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The Red-eye Flight

When I was dropped off at the airport in Oregon, it was 11 p.m., 47
degrees, and drizzling. I was wearing long pants, a sweater, and a wide-brim
leather hat, but in my carry-on bag were a pair of shorts, sandals, and a T-
shirt. With cool rain dripping off my hat, it seemed beyond reason that when
the sun came up I would be in Texas, and by noon I would be in the
Bahamas.

Standing in line to check in, I wondered what ever happened to
the pre-trip buzz. I used to spend days in a giddy state, counting the hours
until I would leave. Now, even on departure day, you can hardly tell I’m
leaving. I packed for 10 days in the Caribbean in less than an hour.

We left Portland at midnight, and I was asleep before the drink
cart came by. The pilot had his speaker turned up to about 100 decibels,
though, so when he came on to welcome us and say, “Sleep well,” he
woke everybody up.

I’ve never fully processed the fact that while I sip ginger ale
and do some reading, we cross the Rocky Mountains. I catch a few winks, and
the Great Plains go by. When I ask for a cup of coffee at 5:30 a.m., I can see
the lights of Dallas-Fort Worth. And soon enough we step out of the metal tube
and into another airport/mall, just like the one a few hours ago, only this
one is thousands of miles away, beside the Gulf of Mexico instead of the
Columbia River.

Walking across the, ahem, Houston George Bush Airport, I saw ads
for Christian magazines, overheard a guy in a cowboy hat say, “one tough
sumbitch,” and saw a father-son pair wearing identical Astros hats. Other
than these details, I might as well have been in Vancouver. And this: At 6
a.m. in April, Houston was 74 degrees.

I’m always reminded of an NPR story, years ago, about a 90-year-
old woman who flew from San Diego to St. Louis. This was newsworthy because it
was the first time she had been back since going out West in a covered wagon
in the 1890s. It took her four months at age 5, four hours at age 90.

The technology of transportation is staggering, but I think
something has been lost. Along with telephones and e-mail, the airplane is
eliminating the spaces that exist between us. That has advantages, of course,
but the spaces between are, in many cases, definitive of the journey. Somehow
getting out West without even seeing the mountains doesn’t seem like going out
West. One should reach Texas by crossing vast, sun-baked plains, not while
sipping and reading and trying to sleep.

(Speaking of sipping: At the bar near my gate in Houston, a guy
was asking what time they start serving beer. This was at 6:50 a.m.)

Back into the metal tube, a bad breakfast in a box, and “to
your left is the mouth of the Mississippi River.” Most people didn’t even
look up from their newspapers or laptops. Two hours later we disembarked into
another mall, this one apparently in Fort Lauderdale. Everybody was in shorts
and flower shirts, showing off either their brand-new tans or their pasty-
white Northern winter skin.

My flight was in one of those wonderful six-gate waiting areas,
where at any given moment two announcements are being made and three ticket
agents are being yelled at. The whole place was filled with people from
Boston, New York, Hartford, and Philadelphia — cities where, to judge from
their ambassadors in Florida, no one is ever happy. I overheard stories of
previous airline incompetence, interrupted by spouses arguing pointless
details. “No, Frank, that was in ’92, not ’93, and it was Joanie who
picked us up at La Guardia, not Francine.”

An hour before departure time, with no agent at our desk, two
dozen people stood in line to check in. Everybody was in a nervous rush to get
there and relax.

When we finally walked outside and boarded the 18-seater for the
Bahamas, it was sunny and in the 80s, and I was wearing my shorts and sandals.
The amount of time that had elapsed since sweater and drizzle was a typical
night’s sleep, but I was beginning to feel the buzz. It was finally dawning on
me that I had left home and was on my way to a vacation. I had a little strut
in my step as I crossed the tarmac.

We took off over the beach — the other side of the continent —
and in an hour were descending to the landing strip in Marsh Harbour, over
clear ocean and under a cloudless sky. I leaned back in my seat, let go of the
nervous Easterners, thought of the ocean swim to come, and decided that near-
instant travel wasn’t such a bad thing after all.

