Showing posts with label Cambodian genocide. Show all posts
Showing posts with label Cambodian genocide. Show all posts

Saturday, June 7, 2014

memory card: kuan yin: 7 june




The old plum tree is boundless. / A hard cold rubs the nostrils. Attend the breath; it is film, banyan, mosaic. Four empty squares grow in Kuan Yin's Waikiki mural. A construction worker in green shirt, white helmet, stands on a scaffold to pull her down, tile by blue tile. Make space for Saks, for Christian Dior. After the war ended, Hongly encountered Khmer Rouge soldiers, one of whom was sick. Asked to take the man to hospital, he drove a wooden cart miles down jungle roads. Fear in the man's eyes, knowing what he must have known. Nine of my family members died in that “hospital,” Hongly said, outside a blue building in Battambang. And then we ate lunch. You cannot see Kuan Yin for her shopping cart, her wall eyes. They're meeting in secret now, sending emails without her address. She called the ambulance when she found a man dying in the bushes. So many maggots, the ambulance driver wouldn't take him in. When asked, Nico Schultz, of Taubman Co., LLC, responded: “We recognize, respect and appreciate the protection and prosperity Buddha and the goddess Quan­­ying have bestowed on the property through their mural for the last 30 years." Toward the end of his life, my father grew more deaf. A maid in Waikiki brought cold water in a bucket for his burned feet. They assure us the old banyan tree will be protected.

                                                                              --7 June 2014

Notes:
Old palm tree: Dogen 
Kathy J. Phillips has a beautiful book about Kuan Yin, here.
News article on the Kuan Yin mural coming down, here.

Thursday, June 5, 2014

memory card: "quantum": 5 june

 
 

Is there not a sufficient quantum of distress and misfortune? The door opens to a room of fluttering post-its: lines of Proust, grocery lists, small maps of a house, inspirational blurts. My card would say: I am white; I am not here for you. If this disturbs you, please check my privilege at the door. “We're not the same race,” my son says to me. I am not bird to his bird, but bear, sheepdog, meerkat. Merchant of origins, time's your tarp, cover-up. Find faces in the leaves, death's graft in green. Pinned like butterflies on cork, my son's eyes look out at me. Last night he browsed headphones on amazon, read the 3-star reviews. I tell my student to use the past tense, personal pronoun. Love of origins breeds sentiment: not these leaves in resin, post-it notes. A fan sweeps back & forth; the Black guard thinks he knows me. Short white English professor, woman.


                                                                  --5 June 2014


Notes:
Is there not? 1789 W. Belsham: OED.
Card based on Adrian Piper's work.
Faces in leaves by Binh Danh. 
I found the image on a page with poems by Robert Schultz. Synchronicities. Nominal, if not family, resemblances...
I was thinking of a particular exhibit at the Smithsonian last summer, but when I tried to find it on google, I got this. 

Saturday, September 7, 2013

Meditation: On Honors 491: Memory & Forgetting


We're reading Daniel Schacter's The Seven Sins of Memory in my honors class. Many of memory's sins have to do with its lack, others with its false, or incomplete fulness. One of my students said he finds the book "disturbing." "It's like we're just a mechanism," he said, adding that "the NSA already knows what we're thinking and now people know why we're thinking it!" Another student fears her tendency toward "cryptomnesia," a word I could not remember in class, which means "unintentional plagiarism." Cryptomnesiacs are visual thinkers. They set up their days according to images of it. At day's end, they believe these images true, whether or not they acted on them.

Because of this course, I seem to have become a mother confessor of memory loss. In the elevator a colleague with whom I don't usually talk much asks me about the course (some of the index cards I used to advertise it ended up in the elevator for a while, mysteriously). The second time she sees me asks about being over 40, about why she can't remember names. I remember Schacter's diagram sketching out why we so easily forget names, that the the line in the diagram denoting a name sticks out by itself in the top left. Like the oddball in a family, this branch of the tree sits alone, lacking stories, lacking detail, without any way for us to remember its arbitrary beauty. I start to describe the diagram for her as I walk out of the elevator. I've gotten to the outer stick when the door starts to close. "There's a reason!" I call out, as she disappears behind the elevator's trap.


