From TODD WALTON
(This essay originally appeared in the Anderson Valley Advertiser June 2010)
Thursday in the village of Mendocino is the day the AVA (Anderson Valley Advertiser) arrives in our post office boxes and at the liquor store (should we need extra copies.) Now and then the AVA is delayed for a day and arrives on Friday. But this week, the AVA did not come at all. I inquired of my heroes at the post office, but they had not seen hide nor hair of the goodly rag. And though I knew the liquor store is supplied via the mails, too, I nevertheless went thither in the vain hope that a batch had been brought by pony express or valiant pickup from the inland empire to our coastal enclave.
The liquor store in our hamlet is a living foreign movie. No matter how many times I go in there, I have the feeling something important is missing. There is an empty feeling about the place, as if the proprietors are just moving in or just moving out. The lighting is strange and forlorn and bathes everything in a pale yellow light. My friendly greetings invariably fall into a bottomless chasm of ennui, and in thirty tries I have never once elicited a smile from the fellow at the cash register. Perhaps he is hardened by years of dealing with drunks. I don’t know. I don’t buy anything there except the AVA, and maybe this bugs him. In any case, they didn’t have any AVAs and I was apparently not the first person to inquire.
Certainly one of the great appeals of the AVA to me is that I often have something published therein. Discovering that I am once again in the goodly rag never fails to impart a momentary thrill, a sense of well-being, a revivifying and inspiring validation that I did not waste however many hours I spent writing whatever I wrote. I never know in advance if my pieces will run. The editors are not in the habit of telling me, possibly because they don’t know themselves until the very last minute before they put the paper to bed, and perhaps not even then.
No, the only way to find out if I’m in the AVA is to look through her pages. Now and then I will land an essay on the front page (mazel tov!) but more often than not my pieces are tucked away in the cozy confines of the middle. In truth, I don’t care where they land, just so they do. Land.
Those weeks when I do not appear (assuming I’ve submitted something before the deadline) I invariably experience a brief emotional downturn. I want to make it clear (to myself if no one else) that this downturn has much less to do with my absence from the pages of the AVA than it does with the absence of my books from the bookstores of America, the lack of reviews of my books in The New York Times and the San Francisco Chronicle, and the towering indifference of the great big world to the creations of little old me. So when I am not in the AVA, it merely ignites a feeling, for just a moment or two, that I am truly nowhere, that there is no place for my words, that I am, metaphorically speaking, clinging to a leaking dinghy in a storm tossed sea, etc.
Germaine to this sense of not being anywhere, I’ve been enjoying of late a marvelous book of poems entitled I Hear My Gate Slam, Chinese Poets Meeting and Parting, translated by Taylor Stoehr. These poems, written by a handful of poets thirteen centuries ago, have survived because they are very good poems and because they speak compellingly of human emotions immune to the so-called advance of culture and technology: love, loss, longing, death. And there are two wonderful little essays at the end of the volume written by the author, one on the art of translation, the other about how the friendship among these poets inspired many of their poems. Stoehr writes, “They often wrote poems borrowing, imitating, or otherwise reflecting each other’s work.”
So as I was sitting at the kitchen table sipping black tea and stewing about the absence of the AVA, and therefore not knowing if I was absent or present therein, I came across this passage from Stoehr’s Afterword: Translating Classical Chinese Poetry that seemed to be reflecting my very thoughts. “The bereft poet is constantly in the presence of absence—an empty place at the family table, an empty bed—so that the ache of loss seems never to go away. I want to call this ‘the presence of the absence’—absent friends and loved ones hovering in the imagination.”
Now there is a grandiloquent expression. The presence of absence. And that is how it feels when there is no AVA in our post office box, no AVA at the liquor store, no AVA on the kitchen table, no fresh gossip to chew on, no fellow writers to jiggle our cognitive synapses in ways the electronic digits will never jiggle them. There is an unexpected vacancy of that certain sensibility that is the sum of Bruce and Mark and their collective writing and winnowing of the incoming verbiage of latter day exiled poets. For all poets are exiles inhabiting a terrain defined by a perpetual presence of all manner and variety of absences. That is why poets write their poems, and why we prose writers toil to put our thoughts and feelings into words. To bring light and sound and feeling to the void or the chaos or the darkness or the presence of the absence.
Then, too, the presence of absence begs to be modified to the presents of absence, presents suggesting gifts. The gifts of absence. And what might those gifts be? Well…
I am currently reading The Autobiography of Mark Twain, his brief and famous preface concluding, “It has seemed to me that I could be as frank and free and unembarrassed as a love letter if I knew that what I was writing could be exposed to no eye until I was dead, and unaware and indifferent.” Despite Twain’s disclaimer, there are many moments in the course of his narrative when he is clearly constraining himself because he is, in fact, not yet dead as he dictates this last great work.
The most shocking to me of Twain’s constrained moments comes when he declares his direct responsibility for the death of his firstborn child, his only son. Though verbose about every other matter, large and small, Twain speaks of his most terrible crime for but one terse paragraph.
“Our first child, Langdon Clemens, was born the 7th of November, 1870, and lived twenty-two months. I was the cause of the child’s illness. His mother trusted him to my care and I took him for a long drive in an open barouche for an airing. It was a raw, cold morning but he was well wrapped about with furs and, in the hands of a careful person, no harm would have come to him. But I soon dropped into a reverie and forgot all about my charge. The furs fell away and exposed his bare legs. By and by the coachman noticed this and I arranged the wraps again, but it was too late. The child was almost frozen. I hurried home with him. I was aghast at what I had done and I feared the consequences. I have always felt shame for that treacherous morning’s work and have not allowed myself to think of it when I could help it. I doubt if I had the courage to make confession at that time. I think it most likely that I have never confessed until now.”
Twain never makes another mention of this event or of this child, though he later goes on for dozens of pages attacking and excoriating Brett Harte for what Twain describes as hideous amoral narcissism and monstrous neglect of wife and children. Yet for my entire reading of this powerful memoir, I could not get Twain’s confession of murdering his son out of my mind. Indeed, it strikes me as the truest paragraph in the entire book, constrained as it may be, for it is free of the artifice of cleverness. And I can’t help thinking that the death of his son informed everything he ever wrote thereafter; indeed, that Twain’s greatness, his profound sympathy for the poor and downtrodden that illuminates his finest works, that powerful presence of absence, sprang from his terrible trial that would never end until his own death.
Which brings me back to the presence of the absence of the AVA, which I think of as a very Twainian sort of paper, the kind of paper Twain first wrote for, the kind of paper that is not constrained by anything but the whims of her editors, both of whom strike me as having little fear of death, which the Buddha said is the fear that underlies all fears. And in the absence of the presence of fear, these editors are free to improvise, which is the mother of originality. And the present of her absence in my life this week is this essay, which may or may not make it into her pages. I’ll have to wait until next week to find out.
Todd’s web site is UnderTheTableBooks.com.