Monday, January 27, 1992

Survival Strategies for the New Year 1/27/1992


GETTING ALONG—shopping for the basics in an open market, Cherkassy, the Ukraine.


The Allegorical Model

by Maureen Hurley

Returning from Russia to the fast-paced English-speaking world of 10-second sound bites and blaring headliner, only to face a belt-tightening recession back home, I was shocked to find that the USSR had officially dissolved. Gorbachev was ousted, and the Byelo-Rus capital of Minsk, the new Soviet Commonwealth capital. In Russia, nothing as clearly defined—even in the minds of political leaders; the pluralistic model was in full operation.

I found myself thinking of Russia in allegorical terms: three blind men variously describing an elephant as a snake, a wall, and a tree trunk. They were all partially correct or they had limited perceptions, dependingon which model you used to define elephants.

The Soviet media weren't being deliberately mis-infrormational, but so much was in turmoil, it wasn't clear what the outcome would be. But if was clear that when Bush acknowledged our recession after the fact, that Soviet survival strategies might apply here as well.

I'd compare Russia to the scientific model of chaos where many ordered and predictable patterns make up the whole—like the constellations in the infinite cosmos. But the apparent order is based on illusion.

It is a logical habit to draw conclusions: we in the West differ from our Soviet neighbors; we gather subjective analysis, call it statistics, claiming to understand the bigger picture. But it's hard to see the picture. let alone the overview while blindly groping to comprehend a culture in the midst of major political and sociological upheval.

The Russian poet Yevgeni Yevteshenko wrote of Perestroika: "One of the few joys of life is being an eyewitness to history in the making." Well, we are witnessing multiple histories in the making.

In Marshall McLuhan's global village context, I muse at how much the West influences, and shapes the outcome of world events. In their quest to nail down a decisive historical moment demarking the end of Communism, the media keeps on replaying the same old symbols and touchstones until we've all become weary of the Velvet Revolution before it's over—or even begun—in this case.

Yes, it's true about the long lines in which the average Sovilet spends an estimated one-quarter of his life. I did some serious time in those lines. Paradoxically, Soviet store shelves are empty, but people's cupboards are full.

Every place I lived, food was stashed in nooks and cranies. Onions rolloed out of the storage closets. By my sleeping cot, hot tub-sized jar vats held whole tomatoes and eggplants gurgling in brine. There were so many bars of soap stashed under the the iron claw bathtub, I couldn't see its legs. In articipartion of a long siege, newspapers were stacked to the ceiling of the watercloset for our more literate heines.

At the State-run Universe Supermarket on Prospekt Chodozhnikov (Artist's Prospect), in Leningrad—I mean St. Petersburg—I had ample time to admire the symmetry of the rows and rows of apple-juice jars artfully to arranged fill the otherwise empty shelves, a la Warhol. The problem of shopping for food a exacerbated by the ration-coupons (talloni) needed to buy produktii (staples): sugar, flour, kasha, oil, butter, kielbasa, vodka, cigarettes, eggs. and meat.

Toilet paper, matches, soap, etc., are always in high demand, but is there a shortage because people chronically hoard the items or because them isn't enough to go around? Many items are in scarce supply because of their excellent barter value. If someone needs soap or toothpaste, they don't go to the store, they ask friends. Friends are everything in Russia.

Most Soviet workers earn less than 20 rubles a day; the average monthly salary runs from 300 to 1000 rubles. With 100 rubles to the dollar, one can live on U.S. pennies a day, but there's very little to buy in the stores. For those who harve plenty of rubles (or hard currency dollars), there's always food to be had. Valuta, or hard currency will buy imported food at the tourist stores.

But Russians, who are not allowed in the hard currency stores, boycott the bazaars and cooperatives, where staples can be bought for a steep price. Usually four an 100 times higher than in the artificially priced state-run goverment stores. Enterprising merchants, anticipating shortages, keep the prices so high that the food literally rots on the shelf before anyone can afford to buy it.

I've been to the USSR three times; it could easily be three separate countries, my experiences are so varied. Russia has to be visited again and again to be understood, and even then, she is elusive. A friend, poet Marina Ajaja, and I who were in the same cities at the same time, had stories so vastly different, it was hard to believe we were talking about the same place.

Travel allows us to don the persona of another existence, don another political-cultural system. Nothing, not even experience, prepares one for the culture shock upon returning home—it's always a rough transition, no matter how much I appreciate gourmet lettuce, designer cookies, chardonnay, toilet paper, or my own bed (not necessarily in that order). While I was in Russia, certainly the proverbial fat got trimmed from my diet, but I always ate everything in front of me, not knowing what my next meal would bring.

Seeing my own country through transplanted Soviet eyes, two things struck me: how naive and blundering Americans are, and the overabundance here—the excess. I literally screamed when I entered Safeway my first week back. Why was it all so screamingly red and yellow? An avalanche of food overwhelmed me, and the ambient noise split my skull right down the middle.

Having lost some Christmas gifts at the St. Petersbueg airport (posters coveted by a Finnair worker), I went to the Santa Rosa Mall on Christmas Eve to find my brother a warm shirt. Contrary to what the media reported, hardly a soul was doing last-minute shopping. I couldn't bring myself an buy anything. I was on a Soviet value system—a bargain $19 shirt was equivalent to a half-year's Russian wages.

Closing time at Macy's found me wandering aimlessly through the store touching things. Senesory, deprivarion does funny things to the psyche. All those months of seeing empty shelves, and a lack of the constant bombardment from the advertising world, left me temporarily immune to our biggest social disease, blatant consunerism. What I noticed was the amount of stress we willingly subjugate ourselves to on a daily basis in the from of advertising. Nothing is new, natural, or improved. Get over it.

