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A Literary Blog

  • The following flash fiction piece plays with scientific concepts in the service of one very egomaniacal orchestral conductor.

    Kapellmeister, Kapellmeister

                And because the Kapellmeister was not the sort of person to stop when he was not of a mind to, they kept playing, even over and above the cries from the back of the shed:

                “Kapellmeister! Kapellmeister! You must stop going!”

                Someone shouted this from offstage, someone who knew him and who was responsible, as the ambassador of their organization, for his actions on stage and their ramifications in the world. But, while the Kapellmeister was making music, it was impossible to recall him, in mind and body, from the places he had gone to.

                This was a dilemma, because it was the life not just of the Kapellmeister, but of his whole orchestra, that was bound up in this drive to continue. Perhaps it was some strange magic that sealed the bond keeping conductor and orchestra locked together, so that neither the one nor the other had any charge over it. Or perhaps, also, the Kapellmeister had hit upon some unique property of our energetic universe that seemed like magic at the time only for its not being understood.

                The orchestra was in the middle of a Mahler Symphony, and it would be at least an hour before they were going to break for good, because the Kapellmeister took only the briefest of breaks between movements, not ever more than four seconds, and only so he could rest his arms for the slightest moment. Meanwhile, the orchestra manager (who had done the erstwhile screaming) was running around at the back of the shed and on the grass outside. He was surveying the real, or the potential damage, along with his staff, each of whom had come some way to find some means of coping with the – genius – and the particular form of logicality that the Kapellmeister espoused.

                Ironically, though, if one looked into the faces in the audience itself, one would have found no note of worry, no hint of consternation, and not even a mark that anything at all was “wrong.” If you were to have asked one of them what was wrong, you might have received the answer that nothing was wrong, of course nothing was wrong, and please be quiet, because actually what we are doing right now is listening to the music those women and men are playing on the stage, and which that man there is conducting.

                It is not that there actually are, or were, parallel universes, either at that time, or else now. It is only to speculate that, if such things did exist, this might be one of the ways in which they operate. But in these circumstances, you would have to be an outside observer to both universes that are parallel to one another, and also therefore have access to the ability to see into, and see, both of the parallel universes at once.

                The manager, the stage manager, the offstage trumpet who had stopped playing some minutes before, their boss, the owner of the orchestra (who had decided to be present that day) were in one universe.

                Without waiting only for his “subordinates” to do what he must, at one second, have known to be necessary for the salvation of his orchestra, Kapellmeister Jensen, the K., was, anyway, always all the while conducting his orchestra slower and more slowly, even as, if one was looking on the two universes from the “outside,” the other universe was speeding up, immensely so, and, moving at such a pitch, was also beginning, in many cases, to become greatly compacted, or else to burst into flame from apparently out of nowhere. In a very short amount of time, it became impossible for the manager, the stage manager, now also the house manager, the offstage trumpet who had stopped playing, and the boss, the owner, to run around farther than the back of the orchestra (in the audience, I mean), because already that world was speeding up to the point that it was becoming so compacted that, if it did not burst into flame at once and right away, it very well might have done so had someone hit it with a stick – or better (so that it would actually hit), with a mirror image of itself lying on the same dimension and, therefore, also accessible to it by means of contact. I will not detail this for you, because actually this would take 13.9 billion years to do properly, but just believe me when I say that it was an amazing sight, although nobody saw it because everybody was in it, and also nobody who was in it knew that it was happening because for them time was speeding up in direct proportion to the “by much” by which the cosmos was being crushed.

                At the same time, of course, the universe in which K. Jensen was, was slowing down in time in direct proportion to the amount by which the first universe was speeding up, and would, therefore, if they had been able to observe into it, have seemed to have been slowing down even that much the more.

                So, soon, I mean to say, the green lawn (nee of grass) in back of the shed where the orchestra kept playing and its conductor kept conducting always every more slowly (and always ever the same in relation to himself) was soon neither green, nor also any longer a lawn, but only to an outside observer and not, also, to itself and to those on it, because, to it and to them, it was always remaining the same.

                So, K. Jensen kept conducting to the end of the Mahler symphony, which he never actually reached, although he didn’t know this, of course, because to him it seemed that he reached the end of it on time, which to everyone in that second universe (or in one that observed) seemed to take an infinitely long amount of time to reach because he kept on conducting ever more and more slowly.

                What I mean to say, I guess, is that to everyone who was in one of these two universes everything seemed normal, and that it was only to someone who was looking on from the outside that anything seemed to be the matter, so that the stage manager, the manager, the house manager, the offstage trumpet who had stopped playing, the boss (the owner), and myself, were, I think, the only people in this universe to note that anything about it was changing, or split into two. And I myself cannot say exactly why what was happening happened, or what impelled it, but I guess that part of the answer could be that somewhere we hit a black hole, although why we were split in two from it, I really cannot say.

  • The following story was composed in the style of medieval poet Honorius Augustodunensis.

    So. You have caught me halfway through a dream.


    In a little room of a tower, clean and bare,

    I sat and dreamed. I looked out

    far beyond the space of the walls,

    down a plain, into a dark wood.

    I was alone.


    There came onto the plain,

    girded with a golden sword,

    a knight on a pale horse.

    His hair streamed.

    There were no gloves on the hands

    with which he led the steed.


    I was moved by his approach.

    Curious, his near-coming garnered my gaze.


    Under the wall he reined up his horse.

    His voice rose up.


    “I am the servant of a noble king.

    He would have you come for his bride.

    Come down from your tower,

    and I will take you to him.”


