De Thibaults

I won't be reading this new translation of Roger Martin du Gard's multi-volume novel Les Thibaults for the very good reason that I speak no Dutch, but they look like handsome editions and I'm glad there's still a market somewhere for this kind of writing. The translator is Anneke Alderlieste. They're not cheap: € 49.99 per volume. The publisher is Meulenhoff.

American Nightmares

A friend of mine recommended this volume of short stories, by an author whose name was unknown to me, and although I'm perhaps not the easiest person to suggest books to she hit the money on this one. Maybe she just knew that "lake" and "monster" are a combination I can't resist.

Actually, there's only one lake monster in the collection, and it's a doozy, but there's horror of some kind in all nine tales. I won't get into the question (a fairly tired one at this point) of whether Nathan Ballingrud is a "horror writer" who happens to set his stories among down-and-out, emotionally drained working-class Americans, mostly in the South, or whether he's essentially a "realist" who likes to draw on the horror playbook for material; let's just say that his approach, which is leavened by a good bit of subtle black humor, is his own, and a refreshing one at that. So here on the one hand you have convincing characters who are waitresses, building contractors, oil rig workers and the like, and on the other you have vampires, werewolves, and the undead. There's one story ("S.S."), dealing with a young New Orleans man dawn to a Neonazi group, that appears to have no fantastic element in it, although it may be as uncanny as any of the others. One tale ("The Crevasse"), the only one not set in the US, is a kind of homage to Lovecraft's At the Mountains of Madness.

Ballingrud is quite deft at juxtaposing these elements, and also in the way that he works into the stories an underlying substrate of guilt, much of it connected with family members who have let each other down in one way or another. There's a father whose neglect may have led to his son's kidnapping, another father who is struggling to revive his relationship with his family after a stint in prison, and a number of characters who are simply overwhelmed by their family responsibilities. In "The Good Husband," for example, a man wakes in the middle of the night and finds his wife's body in the bathtub, the result of the last of multiple suicide attempts, and decides to go back to bed without calling for help. (What happens next I won't reveal, but it's one of a number of stunning plot twists in this collection.)

North American Lake Monsters is available from Small Beer Press. Ballingrud has published one other book, a novella entitled The Visible Filth, which is published by This Is Horror in the UK.

The Dance

THE GRAND PRIEST

People of Argos, I say to you that this woman is committing sacrilege. Unhappiness be upon her and on any among you who listen to her.

ELECTRA

Oh my dear dead ones, Iphegenia, my older sister, Agamemnon, my father and only king, hear my prayer. If I commit sacrilege, if I offend your doleful shades, make a sign, make me at once a sign, that I may know it. But if you approve of my actions, my dear ones, then be silent, I beg you, let not a leaf stir, nor a blade of grass, let no sound disturb my sacred dance: because I dance for joy, I dance for peace among men, I dance for happiness and for life. O my dead ones, I demand your silence, that those around me may know that your heart is with me.

Sartre, Les mouches

Clementa C. Pinckney (July 30, 1973 – June 17, 2015)

His life has been taken, but his voice is not stilled. Give the pocket history lesson above a listen. Below is his official biography, compiled before his death:

The Reverend Honorable Clementa C. Pinckney was born July 30, 1973 the son of Mr. John Pinckney and the late Theopia Stevenson Pinckney of Ridgeland, South Carolina. He was educated in the public schools of Jasper County. He is a magna cum laude graduate of Allen University with a degree in Business Administration. While there, Reverend Pinckney served as freshman class president, student body president, and senior class president. Ebony Magazine recognized Rev. Pinckney as one the "Top College Students in America." During his junior year, he received a Princeton University Woodrow Wilson Summer Research Fellowship in the fields of public policy and international affairs. He received a graduate fellowship to the University of South Carolina where he earned a Master's degree in public administration. He completed a Master's of Divinity from the Lutheran Theological Southern Seminary. Rev. Pinckney answered the call to preach at the age of thirteen and received his first appointment to pastor at the age of eighteen. He has served the following charges: Young's Chapel-Irmo, The Port Royal Circuit, Mount Horr-Yonges Island, Presiding Elder of the Wateree District and Campbell Chapel, Bluffton. He serves as the pastor of historic Mother Emanuel A.M.E. in Charleston, South Carolina.