I came home to a recession, the media informed me. This is news? I thought that was why we went to war in the Gulf, to boost the economy. I read that GM is to lay off 74,000 workers in the next four years: IBM to lay off 20,000, with another 20, 000 to fall beneath the axe next year. Retail jobs vanishing.

Something about President Bush buying his socks at K-Mart, the significance of which, escapes me. There's a mini baby boom. Desert Stork, a cranberry shortage in the Bay Area, and Sunnyvale city officials were offering Monopoly Money or Hell Bank Notes to the gods at the winter solstice bonfire. The country I left was pretty crazy, but we Americans were facing some pretty tough questions of mammoth proportions (mammoth is a Siberian word), like "Is there life after Communism?"

In the new Russian Commonwealth, when Yeltsin officially takes over on Jan 2, prices are expected to quadruple. The prices (and wages) have been held at an artificially low price for 40 years. If wages don't rise, many Soviets I know won't be able to eat. Since there are so few luxuries to be had, they can't trim their budgets there.

How are people here in America are cutting corners to survive these bad times? Some say they're getting by—by refinancing their homes, and buying only the bare necessities. Many North Coast residents who moved to the land 20 years ago are less hard hit by the current recession, but others, whose children have come of college age, find themselves commuting to Santa Rosa and beyond to bring home the bacon. For folks used to cutting corners, what's left to trim after rice and beans?

Others are mobilizing by organizing a series of self-help groups and public lectures to strategize and combat the recession. One group is offering women free seminars on financial planning strategies for the '90s.

Financial consultant Zara Altair of IDS/American Express, Santa Rosa, said the planning sessions have been well attended. "People overlook daily expenses, few know how much they spend on food, gas, lunches, movies, cafe mochas or the cleaning bill." She advocates prioritizing, systematically trimming daily expenditures (lunch at $4.50 a day adds up to $90 a month), and putting money aside for the future. Women typically control about $500,000 in their lifetimes.

Altair said economists work with allegorical models, using the best of possible worlds. There's a dichotomy of information when they say we're in a slow recovery pattern, for in reality we don't feel the impact—it's like blind men looking at the elephant. While U.S. rates have been dropping, European Community rates are rising. Either we've already hit bottom, or it's going to get worse.

"Financial planning is like winnowing the spending stream," explained Altair. "if you look at thinning out the schools of minnows, it's the opposite of the elephant allegory. Look at all these things that nibble away at your financial strength. You begin in take toward by examining everything you do, and that prepares you to make intelligent choices."

I thought the idea of financial planning was great, but wondered what advice would help the many West County folks, including myself who already live with the metaphorical belt tightened in the last notch?

But in the end, there's little comparison between American consumers coping with the recession, and our Soviet neighbors; materially we are much better off. They've been in an economic, downspin for many years—like 75 years. And we don't have to wait in ration lines at the state-run stores every night because we can't afford food at bazaars where a week's groceries cost more than a month's salary.

A neighbor, Pat Bond, commented that the recession in the United States serves to heighten people's insecurities—especially those of people already on the fringe. She said, "Letters to the editor read like a permanent full moon. The government isn't telling the truth; it encourages corruption." She said the Forestville Methodist church had swelled from 250 to 600 converts since the Gulf War. A retired scientist, she's one of the converts. "l want to believe that the world is friendly," she added.

Soviets, too, are flooding to the churches en masse; I've never seen so many baptism and marriages. But in spite of AA, that number of Soviets who find faith in the bottle also seem to have risen to an all-time high, judging "growing number of blind-drunks in the metros. Cologne and raw ethanol provide temporary respite from a living hell when there are no more vodka ration coupons to be had.

Unfotunately, we, like the Soviets, have fallen victim to the idea of inherant helplessness. One of their biggest failings is that of not knowing how, or when to take the initiative. They haven't discovered that democracy requires constant vigilance and hard work.

We in the West could set a better example, instead of mumbling about how we need to carpool, to recycle, to cut back on heating and the electric bill, the goodies and all the toys.

The kings of Siam once gave white elepharts to troublesome courtiers who in turn, suffered financial ruin trying to to support their royal beasts of burden.

Only five percent of the global population, we Americans consume the vast majority of the world's natural resources, and the upkeep of elephants (or SUVs) is depressingly expensive these days. Soviets routinely recycle waste, use car pools and public transportation.

Are we the role model for emerging nations like India and China who want to blindly emulate our worst habits, that of blatant disregard for the earth's limited natural resources? Maybe now's the time to put our lack of money where our mouth is, and perhaps the world will be a better place for elephants.

© 1992 Maureen Hurley
Page 4, The West Sonoma County Paper, January 27- February 5, 1992.


Sunday, January 26, 1992

Teaching journal, 1/26/92 LBC, CAC, Dream Vessels


1/26/92 I finished our El Día de los Muertos class with Inga Laskowski yesterday. Some 14 kids returned on a Saturday, a three-day weekend, to take a hour-long workshop which was heartening, a miracle. I never had faith in the after school, or a weekend workshop idea, but I can see that it’s working. I also had a little faith in the organization of it as well, but it worked out fine.

We did more freewrite and a group poem as well as letter poems. The group was a little more scattered and didn’t achieve the quality I had hoped for from the letter poems, but the objective was to get some poetry,.,. Hopefully it all goes with the portraits. It’s very hard to get good work and only two sessions.

I read translations of the poems etc. to the class. Rocio Nunez writes of her mother’s death, of her drunken father, and her brutal sister-in-law. Her pain and fierce determination to survive is extraordinary. I will never leave school, she says. A heart wrenching and superb writer. She writes of Calaca, Lady Death, lovely images of birds, a real gift she has. This is why I teach.

