THOMAS LARSON

(Contrary Magazine Spring 2008)

Through a Glass, Outwardly: Memoirist Misses Inner Picture

In Hofsós, Iceland, in the land of his ancestors, Bill Holm spends his summers, writing, playing the piano, and being "completely, stupidly happy." The picture window of his modest second home frames a vast mountain range and a fjord of immense beauty. Through it Holm also sees waves breaking (brim) on the cape (nes). He learns a bit of the tongue, digs into Iceland’s myths and history, cobbles together some family narrative while musing on the abject conditions they fled for Minnesota. When he’s not ga-ga with joy and things Icelandic in the midnight sun, he’s fulminating about the USA.

(Contrary Magazine Winter 2007)

Study of Fraud Poet Gives Him More Than His Due

Long before the tushy University job for American poets there was a time when a few wrote verse for popular taste, published in newspapers, and eked out a living. In the early twentieth century, pro rhymesters like Ella Wheeler Wilcox and Edgar A. Guest were mainstays. If the poet could sing of democracy and motherhood, of religious awakening and moral virtue, then a modest career in writing poetry—forget selling insurance—might be had.

Enter Scharmel Iris (1889-1967), an extremely minor (Is less than minor possible?) Italian-born Chicago poet, whose writing life was both a fraud and a failure.

(Fourth Genre Fall 2007)

Daniel Mendelsohn's The Lost is the story of his search for six relatives, his grandfather's brother's family, who were killed in the Holocaust. The search is ocean-going and slow to unfold, held back yet pushed on by its watery domain. The book presents a handful of memories from a handful of survivors and witnesses, many over eighty, from one Polish town. Yet even the mealiest of recollections carry a mystery—and it is this mystery about what might have happened to the six that has aggrieved others and consumes Mendelsohn. The book is a testament to, and an enactment of, the trappings of memory's rituals: how we linger, defend, indulge, and exhaust what we hope to believe about the past and what we must relinquish as speculation. To plumb its depth, Mendelsohn must reawaken the dormant yet simmering ache of the Jews, re-grieve their loss, if the book is to be true. Author and story are so interdependent that the family's vanishing is indistinguishable from Mendelsohn's elegiac memorial to them.

(Free Inquiry August/September 2006 Volume 26, Number 5)

On Bovine Excrement

Words, the poet and playwright Amiri Baraka once noted, have users. But, more important, users have words. Baraka believed that if we want to understand language, we need to get out of its etymological backyard and into its sociological neighborhood. Take the word bullshit. When it’s uttered in a locker room or a closed door meeting between lawyers working on plea bargains, context says the word means "you’re lying." In such a venue, it’s hardly profane. The same word used by a high school teacher or on television would be heavily profane: its rare utterance gives the word a force it would otherwise not have. Our in-group/out-group divisions, our media-mass relationships, cannot be ignored when we interrogate words under the lamp of usage.

(San Diego Union-Tribune September 4, 2005)

A Big Self-Conscious Mess

If a novelist writes a bad novel, a critic has a duty to say why: The plot is lame, the characters flat, the conflict uncoiled, the theme old hat. But if the novelist is Bret Easton Ellis, who began his career in 1985 with the strangely beguiling "Less Than Zero" and whose newest fiction reads like his last two roundly detested works—the BTK-like screed "American Psycho" (a novel that women's groups vehemently objected to, Simon and Schuster dropped, eating their $300,000 advance, and Knopf published) and the fashionista flop "Glamorama"—a reviewer has to watch it. He shouldn't let his disgust with Ellis' predictably affected infantilism overcome his judgment.

(American Book Review January/February 2005, Volume 26, Number 2)

The Soul of American Music

The hybridization of racial and ethnic cultures in American art, particularly in literature, film, dance, and painting, did not really begin until after 1950. Before then there was little mixing—not because artists were incapable of cross-cultural influences but because European traditions of song and dance were so set, audiences so white, and barriers so thick, that racial commingling seldom occurred. One notes Mark Twain and Langston Hughes as exceptions, but they also prove the rule. Such a lineage, however, is not true of music. Music is America’s most democratic art, probably because of its, rather than, our nature. And yet the identity of American music—a dialogue and debate with those European traditions—arose from the experiences of slaves.

(San Diego Union-Tribune July 25, 2004)

Shaken and Stirred

We all felt it, June 15 of this year: a 5.2 temblor 40 miles off the coast Coronado. That first shake of the building (if you were indoors); the recognition, "It's a quake"; then the peak of the seismic wave jolting the walls and the table and everything on the table. All of it in five seconds.

What I recall of that long instant is how time distended under stress. For example, the fourth of those five seconds, when the quake got much stronger. Suddenly, that unwieldy fact got me up and headed for the door; when I stepped outside, the rattling stopped. And yet how many of us think back and say, we're certain we had the presence of mind to handle whatever would have happened? A total prevarication. In the moment, you don't know how long the possibility of the quake is, which is really the possibility of your death—a fear no different, I assume, from the fear that rises in battle.