Rev. Pinckney was elected to the South Carolina House of Representatives in 1996 at the age of twenty-three. In 2000, he was elected to the State Senate at the age of twenty-seven. He is one of the youngest persons and the youngest African-American in South Carolina to be elected to the State Legislature. He represents Jasper, Beaufort, Charleston, Colleton, and Hampton Counties. His committee assignments include Senate Finance, Banking and Insurance, Transportation, Medical Affairs and Corrections and Penology. Washington Post columnist, David Broder, called Rev. Pinckney a "political spirit lifter for suprisingly not becoming cynical about politics."

Rev. Pinckney has served in other capacities in the state to include a college trustee and corporate board member. In May 2010, he delivered the Commencement Address for the Lutheran Theological Southern Seminary.

He and his wife Jennifer have two children - Eliana and Malana.

Source: Emanuel African Methodist Episcopal Church, Charleston, South Carolina.

The Rev. Pinckney was one of nine victims:

In addition to Mr. Pinckney, the victims were Cynthia Hurd, 54, who served as the regional manager of the St. Andrews branch of the county library; the Rev. DePayne Middleton Doctor, 49, the mother of four daughters — the youngest is in junior high school and the oldest is in college; Sharonda Coleman-Singleton, 45, a coach of the girls' track and field team and a speech therapist at Goose Creek High School; Tywanza Sanders, 26, who had graduated from Allen University as a business administration major last year and was looking for a job; Ethel Lee Lance, 70, who had worked at the church for more than three decades; the Rev. Daniel L. Simmons Sr., a retired pastor from another church in Charleston; Myra Thompson, 59; and Susie Jackson, 87.

Source: The New York Times.

Water

I rounded the corner, walking from one sleepy back street to another, and just for an instant a view opened out, between the trees in their fullest summer green, of the little valley where the heart of town lay, and of the long lake stretched out in its center. But it was only an illusion, the dark unbroken streak nothing but the roof of a building a few yards away. There was no lake in the valley, only, invisible from where I stood in any case, an easily forded stream.

If I could arrange the world to my liking, everyone would have a view of deep water. Water, as the Taoists knew, is what is beyond us, what we cannot know or define. It can be channeled, contained, but in its nature it remains recalcitrant to our purposes. Its inexorable erosive downward course into the inaccessible can be delayed, but in the end, as any child who has ever made the experiment knows, it slips through our fingers. Even in our bodies it is only imprisoned for a time. It flows through us and sustains us, but when it is done with us it will strand us in the sterile deserts of our dreams.

Notes for a commonplace book (15)

Glenway Wescott:

"There were two albums of embossed leather studded with buttons which resembled shoe buttons, and one with celluloid roses glued upon a velvet binding. There were daguerreotypes in cases closed by a metal clasp or a loop of worn cord, which Alwyn opened and tried to read as if they were a library of miniature books. At the left a leaf of red satin, at the right in a mat of beaded gilt the portraits: heads and busts and family groups, pygmy men and women as if seen through a telescope — the men in a daydream, the women anxious about their children, their lovers, their clothes. Mouths like bits of carved wax, nostrils of an insatiable arrogance; eyes long closed in death — or the young, suspicious eyes of men and women who were now old and patted Alwyn's head and peered at him dimly and benificently — staring out of the picture frames as if he were an enemy in disguise ... The lifeless light (in which innumerable photographers had covered their heads with large, black handkerchiefs and imitated a bird with their hands) half hid and half revealed all the possible combinations of all the motives there were — greed and sensuality and courage and compassion and cruelty and nostalgia; all the destinies there were — manias, consolations, regrets.

"The same motives and similar destinies existed still; but these people whose playgrounds they had been were gone. Nothing came back from the oblivion into which they had vanished (for old age and death were equally oblivion) not a sound came back but a little slightly exultant, unhappy laughter — Alwyn's grandmother laughing for them.