Afterwords, Inga looked at my travel photos of Russia, Peru, Ecuador, I haven’t been able to look at my South American photos since John Oliver Simon and I broke up, which is a bit jarring. I wasn’t feeling well as I had some trouble sleeping and my eyes feel like sandpaper. I think I have a touch of that virus or a sinus infection.

Friday was a loss. I met with John Marquitos of John Reed School to discuss a California Arts Council Grant, it’s iffy and it’s due on February 7, with the Witter Bynner grant due on February 1. I’ll know more on Tuesday whether or not I have a CAC sponsor. I got a nibble at Monte Rio school if John Reed falls through, but it’s not exactly enough time to plan a residency at this point.

I sent out 20 letters the first week of January and only got four responses, all on schools I expected, With the exception of Alexander Valley School. Probably no poetry at John Reed this year, he wants me to do a mural but that will require some research and I’ll have to do a bid as well. This is the second mural job I’ve been offered. The first one only had a $500 budget so I can’t imagine doing a mural for that amount now. There’s a lot of logistics involved like coordinating the kids, researching their history, coming up with a design, etc. So much to do.

I reread my November to June 1990 journal from the beginning—it was filled with doubt about Oleg, I accidentally opened it to the same day as yesterday, one year earlier and it’s interesting to look back at the space of the year to see where I was. I certainly was sick a lot last winter, a clue that something was wrong.

Some interesting writing too, especially on the Gulf War, which was I want to type up. I think it will help with my Dream Vessels poems. The IRS is breathing hard down on my neck and I want to work on my Dream Vessels poems and send out some work and everything is to do, doo, due.

Saturday, January 25, 1992

Dream journal, 1/25/92 USSR

1/25/92  I was reading my dream records and I was surprised to see that many of the elements came true, more or less. One year later, those dreams about Russia for example, most notably the changing blue and green sign I saw in Red Square. In the dream I’m with Oleg Atbashian, in real life it was with Valera Stupachenko. They put a an electronic bulletin board in the windows of GUM since I’ve last been to Red Square. I stood in front of it thinking I was in a déjà vu dream, not recalling the particulars of the dream. So, when I read about it, I was very surprised. I had a lot of déjà vu experiences when I was in Russia. The dreams usually occurred a year and advance, that’s why I don’t remember much about them. It’s almost as if I simultaneously lived an entire life out each day in the course of a year.

Maybe we are only on this earthly plane a year at a time and so we live alternate lives, continuously recycling the year down to the end. Other Russian images that were either too generic to pinpoint, or didn’t come true, with the exception of my helping an older woman, by offering my arm, she was recognizably Lydia from our business trip. Lots of dreams about getting ready to go to Russia, buying coats, sweaters, etc. Of course there’s always a group but there’s always a group involved in the USSR so that’s not exactly prophetic.

Maybe I need to pay attention to the strangers that I meet in dreams, because that’s the stronger indication of a déjà vu than anything else. Certainly I’ve met Valera before in dreams. That was well over a year in advance, Another theory shot, but it was the right time of year. I first remembered the Valera dream, was in 1989 before I went to Russia or I had even met Oleg, for that matter.

The images of people speaking in a language with lots of ZH sounds like Portuguese but not quite, it was obviously Russian, upon rereading. I recognize dream images. Even the icons were there except the dreamscape was like the coast of California instead of Russia. That threw me off. I could I couldn’t make headway with it. How was  I to know I would meet Valera at Fort Ross, of all places?

It’s hard to be objective but I’d like to more accurately see, so I can record the events. None of the actual images came through, with the exception of the I’m tired and want to sleep In church scene, a composite, the images were more metaphoric, than not. The problem is is I cannot remember much upon waking, then the dream is lost forever, unless I can record some imperfect meager scrap. Building, reconstructing the pieces is the actual déjà vu process, I guess reshuffling the images and the order of events, renaming the inarticulate descriptions, I can only record to the best of my ability. And that is colored by my linear consciousness. Call it dream pollution, but sometimes I’m able to capture an image in spite of it all. A tantalizing tidbit, enough to tease, but not enough to satisfy.

Tuesday, January 14, 1992

HARDEDGE LINES fragments


Besides these words,
what beast has escaped
to wrap me in mobius strips?
Einstein was right,
gravity bends light.

Feeling guilty
for switching lovers
we say the moon's in void.
Lunar dust and wind-chill factors.
Light askew in the heavens.

The blizzard of truth
loosened in this room
strikes only once like lightning
smoking pistoleros—
a column of hard stone,
honest and blue.

Though no longer in love with the idea of love,
I still crave chocolate in late afternoon.
Freudian slip. Freud was a cross-dresser.
What does he know of the incestuous relationships of poets?

When I said nothing happened,
she didn't want to believe me or to be made a fool of.
Then asks, is it serious, should she bow out?

I awoke saying Remember Safeway!
& of course, I couldn’t remember it.
Who is responsible for this anyway?

The Tonight show
will not be shown tonight
& we bid you good night.

At Nicasio Reservoir I stood naked in the moonlight
A black man with a fishing pole
wearing a Santa hat climbed the bank.
No fish. This is not the north pole in May.

I stand transfixed in this place like the orbit of stars.


some of these lines became short love poems

Tuesday, December 31, 1991

MATIN


MATIN
(a brief telephone conversation from the other side of the world)

Stricken by the binary division of male and female,
last night I burned translucent amber. Sacrifice.
In the air above our heads, an aurora borealis
alive with blue light, the rosiated sky timeless, & of no age.
Solar winds entered our crowns, our last chakra,
we tumbled like leaves across the autumn bed.
Our morning eyelids bathed in red corpuscles
dancing between membrane and cornea.
Reflections on stone, clearer than blood.
The time we didn't have, thick sacramental wine.

