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The Time is Nowby Melody Sumner Carnahan 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 Carnahans 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
-"Manananggal" at the New American Radio site -"The Maiden" at Woody Vasuka's "The Brotherhood" site - Bio, photo, reviews at Laetitia Sonami's site |
| 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 |