In class, we rehearse our forgetting: keys, cars, alarm clocks. It's like an Elizabeth Bishop poem, our litany of losses. We're spending a lot of time remembering our forgetting. I remember forgetting a student's M.A. thesis defense. I'd been on a trip to England; I'd had a hard time recovering from jet lag. I was sitting on the cream colored couch (before it was reupholstered in another version of the same color) when the phone rang. The committee was in a small room about to launch the defense and where was I? I was where I could not drive in quickly enough, so I appeared via speaker phone. I remember we talked about his unexpected use of a form John Ashbery used in April Galleons. The form was one of repetition with a difference; see the Kalevala. And then I made another mistake of forgetting with that same student. Remember all those directed readings I did for free? Remember the publications? I want to say, but of course those do not count in the face of my unprofessional forgetting.

Avishai Margalit writes about ways in which forgetting can be unethical. Something about an Israeli officer forgetting an atrocity. When I go to amazon to look for his book because I cannot find my own, I see he makes a distinction between "thick" memory and "thin" memory, the memory that binds us together and that which does not. That I had forgotten my student's important dates, twice, bordered on the unethical, was also due to a conflict between us in classes (and yet I was the boss, yes, and hence more ethically challenged). No atrocity that--the student is thankfully now a tenure-track professor in another department--the sense that the sins of absent-mindedness and transience could be interpreted--by him and me--as unethical is a lesson I cannot forget.

But if an army officer acts unethically when he forgets a war crime, what of nations, governments, that insist remembering theirs? The archives of Hitler's Germany and Pol Pot's Cambodia are full of faces. Almost all of us remember faces, even when we cannot bear to look at them. Children, parents, people with suitcases and those in pajamas without. Tourism develops around genocide. See Emma Willis's work on "dark tourists." (And there are tourisms that ignore others.) Genocide is not only destruction on an enormous scale; it is also the forced manufacture of memories. Bad ones, vivid ones. Their faces are like suns. We need to witness them obliquely. I cannot look directly at this small girl from the S-21 website because she is sad, because she resembles--at least racially--one of my family members. I cannot look at her because I know this to have been one of her last acts as a living being, that of staring into the camera at those of us who cannot save her.

Memories are like the humidity in Cambodia; they stick to everyone's skin. We traveled with Khmer Rouge survivors. Each one, at some unexpected moment, usually while we eating another large meal, opened up. There were stories about having no shoes, stories about lost family members, stories about walking to Thailand. There were the stories that were only hinted at (something happened in the camps). There were stories that filtered down to their children and to the rest of us. We held those stories as if they were mercury, not knowing how to embrace their poison without wounding ourselves. The wound, we knew, was a gift (in German the false friend for gift is "poison"). But it was a gift we wanted to accept and then to contain, to corral, to put into a box to cool.

Our semantic memory (for facts) is best when we repeat information over time, when we enact the way in which it first came into being. Episodic memories remain because we experienced an event. If you are under 80, try remembering Pearl Harbor, and then turn to your memories of 9/11.  The first set of memories will be textbook, the second set involve waking up in your own bed (in Hawai`i) to the news ("airplanes flew into the Twin Towers and they came down") that we all shared (thick memories) because of our televisions. But the repetition of something forgotten makes for odd memory, indeed. I remember my own episodes of forgetting; they are litanies of something that did not happen, all the more painful because it did not. An odd watered down inversion of PTSD, the persistent memory of something that did happen.

