower'd halo,
Up from the mystic play of shadows twining and twisting as
if they were alive,
Out from the patches of briers and blackberries,
From the memories of the bird that chanted to me,
From your memories sad brother, from the fitful risings and
fallings I heard,
From under that yellow half-moon late-risen and swollen as
if with tears,
From those beginning notes of yearning and love there in
the mist,
From the thousand responses of my heart never to cease,
From the myriad thence-arous'd words,
From the word stronger and more delicious than any,
From such as now they start the scene revisiting,
As a flock, twittering, rising, or overhead passing,
Borne hither, ere all eludes me, hurriedly,
A man, yet by these tears a little boy again,
Throwing myself on the sand, confronting the waves,
I, chanter of pains and joys, uniter of here and hereafter,
Taking all hints to use them, but swiftly leaping beyond them,
A reminiscence sing.

Once Paumanok,
When the lilac-scent was in the air and Fifth-month grass
was growing,
Up this seashore in some briers,
Two feather'd guests from Alabama, two together,
And their nest, and four light-green eggs spotted with brown,
And every day the he-bird to and fro near at hand,
And every day the she-bird crouch'd on her nest, silent, with
bright eyes,
And every day I, a curious boy, never too close, never
disturbing them,
Cautiously peering, absorbing, translating.

Shine! shine! shine!
Pour down your warmth, great sun!
While we bask, we two together.

Two together!
Winds blow south, or winds blow north,
Day come white, or niqht come black,
Home, or rivers and mountains from home,
Singing all time, minding no time,

[...] Read more

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Marshall's Mate

You almost heard the surface bake, and saw the gum-leaves turn --
You could have watched the grass scorch brown had there been grass to burn.
In such a drought the strongest heart might well grow faint and weak --
'Twould frighten Satan to his home -- not far from Dingo Creek.

The tanks went dry on Ninety Mile, as tanks go dry out back,
The Half-Way Spring had failed at last when Marshall missed the track;
Beneath a dead tree on the plain we saw a pack-horse reel --
Too blind to see there was no shade, and too done-up to feel.
And charcoaled on the canvas bag (`twas written pretty clear)
We read the message Marshall wrote. It said: `I'm taken queer --
I'm somewhere off of Deadman's Track, half-blind and nearly dead;
Find Crowbar, get him sobered up, and follow back,' it said.

`Let Mitchell go to Bandicoot. You'll find him there,' said Mack.
`I'll start the chaps from Starving Steers, and take the dry-holes back.'
We tramped till dark, and tried to track the pack-horse on the sands,
And just at daylight Crowbar came with Milroy's station hands.
His cheeks were drawn, his face was white, but he was sober then --
In times of trouble, fire, and flood, 'twas Crowbar led the men.
`Spread out as widely as you can each side the track,' said he;
`The first to find him make a smoke that all the rest can see.'

We took the track and followed back where Crowbar followed fate,
We found a dead man in the scrub -- but 'twas not Crowbar's mate.
The station hands from Starving Steers were searching all the week --
But never news of Marshall's fate came back to Dingo Creek.
And no one, save the spirit of the sand-waste, fierce and lone,
Knew where Jack Marshall crawled to die -- but Crowbar might have known.

He'd scarcely closed his quiet eyes or drawn a sleeping breath --
They say that Crowbar slept no more until he slept in death.
A careless, roving scamp, that loved to laugh and drink and joke,
But no man saw him smile again (and no one saw him smoke),
And, when we spelled at night, he'd lie with eyes still open wide,
And watch the stars as if they'd point the place where Marshall died.

The search was made as searches are (and often made in vain),
And on the seventh day we saw a smoke across the plain;
We left the track and followed back -- 'twas Crowbar still that led,
And when his horse gave out at last he walked and ran ahead.
We reached the place and turned again -- dragged back and no man spoke --
It was a bush-fire in the scrubs that made the cursed smoke.
And when we gave it best at last, he said, `I'LL see it through,'
Although he knew we'd done as much as mortal men could do.
`I'll not -- I won't give up!' he said, his hand pressed to his brow;
`My God! the cursed flies and ants, they might be at him now.
I'll see it so in twenty years, 'twill haunt me all my life --
I could not face his sister, and I could not face his wife.
It's no use talking to me now -- I'm going back,' he said,