"He listened to her comments — old-fashioned maxims, scraps of tragi-comic narrative, implicitly mocking, explicitly compassionate — and what she told revealed little more than the photograph albums themselves: another set of pictures, photographs of actions and opinions, also noncommittal and badly focused. But he knew what she knew and tried to forget: that each picture was a tomb where a dead heart (or merely the youth and freshness of a heart which was now old) lay buried — buried with its affections, its apathy, its fury. He knew that on each insignificant grave there stood (though he could only guess what it was) a secret like hers, wild and perfect as a wild flower, nodding in its everlasting leaves, or dangling from a broken stem ..."

The Grandmothers (1927)

Notes for a commonplace book (14)

Glenway Wescott:

"There was a shell on the sideboard, a conch shell in the shape of a horn, which, when held to the ear, repeated the surge and collapse of breakers, infinitely faint, as if heard across the great width of America which separates Wisconsin from the sea. It seemed to the boy that in the same way every object in those rooms echoed the forces which had once been at play around it, very faintly, from a distance of years instead of miles. The pleated fabrics and sheets of old paper enfolded little, agitated ghosts; and the odor of unfamiliar clothes, beds, and pillows, the residue of spiritless perfumes and bouquets long since thrown away, suggested energies now exhausted and passions now forgotten: the energy which had chosen this farm in the wilderness, cut down the trees, uprooted the stumps, built and demolished the log cabins, and founded this home; the long series of passions which had in the end produced himself."

The Grandmothers (1927)

Armed with a Broken Heart

Singer-songwriter Freedy Johnston doesn't exactly flood the market with releases of new material, and Neon Repairman, just out, is only his second CD of new songs since 2001. Like many of his peers among major-label refugees (or even minor-label refugees), he's more or less on his own these days; this CD was issued by Singing Magnet Records, which I suspect means that he put it out himself.

There are pluses and minuses to going it alone, but at this point in the evolution of the pop music industry a lot of talented people don't have much choice. Happily, this is a fine CD, one that can comfortably be set beside records like Can You Fly and This Perfect World that Freedy made in the 1990s when it was still possible for someone like him to get promotion and airplay. Freedy continues to tour and I hope at least a few people get a chance to hear this one.

As melodic and jaunty as Freedy's songwriting is, I doubt he's ever been accused of sugarcoating things, and this record is no exception. In addition to drug dealers, waitresses, and damaged war veterans, his characters run the gamut from the ordinary lovelorn to the borderline creepy. The gentlest song on Neon Repairman is sung in the character of cosmonaut Yuri Gagarin, and even that one looks back to "that hole in the ground we lived in during the war." Not that Freedy has cornered the market on dark material, but there are few songwriters who can combine romanticism, down-and-out grit, and human sympathy quite this successfully. Plus he just flat-out knows how to compose a pop song.

Neon Repairman is available from CD Baby (which has audio samples), and presumably at Freedy's gigs. You could do worse.

Odd, off, oft, old.

The artist and printmaker Annie Bissett has discovered this wonderful bit of found poetry, which she has posted on her Tumblr blog. Adapted from Thomas Dilworth's A New Guide to the English Tongue, an oft-reprinted 18th-century schoolbook, it reproduces part of a table of "Words of Three Letters, viz. One Vowel and two Consonants."

Although it may not be immediately apparent, there is a logical order to the table. It is alphabetized first by last letter, then by central vowel, and finally by first letter. The first word in the table (which actually begins at the bottom of the unshown preceding page) is Dab, and it is followed by Web. Bib fib nib rib. and so on until it reaches Box sox. It then begins again with words that don't fit the consonant-vowel-consonant spelling pattern: The. Who. Cry dry fly etc. (although Two., in the second paragraph, would seem to belong further down). The words in parentheses appear to be ones whose vowel is pronounced differently from those of the rest of their respective groups. The book uses the old-style ſ for initial s.