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News News Feature

WE RECOMMEND (THE SUBLIME)

Well, it was quite a vision. Glowing orange sun setting into cobalt-blue sky, then turning dark and full of stars and a full moon. The Mississippi River slowly rippling and shimmering its way south. The thin green line of Arkansas in the distance. And up on stage, with tight red curls and a long black sequined gown blowing in the wind, her arms akimbo and reaching toward the sky, her voice belting out a tribute to Mahalia Jackson, sending the crowd into a frenzy. Yes, you know how I hate to harp, but I’m talking about Mavis Staples at the Memphis in May music fest Sunday night. Yeah, Dylan was fine. Yeah, I heard Ben Harper was great. But Mavis. The woman looked and sounded like some kind of soul goddess up there. It was a great moment in Memphis. And because Mavis made her most memorable mark with the Staple Singers at Stax records, that’s all the more reason for someone out there to shell out the remaining money needed to get the Stax Museum of American Soul built. Because once it is and the music academy for inner-city youth is up and running, who knows how many other Mavises Memphis might find and teach and inspire. But now I’m tired of writing about this (for now, that is; you’ll be getting much more about the Stax Museum if the Rapture doesn’t get us first). The other night, while relaxing on my front porch, I was having a long talk with my cat. She is now 15 years old and has decided that at this age why bother going all the way to the back of the house to use the bathroom, when she can just go right in the living room and licking any piece of plastic she can find to let me know that she would like another can of Fancy Feast because she’s just not in the mood for the flavor I have just given her. So I was telling her that, despite these little things that make my life a little more complicated than it would be if I weren’t having to put newspaper all over the floors and work two jobs to feed her, I loved her very much and was worried because she was getting up there in years. Was telling her she was the real love of my life. You know, all that mushy cat-lover talk. And it finally dawned on me: I’ve been talking to this cat incessantly for a decade and a half, and she has not understood one word of what I’ve said. Not a word. In fact, it was during this long talk the other night that I had this epiphany — because she cut her eyes at me and cocked one of them, as if to let me know that I was totally wasting my time. As if to say, Pop, you’re a nice guy, but would you please be quiet? I am a cat, for Heaven’s sake. Just stop talking and let me live in peace. So I stopped and now I’m tired of writing about this. The other day, I saw the ultimate sign that perhaps that aforementioned Rapture is on its way. I saw a woman who has been homeless on the streets of Memphis for many years. I see her almost every day. Sometimes we chat. This time, however, she was chatting to someone else — on a cell phone. Yes, a homeless woman on a cell phone. I’m telling you, clean up your lives. Then end is near. It was funny too, because while she was out there, a guy on a motorcycle drove up, a guy on a skateboard rolled up, a guy in a car drove up, and a guy on a horse rode up. And who knew her? Only the horseman knew her. Okay. Okay. Okay. I’m sorry. I’ve been writing this for 11 years. The market for psychotropic drugs has not made that many great new strides.

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News News Feature

MLGW REJECTS BENEFACTORS

Responding to a story in the issue of the Flyer that hit the streets yesterday (Wednesday May 9th), two Memphis men say they tried to pay the Memphis Light, Gas, and Water bill for a struggling south Memphis single mother. However, when they called MLGW both men say that the utility’s operators hung up the phone.

The two men, who have asked to remain anonymous, read the City Reporter story about Mamie Parker, a single mother of two severely asthmatic children who rely on a breathing machine for their lives and health. Parker, who is also caring for her mentally handicapped adult sister, says that the utility has vowed to turn off her power on May 11th if her entire bill is not paid in full. If her power is turned off, the children’s breathing machine will not function.

The bill, which is currently more than $400, is a hold-over from this winter’s natural gas crisis and MLGW’ s billing, which the Flyer reported was 25 percent over the national average. In her job as a custodian at Rozelle Elementary School, Parker makes $300 every two weeks. She says she has asked the utility numerous times to be included in the much-heralded SmartPay program, which divides steep bills into smaller monthly payments. Each time she has asked to be placed on the program she says she has been turned down without explanation. Parker also says she has asked to have a separate line in her house to power the breathing machine and has been denied this as well.

The two anonymous benefactors, who do not know each other, each told the Flyer that when they called MLGW’s general information line they were transferred several times and when they said they wanted pay Parker’s bill, the line went dead. Each man then called a second time, only to have this experience repeated.

MLGW’s chief communications officer Mark Heuberger, did not accept or return three telephone calls prior to Wednesday’s story and did not accept or respond to a call from the Flyer on Wednesday. The Flyer also left messages for MLGW President Herman Morris which were not returned.

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INVESTIGATION CONTINUES IN DOWNTOWN STABBING

An ongoing police investigation has yet to reveal why Robin Elizabeth Yevick was stabbed to death in downtown Memphis on Sunday, April 29th. According to officer LaTanya Able, the public information officer for the Memphis Police Department, investigators are “working diligently to solve the case but no new information has been discovered.”