[...] Read more

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Walt Whitman

Sea-Shore Memories

OUT of the cradle endlessly rocking,
Out of the mocking-bird's throat, the musical shuttle,
Out of the Ninth-month midnight,
Over the sterile sands, and the fields beyond, where the child,
leaving his bed, wander'd alone, bare-headed, barefoot,
Down from the shower'd halo,
Up from the mystic play of shadows, twining and twisting as if they
were alive,
Out from the patches of briers and blackberries,
From the memories of the bird that chanted to me,
From your memories, sad brother--from the fitful risings and fallings
I heard,
From under that yellow half-moon, late-risen, and swollen as if with
tears, 10
From those beginning notes of sickness and love, there in the
transparent mist,
From the thousand responses of my heart, never to cease,
From the myriad thence-arous'd words,
From the word stronger and more delicious than any,
From such, as now they start, the scene revisiting,
As a flock, twittering, rising, or overhead passing,
Borne hither--ere all eludes me, hurriedly,
A man--yet by these tears a little boy again,
Throwing myself on the sand, confronting the waves,
I, chanter of pains and joys, uniter of here and hereafter, 20
Taking all hints to use them--but swiftly leaping beyond them,
A reminiscence sing.


Once, Paumanok,
When the snows had melted--when the lilac-scent was in the air, and
the Fifth-month grass was growing,
Up this sea-shore, in some briers,
Two guests from Alabama--two together,
And their nest, and four light-green eggs, spotted with brown,
And every day the he-bird, to and fro, near at hand,
And every day the she-bird, crouch'd on her nest, silent, with bright
eyes,
And every day I, a curious boy, never too close, never disturbing
them, 30
Cautiously peering, absorbing, translating.


Shine! shine! shine!
Pour down your warmth, great Sun!
While we bask--we two together.

Two together!
Winds blow South, or winds blow North,
Day come white, or night come black,

[...] Read more

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George Eliot

God Needs Antonio

Your soul was lifted by the wings today
Hearing the master of the violin:
You praised him, praised the great Sabastian too
Who made that fine Chaconne; but did you think
Of old Antonio Stradivari?--him
Who a good century and a half ago
Put his true work in that brown instrument
And by the nice adjustment of its frame
Gave it responsive life, continuous
With the master's finger-tips and perfected
Like them by delicate rectitude of use.
That plain white-aproned man, who stood at work
Patient and accurate full fourscore years,
Cherished his sight and touch by temperance,
And since keen sense is love of perfectness
Made perfect violins, the needed paths
For inspiration and high mastery.

No simpler man than he; he never cried,
"why was I born to this monotonous task
Of making violins?" or flung them down
To suit with hurling act well-hurled curse
At labor on such perishable stuff.
Hence neighbors in Cremona held him dull,
Called him a slave, a mill-horse, a machine.

Naldo, a painter of eclectic school,
Knowing all tricks of style at thirty-one,
And weary of them, while Antonio
At sixty-nine wrought placidly his best,
Making the violin you heard today--
Naldo would tease him oft to tell his aims.
"Perhaps thou hast some pleasant vice to feed-
the love of louis d'ors in heaps of four,
Each violin a heap--I've naught to blame;
My vices waste such heaps. But then, why work
With painful nicety?"

Antonio then:
"I like the gold--well, yes--but not for meals.
And as my stomach, so my eye and hand,
And inward sense that works along with both,
Have hunger that can never feed on coin.
Who draws a line and satisfies his soul,
Making it crooked where it should be straight?
Antonio Stradivari has an eye
That winces at false work and loves the true."
Then Naldo: "'Tis a petty kind of fame
At best, that comes of making violins;
And saves no masses, either. Thou wilt go

[...] Read more

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Blue Blooded Woman

Blue blooded womans
She loves a violin, I love a fiddle
We go separate ways but we meet in the middle
Dont see eye to eye but were hand in hand
A blue blooded woman and a redneck man
The lady I love loves silk and satin
She was raised uptown with a silver spoon
Well, I was born on a farm just south of jackson
We had an old ford tractor and a country moon
She loves a violin, I love a fiddle
We go separate ways but we meet in the middle
Dont see eye to eye but were hand in hand
A blue blooded woman and a redneck man
Shes saks fifth avenue perfection
Caviar and dignified
Well, I live my life in wal mart fashion
And I like my sushi southern fried
She loves a violin, I love a fiddle
We go separate ways but we meet in the middle
Dont see eye to eye but were hand in hand
A blue blooded woman and a redneck man
She loves a violin, I love a fiddle
We go separate ways but we meet in the middle
Dont see eye to eye but were hand in hand
A blue blooded woman and a redneck man
Shes a blue blooded woman, Im a redneck man.

