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• W4312756817 abstract "Driving the Dark Cole Swensen (bio) There are things that drive only at night—and others that drive only the night and still others that drive the night only—a lonelySaint Anthony—and each its own everything, and questioning (Perilous Night, 1982) the fact of a man struck down by a light just because it was holy. I was intrigued by a line on page 30 of the 2021 Mind/Mirror catalogue that reads, “Night Driver (1960), which was inspired by Johns’ first memory of driving through the dark”—driving through, not in, and the dark, not darkness and not the night—and there’s no elaboration or citation of this claim. We have no idea where whoever wrote it (the essay has multiple authors) got the fact, nor whether it’s exact or paraphrased, invented, etc., just a child, four or five, coming home with his parents quite late, in the back seat, isolated and looking out, with eyes riveted at the window because he’s suddenly seen that the dark is not only huge, but moving. And it’s not at all daunting; in fact, it gives him a comfort as large as its own expanse, encompassing the endless possibilities of blacks, charcoals, graphites, slates, all of them also in motion, and which he knows he’s somehow controlling. And inhabiting, along with so much uncanny and bright—so many galaxies laterand constellations placed in the empty spaces of bookcases— or a young man who just got his license—whose car could he have been driving?— coming again home through the dark in a new time alone. Shadows. Own. He cast his shadows down. They fall on The Seasons, for instance, on Summer, on Winter, [End Page 104] on all of them, and every shadow that falls on also falls beyond, falls through the surface, taking us along, while another shadow remains, there a stain— and he looked up from his hands, still gripping the wheel still moving, though no longerenormous; instead, somewhere you could live, and did. But let’s go back to the hands: He had a first memory and it was not that it was dark, no, it’s that it was the dark, and it was driving. And there were hands there. Fast forward: 1965, Skin with O’Hara Poem: Now the hands appear as if on the other side of a transparent pane,which makes it a window, which means there’s a world back there, working its way backward,and we follow. Hands flat against glass and still driving. In fact, it’s always only about his hands and about what they’re holding—which is pretty much all art—hands holding something—tool or material—and then beginning to move. O’Hara twirling a pencil around his fingers and then going off somewhere with it across paper—“The clouds go soft and out of kilter—” And earlier, 1963, Hand— the hands first appeared alone,each a black sky on its own with a star in the palm— and around each one, a halo of invention that renders the hands alive within. Hands without number and free in their orbit, creatingthe immense gravity of Night Driver drainingits weight in varying darks, line after line, a fine rain of vertical strokes with a predella of the same, which always tells a story; it’s the storyof a night in shreds, cut by thin cracks of light. [End Page 105] It’s the story of a saint who fainted at the sight— Saint Dark—he remembered driving at night, and never remembered anything else. Saint Night—a product of that dark, which isalways larger and counts you down in spite of yourself. And in spite of yourself, you find that it’s you who’s driving, and it’s you who’s counting who’s casting numbers in bronze, in iron, in copper and silver, just a shiver, and lightly shatter: There are numbers all over the night. They show up again and again, in squares, in ages, in tongues.In O’Hara standing against the sea, watching the sinking clouds and thinking, I remember drivingthrough..." @default.
• W4312756817 created "2023-01-05" @default.
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• W4312756817 date "2022-01-01" @default.
• W4312756817 modified "2023-10-17" @default.
• W4312756817 title "Driving the Dark" @default.
• W4312756817 doi "https://doi.org/10.1353/ner.2022.0088" @default.
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