Yevick, a 38-year-old resident of Hot Springs, Arkansas, was found dead just before 3 p.m., lying on Gayoso Avenue between Wagner Place and Front Street. She had apparently been stabbed in the throat several times. She had with her a black travel bag containing makeup and two small plastic bags.

On Tuesday, Memphis police were looking for a female suspect described as being a heavyset black woman with shoulder-length hair, standing about 5’7” to 5’9” and last seen wearing a blue shirt, blue pants, and white tennis shoes. Police were also looking for a man who may have witnessed the crime, but no description of the man was available.

Anyone with information on this crime is asked to call Crime Stoppers at 529-CASH.

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News News Feature

KICKING BACK

What a weekend, right? Here is some fresh prose commemorating it, of special interest to us Memphians:

“There’s only one Bob Dylan. “The singular place in history of the great folk-rock singer-songwriter, who’s riding a crest of popularity as he nears his 60th birthday, was one of the driving forces behind last night’s huge turnout at the. . .

“Nashville River Stages festival.”?!

Nope, no misprint. During the same three days that Memphis was engaging in its annual three-day riverfront music festival, Nashville was engaging in its three-day riverfront music festival. There may be only one Bob Dylan, but there were two places for him to hang out and stretch his legend over the last weekend.

In Nashville on Saturday night, as writer Thomas Goldsmith in The Tennessean notes, Dylan made sure to do songs from 1969’s Nashville Skyline (and a selection from Roy Acuff as well). In Memphis on Sunday night, Dylan made sure to do “Memphis Blues Again.” No problem: like Walt Whitman, Bob Dylan is large. He contains multitudes. There’s enough of him to go around.

But why should Tennessee’s two major cities be competing on this brand new front? I mean, two concurrent fully-fledged festivals, awreddy!

Or is this to be regarded more as the proverbial embarassment of riches? The Beale Street Festival, as we know, was sold out for its three-day run and set attendance records. And we have Thomas Goldsmith’s word for it that the turnout in Nashville was “huge.”

Sporadically, over the years and over the past few weeks, especially, as Memphis seemed about to gather its political and civic wits in an effort to Draw Even with Nashville on the big-league sports front (as if the NBA could hold a candle to the vaunted NFL, huh, Phil?), I have observed the unusual sense of rivalry that seems to exist between the two Tennessee towns.

Rivalry, hell! Sometimes it looks like pure detestation, as when my friend Larry Daughtrey, a distinguished political writer for The Tennessean and normally the very model of analytical decorum, got off some roundhouse shots at Memphis a few weeks back. (I have previously quoted these a place or two; not to overdo, he used terms like “perpetual inferiority complex,” “simmering mess,” “racial conflicts,” “nagging poverty,” “substandard schools,” and “sweltering August heat” by way of characterizing our town and its alleged envy of, and hatred for, Nashville.

A word a propos (which I have also uttered before, more or less): Memphis does not “envy” Nashville, much less “hate” said catch-up sister city, and any resentment that comes along with the relationship is better characterized as a kind of annoyance with the fact that Nashvillians seem to expect some sort of envy as their due.

Does the boogie “envy” the two-step? Give me a break!

As for that Tennessean sportswriter who characterized Memphis as “Newark” to Nashville’s “Manhattan” a few seasons back Ñ one A.S. (for “Social”) Climber, as I recall Ñ we’ll take our North Mississippi All-Stars (William Faulkner, Shelby Foote et al.) over your Fugitives (Robert Penn Warren, John Crowe Ransom, and company), our Esperians and Piazzas over your Dinah Shores, and our Mississippi over your Cumberland. Just for starters. As for impact on popular culture, music, especially, c’mon. Music Row’s is a mile wide; Sun/Stax/Volt’s is a mile deep. (And where do you think legendary producer/performer Jack Clement, -ex of Sun, learned to do his mesmerizing version of Hamlet’s soliloquy?)

But I rove.

Needs not these back-alley measuring contests. There are treasures in both towns. Ask Bob. As for the eternal question Ñ Aw, Mama, could this really be the end? Ñ the answer to that one sort of depends on which town you’re stuck in on a given weekend night. And which way you’re headed next on I-40.

(Jackson Baker KICKS BACK whenever the mood strikes on whatever topic interests him. In other words, watch this space.)

