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The Time is Now

by Melody Sumner Carnahan
80-page Book and 74-minute CD in a 5.5 x 5" slipcase
Burning Books

Sumner Carnahan is a writer-in-residence in Sydney, Australia, fall 2000. She received from ABC (Australia Broadcasting Corp.) a commission to produce a radio work based on her new story collection, One Inch Equals Twenty-Five Miles (Burning books, 2001), and she will be guest lecturer in media poetics at the University of Technology and Science.

—Melody Sumner Carnahan’s cryptic, enigmatic fiction has found form for thirteen years in collaborations with composers and musicians. When The Time Is Now was first published by Burning Books, Carnahan gave the book to friends asking them to put the words to music using any story they liked. The works on the audio CD accompanying this third edition were created from 1983 to 1996.

—"Nineteenth-century composers had Goethe and Heinrich Heine and Maurice Maeterlinck to set to music. Today we have Santa Fe writer Melody Sumner Carnahan, whose enigmatic texts have formed the basis for more pieces of music I know than any other recent writer can claim. It's easy to hear what makes her writing so attractive to composers. Her short, commanding sentences leap off from each other at arresting right angles. This is manna for musicians. . . .Sumner Carnahan writes the most musical prose since Gertrude Stein."— Kyle Gann, The Village Voice, February 16, 1999 (See complete review)

—“Life in the literati lanes was never like this.” –C. Carr, The Village Voice
—“Sustained avant-garde literature with a moving, human content.”–Charles Shere, The Oakland Tribune
—“A tour de force. The writing, design, and illustration are a treat.” –Steven Durland, High Performance
—“Requires intense alertness and courage.” –George Gessert, The Northwest Review
—Link to Amazon.com and buy The Time is Now.


Excerpt:
WHAT HAPPENED

When I had a baby, I lost my sex drive. My husband came home from the war and found me sleeping with a woman. He took her away, they ran off together. My baby died.
I got my sex drive back and had another baby. I married a man who brought with him two children of his own. He loved them dearly. He stayed home to care for them. I went out each day to make money but found I hated my job. I quit. The man who gave me the job threatened to kill me if I left. He didn't kill me, I got another job. I fell in love. The person I loved did not love me. He told me to get lost. I threatened to kill him if he went out with other women. He did. I shot him. He recovered and came back to me, begging my forgiveness. I couldn't love him anymore.
I quit my job, we moved into a larger house, the children entered school. I spent the days cleaning the house and redecorating. In the evenings we had small dinner parties. My husband decided to get a job. Another war broke out, we had to open our house to strangers who stole our things. My husband fell in love with one of them and left me with the children. When he returned a few months later, he had lost the ability to speak, an automobile accident. He listened to the radio. He played with the children. I began working in a hospital where I ran into my first husband who was having a brain tumor removed. They didn't expect him to live. His memory was shot, he couldn't recognize me. He recovered but soon after died of a stroke. He had become obese.
I contracted a mysterious ailment that afflicted mainly my left side. It was entirely covered with hard little bumps like BBs implanted in the skin. I exuded a peculiar odor and frequently urinated uncontrollably. The doctors were embarrassed tosee me, they could do nothing. My husband and children cooled toward me. I took a room in a house not far from them and phoned each day. They were encouraging but of course involved in their own lives. One day the bumps fell off. I found them scattered about in my bed like sand on the sheets. I threw out the sheets, most of my clothing and linens, dry-cleaned the rest. Tiny pink scars remained on my skin but within a few months they had faded. I returned to my family who were pleased to have me back and healthy.
My husband had hired a housekeeper and cook. She was nearly blind but did a wonderful job in spite of her handicap. She treated my husband like a son. My children seemed to have grown quite fond of her so we kept her on. She was a terrific cook. I devoted myself to frequent and lavish . . .

Here are websites that have short pieces of Carnahan's fiction and further information:
-"Manananggal" at the New American Radio site
-"The Maiden" at Woody Vasuka's "The Brotherhood" site
- Bio, photo, reviews at Laetitia Sonami's site

Back to Burning Books Home Page

Review: VILLAGE VOICE
February 10 - 16, 1999

"WORDS SET, NOT SUNG -
MELODY SUMNER CARNAHAN"

by Kyle Gann


Melody Sumner Carnahan writes the most musical prose since Gertrude Stein.