My mother never had an especially good memory. As a young woman, she recalled, she'd heard about mnemonics, had given it a try. She was introduced to a woman whose name also signified a cow, maybe a Jersey. The next time she saw this woman she called her "Mrs. Hereford," and that was the end of her memory experiment. As a child I suffered from loss. Loss of stuffed animal, loss of person, loss of whatever I had misplaced, even at a very young age. Loss triggers memory, but memory triggered what in me proved to be depression. I've read that depressives have over-active memories, and I believe it. Memories clustered when I was depressed, like sequins on fancy dress. They shone like pins. As an adult I experienced my mother's painful loss of her own memories. Whose pain was it? It's its own kind of loss, this loss not of a thing but of memory itself. When memory loss ends, for it is process-bound, emotions associated with loss drain away. For now, an emotion provokes my memory; in that future I cannot know because I cannot remember it, forgetfulness might drain emotion from me. It's part of the mechanism. "Meet Mason on Monday," said my student, when I asked them to write a memorable sentence.




"The Last Modernist," a prose piece I wrote about the ethics of forgetting can be heard here.  The poem originally appeared in Boston Review; Oct/Nov2004, Vol. 29 Issue 5, p 26.











Monday, January 7, 2013

"Awkwardness, Joy, Sadness": a trip to Cambodia



History matters, chronology less so.  That's what a trip like ours to Cambodia (and three days in Vietnam) teaches, if only because its intensity so outstrips sequence. No events on the trip proved banal, but none were as powerful as the few hours we spent in Prey Phkoam Village, Angkor Borei District, Takeo Province, Cambodia, where our son Sangha was born. There we found many of his blood relatives and their entire village waiting to meet us. 

But let me start with Hongly Khuy.  We've known Hongly since 1999 or 2000, when we were in the process of adopting our son from Cambodia.  He was the go-to guy for translations of paper work, so much paper work. He also wrote me large note cards to let restaurant workers know of my allergy to peanuts, an important part of many Cambodian dishes. Hongly has visited several of my classes over the years to talk about his experiences during the Khmer Rouge genocide. His first visit was the most raw; many of the students had a hard time dealing with the fact that he laughed after telling the story of a woman who asked for more food and was killed on the spot. (Such laughter, I've come to learn, is culturally determined, although I also read into it a response to horror's absurdity.) In later classes, he moderated the tale until it lost much of its bite. Nonetheless, students had met a man who nearly starved to death, and who is now at the center of Oahu's Cambodian community of two or three hundred people. 

Outside Battambong, we made a mysterious stop. This was not unusual; those of us who hadn't traveled with Hongly before (this was his 13th mission under the auspices of the University Baptist Church, whose Cambodian congregation he heads) rarely knew what would happen next. The written itinerary was wrong as often as it was accurate, and left many such stops off. I and several others scampered behind Hongly, who was carrying a small bouquet of flowers, past the Buddhist temple on the left, past the monks' housing on the right, to a small cemetery beside a rice paddy. There were several large, engraved stones. Off to the side was a smaller stone, unmarked, on which Hongly put his flowers before he ducked behind some bushes to do other, more secular, business. This was the marker for his father's grave, one of thousands in the area, who'd starved to death in the late 1970s. Hongly found the site at the time and left a brick or stone; he came back later and had the body moved to his village near Phnom Penh. But the stone remains, as does his pilgrimage.

As we walked back to the bus we paused to look at a building next to the parking lot. A dour blue building, it appeared unpopulated. That had been a hospital where many died, including Hongly's nieces and nephews. His sister had seen light flowing out of the building at night when they died.



We got on the bus and went to a restaurant to eat. Such was our trip and, in some ways, a notion of Cambodian history that emerged from it. Memories, often without memorials. A haunted landscape on which was little evidence of what haunted it--after all, the country is full of young people, and is changing rapidly, its cities full of new construction, its roads cluttered with pony carts, buses, motor bikes, and Lexuses (evidence of new ostentation, along with the large gated houses going up in cities and rural areas). Memories like those of James Chan, who grew up so poor he didn't have a shirt for school and got thrown out. Who needed a bicycle tire and was given the money for it by a friend of his brother, who then couldn't afford lunch. Who escaped Cambodia in the late 70s, like so many, spending two years in Thailand's refugee camps, who is still married to the woman (Yun) his parents chose for him 45 years ago. Who played the mandolin non-stop in and out of the bus. Memories like Hongly's, who saved two Khmer Rouge soldiers (they wondered why) and who cannot but forgive those caught up in that net of history. And rituals like eating, whether under a school or house, in a road-side restaurant, or in the bus. Those added a layer of myth, a happier circularity, to the history.

