Tag Archives: Leni Fontaine

Commonplace Thoughts of a Residual Welshman: Serendipity

In a blog on serendipity, nothing can strictly be off topic, if the blog is to be true to its title. Thus, let us begin with something seemingly off-topic, though really not, but at the very least thoroughly recherché, the term “serendipity” itself. That word enjoys an etymology owed, it seems, to a single person, the fourth Earl of Orford, architect/author Horace Walpole, known perhaps more for his literary production (the towering The Castle of Otranto, the outdated On Modern Gardening, and the puzzling Hieroglyphic Tales) than the ripest fruit of his architectural achievements, Strawberry Hill.

Horace Walpole, 1717–1797
Horace Walpole, 1717–1797
Castle at Strawberry Hill
Castle at Strawberry Hill

That selfsame Walpole famously said, “The world is a comedy to those that think, a tragedy to those that feel” and, at some point between Otranto and Gardening, he chanced to write a letter to Horace Mann, in which he coined serendipity as a new word based on a Persian tale he had read entitled, “The Three Princes of Serendip.”

Sri Lanka
Sri Lanka

In that work, the protagonists journey through life, ever coming upon more than they have bargained for or are seeking in their quixotic wanderings. Their origin was of Sri Lanka, whose archaic name is recorded in the tale as Serendip (a name that itself is a corruption of a Sanskrit word meaning “Lion’s Island”).[1]

Serendipity seems to me rather like luck or fortune. The former is derived from a Germanic root (cf. German Glück), while the latter comes from an Italic root (cf. Latin fortuna). The Germanic tribes did not seem to have a deity exclusively for fortune or luck—as close as they would seem to have come was Woden, whose chance contribution to our culture shows up only on Wednesdays—but the Romans did: they had Fortuna, “Lady Luck” herself. And those who worshiped her above all, no doubt wanted luck on their side, the way that a modern-day gambler does. DiceAs it is not uncommon to find a restaurant called “Serendipity,”[2] (it obviously would seem to have chiefly positive connotations in English), one does not often find a restaurant called “Luck” or “Lucky Food” (though it is possible).[3]

And as for “fortune,” that word is quite often associated with fortune tellers, whose job description is a discursive construct since the very notion of predicting luck seems impossible when one thinks hard about it; but I’m probably overthinking it now—even if it did, in fact, occur to me when I was being raised as a lad by Elaine Jakes. Elaine did not often consult a fortune teller—though she enjoyed the occasional séance and adored a certain card reader/teller of fortunes, Leni Fontaine, the remarkable artist to whom an entire chapter of the Curious Autobiography is dedicated—but she was just as curious about her own future as the next person. Yet she knew, in the end, that such predictions were rather unreliable.

The Rabbi, oil on canvas by Leni Fontaine
“The Rabbi,” oil on canvas by Leni Fontaine

So what about “chance” then? Well, I don’t pretend to have the final word on that and would enjoy hearing from my readers about it, along with its especially enjoyable cousin, serendipity. Now, while chance may seem contrary to there being a purpose and plan for life—witness the recent tragedy in Tianjin, whither our prayers go—serendipity perhaps is something we can agree on, for it is that kind of chance that, as we said in a previous blog,[4] can make life quite delightful.

I’ll close with an example: a few years ago my dear pastor’s wife, Karen, prayed a prayer I wish she had not—that I would have a good conversation on an airplane about things that matter. I told her I like to write on airplanes, and that I did not want to be disturbed. Yet her prayer somehow produced the serendipity of me sitting next to an effusive, slightly overweight, partially open-shirted (hirsute, with beard and chest bearing prandial vestiges), and well-blinged practitioner of a modern age religion that will remain nameless.Dragon necklace

The serendipitous conversation was tragic, in a way, yet also a bit hilarious—at least for the couple behind us. My seatmate began the conversation by telling me that his dragon—a metal dragon figurine dangled from a necklace about his neck—liked me very much. He pulled its chain toward me and made the dragon kiss my shoulder. I told him that was nice, but I liked to write on airplanes. Undaunted, no doubt because of Karen’s prayers, he went on to tell me that in the practice of his new religion he was permitted, even encouraged, to meet via the internet women of the same religious order and arrange a rendezvous with them in another city in order to effect a sexual encounter. This, he told me with great delight, was in fact ritually a part of his religion, and that he could barely wait to get to Atlanta to for that tryst. It was sanctioned, he told me, or at least tolerated for religious reasons, also by his wife, who, though she did not avail herself of the possibility, was permitted freely to do the same thing with other men.