Categories
Art Art Feature

DUTCH TREAT

Most European countries have long, rich film traditions. But while nations such as France, Germany, and even Denmark have made formidable contributions to world cinema, the Low Countries’ role has been more sketchy. According to Robert Sklar’s Film: An International History of the Medium, however, one of the most important proto-cinematic innovations has roots in the Netherlands, this year’s Memphis in May honored country. In the mid-17th century, Dutch inventors devised a way to project painted images through a lens using light (either the sun or candlelight). This development led to the first self-contained projectors — Magic Lanterns — which included a light source, image, and lens all in one apparatus.

But since that crucial contribution to cinema’s prehistory, discussion of Dutch film is usually limited to two names — Joris Ivens and Paul Verhoeven. Ivens was an early political documentarian with roots in the Soviet style who, despite his own roots, made films all over the world, including the U.S. and China. Likewise, Verhoeven left the Netherlands for work elsewhere. Most Americans are familiar with his extreme (if often misunderstood) blockbusters RoboCop and Starship Troopers, but Verhoeven made many well-regarded films in his native Netherlands during the ‘70s and early ‘80s, including Soldier of Orange and The Fourth Man.

But the Netherlands’ film scene also gained a bit of international exposure a few years ago when director Mike van Diem’s severe but emotional Karakter (Character in the U.S.) won the 1998 Academy Award for Best Foreign Language Film. Karakter will be shown this week at Malco’s Bartlett Cinema Ten as part of Memphis in May.

Visually, Karakter is a harsh but striking blend of black, brown, and white — black suits, brown offices, and white snow. Set in Rotterdam during the early 1900s, the film opens with an aging court bailiff, Dreverhaven (Jan Decleir), found dead and a young lawyer held under suspicion of murder. The film is told in flashbacks as Katadreuffe (Fedja Van Huet), the lawyer, defends his innocence and describes to the police his relationship with Dreverhaven.

Dreverhaven, it turns out, is a vicious, heartless official who takes joy in ruthlessly evicting poor families. Katadreuffe, who we learn is Dreverhaven’s illegitimate son, describes him as “law without compassion, the curse of the poor.” Katadreuffe is conceived when Dreverhaven forces himself on his servant Joba (Betty Schuurman). Joba decides to flee rather than accept Dreverhaven’s marriage proposal and raises Katadreuffe in poverty. Katadreuffe grows up taunted by schoolmates as a bastard and, after learning the identity of his father, develops a hardened hatred for him.

But Dreverhaven watches his son’s growth from afar, inflicting what may be cruelty and what may be tough love. “Why don’t you leave our boy in peace,” Joba asks Dreverhaven during one of their rare meetings. “I’ll strangle him for nine-tenths, and the last tenth will make him strong,” the old man responds.

Karakter is based on a 1938 novel by Ferdinand Bordwijk that was a major bestseller in the Netherlands, and the film has a Dickensian feel. It is essentially a dark, spite-driven Horatio Alger tale: Poor Katadreuffe learns English (and much more) from an incomplete set of encyclopedias he finds abandoned in a new apartment his mother rents and works his way through bankruptcy to become a lawyer. But his largely unspoken family feud is never far from the surface of his life, culminating in the dramatic confrontation that bookends the film.

Karakter is a fine film, but viewers shouldn’t read too much into that Oscar win. The Best Foreign Language Film Oscar rarely rewards the most exciting international cinema. And it’s hard to say how much the period piece has to say about life in the Netherlands today. But quibbles aside, Karakter is still an accomplished film that’s worthy of this week’s big-screen showcase.

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News News Feature

BOX CAR EDDIE

[This story was first published in the November 1982 issue of Memphis magazine. It was re-published as part of the magazine’s 25th anniversary issue last month. Box Car Eddie died in 1990. HamptonSides is currently a freelance writer living in Santa Fe, New Mexico. His latest book, Ghost Soldiers: The Forgotten Epic Story of World War II’s Most Dramatic Mission, is being published by Doubleday this month.]

Some people have an uncanny way of getting by.

In Manhattan they’ve got people who live in asbestos bags. Out in Hong Kong Harbor they’ve got whole families floating in wooden shells no bigger than a bathtub, and up in Idaho you can find communes of the Rainbow People raising kids out of old school buses resurrected from the scrapheap.

You might call it creative living; you might just call it making do. But the bag ladies and the boat people of the world would be hard-pressed to match the ingenuity and the charm of Memphis’ most conspicuous freeloader, Box Car Eddie.

Eddie, if you haven’t already noticed him, is the Southern Railway junk man, the nocturnal scavenger of the Highland Strip, the gangly gentleman with the floppy white fisherman’s hat and the Bermuda cutoffs who always flashes a toothless smile and waves back if you call out his name politely.