Someone said the art of compromise,
not conflict—is the basis of civilization.
Somewhere inside all of this, another story is waiting.
We come into this world innocent
only to be toughened by life's school—
What separates us from ourselves and from each other?
It makes me think this trouble goes deeper than culture.
Someone said, it's the men who suffer most of all—
We wonder why there's so much trouble in the world;
we can't even build a bridge to meet half-way.
We keep diminishing love,
as if love and pain were stillborn Siamese twins.
Guilty beasts rising up from within the self,
we felt bound to each other, and to time;
we became our own worst enemies.

I burned the precious resin more ancient than Man,
because to find a love that endures is rarer still.
In the fire surrounded by fire, on dawn's watered cusp,
your voice is distorted by phone lines—Sunspots.
Satellites, precocious star sounds, the cackle of deep space.
The path of the corona extends to the limits
of the solar system as solar wind.
Each ring of the bell, a matin of the heart,
a prayer wheel and flag for all our tresspasses.
As in the fairy tales, we'll mourn
the obligatory year and a day.
But I can't answer those bells yet—your voice,
as if from the dead, still argues from within.


1991  date? Who is it to? Oleg? Bruce?
rev. 5/92

House On Via Gombito: Writing by North American Women Abroad


House On Via Gombito: Writing by North American Women Abroad
by Madelon Sprengnether (Author) , C.W. Truesdale (Editor)

Amazon 2nd ed. listing, has my name, but no link
I had NO idea that it even went into a 2nd edition in 1997, and a 3rd printing!
Well, I guess have a first edition, then.

My story Night Train to Moscow: Waging Peace, was picked up by Black Dog & Leventhal (Workman) in 2001. Writing the Rails: Train Adventures By the World's Best-Loved Writers  by Edward C. Goodman (Author). Alas, it was remaindered right after it came out, right before 9/11. I never did get to do an author reading at Barnes & Noble. I will publish more info on this in 2001 entry. 

Night Train to Moscow: Waging Peace / Maureen Hurley p. 179
I do not have an electronic facsimile of my story. Only way to get it is to scan pages, but I've no OCR software. I may scan pages direct.  —MH, 2014

House On Via Gombito: Writing by North American Women Abroad

From Publishers Weekly:
The nearly 50 short pieces of travel writing that comprise this volume display such a wealth of perspectives and explore such a variety of locales that the book is a splendid adventure in its own right. In "Ramont Hall" Rhiannon Paine looks back to 1973 when, at the age of 25, armed with a broken umbrella, a "dilapidating Mini" and youthful enthusiasm, she set out to see England. Helen Degen Cohen, who, as an eight-year-old Jewish girl narrowly escaped being deported to a concentration camp, describes her "Return to Warsaw" to visit the Catholic woman who hid her during World War II. Patricia Hampl's "Italian Two-Part Invention" savors the romance of a damp Venetian winter; a visit to a monastery during one sunny Umbrian spring triggers a memory of the author's childhood. Melissa Sanders-Self's fictional "Nameless Things" follows the daily grind of a young American woman who serves drinks in a Tokyo club that caters to Japanese businessmen. Catherine Stearns's "Icarus in Africa" is a series of letters from a feisty woman who signs herself "Ma" and who, at 60, starts out to teach at a rural school in Zambia. Sprengnether wrote Rivers, Stories, Houses, Dreamsone title and Truesdale is publisher of New Rivers.

Copyright 1991 Reed Business Information, Inc.

Madeline Sprengnether


Friday, October 4, 1991

STELLA MARIS freewrite


STELLA MARIS

It's 5 am, Venus and Jupiter in conjunction with Jupiter,
someone says the star of Bethlehem
on the eastern horizon, new crescent moon
in the old moon's arms star of the sea.
I remember  sleepwalking to the front door
awakening to find a configuration like this
celestial bodies, the planets are aligning themselves
venus in the moon's halo appears to be holding the new moon
and holding the old moon in her arms
Venus Stella Maris I awoke naming the planet by its Latin name
where did that come from? I was baptized at the Star of the Sea
church. Some say it's really 1993 years since the birth of Christ
some priest or another got it all wrong way back when
the millennium is approaching at lightning speed
how many time since the year zero, or 3 ad
have Venus and Jupiter crossed paths
of course, everything's relative
it's what we see from here, this place.
that we designate as the most auspicious of signs
above me, Orion's belt suddenly i remember
a pictograph I'd seen somewhere
was it New Mexico, Hawaii
the small man dancing on the horizon
I recognized Orion. The names of stars
arabic and greek interpretations
thousands of years after the naming
what were the Hawaiian names
or the Indian names for the constellations?
The Pleiades directly overhead
the Celtic new year. The night sky takes on a significance
in my subconscious
I am recognizing a passage of time
our creators were more finely aattuned
to the movements of the stars
now we're lucky if we can even see them;
 the lights of the cities
a common denomonator for the madness
that sits within the absence of ritual
biological clock finely attuned to the measurements of seasons
the equinox another rare celestial event full moon equinox
and hunter's moon in one Paleolithic beginnings
haang from that orange orb
is it merely pollution that makes it orange?
I remember the August eclipse moon over Kiev
not knowing it was an eclipse
I watched the moon bleed in to the evening sky, 1989
In less than a week I'll be  traveling to Kiev again,
my 3rd trip to the USSR in as many years
this morning I'm off to Montana
listening to Tracy Chapman singing Mountains of Pain.



October 4/1991

Uh-oh a lot of ascii at the bottom—never a good sign

Thursday, October 3, 1991

Making Things: Artist Raymond Barnhart 10/5/91

 Assemblages by Sebastopol Artist Raymond Barnhart

THE SUM OF ITS PARTS— Barnhart outside his Sebastopol work space with one of his "relief constructions,"
Consummation. "I want to please the work. I want it to please itself."
  