We traveled to Angkor Wat. For Bryant and me it was a second visit. For Sangha and Radhika a first. Sangha, who was given a permanent visa on entry (I could here the immigration men say "Khmer" as they set eyes on him) got in free, the rest of us paid $20. Twelve years ago the place was teeming less with tourists than with landmine victims resting on a crutch, begging, and children begging. There was no security then; you could scramble over the temples as you wished. This time the place was crowded with tourists--local, European, Asian--and we didn't see a single landmine victim. Sellers were the new beggars, urging you into their shops, plying you with cheap teeshirts and books and other trinkets. (The relation between souvenirs and memorials troubles my writing.) The temples here are too magnificent to be mere memorials, but of course they are, to a time in Khmer history when invaders and locals alike built long walls that they covered with carvings of Hindu battle scenes, then long walls they didn't get around to carving because another edifice needed to be constructed. It's an amazing place, resting in a heavy humidity, and hot. As in a mall in Phnom Penh, Hongly ran into someone he knew here, this time a man who lived in Hawai`i for a while, and now works for months at a time with a telecom company in Cambodia.

Our trip was a mission by the Cambodian congregation and friends from the University Baptist Church in Honolulu. There were many sermons, short and long, including one by a Cambodian pastor named Barnabas Mam; his sermon was in Khmer, but those of us stuck in English sensed that it was a stem-winder. This was the 13th iteration of the mission, which stops at small villages, many of them those from which team members came, and at churches (those with buildings and those without). We stopped at many schools to give bicycles, toothpaste and toothbrushes, over-the-counter medications (to the elders), balloons and toys, and to sing and speak. My family is not Christian and at one point I said so, adding that the Buddhist principles I try to live by include compassion, a cornerstone of this trip. We felt awkwardness about the emphasis on Christ and God, but not an aversion. Never did I get the sense that we were putting a dent in the poverty we encountered in these villages, but I also did not feel that our visits were trivial, especially those that involved family.

The least successful of these visits was to the Center of Peace Orphanage in Phnom Penh, where what was often an act of sharing--we brought gifts and songs, and got food and dance in return--seemed more a dog and pony show. Hongly, usually so funny and vibrant, began talking about "obedience and commitment," rather than joy. I felt a horrible weight as we entered the compound, encased in wire fencing, and saw the children seated across from the chairs we came to sit in. (The weight was mostly one of my memories of other orphanages.) They were older kids--the younger ones were on a trip, we were told--and the making of balloons thus seemed odd (though I never tire of seeing my husband making dogs and swords out of balloons). A middle-aged white man sat next to me in the back row. He let drop that these events happen often, that the kids have to sit through lots of singing and dancing, that the well-meaning purveyors of the entertainment never ask the kids about themselves. This was Brian Maher, a Christian minister, as it turned out engaged to the orphanage director Bophal Yos, Obama supporter, and one of the more incisive analysts of Cambodia that we met on the trip. He came to Cambodia in the early 1990s, stayed 15 years, and now moves back and forth between Phnom Penh and Seattle. From him we learned that the human rights violations of the Hun Sen government are mainly land grabs (later, with Sreang Heng of PEN Cambodia, we saw where parks had been taken for large buildings, where people had been kicked out of their homes and mansions built in their place, where a large Korean-financed building had been half-built, then abandoned in the face of the bad business outlook caused in large part by so much corruption). Brian told us that Cambodia has very few orphanages now; many were simply cash cows (we know about that first-hand) and how many were used to manufacture Christians--my words here. The government has closed most of them down. He said most of the children in Center of Peace were abused by family members. The grandmother of one child tried to bury her alive. When he asked them to chart their own journeys, one boy burst into tears. No one had asked him before.  But Brian added that he can't prod too much, because he has no idea how to put the pieces back together. To talk about trauma only sometimes alleviates it, as any reader of Holocaust or genocide literature knows. To talk about trauma can crack, break the nutshell that shields it.