He’s the one who inhabits that eclectic assemblage of crates and carpet remnants and pallets and buckets and two-by-fours — his friends call it “the mansion” — which stands defiantly against the elements and the traffic and the locomotives on the unlikely strip of sod between railroad tracks and Southern Avenue.

If he’s not snoozing inside, he’ll be stooping over his melon patch or burning trash in his incinerator or just ambling down the Strip running errands for proprietors. You can’t write him a letter, and you certainly can’t call him on the phone. But you can almost always find him puttering around the homestead making himself useful in the afternoon shade. And late at night when the tide goes out and the people go to sleep, he’ll be out collecting driftwood from the streets and the alleyways to add to his fortress.

If a man’s home is his castle, then Eddie is most assuredly a king. He’s lived in the boxcar mansion for over a year now, braving the cold of winter and the heat of July, defying the odds and the Health Department, enduring the late-night carousers and the three-engine trains. Box by box, board by board, Eddie has steadfastly built up his little castle, despite the traffic jams and the jeers and catcalls from people who have considered his masterpiece an eyesore. He has had to weather hailstorms and legal hassles over property rights. He has had to convince shop owners up and down the street that he means his business, that he’s here to stay.

But Eddie has persisted and he has convinced. And somewhere in the process the strange house that he’s built has become something of a Memphis landmark, an indelible piece of the city’s furniture, like an ant-hill in the thick of things that won’t go away.

Box Car Eddie is 60 years old, and he has a real name — Edward Jerome Williamson. He prefers for you to call him Edward, if you will. Sounds more respectful, he says. Edward has a thing for formality, and he goes to great lengths to get people’s names down right. It’s the way he operates. If you tell him your name is Dave, then he’ll call you Davidson every time. “I like for people to call each other by their correct names,” explains Edward in a deep resonant voice that moves so slowly that you can almost hear him think. “But in the course of matriculative civil relations, people are given to various abbreviations and the names get shortened and nicknames form. I guess I understand that, but I don’t like it.”

It might seem odd that someone who lives so informally would be such a stickler about proper names and proper language. But Eddie is the kind of person who will stand on the street corner, with his dress shirt unbuttoned to his navel, brushing his teeth and talking to some ordinary Davidson or Jonathan about the makeup of the stratosphere. He’s the kind of person who collects garbage and talks about aesthetics with this morning’s shaving cream still on his face. You might say he’s got a little of the absent-minded professor in his blood. “I can’t get to sleep a lot of nights,” he complains, looking vacantly out over the twilight traffic on Highland. “I’ll be laying in my bed in there just thinking about some idea running through my head. I’ll just be thinking. Thinking about some crazy, way-out idea, you know, some kind of something that won’t have a thing to do with my life and this place here.”

Edward was never a professor, but he says he went to college once. And he has always loved to read. He used to go to the library when he was a kid and sit at the table with a pile of books and spend the whole day reading. He liked to read about politics and architecture and meteorology and physics. He graduated near the top of his class at Manassas High in 1940 and then went to Chicago to read, he says, more books at Loyola College. He always read the papers and kept up with local elections, even though sometimes he found that people didn’t want him to vote because he was a black man. But he always read and kept up and studied anyway, until one year when he started seeing black dots before his eyes and the doctor told him he had glaucoma.

Eddie doesn’t read so much anymore, but he does like to talk, and he will talk to you about anything under the sun. He’ll tell you about the time he saw tadpoles and minnows raining from the sky. He’ll tell you about hopping trains in Milwaukee, and finding factory work up North and serving in the Army before the War. He’ll talk to you about the childhood days in the Klondyke section of North Memphis, about Beale Street in the Thirties, and about his jobs in print shops and plants in Memphis and Chicago and all points in between. He’ll offer you a bent filterless Camel, and explain how his study of architecture back in school influenced the subtle design of his boxcar mansion. He’ll talk about his rough times and his bright times, and he’ll tell you about the day ten years ago when he was breaking up concrete and wound up breaking his back.

Just like the Sanford and Son-style house he lives in, Eddie is a composite of many things. Sometimes he sounds like a very wise philosopher, and sometimes he sounds like a hardened tramp of the streets. He can be abstract enough, like when he discusses his theories of constitutional government (although they aren’t that easy to understand), or he can be down-to-earth, like when he talks about how he’s going to keep warm this winter. Maybe he’ll have a beer in his hand on Saturday night, but every Sunday morning he’ll decide to try out a different denomination and he’ll go to church. He’s a bit of a disappointment to his friends who want to have him baptized in the holy water of their church once and for all. But like Huck Finn, Eddie just can’t be reform-ed. He’s an inveterate freethinker, a loner, and you can’t change him for the world.