Nineteenth-century composers had Goethe and Heinrich Heine and Maurice Maeterlinck to set to music. Today we have Santa Fe writer Melody Sumner Carnahan, whose enigmatic texts have formed the basis for more pieces of music I know than any other recent writer can claim. Whenever I hear a piece by Elodie Lauten, Laetitia Sonami, or Larry Polansky with a story elliptically hinted at in evocative images, Sumner Carnahan invariably turns out to be the author. And finally a CD has come out bringing together 15 pieces based on her words: The Time Is Now (Frog Peak Music).
It's easy to hear what makes her writing so attractive to composers. Her short, commanding sentences leap off from each other at arresting right angles:

The time is now. It is the year of the simple message. The style is imitation, the technique to cheat. The world has abandoned the lion eagle ox for the 30 second spot. There are no presents for children, everything is obvious, envy has erased all sympathetic response.

This is manna for musicians. Each generality frames a strong image, yet the through line is too ambiguous to force the composer into any particular direction. In this respect hers is probably the most musical prose since Gertrude Stein, only the music of Stein's prose is invested in word repetitions, which assert their own demands on a musical setting. (Then there's Joyce's Finnegans Wake, which I contend can't be made into music because it already is music.) Sumner Carnahan's prose is blanker, startling the listener with its non sequiturs but leaving the composer free to orbit at any distance.
Sometimes she makes stories out of a mosaic of facts so tiny as to draw only a few details; when she then jumps to another part of the picture, the reader/listener has to participate imaginatively to fill in all the gaps. She gives you dozens of concrete truths too small to ever add up to The Truth. For example, in "Ruby's Story," from Sumner Carnahan's book The Time Is Now, which San Francisco composer Susan Stone weaves into a heartbreaking monologue on the CD, a woman tells, inarticulately but searingly, about her ex-husband:

He did not tell me about his girl friend for 6 month. His girl friend come to see me at my job and she ask me about Roy. I ask her what for about him. She show me that she has pregnant and I WHAT and I was real surprise because he is real good with me for 22 years. . . . I had to question him about his girl friend. Roy got cried and Yes, he did love and sex with his girl friend and just fun for sex with her and he wants stay be with me.

Gradually, piecing together details, it dawns on you that the protagonist is a deaf-mute.
All of which makes Sumner Carnahan the perfect writer for those composers who do not set words to music. There's nothing so old-fashioned sounding, nothing so redolent of highbrow European pretensions as words sung carefully on pitch. Out of 14 composers on the CD, 13 avoid singing in the foreground, including it only in the accompaniments if at all. Barbara Golden speaks her decadently sultry "My Pleasure" with a scat-singing trio as light background:

I press his hands to my buttocks and bury my face in his neck, breathing in his scent and sweat. When I have spent myself, I let him take care of his needs, anyway he wishes . . . but quickly. I am tiring of him, I want some brandy, my best cognac with a side of soda on the rocks.

Robert Ashley, who has never acknowledged any line between text and music anyway, simply reads her text "Victims." The observations- "The psychology of man is the study of lying as a matter of fact he cannot speak the truth"- sound like many of Ashley's own.
Some of the pieces date back 15 years, and it's to be expected that not all of them rise to the level of the texts. The pieces by Sonami, Golden, and Joan La Barbara sound as natural and intimate as though they had written the texts themselves. The one conventionally musical setting is Elodie Lauten's "Answer," strikingly scored for Baroque ensemble with harpsichord, with the text chanted in a repetitive style reminiscent not of minimalism but of an exotic fusion of Stravinskian chinoiserie and the 17th-century cantata: very beautiful. Some, like Larry Polansky and John Bischoff, use the texts as triggers for electronic processes, while others- like Brian Reinbolt and Nessie Lessons- provide variously subtle or intrusive backgrounds for straight readings.
Such a varied disc isn't optimum for casual listening, but it does serve as a guidebook to the current dazzling array of Downtown text-setting styles. And if you fall in love with Sumner Carnahan's mysterious word pictures, go out and get her books The Time Is Now and 13 Stories (Burning Books).

-------------

THE 1999 INDEPENDENT PUBLISHER BOOK AWARDS

Thanks to all participants in this year's Awards!
The 1999 "IPPY" Awards attracted a total of
1,293 titles from 645 independent publishers
throughout North America. We were
tremendously impressed with the quality of
publishing exhibited by the entries, and of the
positive direction independent publishing is
heading. Vive la independence!.

The following list includes a winner and
finalists in each category, with the winner
listed first. An awards wrap-up with complete
reviews and cover scans will appear in
July-August issue of Independent Publisher,
and will be distributed as a special section to
bookstores, libraries, and literary festivals
throughout North America this year, and at the
Frankfurt Buchmesse this fall.


Audio Fiction-Unabridged

The Poisonwood Bible
Brilliance Audio

The Time Is Now
Burning Books

The World's Shortest Stories
Listen & Live Audio


Fine Art

A Luminous Land
J. Paul Getty Trust

Agnes Martin: Works on Paper
Museum of Fine Arts, Santa Fe

Mortality Immortality?
J. Paul Getty Trust


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