First some self-promotion: I’ll be doing a takeover of Shenandoah’s Instagram account next week, so please follow and watch the stories I post! Will try my best to be entertaining. (I have a short story coming out in the journal this Fall, so there’s definitely more promotion to come.)
A year into lockdown, our inner resources (of patience, imagination, perseverance…) are running low. Last month The Guardian published a story about writers who are finding themselves unable to write. They say they feel “stultified,” “completely cut off from material.” They note the irony: aren’t we writers always claiming what we need most is to be able to shut ourselves away and focus on our projects?
Clearly that alone isn’t the key. Imagination and inspiration are fueled by all our senses take in: “things like the clothes a stranger is wearing, the smell of their perfume, their body language, seeing a couple interact in a bar,” writer Gillian McAllister says. “I’m having to mine my memories for this stuff, which is less authentic and lacks a kind of specific detail that I like to write about in ordinary times.”
The article concludes with novelist Linda Grant noting that at least there’s solidarity to be found in this predicament: It’s “a once in a blue moon example of every writer being affected by exactly the same situation,” she says.
We have that, and the kind of travel we can do through reading. In today’s poem, written after many years in Brazil, Elizabeth Bishop considers what the ideas of here and there mean to an unsettled self. In the story, Ted Chiang takes us to a fantastical ancient Baghdad and then, through several stories within the story, far beyond that.
Fushimi Inari Taisha (Shinto shrine in Kyoto, photo taken by me quite a while ago)
Questions of Travel
There are too many waterfalls here; the crowded streams
hurry too rapidly down to the sea,
and the pressure of so many clouds on the mountaintops
makes them spill over the sides in soft slow-motion,
turning to waterfalls under our very eyes.
--For if those streaks, those mile-long, shiny, tearstains,
aren't waterfalls yet,
in a quick age or so, as ages go here,
they probably will be.
But if the streams and clouds keep travelling, travelling,
the mountains look like the hulls of capsized ships,
slime-hung and barnacled.
Think of the long trip home.
Should we have stayed at home and thought of here?
Where should we be today?
Is it right to be watching strangers in a play
in this strangest of theatres?
What childishness is it that while there's a breath of life
in our bodies, we are determined to rush
to see the sun the other way around?
The tiniest green hummingbird in the world?
To stare at some inexplicable old stonework,
inexplicable and impenetrable,
at any view,
instantly seen and always, always delightful?
Oh, must we dream our dreams
and have them, too?
And have we room
for one more folded sunset, still quite warm?
But surely it would have been a pity
not to have seen the trees along this road,
really exaggerated in their beauty,
not to have seen them gesturing
like noble pantomimists, robed in pink.
--Not to have had to stop for gas and heard
the sad, two-noted, wooden tune
of disparate wooden clogs
carelessly clacking over
a grease-stained filling-station floor.
(In another country the clogs would all be tested.
Each pair there would have identical pitch.)
--A pity not to have heard
the other, less primitive music of the fat brown bird
who sings above the broken gasoline pump
in a bamboo church of Jesuit baroque:
three towers, five silver crosses.
--Yes, a pity not to have pondered,
blurr'dly and inconclusively,
on what connection can exist for centuries
between the crudest wooden footwear
and, careful and finicky,
the whittled fantasies of wooden footwear
and, careful and finicky,
the whittled fantasies of wooden cages.
--Never to have studied history in
the weak calligraphy of songbirds' cages.
--And never to have had to listen to rain
so much like politicians' speeches:
two hours of unrelenting oratory
and then a sudden golden silence
in which the traveller takes a notebook, writes:
"Is it lack of imagination that makes us come
to imagined places, not just stay at home?
Or could Pascal have been not entirely right
about just sitting quietly in one's room?
Continent, city, country, society:
the choice is never wide and never free.
And here, or there . . . No. Should we have stayed at home,
wherever that may be?”
Who is this person?
Elizabeth Bishop was born in 1911 and grew up in Massachusetts and Nova Scotia. She attended Vassar College, where she was mentored by Marianne Moore and founded the literary journal Con Spirito with other women writers, including Mary McCarthy; after graduating, she traveled extensively before settling in Key West. Her first poetry collection, North and South, was published in 1946, and her second, Poems: North & South/A Cold Spring came out in 1955 and won a Pulitzer Prize. She lived in Brazil with the architect Lota de Macedo Soares for many years, but the relationship deteriorated; the influence of her time in Brazil comes through in the collection Questions of Travel (1965). Though she published only 101 poems in her lifetime, Bishop has been deemed by many critics one of the most important American poets. There’s a great essay about her biography here.