He also told me about his family life in some detail. He and his wife were having marital problems and were facing the possibility of bankruptcy; he had lost his job; his wife seemed strangely to have contracted an STD—though he did not have it, he assured me—even though she claimed that she was not sleeping with other men. His children were not doing well; his eldest, a son, had recently dropped out of community college, and simply remained at home with no job and no prospects. “Such are the times,” he quipped. In short, by his own admission, it seemed that his life was in shambles; yet, at least now he could live for pleasure’s sake and not have to suppress who “he really was,” which he said that he had been doing up until he joined the religious movement.

Each time I gingerly inquired of him about the details, the couple behind us cheered me on and did so more as the conversation proceeded. I asked him how long he had been in his religious group.

“Four years,” he said, “Four years of pure pleasure with arranged (yet random) sexual encounters.” Then he added, “Serendipity. I find my lovers serendipitously on the web.”

“How long have you been having financial problems?” I queried.

“Hmm, well, it started a few years back. I think about three and a half or four years.”

“How long has your son been having trouble in school?”

“Not just my son, but my daughter, too,” he added. “Like him, she’s doing drugs; Maryjane would be okay with me, but she’s using Molly.”

“How long has this been going on?” I asked, playing the role of psychiatrist/counselor as I added, “How old his your daughter now?”

“Let’s see,” well, she’s 16.” He said; then he added, “Well, I think, about three or four years.”

“She started using Molly at age 13? And what about your son?”

“No, I think she was 14. He’s two years older. He is into heroin. He dropped out of college. He lives at home.”

“Now, let’s review,” I said after an appropriately austere pause. “You’ve been in this religious order for four years?”

“Yes.”

“And your kids have been having trouble about three and a half years or so?” At this point, though my seatmate seemed oblivious to it, the cheering from the seat behind me erupted in full.

“And your marital and financial troubles started about then?”

“Yes,” he said. “I think my kids have been stealing from us to buy drugs. My wife and I only use weed.”

“Do you think all the airline tickets and the money you spend on marijuana, too, could be contributing to your financial problems?”

“Maybe. But it’s a part of our religion. And I love it.”

“Pity,” I said, “Because I know a way out, friend.”

“I know, it’s your morality, your social justice.”

“No, it’s not morality. Morality is simply a road map; it is not the stuff needed to make the human machine run,” I said, paraphrasing probably unfairly C. S. Lewis: “morality and social justice are good only as far as they go. The machine can go a few feet, but then it konks out. There is another way out, …”

At this point I began to try to embark on the difficult task of explaining my personal view of faith before he saved me the trouble—in any case, we were beginning our final descent—“I don’t want a way out,” he said. “Not for me at least.” (At this statement a stentorian chorus of boos arose from the seat behind, and possibly even from the seat behind that one, as well.)

The conversation ended with the ominous warning to ascertain that our seatbelts were buckled and to stow away all devices, etc. ending, I suppose, where it began with an assurance that even though I “found a higher moral purpose in life” and even though I “was a church-goer” (his words, not mine), his dragon still liked me.

And thus it was that he went on to his serendipitous rendezvous, and I to my own business. Yet I have never forgotten this, for it seemed to me that in this seemingly random meeting on the airplane there was a purpose. Perhaps one day this man will discover the stuff a human being needs to run on, the only safe way out of his “morality-free” lifestyle. Perhaps. And perhaps the couple behind me remembers this strange experience, and chuckles about it from time to time. I have derived my own lessons from that Walpolian moment, both tragic and comic at once, not the least of which is to be careful what I (or, in this case, my pastor’s wife) might wish for, for this experience alone would suggest to me that the prayer of a righteous woman is powerful and effective, able to arrange even a strange cheer-mustering, dragon-kissing moment of serendipity.

 

[1] Wendy Doniger, Hidus: An Alternative History (Oxford, 2010): 665.

[2] Or, at least, “Serendipity 3.”

[3] In Texas, of course, at least one such restaurant does exist: “Luck”; there is also a “Joy Luck,” though its website suggests otherwise, no doubt modeled on one of my favorite books, Amy Tan’s The Joy Luck Club.

[4] Last week’s blog, “Unexpected Surprises and Il Commune.”

Commonplace Thoughts of a Residual Welshman: Artists and Poets in New Hope (and Asbury Park)

“The poets down here don’t write nothin’ at all, they just stand back and let it all be.” The words of an arguably pretty good poet, Bruce Springsteen, from a song called “Jungleland,” not necessarily his best ditty, for his best songs are all on his first album, “Greetings from Asbury Park, NJ.” SPRINGSTEEN_ASBURY-PARK_album coverThat record that was, like The Curious Autobiography that inspires this blog, quirky, innovative, and pushing the envelope of its genre. Nonetheless, the words that open this paragraph and stand out in “Jungleland” are of interest here, offering as they do a not-so-subtle criticism of poets “down here,” meaning, I suppose, the poets of the pockets of cities where trouble brews, where fights break out, where lawlessness rules.