We asked the captain what course of action to take toward a beast so large, terrifying, and unpredictable. He hesitated to answer, and then said judiciously: "I think I shall praise it."   —Robert Hass, Praise

BY MAUREEN HURLEY

I recalled the twist on reality and an unexpected visit from poet Bob Hass' poem, Praise while viewing Sebastopol artist Raymond Barnhardt's latest exhibit, "Recent Constructions" at the California Museum of Art in Santa Rosa, California.

Because everyone's response to my queries about Raymond Barnhart and his work was the inevitable raised eyebrow, followed by an incredulous: "You mean you don't KNOW about Raymond Barnhart's illustrious career?" I gulped, and found that the best recourse was to praise it. Taking the beast by the horns—by asking Barnhart niggling details about his second career as an assemblage artist (painting was his first career) seemed sacreligiously inane and so unintelligent. Excuse me, your slip is showing...

And so, at a recent artist's lecture at the California Museum of Art (CMA), when the venerable artist himself was introduced by museum director Duane Jones as "Someone who needs no introduction," I thought, aww feck, the Chilean poet Pablo Neruda was right: "You can only ask questions and die." Luckily, the lecture was a quorum of questions ranging from "How do you name your art?" to "What kind of power tools do you use?" The questions were all answered by Barnhart, age 88, with such thoughtfulness, verve and wit, I was in love with love itself.

Artists know firsthand that one of the challenges in art and poetry is to create something that is profound, but with a sense of humor. One who can accomplish both—without lessening the impact of the statement—is a Master. Barnhart's elegant, formal masterful assemblages are intentionally playful, they delight the eye, they make you want to laugh. 

Conceptual artists make us look at ordinary things in a new way, they redefine our limited perameters of "definition." It comes down to rearranging concrete nouns into metaphor—Plato's nemesis. The metaphor of Picasso's bicycle seat and handlebars as a bull's skull. Man Ray's steam iron with nails, and Christo's running fence—all share that spirited kinship to challenge the senses and reality. How we see the world.

Thursday, September 26, 1991

THE PERSONAL FILE OF ANNA AKHMATOVA (newspaper story)


In the film, Dr. Zhivago , at the funeral, Zhivago's brother says of the throngs of mourners filing past Zhivago's casket, those who love poetry love poets, and nobody loves poetry like the Russians.

But he could just as easily described the very real funeral scene of Anna Akhmatova—considered to be the high priestess of Russian poetry, and one of the great poets of the 20th century—in the documentary film, The Personal File of Anna Akhmatova , by Leningrad filmmaker Semyon Aranovich. 

In Zhivago , Anna's friend, Boris Pasternak captured a fragment of the darkness that must have descended upon Russia, as the material for the Iron Curtain was mined from the very psyche of her artists and intellectuals. The capital of culture, (and once the political capital of the USSR) St. Petersburg (Leningrad), with her mosaic of 101 islands wrested from the marsh, is said to be built on a foundation of human bones. 

In this dense, heavy, dark film, Aranovich effectively captures some of the real-life horror artists suffered while under the reign of Stalin. Akhmatova speaks, "The naked man on the naked earth. What a dangerous thing art is."

Russia has made great contributions to literary tradition: Tolstoy, Pushkin, Blok, Mandelstam, Solzhenitsyn, and of course, Akhmatova. 

Ironically, it was during my first visit to the USSR, in August of 1989, that Alexandr Solzhenitsyn's work was allowed to be published for the first time, during that same epic month, Andrei Sakharov died, and the film, The Personal File of Anna Akhmatova, was broadcast on television. Solzhenitsyn, Sakharov and Akhmatova were finally repatriated and reinstated—and filmmaker Aranovich as well. 

One of Stalin's first work camps bore this slogan, 'With an iron hand we shall lead humankind to happiness." On the green walls of Leningrad's Literature Club, I read a list: many of the world's greatest artists lived there, and during the Period of Stagnation, smuggled their work abroad.

Joseph Brodsky, who, as a young poet was befriended by Akhmatova, before he was forced to leave the Soviet Union for America, said "it depletes you by making you think of it all the time, and so you struggle with it, losing all your potential." 

In the film, one month before his own defection to the west, Solzhenitsyn tells Akhmatova "That's just what I thought— you are not silent, but write what cannot be published." 

And during the 1991 August putscht , I watched the film, only to hear the voice of Akhmatova utter, "August is always a frightening month for me. . . how many poems I did not write. . . I know beginnings and endings too. I did, probably, everything that could be done."

Born near Odessa in 1889, during the last days of the reign of the tsar, the spirited Anna Andrevna lived in the outskirts of St. Petersburg, in Tsarskoye Selo. At the age of seven, she knew her destiny, and changed her surname to Akhmatova, after the last prince of the Golden Horde. 

"When Papa found out about my poems he told me, Don't bring shame on my name. 'I can do without your name, I told him.' Only a crazy girl would choose a Tatar surname for a Russian pen-name!" she retorted.

She narrates: "The human soul is made in a strange way. Poems, even the greatest poems, never make the author happy." Though she suffered the full sting of Stalin's purges, Akhmatova's life itself was an act of courage: in 1946 she was silenced, expelled from the Writers' Union, and only partially rehabilitated after her death in 1966. 

"A writer with a frightened soul isn't qualified to be a writer," wrote her friend, Misha Zoschenko—who was banned at the same time. 

In 1912, her first book, Evening was published, and her son, Lev was born. "You are my son and my terror, . . .And I can no longer tell man from beast." she wrote. The second time her son was imprisoned for the crime of bearing his father's name—poet and counter-revolutionary Nikolai Gumilyov, executed in by the Bolsheviks in 1921—she suffered a heart attack that nearly killed her. 