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Of Ancient Mastodon, Sleepy Bee & Young Men Who Leap Too Soon From Bridges - Nightingale Confesses Into Straighter Teeth

'...descend, and of the curveship lend a myth to God.' - Hart Crane

Pueri aeterna, septem cadens
Etiam plures ad

The boys eternal, seven falling
Too many more to come

Jamey Rodemayer
Tyler Clementi
Raymond Chase
Asher Brown
Billy Lucas
Seth Walsh
Justin Aaberg

Sub olivae, pacem
Ut vos omnes adoremus orientatio

Under the olive trees, peace
May you all adore this orientation


******

"I imagine one of the reasons people cling to their
hates so stubbornly is because they sense, once
hate is gone, they will be forced to deal with pain."

- James Baldwin


'Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood

Do not ask me to see it! '

- Federico Garcia Lorca*


1


Even the pigeons on my stoop are silent now.

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My Father, With His Arthritic Hands

My father, with his arthritic hands
Closes his door, picks up the bow
Tucks the bit under his chin
Tunes it real low
My father can compete with the world's best bands
My father plays the violin.

His eyes are dim but the notes are clear
His hearing is faulty but we can hear
The songs that pour out from within
People outside stop to listen
When my father plays the violin.

He opens up another world
Far from stress and pain
I become a child again
As without a word
He picks up the bow, tunes it real low
My father plays the violin.

My father with his arthritic hands
Holds a magnifying glass to his eyes to read
He sits out there under the clear blue skies
Now that he can hardly walk
(Luckily my sisters are there when he needs to talk) .
And when its dusk and he enters within
Then with his arthritic hands
Father picks up his violin.

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Misaking A Mistress For A Violin

MISTAKING A MISTRESS FOR A VIOLIN


The man who mistook his mistress for a violin
is the subject of a book by J. M. Coetzee.
Mistaking music for a mistress is a sin
more serious than to eat bread without saying motsi.

When sex becomes a contest in which you subject
erotic will to your opponent, wife or wench,
don’t treat her like a piece of bread, and don’t object
if she declares she is not ready yet to bensch.

Motsi is the Hebrew name of a piece of bread a Jew may not eat before saying a blessing, hamotsi lehem min ha’arets, meaning “He who brings forth bread from the earth.” Bensch means “bless, ” and in the context of eating bread it refers to the blessing that in Hebrew is called birkat hamazon, meaning “the blessing for food.” Coetzee’s description of himself as “the man who mistook his mistress for a violin” is clearly an allusion to Oliver Sacks’s story of the man with visual agnosia who mistook his wife for a hat.

The poem was in part inspired by Tim Parks’s review of J. M. Coetzee’s “Summertime: A Fiction, ” a novel that may or may not be autobiographical (“The Education of ‘John Coetzee, ’” NYR (February 11,2010) :
Following Boyhood (1997) and Youth (2002) , Summertime concludes J.M. Coetzee's autobiographical trilogy. It is a teasing and surprisingly funny book, at once as elaborately elusive and determinedly confessional as ever autobiography could be. If Boyhood and Youth were remarkable for Coetzee's use of the third person (the author declining to identify with his younger self) and the present tense (a narrative device more commonly associated with fiction than memoir) , Summertime takes both distancing and novelizing a step further. Despite our seeing Coetzee's name on the cover and hence assuming the author alive and well, we are soon asked to believe that he is now dead, the book being made up of five interviews conducted by an anonymous biographer who is speaking to people he presumes were important to the writer during the years 1972–1975.
Coetzee writes about the affair he has, possibly fact, possibly fiction, with a psychotherapist called Julia:
John, she says, was actually “a minor character” in a drama played out between herself and her husband. While the latter was traveling, the lovers enjoyed an “erotic entanglement” in the marital bed. Yet John was peripheral to her life; at the one moment when she was ready to leave her husband and he could have become a major player, he “took fright” and snuck out of the hotel where she was sleeping….Certainly there’s comedy to be had in the description of this willfully unassertive man partnering a woman who sees sex “as a contest, a variety of wrestling in which you do you best to subject your opponent to your erotic will.” “He was not in my league, ” Julia complains. When John tries to persuade her to moderate her lovemaking to fir the slow movement of a Schubert string quintet, the better to “re-experience” the sexual feelings of a bygone age, Julia shows him the door. “The man who mistook his mistress for a violin, ” she comments.