Yet that is not what I want to talk about with this installment of the Residual Welshman’s blog. Rather, I want to say that, thanks to Elaine Jakes, I knew, even when I was a child, some pretty fine poets, whose names have not abode in my memory, for my mother introduced me to them when I was too young to remember. I think, though, that they were not the poets that Bruce Springsteen criticizes, for though they were “down here,” they were nonetheless writing something meaningful. I met them and heard them read in Philadelphia when Elaine lived on Pine Street with Sheila, who loved me as if she were herself my mother. Those poets performed at the Egg Bar on the corner of Twelfth and Spruce. They had profoundly deep bathos, reading their works aloud with insufferable pathos and an earnestness that befit a time of social upheaval and change. They wrote about racial equality and social justice. They didn’t write “nothin’ at all.” But Bruce Springsteen did not hear them. I did.

[03] Lenis Rabbi.rev
Drawing of Leni’s b&w oil painting, “Rabbi” from The Curious Autobiography of Elaine Jakes.
James martin walnut table
Walnut Plank Coffee Table by Nakashima Woodworker James Martin.

When Elaine moved to New Hope she became part of a new circle of friends, many of them artists. A few, like Leni Fontaine, whose workshop was on Fisher’s Alley, James Martin, whose small woodworking gallery was on North Main, and Gretchen Laugier, whose rather spacious atelier was on South Main, were quite good. Others, like Cookie McMurphy, were rather bad. Cookie did not seem to me to know much about art. She did, however, know a great deal about “texture,” a word she liked to use quite frequently when attempting to speak about art. As a lad I took “art lessons” from Cookie, which was fun, for I liked playing around with plaster of Paris and paper-mâché, two artistic expressions that seem curiously French (particularly the latter). “Why should French art forms,” I wondered at age nine, “be of such great interest to a woman who is obviously of Scottish descent? And why,” I continued to muse, “is she so concerned with texture? And why,” my juvenile mental nattering mustered one final thought, “does she smell of cheese?” Of these three queries I only ever got a satisfying answer to the third: her apartment was directly over Ye Olde Cheese Shoppe of New Hope. That is why Cookie and her dog, Thom (with a silent ‘h’), always smelled of cheese.

But to return to the art lessons. I am overbold in criticizing Cookie McMurphy’s lack of precision, shall we say, when it comes to art, for I am even worse at it. But I learned not so much from Cookie—though I did learn from her quite well the importance of texture—about the value of art as I did, say, from Simone Martini, Michelangelo Buonarroti, Marc Chagall, Rob Evans, Paul McCoy or Makoto Fujimura. These taught me on their own, through their art.

Art and poetry. That’s where we began, and that’s where we shall end. I think Paul McCoy or Mako Fujimura would agree with me that the point of art is the expression of something true, something real through a means that reflects that something; I say this, because on separate occasions I’ve had dinner with Paul and Mako and I have been lucky enough to hear each of them speak about their own artistic creations. Lessing LaocoonLeaving aside any Lessingesque difference between verbal and non-verbal expression, I think I can say at least that poetry shares a particular quality with good art: each points beyond itself to something else, a grander idea. Neither kind of artistic expression is meant to be pretty; rather each wants to be good, divulging a kind of beauty that is not associated with an aesthetic ideal of beauty. Rather, poetry and art direct the viewer or reader toward something beautiful not as beauty is known with the eye, but with the soul.

Another word for what that beauty might be or at least encompass is, I think, “meaning.” Art and poetry can remind us in this flood of mortal woes, in the chaos of life that, while there is not always order or deliverance from our immediate circumstances, there is meaning in the middle of them. Would that there be comfort, too, but that is perhaps the subject of a future blog—nay rather, it is the provenance of poets and artists, of which I am certainly not among the latter. I do not have a dog with a silent ‘h’, I do not smell like cheese, and I was always a bit skeptical about “texture” as being vital for every art project (though Paul and Mako would be right to say that it is for some). Nor do I believe that plaster of Paris comes from France or even that paper-mâché is entirely French. To wit, another friend of mine, a papyrologist, tells me that the ancient Egyptians used it liberally for mummy masks. But more on mummies and their masks on another occasion. For now, perhaps it is enough to admit that I could be wrong about plaster of Paris. But if I were, would it not in that case be le plâtre de Paris?