No one is forgotten; nothing is forgotten— Akhmatova wrote of censorship, "I remember how the gods turned people / into things, not killing their consciousness." 

Akhmatova later committed nothing to paper: the poems, including her famous "Requiem" survived because friends memorized sections for her. 

"Requiem" is a chronicle of her wait in line outside the prison walls to see her son. An old woman asked," Can you describe this?" Akhmatova said, "Yes, I can." 

In Stalin's times, for many, the defiant act of poetry was the only way to stay conscious and sane. For this reason of bearing witness, the poet must never forget—for Akhmatova, to do so, was to commit a mortal sin. 

Later in the film, Anna says, "Solzhenitsyn gives us back our native languages and loves Russia with Blok called a "deadly insulted love." She refused to leave the Soviet Union, becoming "a forceful voice against oppression." Two years before her death, she was reinstated into the Writers' Union, Solzhenitsyn fled to the West to publish freely. 

Aranovich, who filmed archival footage of Akhmatova's funeral in  1966, risked arrest and was unable to show these images until now, under glasnost .

The story of the film itself, reads like the chronicle of Akhmatova's life: Aranovich was silenced when his footage of Akhmatova's funeral was confiscated by the KGB, the director demoted, and the footage remained missing for five years. 

According to the American translator of the script, poet Maryna Albert of Odessa Productions in Seattle, "Aranovich was told by someone to ask about the footage at the archives at Lenfilm Studios. He went with a bottle of vodka, and talked to the head archivist. They drank the bottle and Aranovich got another. Finally, the archivist says, 'I know what you're here for, your film, but you're not going to get it.' 

For almost 20 years they could not get ahold of the footage. Ironically, the only time it was shown was when the KGB wanted to know who was present at Akhmatova's funeral." 

Maryna Albert's own involvement in the film came about when she was in Russia in 1989, when she met a young musician who had just finished working on a film of Akhmatova. She saw the film, loved it, and met the director, Aranovich. 

In turn, she read him a poem she'd written at Akhmatova's graveside, translated by her friend, Leningrad writer and guitar -maker Yuri Dmitrievski. Aranovich liked the poem, and offered her the job of co-translating the Russian text of the film into English with Yuri. 

(Excellent translations of most of the poems and text of Anna Akhmatova are by Yuri Dmitrievski and Maryna Albert; three poems by Judith Hemschemeyer, from the recently released Complete Poems of Anna Akhmatova , Zephyr Press 1990; two poems by Stanley Kunitz/Max Hayward from Poems of Akhmatova , Little, Brown & Company 1973.) 

The completion and subsequent airing of this important documentary film represents the banishment of repression not only for Aranovich. 

Yuri Dmitrievski who described Social Realism as "a monster nobody has actually seen with the naked eye," said "If you weren't killed, survival was agonizingly hard for anyone banished from the obedient herd. Consequently, there's scorn among Communists for anyone who is independent and, worst of all, creative."

Russian criticism of the film was that Aranovich objectified Akhmatova too much, placed her on a pedestal. She was more human, down to earth. Albert said the film, geared for Russian audiences, assumes those viewing the film are intimate with Russian history and literature. Not enough is explained for American audiences. 

"I tried to bring some clarity to the film, which is not always chronological." She was confronted with the added dilemma that the film had no separate sound track. Albert was able to make an American adaptation (2 and a half years in the making) funded by the Washington State Humanities Council, with only seven editorial cuts.

The 63-minute black and white film successfully weaves photographs and footage, often using pastiches, collage, overlays, and repetitive loops to achieve a visual poetic effect. Haunting, discordant music serves to enhance the nightmarish quality of some of the images—Stalin wiping his mustache over and over, or the wind riffling the pages of books.

The cult of Stalin juxtaposed against rows of animal skins, scored with Dmitrievski's percussive rendition of "Moscow Nights" and "Katushka" raises the hackles on one's neck. This is a dense film noir, requiring several viewings. Sometimes the subtitles go by so fast, there isn't adequate time to absorb them, and some of the text for the complete poems is almost too small to read. 

However, it's a film well worth seeing—especially as we in the west struggle to understand what Russia has already experienced, and what lies ahead.

Part of a growing Renaissance on the life of Akhmatova, the archival film will make its Bay WArea debut at the Mill Valley Film Festival in November, and it will be aired again in December at the Poetry Film Festival in San Francisco. 

An American companion film on Akhmatova—using much of Aranovich's original footage—"Fear and the Muse" will also air in November on KQED. And there is rumor of other documentary films on Akhmatova on the way.

Distributed by Oakland-based, non-profit national film distributor, The Video Project, The Personal File of Anna Akhmatova, is now part of their Glasnost Film Festival video series, the original 22 films which toured the US for over a year, have expanded to 33 titles. 

The Festival was brought to North American audiences in 1989 by the Citizen Exchange Council and the American-Soviet Film Initiative (Moscow).

The Video Project (originally the Educational Film & Video Project) was co-founded by Oscar nomination, I n the Nuclear Shadow: What Can the Children Tell Us? 1983, and Academy Award ( Women—For America, For the World , 1986) winning documentary filmmakers Vivienne Verdon-Roe and Ian Thiermann in 1983 to produce and distribute affordable alternative films and videos on issues crucial to our future on the planet. 

Verdon-Roe first saw the Soviet films at the Los Angeles premier of the Glasnost Film Festival. "I was quite unprepared for the emotional impact of these films. They are a vivid reflection of the changes sweeping the Soviet Union, a transformation that is now changing our world so dramatically. . . a society that is taking moral inventory of itself, trying to heal itself."

Over 150 films ranging from environmental to critical social issues such as the arms race, and Latin America—hard-hitting films rarely seen on television—are available for individual, or group rental or purchase at 5332 College Avenue, Suite 101, Oakland, CA 94618, or call (415)655-9050. Thiermann encourages grassroots groups to use the films to raise funds for their own efforts. Le Video in San Francisco and Video Droid in Mill Valley do stock some of their tapes as well.