“You can’t tell Eddie how to live,” assures Houston Brown, owner of the Southern Meat Market across the street, and a good friend of Eddie’s. “He’s as honest as the day is long and he wouldn’t hurt a soul, but you can’t tell him how to live. He likes to live by himself. He lives the way he does because he chooses to live that way.”

But by choosing to live beside one of the busiest intersections in town, Eddie has inadvertently made himself a public figure. People want to know what he does with his time and why he lives in a pile of crates. Some make fun of him and throw things at his house. Some try to help out in small ways, and others just stare in sheer disbelief when they drive by.

Plenty of people — church people, government people, charity people — have come over with a fierce determination to convince him to change his way of living, and left unsuccessful. Folks with hearts in the right place give him clothes from time to time, usually around Christmas or Thanksgiving, but he gives them to Good-will more often than not. One time some officials from the Health Department tried to put him away in a home, but Eddie refused and that was the end of that.

It is not an easy life living like he does, working odd jobs and keeping odd hours and sleeping with the weather in a mildewed waist-high shack propped precariously in the middle of the city. But the people who know him well will tell you that he wouldn’t have it any other way. They will tell you that Eddie is happiest when he’s left to his own devices, salvaging grocery carts and broom handles, growing his own popcorn and melons. “He’s just a pack rat is what he is,” says Brown in his butcher shop. “He’d die in a year if he couldn’t keep on collecting things and doing like he likes to do.”

“If I could do anything with my life,” says Eddie, “I would like to be a source of inspiration to people. They could look at me and see a man who has sort of made something out of nothing. I still don’t really have anything, but I do have a little peace of mind. And that’s something a lot of folks in big fine homes don’t have.”

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Art Art Feature

A BEAST OF A BOOK

Monstruary

by Julian Rios

Knopf, 225 pp., $25

Imagine for a moment that through some strange rift in reality you have been physically transported to the absurd, unnatural, and harrowing world of a Hieronymous Bosch painting, but you’re blindfolded. What you hear is disquieting. What you smell is nauseating. Since you can’t see, providing narration for every terrible and nonsensical sight encountered is your disturbingly alliterative and alarmingly articulate guide Julian Rios, author of Monstruary.

Rios’ most recent book, masterfully translated from the Spanish by Edith Grossman, is nigh Joycean in its labyrinthine linguistic complexity, though you most likely can decipher its prose — unlike some of Joyce’s — albeit a bit dense and breathless.

Monstruary is the tale of Emil, our writer/artist/narrator, and his exceptionally gifted cadre of friends and acquaintances, who are all caught up in a world of high-octane art and bad-luck love. The title of the book comes from Emil’s friend Mons’ painting-series-in-progress, a number of works with many different recurring themes but one thing in common: chilling imagery, which Emil is all too happy to relate to his audience in horrific detail.

It seems Mons must first have a drunken nightmarish vision a la Bosch before his brush touches canvas:

The trampling angel with the body of curling clouds who plunges

ahead on petrified pillar legs that shoot fire like muskets and

make the earth tremble to the rhythm of a pile driver.

Ill-assorted multitudes of human figures with the heads of animals, vertebrate and invertebrate, and all kinds of beasts and insects

with the heads of men and women and mutants, semihuman masses

that swarm like ant colonies, surge like cresting waves, spill

like avalanches into chasms of darkness. …

A giant starling straddled by a naked Lilliputian. …

A tightrope walker with the head of a goldfinch.

A carp with the head of a duck.

A beetle with the gaunt, dissipated face of a young man.

Fish with human arms, men and women with fishtails …

Admittedly, this is a very odd book. While we learn the details of the characters’ lives and loves, we’re intermittently taken on descriptive roller-coaster rides regarding paintings and sculptures, the life of the mind of several artists, mysterious journals full of automatic writing penned by unaware mediums of dead wives (each almost indecipherable phrase rife with possible meanings), et cetera. And this roller coaster starts on page one.