Much of the rest of the trip seems an intense blur of events, children, games and songs, heat, roaming dogs and cats (in villages, restaurants, hotels), the sounds of dog fights at night and restaurant workers by day, calling out orders to the kitchen, long long dusty rides on the bumpy roads in a bus, and three days in Vietnam, where we were tourists and not relief workers or family. As these memories settle, doubtless some will come to the surface, earning their significance with time. But for now, one day and one day only stands out, comes back at all hours, and will. That was the day (December 24) when we visited our son's birth village in Takeo Province.

Several years ago a friend who adopted three Cambodian children with her husband told me that our former Phnom Penh driver was doing research for families who wanted to know their children's origins, that he had done work for her and her husband, that it was good work. Thinking we had nothing to lose, fearing that the corruption that ended all adoptions from Cambodia had touched ours, we asked him to do research for us. Not too long after I sent the first email to him, he sent back a long and very detailed report of his work, beginning with a bribe paid to the orphanage (which had told us nothing more than that our son was from Takeo Province, which is poor), and including two trips. He sent us a long story, a brief genealogy, and photographs.  A couple years later, Hongly's wife's relative Phally went to visit the village we learned about and sent more photographs. We went on this trip because Hongly said he would include the village on the itinerary if we came.

As the time drew near for the long ride to the village in Takeo Province, Sangha grew more and more anxious. He seemed angry that we'd taken him on the trip. He never much likes to travel, but is rarely hostile. There were a couple of evenings when I worried that the trip might implode for us over his unhappiness. I grew anxious that the story we had was not true (amazing how someone who doesn't believe in the truth in her own work suddenly becomes obsessed with it). Phally had made arrangements: there was to be a gift of rice, of lunch, of bicycles, and of the usual supplies. So we went.

As we drove through the arch that marks entry to the temple, an arch that reads Sambo Sakoa (or Ocean of Plenty) in Khmer, I saw a woman out the window to the left waiting for the bus. She was dressed in bright blue blouse and pants. I recognized her, but was unsure why. We got off the bus, stepping into a large public area near a huge gathering of children in white school shirts and many more villagers. An enormous sow walked around. But before I saw any of those clearly, she walked firmly up to Sangha and hugged him. She had tears in her eyes. She'd been in the photographs, was his aunt. Then, while certain moments stand out in my mind, others blur; there is no cause and effect any more, just feeling, confusion, sensation, confusion. The mission team did their bit for the gathered school children, including Sangha, who was called to say something by way of a Khmer translator. But we were drawn back into another crowd, one that contained two of Sangha's siblings, another aunt, a cousin (with orange hair and a cell phone), and dozens of curious onlookers. Photographs show Sangha and his birth family members in a tight circle inside another circle of people looking on.

Bryant and I left for a while to take photographs of the lake, what we could see of the village from its banks, the boats and large pigs strolling on the shore, rolling in the mud, stood in the quiet away from the central event. 