But knowing how the table is constructed is much less fun than simply reading it (especially aloud), enjoying the music of English speech sounds, and reflecting on the strangeness of human language. It may remind us that these everyday words, the essential building blocks of English, are, in the end, just arbitrary signs, ones that would mean nothing, or perhaps different things, to someone who knew nothing of the language.

Spring list

I've been too busy of late to write anything substantial but not, happily, too busy to read. These three books have very little in common other than the fact that they were published either this year or last, and that I liked them enough to buy a copy. I've reached a point where adding to my library isn't always advisable, if only in terms of shelf space, and so I've been trying to rely on the public library system for run-of-the-mill reading matter (electronic books not being to my taste). These books are exceptions.

Helen Macdonald's H is for Hawk is a beautifully written book about training a goshawk named Mabel, about coping with grief, and also about the writer T. H. White, who is best known for his Arthurian fiction but who also composed an account of his own ill-fated attempt to raise a similar hawk. Macdonald's book has been a surprise bestseller both in her native UK, where it was released last year by Jonathan Cape, and now in the US, where it is published by Grove Press, and it has won several awards. For once, all the attention is amply justified; Macdonald is a fine writer, able to deftly capture both her hawk's flights around the English countryside and her own emotional turmoil. Inevitably, there is a movie deal, but although H is for Hawk might make a fine film, nothing, I suspect, can substitute for the pleasures and integrity of Macdonald's prose.

Terhi Ekebom's Logbook, on the other hand, has almost no prose at all. It's a tiny illustrated chapbook published in Latvia (though what text there is is in English). Grief is also the subject here, although the details are as mysterious as the atmosphere. Two women — it's hard to say if they are adolescents or adults — inhabit a house in the middle of the sea where they tend to a bedridden male figure who is menaced by an expanding darkness. Their only temporary defense against its spread are the light-releasing spheres of a marine plant that float up to the surface. Logbook is available from kuš! komiksi for $6 including postage worldwide.

Finally, for some time I've been following Tom Miller's excellent blog Daytonian in Manhattan, which is dedicated to the architecture and histories of Manhattan buildings and monuments, but I've had to admit to some frustration because there was simply too much of interest there to comfortably digest online. Fortunately, a selection of entries has been published in a reader-friendly and nicely illustrated compact format by Universe (Rizzoli) in the US and Pimpernel Press in the UK. Though the book includes a few internationally renowned buildings (the Flatiron Building, St. Patrick's Cathedral), most of the structures it covers, like the Village's Pepperpot Inn and the melancholy General Slocum Memorial Fountain, are easily overlooked, and Miller's enthusiastic dedication to their stories is admirable. Let's hope there will be sequels to come.

More Japanese Gothic

Satori Ediciones in Spain has published its second collection of translations into Spanish of the Japanese writer Izumi Kyōka (1873-1939), following in the wake of El santo del monte Koya, which I discussed here last year.

As with the previous volume, all of the stories (there are four) are fantastic in manner and draw on the long tradition of Japanese supernatural literature and lore. The title story is available in English (as "Of A Dragon in the Deep") but the edition is difficult to obtain and I haven't seen it; the longest of the tales, "El fantasma que esconde las cejas" (The Ghost Who Hid Her Eyebrows) has been translated by Charles Shirō Inouye and can be found in a volume entitled In Light of Shadows: More Gothic Tales by Izumi Kyōka, published by the University of Hawai'i Press. As far as I know the other two tales are not available in English.

Kyoka was a fascinating but sometimes difficult writer, who made of use of what Charles Inouye calls "an eccentric, highly convoluted narrative method that precluded his participation in the more mainstream attempt to accomplish an objective description of an exterior world and a psychologically depicted realm of an interior one." "His narratives," Inouye continues, "neither maintain a consistently stable and omniscient point of view nor do they present time as a steady flow of logically connected events that are contained in the past." Writing at a time when many of his contemporaries were embracing the conventions of the Western realistic and psychological novel, Kyoka held to his own way.