Somewhat pretentious is the narrator’s ubiquitous plays on words, obscure puns, and alliterative phrases — that poor exhausted translator! — of which there have to be at least 20 on every single page. (Every character is a latent linguist.) No phrase is left unskewed by double entendre, no pun is left unpunned, and rarely is a sentence left in which every word does not echo another with the same sound or series of letters. Chew on this: “That delirious architecture seemed to spring from the opium visions of De Quincey and Coleridge, semisymmetries in a chaotic kaleidoscope where dromedary domes rose beneath the cupola of night, mad truncated caracole staircases against unsalvageable walls, lofty basalt rising over the abyss, pilasters soaring to the stars and splintered plinths and prostrate rostrate columns, the sharp beaked peaks of their rostrums earthbound, and alligators astride astragals in the black sun of melancholy.”

For many readers this will be too much to deal with. They’ll lose interest immediately, or, if intrigued, will simply be worn out by the sentence strata they have to constantly dig through to get at meaning. But there are plenty of masochist members of the intelligentsia who relish a very challenging book like this, obstinately difficult in its narrative bent. You just have to be a word junkie. You have to enjoy it like others enjoy puzzles. The meaning’s there, but you’ve got to know what to look for to get it.

Don’t get me wrong. I recommend Monstruary, especially if you love art and literature. But don’t eat too many pronto pups and cotton candy before you get on the ride, and for God’s sake keep your hands inside the car at all times.

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News News Feature

JAMBALAYA

GETTING IT RIGHT

Herb Kosten is a giant in the history of the Memphis sports market. From his days at Central High School in the Fifties through his years with the University of Alabama baseball team through the period in which he was a respected umpire on the pro tennis circuit, Kosten has been someone that all Memphians could point to with pride.

I know all of that. But somehow in a story about Kosten’s involvement with the ABA Memphis Pros this week in the Flyer, I got his name mixed up. To say that I misspelled it, would be giving me the benefit of the doubt. I screwed up. Royally.

People often talk about something or the other being the First Rule of Journalism. Well, if there is such a thing as the First Rule of Journalism it should be this: Spell the names right.

There is something permanent about the printed word, even in a free alternative weekly. If you make a mistake on radio or TV, you correct it and go on. In the weekly newspaper biz we have to live with our mistakes for at least a week.

I called Kosten to apologize as soon as I realized my mistake. He was gracious and kind. I think it might have been easier for me if he had been angry, but that would not have been Herb Kosten’s style.

Kosten was a two-sport star at Central High School. A hard-hitting shortstop and second baseman, he made the all-city team three times and twice led Memphis high schools in batting. He was also all-city in basketball two years, leading the Warriors to a runner-up spot in the state tournament. He won a baseball scholarship to Alabama, where he was twice voted to the all-SEC team as a third basemen. Later he was selected to the All-Century Alabama baseball team. He calls it is his “greatest honor in athletics.”

Kosten has also had been among the top amateur tennis players in the region. His daughters, Julie and Lori, were both ranked junior players. And today, Kosten owns Little Miss Tennis, one of the top makers of children tennis wear in the country.

But it was his involvement with the Memphis ABA team in the early ‘70s that drew my interest this week. As one of several businessmen that kept the Pros (later the TAMs and Sounds) in Memphis for five years, Kosten played a major role in the development of pro sports in this city.

Kosten is a long-time Tiger basketball fan, having owned season tickets for 39-consecutive years — dating back to the days at the Fieldhouse. In fact, he wonders how Memphis basketball fans will handle the adjustment to the pro game.

“In the college game, you come out to root for your team every game,” says Kosten who frequently attends NBA games out of town. “With the pros, you come out to watch the best players in the world, and root for the home team. There is a difference.”

And he still laments the fact that he and his partners were unable to come up with a local owner for the ABA team. If they had, Kosten believes, Memphis might have made it into the NBA when the two leagues merged in 1977.

But they didn’t and now Memphis stands at the threshold of being in the big leagues. Kosten thinks we have already been there. “I contend that the ABA franchise that we had here was the only major-league team we have had here because that league merged with the NBA,” he says, pointing out that 11 of the 20 players who participated in the first NBA all-star game after the merger came from the ABA.

Who will argue the point? Certainly not me. I’m not feeling very argumentative after the week I’ve had.

PLAYING ROAD SAGE

Once upon a time, before there were many people living and working downtown and before Tom Lee Park was expanded, it may have been smart to close Riverside Drive for the entire month of May. But it makes no sense at all today. It creates extreme traffic congestion on Front and other downtown streets. disrupts businesses, and makes it difficult to get from I-55 to I-40. It’s time to say no to MIM. Close Riverside for the big events, like this weekend’s music fest, but the rest of the week keep it open to through traffic.