    “Sir,” I replied—the voice was not my own—

    “there is a lock upon this tower.

    It is sealed with seven seals.

    Answer my seven questions,

    and I will descend to be the bride of your lord.”


    The noble knight nodded in response.


    “Tell me first: who is your lord?”


    “My lord, who sent me from a land far off,

    having heard that there is none among the seven lands

    better than are you, or who can be your match,

    is a lord above all other lords.

    He sits on a high throne that is on a high mountain.

    From there he can look out on all the land.”


    “Tell me second: is he handsome?”


    “My lord is twenty times more handsome than the most beautiful of the children of Adam. He is surrounded by a court of retainers and of beautiful women who are always desiring to see his face. But his face is veiled behind a veil of silk, and he will lift the veil not until such a time as he is ready, for otherwise his beauty would overshadow the world.”


    “Tell me third: is he powerful?”


    “His left hand has the strength of thirty men, and in his right he wields a sword that is sharper and larger than all other swords. None of the children of Adam can compare to his might.”


    “Tell me fourth: is he rich?”


    “If I had seven years I could not describe to you the face of every gold coin that is in the treasure chamber that stands behind his alabaster palace.”


    “Tell me fifth: is he generous?”


    “Lady, if you will come with me, he will shower you with all the riches I have described, and will open to you the endless fountain of his mercy.”


    “Tell me sixth: is he well loved?”


    “People come from near and far to honor him. Come with me, and you will be honored with him.”


    The six seals were broken.


    “Tell me seventh, and be quick to seal your answer in no more than one word, or the seal will remain forever sealed: of what substance is your lord?”


    The rider sat a moment back in his seat. His head hung as he thought. Then, gripping his spurs, in a loud voice he said, “Love.”


    I descended to the door. A hand that was not my hand undid the latch. A foot that was not my foot stepped onto the path. The beating of the heart in my chest was the beating of a heart that was full of love that comes from a king sent from afar out of a wood over a plain by a noble knight with a golden sword to break the seven seals that seal a tower that holds the heart that in my chest beats.


    Gott sei Dank.

  • Dear reader,


    Much like the last poem I posted, the following poem was inspired by the biblical Song of Songs.


    Of Ten Thousand Men

    I.

    The world has grown harsh about me, and all is change.

    The sun-god, following my mind,

    has departed from the sky

    and words nor thought can any longer call him back

    until the day I die.

    My mind grows open to the world.

    It is tied to the spring and spring retreats from the earth.

    II.

    He came swiftly leaping in the hills.

    He was younger than I.

    He called to me in the fields:

    Come.

    And I came.

    III.

    And soon the summer-days will be departed, as seems neither possible nor true.

    We looked into the sky and saw the means by which we will be saved.

    He is dead now, though he shall leave the tracks of himself written on the sand.

    He is dead now, though he shall rise again in the spring.

    We will wait through the fall.

    We will wait through the winter.

    When the spring comes we will harvest the fruit

    that through the winter has waited

    in patient thought, hibernating

    till, springing suddenly, from the sheaves of stalks

    shall leap the life-god again, bringing with him a halo of rain

    to sprinkle over the barren earth.

    See now what love has wrought.

    This is what my true love with his blood has bought.

    IV.

    If I had a thousand years I could not tell you all

    the features of my love.

    He is ruddy, white and red.

    Swift as the hart in the hills,

    terrible as a king on his throne,

    tender as a child borne in a mother’s arms.

    The face of my love is silence.

    If we had a thousand years I could not tell you half

    the features of my love.

    V.

    Around our house there stands a wall.

    We are enclosed in the garden of love.

    I call him my king.

    He calls me his dove.

    The wall is such that none can climb.

    The wall is such we will never leave.

    VI.

    In the garden spring has come again.

    My mind is closed to the world, but open to him.

    I need no longer call until he comes.

    We are together until we die.

    The sun has broken from my mind

    and sits once more in the sky.

    The world has returned to itself once again.

    My love is the best out of ten thousand men.


  • As I begin a new chapter in my life with this blog, I hope you will enjoy reading the short stories, poems, and other writings that I post. This – the first poem I post to this blog – was inspired by the language and imagery of the Song of Songs, highlighting my interest in incorporating myth, legend, and languages into my writings.


    My Love is a Poet

    I.

    My love, because he is a poet who speaks in tongues, has left the city.

    He stood on the corner and preached a sermon,

    and when they heard that he was beginning to pass

    into speech they could not understand, they beat him

    and threw him out, there on the corner of sixty-fifth and tenth,

    and his voice was stilled.

    It is my love whom they have killed.

    II.

    I do not know if he is coming or if he is gone.

    He left his white shirt on the bed, that I had washed

    for him and pressed. If he were coming

    he would be coming for the shirt.

    If he were going

    and the shirt remained behind

    this would mean, I guess,

    he did not need the shirt

    that I had washed for him, and pressed.

    He left his white shirt on the bed.

    I do not know if he is coming or if he is gone.

    III.

    The child was neither my child nor his, but ours.

    His eyes were green, but his tongue was fire.

    He was as tall as my beloved, but our love was higher.

    The child was neither my child nor his, but ours.

    IV.

    I called but he did not come.

    I have forgotten the light of the sun.

    Will he return by the moon of the night?

    If he returns at the dawn of the day,

    he shall go never more not now not then

    away from me, nor ever again.

    I called but he did not hear.

    V.

    There is a blight upon the tree that grew last year.

    It died in the winter, in the sleep of the snow.

    When it will bloom again, I do not know.

    Until my love comes again it will never be spring.

    Let my love come again, and our love we will sing.