Two of the stories in Sobre el dragón del abismo describe the encounters of children with a unpredictable but not necessarily hostile supernatural world; the third, "La historia de los tres ciegos" (The Story of the three Blind People) is classic horror tale of the perils that lie in wait for those who trangress. The last narrative, "El fantasma que esconde las cejas," is a ghost story so many-layered (and impossible to summarize here) that Inouye includes a diagram in his edition to help visualize its intricately nested levels.

I've now read this final story twice in English and twice in Spanish, gaining insight into it with each reading, but I wouldn't pretend to have mastered it. Because of the richness of cultural allusions in Kyoka's tales, as well as the inherent difficulties of translating from Japanese into a European language, it's interesting to compare the two translations, Spanish and English. Since I know no Japanese, I naturally can't comment on their relative accuracy, but while they're generally complementary (and mutually clarifying) there are numerous passages that show fairly radical differences in interpretation. Below is just one sample passage; what follows is 1) Alejandro Morales Rama's Spanish-language text; 2) my rough English translation of the Spanish into English; and finally 3) Inouye's version:

1) Las montañas y el cielo estaban tan nítidos que parecía que los estuviese viendo a través de una capa de hielo. Los brillantes rayos del sol hacían que las agujas de los pinos y los árboles secos resplandecieran. Al mismo tiempo se veía volando una figura de un blanco cegador y en las profundides de la montána, donde el oso vive alejado de los hombres, la nieve se había tornado en una ventisca punzante como agujas.

2) The mountains and the sky were so clear that it seemed as if one were seeing them through a covering of ice. The brilliant rays of the sun made the needles of the pines and the dry trees shine. At the same time, a figure of blinding white was seen flying, and in the depths of the mountain, where the bear lives apart from men, the snow had turned into a blizzard as sharp as needles.

3) The mountains and sky became clear as ice. While the sun sparkled brilliantly in the pines and other wintering trees, something white began to fall from the sky. In the deep mountains, where bears stood on their rear legs like human beings, the snow came down like needles.

Inouye's "wintering trees" is a nice touch, but I don't much like "rear legs" (rather than "hind"). What's interesting, though, is the very different ways in which the reference to the bear or bears is understood. Whatever the truth of its accuracy, Rama's donde el oso vive alejado de los hombres (where the bear lives apart from men) is a beautiful lyrical touch, suggesting a fundamental if estranged kinship between the two species. Reading the two translations side-by-side provides an unstable but rewarding reading of an intricate masterwork of modern Japanese literature.

Notes for a commonplace book (13)

Charles Shirō Inouye:

"The fixed point of view of the realistic painter finds its analogue in the omniscient perspective of the authoritative author. More than merely a scribbler, the modern novelist tells true stories from a privileged point of view, and from a similarly fixed point in time (usually the present as explained by the past). An author’s claims to truthfulness rest largely on such a consistent, objective point of view, as if that view were an integral, ordering part of the reproducible world that flows from it. Its very stability generates robustness as a true and principled source of truth; and its generality produces realism’s utility as a nondistorting understanding of reality that allows us to describe the world as similarly recognizable and understandable to everyone…

"Such a perspectival system includes both the objectively true exterior (realism) and the subjectively true interior (psychology) because everything, including the invisible realm, must be accounted for… In the modern period, history becomes the acceptable and plausible truth, while fiction, with its ability to delve impossibly into the emotions and thoughts of people, becomes the acceptable and plausible lie (or the imagined that is nevertheless true).

"In other words, realistic truth makes fiction necessary… Fiction derives compellingly from a central contradiction of modernity … that only by surrendering oneself to a rational and atomizing system does one gain individual identity and the ability to think and act for (and by) oneself. Paradoxically, in order to be an individuated member of such a society, we must assume a point of view that everyone shares; thus, the fundamental irony implied in the notion of subjectivity, where the subject is supposedly both a follower (a loyal subject) and an acting agent (someone with subjectivity or the will to act independently) and where the status of subjectivity is, on the one hand, praised as being emotionally true and, on the other, degraded as a lack of (objective) truth. The modern novel attempts to make sense of this paradox — this surrendering as empowerment — by raising the possibility of a true subjectivity, that is, fiction, within a larger context of objective truth."