I don't have a tear sheet for this, not edited version.

Wednesday, September 25, 1991

TROUBLE? NOT ME!


TROUBLE? NOT ME!

When my weekly horoscope said I'd fall in love with a stranger,
perhaps a Gemini, I laughed, thinking how easily I'd outfoxed my fate, 
and escaped Eros' sting. Besides, it was during the Russian coup,
I was living a cloistered life; I'd sworn off men—especially Soviets,
having put the last one (a Cancer) on a plane back to his wife.
Chocolate is a lot easier on the psyche and tastebuds.
Minerva cautioned the entire centarian tribe of archers,
Unlucky in love, are you the problem or the key to the solution?
Sagge, be careful what you ask for. I don't believe in starcasts,
but I forgot the gods are practical jokers. 
A chance meeting with a stranger on a pier,
minutes before my forecast was rendered null and void,
I fell in love with a Gemini man from an overthrown country 
half-way around the world, without even a language in common. 
I forgot to specify I wanted a sensitive, rich, agnostic American. 
Instead, I got a piously orthodox aging Russian singer.
Always in hot water, I know I'm trouble, I wonder what he asked for,
& how many other Sagges were parboiled that week?
Blame fate or the stars the ship was stranded a week in port.
It began innocently enough—the night I drove him back to the ship
at 70 mph, my unexplicable tears, the swimming freeway.
Alarmed, he wondered if we'd get there in one piece.
I stood on the pier shivering in a summer dress
& bundled against the fog, dismally in love with a stranger
about to set sail. The gods take no prisoners, we couldn't board ship—
US customs had shut it down. Trouble, all right.
He pointed to the dictionary, are you free?
Was he was referring to political ideological freedom
just after the coup—it seemed a natural enough question.
Panicking, I assumed he wanted to defect. 
Six others jumped ship in Seattle and nearly drowned.
He shook his head, No. I thought, O god, 
it's the larger question: do I have ties, am I single? 
But he just wanted to go shopping before returning home.
Relieved, I said yes to all three counts.
We spent the week exploring backroads and beaches,
singing under the stars, before his ship left for Vladivostok.
My girlfriends sighed, how romantic! It's certainly a challenge. 
At least he's not married like the last one.
While I was busy fanning the blaze with a frying pan,  
my ship came in all right. And sailed without me.
I wonder where fate will take me this time:
To St. Petersburg as a Russian wife peeling spotty potatoes?
Or will he come here, dependent as a babe; 
both of us broke and hating each other,
living like caged rats in my shoebox of a cabin?
I've never seen the fall come in like this before: thunder & rain 
after a day hot enough to cook eggs in plein-air.
Last night's full equinox moon pushed on the sky
like an impatient child in the birth canal,
with bags packed, nowhere in particular to go.                 


 9/25/91
rev. 5/92

Wednesday, September 18, 1991

INSOMNIA, l




INSOMNIA


Sleeping until noon & needing an excuse,
she blamed it on the java she scored—
20 pounds of dark French roast
vibrating in her fridge—
keeping her hardwired all night long.


9/18/91
rev. 8/92

89 to 92

Tuesday, September 17, 1991

ACOMA, THE OLD ONES


ACOMA, THE OLD ONES
 


In the Grand Canyon, the rivers eat time.
The muddy Colorado, a hungry red snake devours natal rock.
Like an old man seeking the fountain of youth,
it eats ever deeper to a time when the earth was young.
Soon it will devour itself like Oruboros,
because it eats through to the heart of the metaphor—
not vertical history, but timeless geology.
Lava sensibilities hidden in the depths
give no clue to the passion set in stone; time itself is fluid—
cracks in the earth, fissures in the soul
of alluvium and rusted sandstone.
Defiance Plateau. How big, and utterly defiant
the land must've seemed to those crossing by wagon.
Now the land becomes less distinct,
an amalgam—like the people who settled America.

Mirages are to the desert as waves are to the ocean.
Ghost cities laid out like Nazca lines,
geometric knotwork of someone's failed dreams.
We try so hard to leave our mark,
sometimes without even knowing it.

Flying over Acoma, the oldest inhabited city in the U.S.
I think of Coronado searching for the seven fabled cities of Cibola,
who found only the empty cities of the Anasazi, the Old Ones,
could not see the wealth of earthen walls glowing at sunset.

9/91 & 9/93  
Santa Fe, NM


CORN MOTHERS


CORN MOTHERS

Dendritic memory of dry riverbeds,
the pale alluvium, most recent in memory,
points accusingly toward sinkholes below sea level.
Recognizable from the air: Cedar Breaks,
Vermilion Cliffs, Rainbow Plateau, Monument Valley.
Lines across the earth in resonating patterns,
what do they mean? Power lines visible from space?
The varied skin of the mother,
the mysterious deeper names for the earth.
A finger lake with fractalline shores—
and irrigated circles, green coinage for the corn mothers.
Nothing grows in the pocket canyons
except turquoise reservoirs, truly jewels of the desert.
Remnants of oceans, polyps and coral, a garden
bloomed in the blood of our mother, the sea,
the first goddess to emerge
and give up her bounty.




9/91 & 9/93
Santa Fe, NM

Monday, September 16, 1991

Face to Face Art Auction 9/16/91

Using art to help celebrate life




COMPASSION—A work by wood sculptor Bruce Johnson to be auctioned at Face to Face's annual Art For Life benefit Sept. 21 at The Friedman Center.