1/30/10

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George Meredith

The Three Maidens

There were three maidens met on the highway;
The sun was down, the night was late:
And two sang loud with the birds of May,
O the nightingale is merry with its mate.

Said they to the youngest, Why walk you there so still?
The land is dark, the night is late:
O, but the heart in my side is ill,
And the nightingale will languish for its mate.

Said they to the youngest, Of lovers there is store;
The moon mounts up, the night is late:
O, I shall look on man no more,
And the nightingale is dumb without its mate.

Said they to the youngest, Uncross your arms and sing;
The moon mounts high, the night is late:
O my dear lover can hear no thing,
And the nightingale sings only to its mate.

They slew him in revenge, and his true-love was his lure;
The moon is pale, the night is late:
His grave is shallow on the moor;
O the nightingale is dying for its mate.

His blood is on his breast, and the moss-roots at his hair;
The moon is chill, the night is late:
But I will lie beside him there:
O the nightingale is dying for its mate.

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His Mate

IT MAY have been a fragment of that higher
Truth dreams, at times, disclose;
It may have been to Fond Illusion nigher—
But thus the story goes:
A fierce sun glared upon a gaunt land, stricken
With barrenness and thirst,
Where Nature’s pulse with joy of Spring would quicken
No more; a land accurst.

Gray salt-bush grimmer made the desolation—
Like mocking immortelles
Strewn on the graveyard of a perished nation
Whose name no record tells.

No faintest sign of distant water glimmered
The aching eye to bless;
The far horizon like a sword’s edge shimmered,
Keen, gleaming, pitiless.

And all the long day through the hot air quivered
Beneath a burning sky,
In dazzling dance of heat that flashed and shivered:
It seemed as if hard by

The borders of this region, evil-favoured,
Life ended, Death began:
But no; upon the plain a shadow wavered—
The shadow of a man.

What man was this by Fate or Folly driven
To cross the dreadful plain?
A pilgrim poor? or Ishmael unforgiven?
The man was Andy Blane,

A stark old sinner, and a stout, as ever
Blue swag has carried through
That grim, wild land men name the Never-Never,
Beyond the far Barcoo.

His strength was failing now, but his unfailing
Strong spirit still upbore
And drove him on with courage yet unquailing,
In spite of weakness sore.

When, lo! beside a clump of salt-bush lying,
All suddenly he found
A stranger, who before his eyes seemed dying
Of thirst, without a sound.

Straightway beside that stranger on the sandy

[...] Read more

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To a Dead Mate

There's many a man who rides today
In the lonely, far out-back;
There's many a man who makes his way
On a dusty bushland track;
There's many a man in bush and town
Who mourns for a good mate gone;
There are eyes grown sad and heads cast down
Since Henry has passed on.

A mate he was, and a mate to love,
For mateship was his creed:
With a strong, true heart and a soul above
This sad world's sordid greed.
He lived as a mate, and wrote as a mate
Of the things which he believed.
Now many a good man mourns his fate,
And he leaves a nation grieved.

True champion he of the lame and halt:
True knight of the poor was he,
Who could e'er excuse a brother's fault
With a ready sympathy.
He suffered much, and much he toiled,
With his hand e'er for the right:
And he dreamed and planned while the billy boiled
In the bushland camp at night.

Joe Wilson and his mates are sad,
And the tears of bushwives fall,
For the kindly heart that Henry had
Had made him loved of all.
There's many a man who rides today,
Cast down and sore oppressed;
And thro' the land I hear them say:
'Pass, Henry, to your rest.'

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My Name Is Reckless

My name is reckless;
I’ve passed my test
so I know how to drive.

I ignore all the honking horns
as I weave through the traffic
in the sports car I bought last week.
I’m the greatest driver
you ever want to meet.

You see my name is reckless;
I’ve passed my test
so I know how to drive.

No one can beat me
as I race down roads everywhere.
The speed limit
mean nothing to me,
that for only learners

Because my name is reckless,
I’ve passed my test
so I know how to drive.

I took my mate out
for a spin to show him all I new.
We raced around the roads.
I’d driven down them before
so I knew them like the back of my hand.

My name is reckless;
I’ve passed my test
so I know how to drive.

As we raced along
an articulated lorry
was stretched across the road.
I knew I could go under it
so I told my mate to duck.

My name is reckless;
I’ve passed my test
so I know how to drive.

My mate didn’t hear me
as the music was so high
so when the roof came off so did my mate as well.
I escaped with minor injuries,
but my mate died at the scene.
They told me they were charging me

[...] Read more

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