The Merchant and the Alchemist’s Gate (Excerpt)
O MIGHTY CALIPH AND Commander of the Faithful, I am humbled to be in the splendor of your presence; a man can hope for no greater blessing as long as he lives. The story I have to tell is truly a strange one, and were the entirety to be tattooed at the corner of one's eye, the marvel of its presentation would not exceed that of the events recounted, for it is a warning to those who would be warned and a lesson to those who would learn.
My name is Fuwaad ibn Abbas, and I was born here in Baghdad, City of Peace. My father was a grain merchant, but for much of my life I have worked as a purveyor of fine fabrics, trading in silk from Damascus and linen from Egypt and scarves from Morocco that are embroidered with gold. I was prosperous, but my heart was troubled, and neither the purchase of luxuries nor the giving of alms was able to soothe it. Now I stand before you without a single dirham in my purse, but I am at peace.
Allah is the beginning of all things, but with Your Majesty's permission, I begin my story with the day I took a walk through the district of metalsmiths. I needed to purchase a gift for a man I had to do business with, and had been told he might appreciate a tray made of silver. After browsing for half an hour, I noticed that one of the largest shops in the market had been taken over by a new merchant. It was a prized location that must have been expensive to acquire, so I entered to peruse its wares.
Never before had I seen such a marvelous assortment of goods. Near the entrance there was an astrolabe equipped with seven plates inlaid with silver, a water-clock that chimed on the hour, and a nightingale made of brass that sang when the wind blew. Farther inside there were even more ingenious mechanisms, and I stared at them the way a child watches a juggler, when an old man stepped out from a doorway in the back.
"Welcome to my humble shop, my lord," he said. "My name is Bashaarat. How may I assist you?"
"These are remarkable items that you have for sale. I deal with traders from every corner of the world, and yet I have never seen their like. From where, may I ask, did you acquire your merchandise?"
"I am grateful to you for your kind words," he said. "Everything you see here was made in my workshop, by myself or by my assistants under my direction."
I was impressed that this man could be so well versed in so many arts. I asked him about the various instruments in his shop, and listened to him discourse learnedly about astrology, mathematics, geomancy, and medicine. We spoke for over an hour, and my fascination and respect bloomed like a flower warmed by the dawn, until he mentioned his experiments in alchemy.
"Alchemy?" I said. This surprised me, for he did not seem the type to make such a sharper's claim. "You mean you can turn base metal into gold?"
"I can, my lord, but that is not in fact what most seek from alchemy."
"What do most seek, then?"
"They seek a source of gold that is cheaper than mining ore from the ground. Alchemy does describe a means to make gold, but the procedure is so arduous that, by comparison, digging beneath a mountain is as easy as plucking peaches from a tree."
I smiled. "A clever reply. No one could dispute that you are a learned man, but I know better than to credit alchemy."
Bashaarat looked at me and considered. "I have recently built something that may change your opinion. You would be the first person I have shown it to. Would you care to see it?"
"It would be a great pleasure."
"Please follow me." He led me through the doorway in the rear of his shop. The next room was a workshop, arrayed with devices whose functions I could not guess—bars of metal wrapped with enough copper thread to reach the horizon, mirrors mounted on a circular slab of granite floating in quicksilver—but Bashaarat walked past these without a glance.
Instead he led me to a sturdy pedestal, chest high, on which a stout metal hoop was mounted upright. The hoop's opening was as wide as two outstretched hands, and its rim so thick that it would tax the strongest man to carry. The metal was black as night, but polished to such smoothness that, had it been a different color, it could have served as a mirror. Bashaarat bade me stand so that I looked upon the hoop edgewise, while he stood next to its opening.
"Please observe," he said.
Bashaarat thrust his arm through the hoop from the right side, but it did not extend out from the left. Instead, it was as if his arm were severed at the elbow, and he waved the stump up and down, and then pulled his arm out intact.
=I had not expected to see such a learned man perform a conjuror's trick, but it was well done, and I applauded politely.
"Now wait a moment," he said as he took a step back.
I waited, and behold, an arm reached out of the hoop from its left side, without a body to hold it up. The sleeve it wore matched Bashaarat's robe. The arm waved up and down, and then retreated through the hoop until it was gone.
The first trick I had thought a clever mime, but this one seemed far superior, because the pedestal and hoop were clearly too slender to conceal a person. "Very clever!" I exclaimed.
"Thank you, but this is not mere sleight of hand. The right side of the hoop precedes the left by several seconds. To pass through the hoop is to cross that duration instantly."
"I do not understand," I said.
"Let me repeat the demonstration." Again he thrust his arm through the hoop, and his arm disappeared. He smiled, and pulled back and forth as if playing tug-a-rope. Then he pulled his arm out again, and presented his hand to me with the palm open. On it lay a ring I recognized.
