The Prehistory of the Bear

I've been re-reading Rafi Zabor's great jazz novel The Bear Comes Home again, so out of curiosity I decided to see what I could find out about the original serialization of parts of the book. Zabor was a contributor of reviews and articles to the (now defunct) magazine called Musician, which in its November 1979 issue ran the first installment of his work-in-progress about a talking and jazz-playing ursine. The last installment appeared one year later, at which point a note was appended indicating that "a full novel is intended... and we'll keep you posted." As it turns out, that "full novel" wouldn't appear for another seventeen years.

As it happens, PDFs of most of the serialization are available on the World Radio History website (a few pages of one chapter seem to be missing) and I've made JPEGs of four of the opening pages. It's amusing that the editors used as an illustration a mock-up of a (fictional) article from the Village Voice that is referred to in the text.

Although the novel seems to cover a time period of only a few months or maybe a year or two, the musicologist Tim Storhoff has noted that technologies are described in the final version, published by W. W. Norton in 1997, that either didn't exist in 1979-1980 or hadn't yet become commonplace: compact discs, for example, and laptop computers. (The bear, in the book's first sentence, dances on the sidewalk to "a disco cassette.") In addition, living figures who appear as characters in the opening chapters died during the writing process, notably the drummer Steve McCall, whose death (in 1989) was incorporated into the Norton edition.

Much of the Musician text made it into the final version substantially unchanged, but there is at least one section, involving a talking lion, that was cut (perhaps wisely). I'm electing not to read it, but it's there for the curious.

Road life (The Bear Comes Home)

I have no idea whether this wooden sculpture of a saxophone-playing bear, spotted while I was driving along a back road in Maine, is intended as an homage to the protagonist of one of my favorite novels, but I choose to believe that it is.

Rafi Zabor's The Bear Comes Home was published in 1997 and won a PEN/Faulkner Award the following year. I must have read it at least four times by now.

Earlier post: Of Love and Bears

A Small Rain's A-Gonna Fall

A lovely and curious turn of phrase with a story behind it almost slipped my notice when I was re-reading Rafi Zabor's novel The Bear Comes Home. Two men, Jones and Levine, stand outside a jazz venue that Levine is constructing within the body of the Brooklyn Bridge.

They stood on the large square landing atop the roughed-out stairway and looked riverward across to Brooklyn. It was an indecisive afternoon: the small rain down had rained and now, south on their right to the Battery, a white winter sun alternately masked and unmasked itself behind migrating cloud. The grey underside of the bridge soared out over the river and diminished toward its farther landing, the water beneath the bridge dull as lead except where the sun found it and tipped the surface. (Emphasis added.)

The words "the small rain down had rained," which puzzled me at first, are an allusion to this haunting little fragment of 16th-century song lyric:

Westron wynde when wyll thow blow
the smalle rayne downe can Rayne
Cryst yf my love were in my Armys
and I yn my bed Agayne

The interpretation of the lines and even the parsing of the syntax is somewhat uncertain, but "the small rain down can rain" should probably be read as meaning "the small rain can rain down." The ultimate source of the phrase may be from Deuteronomy (KJV): "My doctrine shall drop as the rain, my speech shall distil as the dew, as the small rain upon the tender herb, and as the showers upon the grass." Thomas Pynchon's first short story was entitled "The Small Rain," and Pynchon scholar Richard Darabaner (1952-1985) believed that he borrowed the title directly from Deuteronomy.

There's a discussion of "Westron Wynde" at Early Music Muse.

Of Love and Bears

She had no idea what animals were about. They were creatures. They were not human. She supposed that their functions were defined by the size, shape and complications of their brains. She supposed that they led dim, flickering inarticulate psychic lives as well.

Could a great novel — or even two — arise from a premise as improbable as an interspecies relationship between a human being and a bear? Rafi Zabor's The Bear Comes Home, which is about a bear who, by some fluke of vocal anatomy, not only speaks but plays a mean alto sax, has long been a favorite of mine, and now here, not new but new to me, is this brief, exquisite 1976 novel by the Canadian writer Marion Engel, who died in 1985 at the age of 51. Engel's novel centers on Lou, an archivist who is dispatched to spend a few months cataloging the library of a 19th-century eccentric who constructed and inhabited an octagonal folly on a remote island in northern Ontario. Dropped off on the island, she learns, to her surprise, that one of her responsibilities during her sojourn will be to tend to its only other inhabitant, a quite inarticulate tame bear who formerly belonged to the family that descended from the original founder. As spring turns into summer the bear becomes Lou's constant companion, and in time one thing leads to another ...

The Bear looked out at New York City rocking past the taxi window. A stone jail with humans bunched at the major intersections. Ten million dazed and mortal beings hypnotized by love, work, hate, family and the past. What were the odds — the Bear asked himself, trying to be realistic — in all that multiplicity, on gaining sufficient purchase on real freedom? Looking out at this sampling of the millions is just the thing to convince me that I have no meaning and no chance. What could it possibly matter if one more or less creature toots on a horn?

Rafi Zabor's novel is told from the point of view of the Bear, as he is called throughout. It's a far more ambitious, sprawling book, in which romance (with human women, largely, though the Bear will occasionally dally with ordinary ursines) is a relatively minor element, secondary to the art and metaphysics of jazz and the mysteries of being. (If you're curious about the mechanics of bear-human copulation, though, Zabor's your man.) One of the amusing things about The Bear Comes Home is that the human characters, at least the musicians who are hip, by and large don't much care that the Bear is a bear, and there are some very droll set-pieces of him sitting in with other jazz musicians. It is, thus far, Zabor's only novel, discounting his unsatisfying 2005 autobiographical narrative I, Wabenzi.