When we returned, we were told that there was a gathering at the one aunt's house, and we should  walk back out through the arch and into the village.  As we started down a small lane between houses (the village was very cramped for being in such a large landscape), a smiling woman stopped her motorbike and invited me on the back. I got on and off we went, down the lane, past people, past dogs, past pigs, past thatched and wooden houses, bouncing on the dirt road. She then led me to the gathering--more hundreds of people under a bright tarp--and Bryant and I were asked to sit on chairs that faced the crowd. Someone brought two glasses and a metal container of tea. Sangha sat in a small group in the front row of the large group. He was next to an old woman who turned out to be his grandmother; she looked stricken throughout the ceremony. She reached out and put her hand on his leg, then pulled it back. He also sat with siblings, a sister who had also been adopted out into Takeo Province at age four and had not returned until the day before this one, and a brother (another brother had left and has not been heard from). His aunt handed him a framed photograph (the photo only awkwardly nestles into the frame) of his birth mother, which he held on his lap. The town entertainer/MC took the mic and sang a song. Hongly was surprised that the song was so sad. But it was a song about losing someone you love and having that person return and so it made sense, even down to the moment he either forgot or claimed to forget the lyrics. Hongly called him to task for that, and the crowd laughed.

There were songs, and there was speaking by Hongly. At least a hundred people stared back, each adorned with a ticket pinned to their shirts and blouses indicating they'd had lunch sponsored by our group. Sangha began to look glassy-eyed, exhausted. Members of his birth family faded into their faces, showing little. And then we had to go. Sangha's orange-haired cousin took me by the arm and we tried to talk as we walked to the bus with the other aunty, more round-faced than the first, wearing a green blouse. We lingered at the bus, as others caught up to us. We got on the bus, Sangha near the back beside a the window, which he opened. Someone thrust a small school photo of Sangha from years ago at him. He pushed it back, wondering how the photograph had gotten there in the first place. Someone else stuck a piece of paper at him, pointing to his sister. It had on it a cell phone number and some names. And then we were gone.

When asked about the event the next day, Sangha said with great economy and wisdom that he'd felt "awkward, joyful because they are family, and sad when we left." He's given me permission to write this. I'm sure I have not done the day justice, but there will be many more days in which to meditate on what it means to find history, family, and then to see the moment close off again. To consider what it means to find family with whom one does not share language or culture. To meet family that's extremely poor and lives thousands of miles away. To acknowledge their grief, while permitting oneself joy in the presence of a son.

On the plane trip from Taipei to Japan's Narita Airport, I read an article in the International Herald Tribune about George Saunders, a writer whose work I know nothing about. It was one of those articles you read because you have time, not because you want to. Saunders came across as singularly wise, a man attuned to the teaching of writing as a spiritual rather than a professional activity. At one point in the interview, he talks about what it means to experience days when you observe everything: “For three or four days after that,” he said of the aftermath of a near plane crash, “it was the most beautiful world. To have gotten back in it, you know? And I thought, If you could walk around like that all the time, to really have that awareness that it’s actually going to end. That’s the trick.” These are days when a parent dies, a child is born or adopted, or the day we found Sangha's village and birth family. To be a writer means to cultivate these days, to try to have as many of them as you can. But they are necessarily rare. The universe opens a louver, then it closes. To have seen that shaft of light is what makes these days beautiful. To refuse the darkness that follows is a lesson at once spiritual and historical.

It was an honor traveling with Hongly and his team. I've known for a long time that Hongly is a remarkable man--Khmer Rouge survivor, community leader, husband, father--but what I learned on this trip is that he is also an ordinary person. There were over half a dozen other people like him on the trip, some older and less mobile than he is. Sambath Neuov, who was wheeled through every airport in a chair, submitted to all the rigors of the trip. Her lovely husband, Tan, to whom the TSA pays foolish attention. Muy Teck Chan, who sells aloha shirts in Waikiki and checks his stocks whenever wifi is up, bought ice cream and Cambodian malasadas and sugar cane juicers at every school stop, making both the vendors (their entire days' supply suddenly sold) and the children happy. Renee Keo, who said only that Thailand's refugee camps were awful places--she volunteered for the Red Cross so that she had something to eat--loved having her hair done by my daughter, and by hers. Her husband also came to Hawai`i in 1981. James and Yun Chan, Hongly and Chana, all of them ordinary beautiful people.