"That is my ring!" I checked my hand, and saw that my ring still lay on my finger. "You have conjured up a duplicate."
"No, this is truly your ring. Wait."
Again, an arm reached out from the left side. Wishing to discover the mechanism of the trick, I rushed over to grab it by the hand. It was not a false hand, but one fully warm and alive as mine. I pulled on it, and it pulled back. Then, as deft as a pickpocket, the hand slipped the ring from my finger and the arm withdrew into the hoop, vanishing completely.
"My ring is gone!" I exclaimed.
"No, my lord," he said. "Your ring is here." And he gave me the ring he held. "Forgive me for my game." I replaced it on my finger. "You had the ring before it was taken from me."
At that moment an arm reached out, this time from the right side of the hoop. "What is this?" I exclaimed. Again I recognized it as his by the sleeve before it withdrew, but I had not seen him reach in.
"Recall," he said, "the right side of the hoop precedes the left." And he walked over to the left side of the hoop, and thrust his arm through from that side, and again it disappeared.
Your Majesty has undoubtedly already grasped this, but it was only then that I understood: whatever happened on the right side of the hoop was complemented, a few seconds later, by an event on the left side. "Is this sorcery?" I asked.
"No, my lord, I have never met a djinni, and if I did, I would not trust it to do my bidding. This is a form of alchemy."
He offered an explanation, speaking of his search for tiny pores in the skin of reality, like the holes that worms bore into wood, and how upon finding one he was able to expand and stretch it the way a glassblower turns a dollop of molten glass into a long-necked pipe, and how he then allowed time to flow like water at one mouth while causing it to thicken like syrup at the other. I confess I did not really understand his words, and cannot testify to their truth. All I could say in response was, "You have created something truly astonishing."
"Thank you," he said, "but this is merely a prelude to what I intended to show you." He bade me follow him into another room, farther in the back. There stood a circular doorway whose massive frame was made of the same polished black metal, mounted in the middle of the room.
"What I showed you before was a Gate of Seconds," he said. "This is a Gate of Years. The two sides of the doorway are separated by a span of twenty years."
I confess I did not understand his remark immediately. I imagined him reaching his arm in from the right side and waiting twenty years before it emerged from the left side, and it seemed a very obscure magic trick. I said as much, and he laughed. "That is one use for it," he said, "but consider what would happen if you were to step through." Standing on the right side, he gestured for me to come closer, and then pointed through the doorway. "Look."
I looked, and saw that there appeared to be different rugs and pillows on the other side of the room than I had seen when I had entered. I moved my head from side to side, and realized that when I peered through the doorway, I was looking at a different room from the one I stood in.
"You are seeing the room twenty years from now," said Bashaarat.
I blinked, as one might at an illusion of water in the desert, but what I saw did not change. "And you say I could step through?" I asked.
"You could. And with that step, you would visit the Baghdad of twenty years hence. You could seek out your older self and have a conversation with him. Afterwards, you could step back through the Gate of Years and return to the present day."
Hearing Bashaarat's words, I felt as if I were reeling. "You have done this?" I asked him. "You have stepped through?"
"I have, and so have numerous customers of mine."
"Earlier you said I was the first to whom you showed this."
"This Gate, yes. But for many years I owned a shop in Cairo, and it was there that I first built a Gate of Years. There were many to whom I showed that Gate, and who made use of it."
"What did they learn when talking to their older selves?"
"Each person learns something different. If you wish, I can tell you the story of one such person." Bashaarat proceeded to tell me such a story, and if it pleases Your Majesty, I will recount it here.
—Ted Chiang (Read the rest here)
Who is this person?
Born in Port Jefferson, New York, Ted Chiang began writing science fiction in high school. He has published two story collections, but his influence in both the sci-fi and literary fiction worlds is expansive. His short story, “Story of Your Life” was adapted into the movie Arrival; he has received, since 1991, a number of Hugo and Nebula Awards for his stories, novelettes, and novellas. He also works as a technical writer, and today lives in Washington state. In a New Yorker profile, Chiang told Joshua Rothman, “I’m curious about what you might call discredited world views… It can be tempting to dismiss people from the past—to say, ‘Weren’t they foolish for thinking things worked that way?’ But they weren’t dummies. They came up with theories as to how the universe worked based on the observations available to them at the time. They thought about the implications of things in the ways that we do now. Sometimes I think, What if further observation had confirmed their initial theories instead of disproving them? What if the universe had really worked that way?”
Write a poem or story about an experience of dislocation (external or internal.)
Alanna Schubach is a fiction writer, freelance journalist, and teacher. Follow her on Twitter @AlannaSchubach and read her work at alannaschubach.com. Send questions, recommendations for future newsletters, and the results of writing prompts (if you’re so inclined) to email@example.com