YOUR SERVE, NOLAN

John Calipari has made no secret of his dislike for the attention the area SEC teams get in Memphis. Like refusing to call the University of Mississippi by its preferred nickname, Ole Miss. By saying that he may not continue playing the Rebs and Arkansas. And by saying that his critics on talk radio are “just SEC fans.”

So it was only appropriate, on the day of Jim Rome’s “Smack-Off,” a story appeared in The Commercial Appeal in which Calipari talked a little smack of his own.

“We don’t need Arkansas to fill our building,” Cal told Zack McMillin. “Now, they might need us to fill theirs.”

Bet Arkansas coach Nolan Richardson,no shrinking violet himself, will have a comeback.

Quote Of The Week

“I think some of those same people, who were naysayers about our project are now coming to the ballpark and enjoying every minute of it. I think it will be that way with the NBA arena, you’ll have people who will be converted very easily.” — Redbirds co-owner Kristi Jernigan.

Categories
Book Features Books

A BEAST OF A BOOK

Monstruary

by Julian Rios

Knopf, 225 pp., $25

Imagine for a moment that through some strange rift in reality you have been physically transported to the absurd, unnatural, and harrowing world of a Hieronymous Bosch painting, but youÕre blindfolded. What you hear is disquieting. What you smell is nauseating. Since you canÕt see, providing narration for every terrible and nonsensical sight encountered is your disturbingly alliterative and alarmingly articulate guide Julian Rios, author of Monstruary.

RiosÕ most recent book, masterfully translated from the Spanish by Edith Grossman, is nigh Joycean in its labyrinthine linguistic complexity, though you most likely can decipher its prose — unlike some of JoyceÕs — albeit a bit dense and breathless.

Monstruary is the tale of Emil, our writer/artist/narrator, and his exceptionally gifted cadre of friends and acquaintances, who are all caught up in a world of high-octane art and bad-luck love. The title of the book comes from EmilÕs friend MonsÕ painting-series-in-progress, a number of works with many different recurring themes but one thing in common: chilling imagery, which Emil is all too happy to relate to his audience in horrific detail.

It seems Mons must first have a drunken nightmarish vision a la Bosch before his brush touches canvas:

The trampling angel with the body of curling clouds who plunges

ahead on petrified pillar legs that shoot fire like muskets and

make the earth tremble to the rhythm of a pile driver.

Ill-assorted multitudes of human figures with the heads of animals, vertebrate and invertebrate, and all kinds of beasts and insects

with the heads of men and women and mutants, semihuman masses

that swarm like ant colonies, surge like cresting waves, spill

like avalanches into chasms of darkness. …

A giant starling straddled by a naked Lilliputian. …

A tightrope walker with the head of a goldfinch.

A carp with the head of a duck.

A beetle with the gaunt, dissipated face of a young man.

Fish with human arms, men and women with fishtails …

Admittedly, this is a very odd book. While we learn the details of the charactersÕ lives and loves, weÕre intermittently taken on descriptive roller-coaster rides regarding paintings and sculptures, the life of the mind of several artists, mysterious journals full of automatic writing penned by unaware mediums of dead wives (each almost indecipherable phrase rife with possible meanings), et cetera. And this roller coaster starts on page one.

Somewhat pretentious is the narratorÕs ubiquitous plays on words, obscure puns, and alliterative phrases — that poor exhausted translator! — of which there have to be at least 20 on every single page. (Every character is a latent linguist.) No phrase is left unskewed by double entendre, no pun is left unpunned, and rarely is a sentence left in which every word does not echo another with the same sound or series of letters. Chew on this: ÒThat delirious architecture seemed to spring from the opium visions of De Quincey and Coleridge, semisymmetries in a chaotic kaleidoscope where dromedary domes rose beneath the cupola of night, mad truncated caracole staircases against unsalvageable walls, lofty basalt rising over the abyss, pilasters soaring to the stars and splintered plinths and prostrate rostrate columns, the sharp beaked peaks of their rostrums earthbound, and alligators astride astragals in the black sun of melancholy.Ó

For many readers this will be too much to deal with. TheyÕll lose interest immediately, or, if intrigued, will simply be worn out by the sentence strata they have to constantly dig through to get at meaning. But there are plenty of masochist members of the intelligentsia who relish a very challenging book like this, obstinately difficult in its narrative bent. You just have to be a word junkie. You have to enjoy it like others enjoy puzzles. The meaningÕs there, but youÕve got to know what to look for to get it.

DonÕt get me wrong. I recommend Monstruary, especially if you love art and literature. But donÕt eat too many pronto pups and cotton candy before you get on the ride, and for GodÕs sake keep your hands inside the car at all times.