Relevant Tinfish publication, Corpse Watching, by Sarith Peou, can be found here (free pdf).

Thursday, September 22, 2011

Post-Trip Ruminations

[I've just returned from what I fondly called The Dementia Tour.  The Kelly Writer's House gigs had been planned for nearly a year; I'd thought going to Philadelphia would make it easier to visit my mother in Virginia.  But as it happened, my reading at the Writer's House included a farewell to the long project about my mother, which became, more importantly, a farewell to her.  And so I gave a reading, did a public interview with Al Filreis, and recorded a PoemTalk with Al, Leonard Schwartz, and Tom Devaney on a poem, "Eating Fried Chicken," by Linh Dinh.  After going to see my Cardinals beat the Phillies (though Al and I only heard the game as it was ending on the car radio, streaming St. Louis announcers into the bowels of Philadelphia), and spending time with a college friend and a couple of UNO pals, I went on the West Virginia University to give a talk on Alzheimer's writing, meet with grad students, and see old graduate school friends.]



That's the inventory.  But what actually happened?

Al Filreis began our conversation by noting that I have written about the Cambodian genocide, and he began to connect that content to the Alzheimer's writing I've done that offers a testimony of witness to my mother's decline.  But we adopted our son from Cambodia! I told Al.

Our friend Hongly Khuy was a survivor of the Khmer Rouge.  He's come to several of my classes to talk about his experiences.  He traumatized that first class of freshmen, talking about what it's like nearly to starve to death, what it's like to see a woman butchered to death for asking for more food (his laughter at the situation's absurdity bothered the students most), how far one had to walk simply to get a few grains of rice.  After a couple more such talks, he had grown much more gentle.  He talked differently.  Al distinguished between "deep memory" and "common memory."  Deep memory occurs in the present tense, always.  Common memory acquires a past tense verb, assumes a distance between the moment of trauma and the moment of story-telling.  It's easier on the teller and his audience, but less "true" to the experience.

That didn't diminish the force of Al's intuition about genocide and dementia.  If there are national dementias, imposed from above, then the Holocaust was one of them, enabled by forgetting on a massive scale.  The comparison comes at a slant, not directly.  Alzheimer's is nature's evil, not humanity's.  The disease is not ethical, though our reactions to it are.  But the force of Al's comparison hit hardest when I sat in on his Holocaust literature class and his students discussed Aharon Appelfeld's Story of a Life, which I later read on my brand-spanking-new electronic device.

Much of Dementia Blog and what followed on this Tinfish Editor's Blog happened not in "deep memory," but in the "deep present" of confronting Alzheimer's sufferers.  Or it may be the "deep demented tense," as it lives in an out-of-time that resembles the surreal in its reality.  Appelfeld writes about stuttering.  Do not tell the story because you cannot remember it, counsels the child who became the writer.  Do not claim to master any language, because you have either lost those you spoke or failed to attain full command of the new language.  A mother's loss is likewise the loss of her language, which was German.  Hebrew was an imposition, one he molded into a lifetime of work.  A mother's loss is the loss of her language into illness.  I do not want to overplay the comparison (I spent years furious at Plath's illness/Nazi metaphor), but reading Appelfeld's memoir proved to be an amazing exercise in reading a poetics that works for Alzheimer's writing, as well as Holocaust literature.

--I've carried with me my mistrust of words from those years.  A fluent stream of words awakens suspicion within me.  I prefer stuttering, for in stuttering I hear the friction and the disquiet, the effort to purge impurities from the words, the desire to offer something from inside you.  Smooth, fluent sentences leave me with a feeling of uncleanness, of order that hides emptiness (AA, 102-3)

After the war, Appelfeld writes, the memoirs and the books started to come out: "these pages carry a great deal of pain, but there is also within them much that is cliched and superficial.  The silence that had reigned during the war and for a short while afterward seemed to be swallowed up in an ocean of words" (104).  And then, most tellingly (as it were): "The really huge catastrophes are the ones that we tend to surround with words so as to protect ourselves from them" (105).