BY MAUREEN HURLEY

In 1988, stained-glass artist Laurence Evangelinos contacted Face to Face Sonoma County AIDS Network, the local agency dedicated to providing care and support for people with AIDS and ARC. "It is time to do something. I want to help," the Occidental artist told Face to Face Development Director Rick Dean. "The only thing I have to give is my art."

But she had an idea that she wasn't alone in the artist community, and Art For Life, one of the most successful art auction fundraisers in California, was born.

Over the last four years, the Sonoma County artists have responded in force to the Face to Face request for donations. Last year's auction exceeded projections of $25,000 and raised $37,000. This year more than 200 works of art valued at over $100,000 have been donated to the auction which will be held September 21 at The Friedman Center in Santa Rosa. One piece alone, donated by Timber Cove sculptor Bruce Johnson, is valued at $8000.

Among the contributors, visual artist and SRJC art instructor Marsha Connell of Santa Rosa sees the project as a natural endeavor for the community. "AIDS and the artist community overlap—and there are fewer resources available to us. We need to help our own community."

Guerneville printmaker Inge Laskowski says, "I feel it's a really important event for artists who can give something other than money. It's a gift of ourselves to contribute to the cause. The community takes an interest in that art, and with that interest, donates money to Face to Face. I can see the direct results of the benefit auction right here in my own community."

One complaint often made by artists about benefit auctions—that sponsors think little of asking artists for a donation as if somehow creating fine art was less of a livelihood than, say, plumbing—is curiously absent when discussing Art For Life.

A practical issue Connell raises is that "though a piece of art may be worth thousands of dollars, the artist is not allowed to take a tax credit for the charitable donation of a piece. The IRS allows artists to deduct only the cost of the materials." Since most artists have already deducted materials in their yearly tax returns, they usually receive no tax-break whatsoever. "However, if a business person or a gallery owner donates a piece of art, they can claim full value," explained Connell.

So when artists give their art for charitable causes, they usually receive no compensation. True philanthropy.

Though artists contributing to Art For Life are entitled to receive up to 2O percent of the sale price for their donated piece (which helps to recoup materials costs), framing a watercolor can run upwards of $400, a considerable out-of-pocket cost for the artist to absorb—most artists who donate work to the auction do not claim their 20 percent. According to Dean, less than a quarter of the artists ask for the payment.

Of course, artists also donate their work because ita lso gives them exposure. According to ceramicist Jeff Zigulis, "This auction is one of the premier art events in the Bay Area."

Zigulis, who is on the board of directors for the Sebastopol Center for the Arts, feels it's a feather in his cap to be asked to be involved in the auction. "Face to Face is a timely issue, it helps local people in the community. The ir auction is head and shoulders above the rest. It's number one."

Forestville wood sculptor Michael Costantini began as a volunteer at the first auction four years ago and helped organize the system with "flow-function logistics." Costantini explains, "The art auction is a very labor-intensive way for an organization to make money. The amount of energy expended for the return of profit is considered to be on the low end of the totem pole. And the auction is so successful, it's one of the biggest money-makers for Face to Face." The other major fundraiser, the Human Race, is held in May. Monthly pledge programs and state and county grants, make up the bulk of the organization's annual budget.

Costantini, who works primarily on commissioned pieces privately negotiated through Gump's, sees the donation of his art as a promotional venue as well as a philanthropic gesture. He says it's like having a new instant client.

"The auction gives exposure to worthwhile artists, and because it's invitational, it has prestige," says Laskowski. "It's important that all of us think about AIDS-most of us can't help out on a day-to-day basis. The auction is an outrageous success. A real social event, a who's who of the [local] art world."

After the art auction Dean will fly to Vancouver, B.C., to take the model to other AIDS agencies. One reason he thinks the auction is so successful is the extraordinary number of artists, restaurants, and wineries in Sonoma County. Several chefs, caterers, and wineries also contribute services and products to the event. "Sonoma," Dean says, "is a mecca."

Face to Face began as a grass-roots movement in 1984 with community members taking care of friends by providing home care, emotional support, and hospice services. Development Director Dean began at Face To Face four years ago as a volunteer. He had quit his job at retail sales, decided to volunteer, and loved working for the organization. When he began, the budget was $100,000. Today it exceeds $600,000 and requires a professional staff of 16 full- and half-time nurses, social workers, therapists, and educators. The volunteer base has swelled to 150.

The extra services are, unfortunately, tied to increased need. Recent statistics from the Sonoma County Public Health Department show 552 known AIDS cases since 1982,389 deaths, and an estimated 3,000 HIV-positive people. Seventy-eight new cases were reported during the first half of the year alone.

But county statistics don't accurately reflect the numbers of AIDS cases in the county, Dean says, because many people are diagnosed in San Francisco and other Bay Area communities, and then relocate to Sonoma County. "We have done miracles to still be in existence. We're one of the few agencies that does not have a waiting Iist. And the patients are not just men—women, children and whole families are on the roster," explains Dean.

"We now serve 400 patients a year, the highest caseload ever," notes Dean. "It's been a steady climb from just 35 people from four years ago."

Evangelinos continues to donate to the auction, this year a fused-glass sculpture. "Donating art has both political and social rarnifications—if you don't act on what you believe needs to be changed, or helped, you are guilty of leaving the status quo intact, she says. "Just standing on the sidelines isn't enough."

Works to be auctioned at Art for Life can be previewed in over a dozen community showcases, including the Quicksilver Mine Co. in Guerneville, Q Gallery and Sawyer's in Santa Rosa, Copperfield's in Sebastopol, and Hand Goods in Occidental. The auction itself will be held at the Friedman Center, 4676 Mayette Avenue, Santa Rosa, on Sept. 21. A silent auction will begin at 3.30 p.m. and a live auction will follow at 5. Tickets ($10) are available at the door. For more information, call Face to Face at 887-1581.


The West Sonoma County Paper, 9/16/91