Archives for September 2017

D. Nurkse on Love In The Last Days

The Story of Tristan and Iseult Revisited

D. Nurske is the author of eleven poetry collections, most recently Love in The Last Days from Knopf. He’s the recipient of the Literature Award from the American Academy of Arts and Letters and fellowships from the Guggenheim Foundation, the Whiting Foundation, and the National Endowment for the Arts. He’s also taught at Rikers Island, served on the board of Amnesty International USA, and translated medieval poetry. He’s on the faculty at Sarah Lawrence College. Love in The Last Days is a series of poems based on the legend of Tristan and Iseult.

Mary: Welcome to People Who Make Books Happen, Dennis. The legend of Tristan and Iseult reverberated throughout the Middle Ages. It’s one of the most romantic stories ever told. I’ve loved it since I first read Chevrefoil by the medieval poet Marie de France, so I was delighted to discover that it was the subject of your new collection of poetry Love in The Last Days. Before we begin, could you please give us a brief summary of the story of Tristan and Iseult, so people who are not familiar with the legend can understand what we’re talking about .

Dennis: Thanks so much, Mary. There are a thousand versions. Some have a happy ending! Here are the barest bones: Tristan is entrusted to fetch Iseult from Ireland to marry his liege, King Mark of Cornwall. On the boat home they fall in love. They commit adultery at Mark’s court and escape to the wilderness; eventually they separate, Tristan to exile, Iseult to her destiny to be a queen. They are reunited at the point of death.

Mary: The poems in Love in The Last Days are filled with a richness, complexity, depth, and lyricism that is truly extraordinary. What inspired you to write them. Or put another way, what prompted you to do a new version of the legend of Tristan and Iseult?

Dennis: The story of Tristan and Iseult is wildly subversive. At one of the most hierarchical moments in history, the bond between lovers suddenly emerges as a force—stronger than church, state, piety, or public opinion. The plot pokes at the underpinnings of patriarchy—what if love and obedience are radically different? I’ve always been fascinated by the lovers’ escape to the wilderness; as if the impenetrable forest stood for the untamed part of the mind.

Mary: What research did you do for these poems? What sources did you consult?

Dennis: There are lovely books in English: The Romance of Tristan and Iseult as compiled by Joseph Bedier, and Tristan: with the surviving fragment of the “Tristan of Thomas” as compiled by Gottfried von Strassburg. The stories in the Arthurian cycle are bedrock, and there are troubadour versions; René Nelli writes about troubadour eroticism. Jacques le Goff has an essay called “Levi Strauss in Broceliande: Brief Analysis of a Courtly Romance.” Beautifully specific documentation can be found in John Cummin’s The Hawk and the Hound: The Art of Medieval Hunting. Jean Rimmer has researched the Irish harp. The French series Bibliotheque de la Pleiade has a terrific one-volume compilation of sources. My own book is inscribed to the memory of Marc Bloch, an expert on the feudal imagination, who died under torture at the hands of the Gestapo.

Mary: Could you put the legend of Tristan and Iseult in a historical context for us. What did it have to do with Courtly Love. How did the Medieval Church view it? Did it find a popular audience?

Dennis: The legend began before the era of Courtly Love, but it was adapted (or adapted itself? It has a mind of its own.) and became a vehicle for troubadour ideas. The Church hated it. Yes, it found a popular audience—but my own ancestors were peasants a generation or two ago; who knows how deeply into the commons it reached?

Mary: How did you change the legend?

Dennis: I want my version to be psychological—it’s not clear that spells and monsters aren’t just the shadows of desperate love. But I’d better steer clear of hubris. The originals, pre-Freudian though they are, are full of double entendre and the agency of the unconscious. Stories teach that illusion is part of love—you can’t wish it away. When you’re close enough, the other’s face is as invisible as your own. My version has no patience for the values of aristocracy and purity. Sometimes it’s funny.

Mary: How did you change the main characters?

Dennis: Well, Mary, the original characters morph according to who’s telling the tale and when. Tristan and Iseult are open to interpretation. I really just tried to hear in my mind the voices of two young lovers, destined to become old lovers, baffled at any given moment, but who complete each other strangely over the arc of a lifetime.

Mary: You depict Iseult as a woman of great strength. Did you find hints of this in the Medieval versions of the legend, or is her emergence as a powerful woman new to the story?

Dennis: It’s one of the exciting things about the original story. The troubadour versions are strikingly empowering to women characters—and there are women who themselves are poets or troubadours, including Marie de France and the evocatively named Dangereuse de Chastelreaux. There’s a transformation of gender relations. Of course, most it may take place mostly in literature, and be susceptible to the “pedestal” critique. But it’s radical for any time.

Mary: You say in the Preface that your version “takes places in an imaginary past known as The Last Days.” Why did you call this past “imaginary” and why did you name it “The Last Days?” Is this a reference to the Book of Revelation? A veiled warning of the approach of a contemporary apocalypse? Please tell us more about The Last Days. [Read more…]

Join Mary Mackey and Sharon Coleman at Mythos Gallery in Berkeley

Friday September 22, 2017, Berkeley, CA: Mary Mackey reads with poet Sharon Coleman at the Berkeley Mythos Gallery where the theme is Animal Spirits.  Mary will read from her novel The Village of Bones plus new poems from her forthcoming collection The Jaguars That Prowl Our Dreams:New and Selected (to be published by Marsh Hawk Press in Fall 2018). TIME: 5:30 PM. PLACE: Mythos Fine Arts and Artifacts, 1790 Shattuck Avenue (at Delaware) in Berkeley CA.

VILLAGE OF BONES A Kindle Monthly Deal Through September 2017

News Flash: has chosen The Village of Bones to be one of its Kindle Monthly Deals for September 2017. CLICK HERE before October 1 to buy a Kindle copy of The Village of Bones for only $1.99.

The Village of Bones: Sabalah’s Tale

Written as a Prequel to Mary’s best-selling Earthsong Series, The Village of Bones is now the first novel in the series. (The Earthsong novels in chronological order are: The Village of Bones: Sabalah’s Tale, The Year the Horses Came, The Horses at the Gate, and The Fires of Spring )

hi res b of v front cover March 21 2016

“Mary Mackey’s The Village of Bones, gives us the vivid adventures of The Clan of the Cave Bear, the magic of The Mists of Avalon and Lord of the Rings, and the beauty of Avatar. Filled with the belief that love drives out fear, it contains stunning twists that will leave you wanting more.”
            Dorothy Hearst, author of the Wolf Chronicles

A perilous journey, a stunning prophecy, a dangerous love that could destroy humankind: In 4386 B.C., a young priestess named Sabalah conceives a magical child with a mysterious stranger named Arash. Sabalah names the child Marrah. This child will save the Goddess-worshiping people of Europe from marauding nomad invaders called Beastmen, but only if her mother can keep her alive long enough to grow up. Warned by the Goddess in a vision of the coming invasion, Sabalah flees west with Arash to save her baby daughter, only to discover that she is running into the arms of her worst enemies. In the dark forests of northern Europe, other human-like species left over from the Ice Age still exist.