From an essay on Izumi Kyōka's "A Quiet Obsession," from In Light of Shadows: More Gothic Tales by Izumi Kyōka, University of Hawai'i Press.

The cure

This may be my favorite photograph ever: via Bibliodyssey (Tumblr), an image from a Sotheby's auction lot of glass negatives by Samuel Bourne, Nicholas & Co., P. Klier, and others, grouped as "Photographs of Darjeeling, Madras, and Burma." Click through the image for the full effect.

I have no doubt that were this image to be enlarged and mandatorily posted on the walls of every kindergarten classroom, the salutary effects on future generations would be immeasurable.

Re-envisioning Japan

This merits a look: Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture, a new "interactive archive and research project" created by Joanne Bernardi, associate professor at the University of Rochester, is now online. From a quick glance it looks like there's plenty of good stuff there, including a section devoted to the Japan Tourist Library, about which I've blogged previously. Lots of postcards too.

Ruins

"One day we walked out, a little party of three, to Albano, fourteen miles distant; possessed by a great desire to go there by the ancient Appian way, long since ruined and overgrown. We started at half-past seven in the morning, and within an hour or so were out upon the open Campagna. For twelve miles we went climbing on, over an unbroken succession of mounds, and heaps, and hills, of ruin. Tombs and temples, overthrown and prostrate; small fragments of columns, friezes, pediments; great blocks of granite and marble; mouldering arches, grass-grown and decayed; ruin enough to build a spacious city from; lay strewn about us. Sometimes, loose walls, built up from these fragments by the shepherds, came across our path; sometimes, a ditch between two mounds of broken stones, obstructed our progress; sometimes, the fragments themselves, rolling from beneath our feet, made it a toilsome matter to advance; but it was always ruin. Now, we tracked a piece of the old road, above the ground; now traced it, underneath a grassy covering, as if that were its grave; but all the way was ruin. In the distance, ruined aqueducts went stalking on their giant course along the plain; and every breath of wind that swept towards us, stirred early flowers and grasses, springing up, spontaneously, on miles of ruin. The unseen larks above us, who alone disturbed the awful silence, had their nests in ruin; and the fierce herdsmen, clad in sheepskins, who now and then scowled out upon us from their sleeping nooks, were housed in ruin. The aspect of the desolate Campagna in one direction, where it was most level, reminded me of an American prairie; but what is the solitude of a region where men have never dwelt, to that of a Desert, where a mighty race have left their footprints in the earth from which they have vanished; where the resting-places of their Dead, have fallen like their Dead; and the broken hour-glass of Time is but a heap of idle dust! Returning, by the road, at sunset! and looking, from the distance, on the course we had taken in the morning, I almost feel (as I had felt when I first saw it, at that hour) as if the sun would never rise again, but looked its last, that night, upon a ruined world."

Charles Dickens, Pictures from Italy

Image above: Rodolfo Lanciani, Ancient Rome in the Light of Recent Discoveries

The Land of the Free

Ran away, a negro woman and two children. A few days before she went off, I burnt her with a hot iron, on the left side of her face. I tried to make the letter M.

When Charles Dickens made his first visit to the United States in 1842, he found much to admire as well as much to deplore. Foremost among the latter (in addition to the widespread practice of tobacco chewing and spitting, which disgusted him) was the institution of slavery, which he condemned vehemently and categorically, devoting an entire chapter of American Notes for General Circulation to the topic. Much of that chapter consists of a list of runaway slave advertisements like the one quoted above, notices that were made all the more harrowing by the fact that the ardent defenders of life, liberty, and the pursuit of happiness who placed them made careful note of the brandings, ear-clippings, and other mutilations that could serve to identify their escaped "property." Dickens invented nothing here; the advertisements were copied, almost verbatim (and without attribution), from a volume entitled American Slavery as It Is: Testimony of a Thousand Witnesses, compiled by Theodore Dwight Weld, Angelina Grimké, and Sarah Grimké, which scrupulously recorded the sources of the advertisements. Thanks to Weld and the Grimkés, and to The North Carolina Runaway Slave Advertisements project, we know that the epitome of Southern chivalry responsible for this particular notice was one Micajah Ricks of Nash County, North Carolina, and that the advertisement appeared in the North Carolina Standard on July 18, 1838.

