By Trebor Healey
Award-winning novelist Trebor Healey depicts San Francisco within the Nineteen Eighties and '90s in poetic prose that's either ribald and poignant, and a crossing into the yankee West that's dreamy, mythic, and visionary.
When twenty-one-year-old Seamus Blake meets the powerful and self-possessed Jimmy (just arrived in San Francisco through bicycle from his fatherland in Buffalo, New York), he feels his lifestyles may well eventually be taking a flip for the higher. however the resulting romance proves short-lived as Jimmy dies of an AIDS-related disorder. The grieving Seamus is obliged to maintain a promise to Jimmy: "Take me again the best way I came."
And so Seamus units out through bicycle on a picaresque trip with the ashes, hoping to carry them again to Buffalo. He meets truck drivers, waitresses, collage children, farmers, ranchers, Marines, and different travelers--each one giving him a brand new point of view on his personal existence and on Jimmy's demise. while he meets and turns into concerned with a tender local American guy whose mom has lately died, Seamus's grief and his tale turn into common and redemptive.
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Additional info for A Horse Named Sorrow
People were already waiting for the arrival of some kind of an end and some kind of a new beginning. In other words, during the later years of the Cultural Revolution, things had gone awry, were breaking from the designed course, and were allowing the silent germination of anonymous underground subjects. That transitional experience of underground subject formation is exactly what Duo Duo strived to record in his poetry from that particular period. After his initial “Recollections and Thoughts,” Duo Duo shifted his focus to the theme of new subject formation amid declining and stagnant history, which is first reflected in a series of poems concerning the new subject’s relationship with the sun.
And only at the very last, underneath the equally woeful tone of his poems with regard to the uncertainty and futility of a poet’s fight against such a night of history, there can be discerned an extremely subdued, although no less haughty, voice that prides itself in its unwillingness to entirely surrender. We see more of this complexity over the poet’s role and identity in the following poems: Poet42 1 Bathed in moonlight, I am hailed as a wimp-emperor Succumbing to bee-like words Swarming and poring over my young body They bore into me, ponder me Reduce me to a do-nothing 1973 Duo Duo ● 37 2 Wine, has not fulfilled the poet’s wishes Dusk again is closing one day’s sorrow in a rush Ah the futile years spent in the china shops Perhaps, this is our capital city And its literature … 1974 Dusk43 1 Loneliness is secretly awakening Details are also quietly going on The poet twitches, like a beetle Producing unknown feelings In the dusk which is as usual broken by the servant … 1973 Dusk44 Following the green ray of the sun Once more, in my subtle heart, the symbols are set alight: Illusions, begin to move in and out of the forest of thought Riding on the backs of countless stampeding wild beasts And bathing in the hazy sunset The golden dust of twilight All the images attached upon my eyes Are so profound and so rich As if many strangers Are slowly walking toward me From their voices As if those red and black Sick thorns In the valleys Are secretly spreading and surrounding me … 1974 These poems tell us much about the very process of the poet’s everyday creation.
Two years later, due to illness, he returned to Beijing. Duo Duo’s real creative career as a poet started in the early 1970s. Among the educated youth who found a way to remain in or later return to Beijing, many small circles (or “salons,” as some insiders would like to call them) were formed to circulate books and exchange clandestine thoughts and their own writings. 12 On the list is a mixture of Western modernist works and the Soviet Russian literature of the “thaw,” including J. D. Salinger’s Catcher in the Rye, Vasily Aksyonov’s Star Ticket, Yevgeny Yevtushenko’s Babi Yar, Eugene Ionesco’s The Chairs, and Jean-Paul Sartre’s Nausea.
A Horse Named Sorrow by Trebor Healey