The direction of these catastrophes does not follow the same compass, and the silence is not shared between sufferer of Alzheimer's and caretaker or family member, but the sense of writing toward an awkward comfort is familiar to me.  Why do I not write down everything my children do?  Why instead did I obsessively write down everything I heard in the Alzheimer's home?  Why does lack of memory spark the desperate need to remember, while living with other memories does not?  The answers may seem clear, but then they blur back into lack of clarity, the stutter.  The comfort is in the record, not what has been recorded.  (I discovered that while reading some of the material out loud.)

Linh Dinh detests the poetry world; according to reports from that world, he has renounced poetry, as well.  It does no good, he says.  There is no audience.  Use photographs, use Counterpunch, use means that arrive at more doorways than does any line of verse.  His anger is sublime.  He has taken on all the hurts of our age.  I want to say to Linh, be easy, remember also to love the good.  Appelfeld did.  Some of the most moving passages in his book are about the goodness he felt in the midst of total murderousness.  Hard to remember the day after the murder of Troy Davis by the state of Georgia, but.  Leonard Schwartz spoke repeatedly about "big anger" and "little anger," about the importance of persuading readers not through direct action, but unconscious influence.  Not sure I go all the way with that idea, but agree that deflection (and to my mind, the carnivalesque) work better than onslaught.

In West Virginia the reunions with two grad school friends were good.  They'd been married for most of the time I've known them, and now they are not, but thrive in different ways that are lovely to see. John Ernest has written several important books on African American literature, history and theology of the 19th century, and now has an Eberly Chair at WVU.  Justin Legleiter, whose lab just got a $100,000 grant to study Alzheimer's, came to the talk and a dinner afterward.  I wish I understood his language better.  He got interested in Alzheimer's not through family experience, but because the problem so resembles a problem he started from in working on nano-technology.  Yes, that too becomes clear in the Alzheimer's world.  We are technologies, and our controls (remote or not) often do not work as planned. 

Appelfeld's book is about the power of the stories you cannot tell.  In so many ways, I identify with that problem, finding the stutter more eloquent than the speech, the search for memory as powerful as any memory your mind claims to hold to.  On returning home, I discovered in the mail pile a beautiful note from our department secretary Gayle Nagasako on the loss of my mother.  In the note, she mentioned also being an only child, and imagined the loneliness of the loss.  My mother spent her last years anti-social and then ill.  Her friends and neighbors fell away.  Without making too much drama of it, I am her last witness, the remnant of her memory.  It feels a burden, but as the man at Gate 8 alerted me, it is also, at times, a (loving) responsibility. 



[The reading & conversation with Al Filreis will be on PennSound soon, and the PoemTalk will come out in good time.]


Thursday, March 26, 2009

Sarith Peou cited in HARPER'S magazine




Sarith Peou's "Corpse Watching" cited in Harper's Magazine, April 2009

This month's Harper's features a long article on the Cambodian genocide and its aftermath by Ben Ehrenreich, namely "Cambodia's Wandering Dead: The Ghosts of Genocide Pay Penance for Western Guilt." The article is especially brutal on intersections between genocide and tourism in contemporary Cambodia. Ehrenreich opens his essay with a quotation from Sarith Peou's poem, contained in his Tinfish Press chapbook of the same title:

Some corpses catch in the thickets,
Some corpses catch in the reeds,
We don't want their spirits hanging around,
So we give them the push that they need.

We reprinted Sarith's book recently, after it was a finalist for an Asian American Workshop award. The book was designed by Lian Lederman and contains a second "book", which opens from the left, of photographs from the Cambodian Documentation Center in Phnom Penh. I suspect that's where Ehrenreich got his copy of the book.

For more details about the book, please see

http://tinfishpress.com under "chapbooks"

and consider purchasing one.

Many thanks to Ed Bok Lee, who wrote the book's introduction, for spotting the citation.