In recent weeks the legislatures of at least two states (Oklahoma and Georgia) have passed measures opposing the curriculum of the Advanced Placement course in U. S. History, on the grounds that it offers, in the words of one critic of the course, "a consistently negative view of American history that highlights oppressors and exploiters." Perhaps those lawmakers need to dust off their Dickens?

The Language of Dreams

"It is very remarkable, that as we dream in words, and carry on imaginary conversations, in which we speak both for ourselves and for the shadows who appear to us in those visions of the night, so she, having no words, uses her finger alphabet in her sleep. And it has been ascertained that when her slumber is broken, and is much disturbed by dreams, she expresses her thoughts in an irregular and confused manner on her fingers: just as we should murmur and matter them indistinctly, in the like circumstances."

Charles Dickens, American Notes for General Circulation, writing of Laura Bridgman. Bridgman, left blind, deaf, and unable to speak after an early illness, learned to communicate by means of a manual alphabet while in residence at the Perkins Institution near Boston, Massachusetts.

The mind habituates itself to whatever tools it has at hand. If I converse in Spanish for a while and then return to English, it sometimes takes me a moment to realize that I no longer need to mentally translate before speaking. After reading Dickens's lengthy description of Bridgman, (much of which reproduces the written account of her teacher Samuel Gridley Howe), I found myself only slowly returning to a world in which the senses of sight and hearing could be taken for granted.

Laura Bridgman eventually learned to write with ink and paper. Among her writings are descriptions of her dreams.

Martin Hayes & Dennis Cahill

This is really splendid: fiddler Martin Hayes and guitarist Dennis Cahill, from NPR's Tiny Desk Concert series. I love the relaxed intimacy of the performance; it's like having them in your living room.

Hayes and Cahill have played together for years, most recently as part of a superb five-man band called The Gloaming.

On the town

Two men with lit cigars and a third man, seated, whose own smoke is still tucked in his pocket. Though the postcard was never addressed or mailed and the location is unknown, we may be looking at the interior of a nickelodeon or amusement parlor; an advertising sign behind the men, difficult to make out, may read "Isis Moving Pictures" or "Isis Motion Pictures," and the stirrups of what could possibly be a coin-operated horse appear at left. There were establishments bearing the Isis name in various cities. Or maybe we're looking at something else entirely.

"Jack Begley" is probably too common a name to assign to any identifiable individual; "Bedsoe" is a bit more unusual. But like the man in the dark suit, they've had their time.

Velox Real Photo postcard, c.1907-1914.

Nannie Wilson

The young woman whose likeness was captured in this Real Photo postcard image was a schoolteacher in Red Wing (or Redwing), Kansas in 1907-08. The names of her pupils are neatly written on the back of the card:

Harry Hall Willie Ruble Amelia Proksch August Proksch James Ruble Matilda Heoffner Blanch Cliff Carl Winkle Joseph Heoffner Ethel Bailey

Alloys Heoffner Dell Wylie Richard Bailey Stella Ruble Regina Smith Anna Proksch Rosine Winkle Isabell Bailey Joe Proksch James Bailey

Below the names is the following inscription: "In loving remembrance of days spent to-gether in district 31./ Nannie Wilson / Teacher".

There are twenty students listed but some of the surnames are repeated (there are four children named Bailey, four named Proksch), so Wilson undoubtedly taught a range of ages at the same time, presumably in one room. Amy Bickel, who writes the Dead Towns in Kansas blog and has photos of the area as it looks now, includes Redwing today among the state's more than 6,000 ghost towns.

There are identifiable traces of a number of Nannie Wilson's pupils in census records and other online sources, but I'm not inclined to pursue them. Perhaps in this case I just feel that the stories of these people don't belong to me, that I have no right to them.