From “Obscenity and the Law of Reflection,” collected in Henry Miller on Writing.
Punishment of a miser,–to pay the drafts of his heir in his tomb.
A series of strange, mysterious, dreadful events to occur, wholly destructive of a person’s happiness. He to impute them to various persons and causes, but ultimately finds that he is himself the sole agent. Moral, that our welfare depends on ourselves.
The strange incident in the court of Charles IX. of France: he and five other maskers being attired in coats of linen covered with pitch and bestuck with flax to represent hairy savages. They entered the hall dancing, the five being fastened together, and the king in front. By accident the five were set on fire with a torch. Two were burned to death on the spot, two afterwards died; one fled to the buttery, and jumped into a vessel of water. It might be represented as the fate of a squad of dissolute men.
A perception, for a moment, of one’s eventual and moral self, as if it were another person,–the observant faculty being separated, and looking intently at the qualities of the character. There is a surprise when this happens,–this getting out of one’s self,–and then the observer sees how queer a fellow he is.
From Nathaniel Hawthorne’s American Note-Books.
Atonement of Blood is historical mystery fiction by Peter Tremayne. Publisher’s blurb:
Winter, 670 AD. King Colgú has invited the leading nobles and chieftains of his kingdom to a feast day. Fidelma and her companion Eadulf are finally home for an extended stay, and have promised their son, Alchú, that they’ll be able to spend some time together after months of being on the road, investigating crimes. Fidelma and Eadulf are enjoying the feast when it is interrupted by the entrance of a religieux, who claims he has an important message for the King. He approaches the throne and shouts ‘Remember Liamuin!’ and then stabs King Colgú. The assassin is slain, but does enough damage to take out Colgú’s bodyguard, and to put the king himself on the verge of death.
As King Colgú lies in recovery, Fidelma, Eadulf, and bodyguard Gormán are tasked with discovering who is behind the assassination attempt, and who Liamuin is. They must journey into the territory of their arch-enemies, the Uí Fidgente, to uncover the secrets in the Abbey of Mungairit, and then venture into the threatening mountain territory ruled by a godless tyrant. Danger and violence are their constant companions until the final devastating revelation.
There’s a great big fat long profile of William T. Vollmann by Tom Bissell at The New Republic—it’s one of the better pieces I’ve read on an author who is more widely read about than, you know, read.
From the profile, details of a visit to Vollmann’s studio:
Half of Vollmann’s studio felt like a proper gallery, with finished pieces handsomely framed and displayed. The other half was split into what looked like a used bookstore on one side and a struggling industrial arts business on the other. I imagined Vollmann had a gallery somewhere that showed his stuff, yes? Actually, no. “I’ve had a couple of photographer friends who have shows,” Vollmann said. “Every time, they always end up impoverished.” He employs “a couple dealers” who sell his work to various institutions, but he considers his studio a “perpetual gallery.” Vollmann gets additional income from Ohio State, which has been buying Vollmann’s work and manuscripts for several years. Vollmann has no idea why Ohio State has shown such interest in his work, but he’s grateful to the institution, which has been paying the mortgage on his studio for the last decade.
He began our tour proper while a dinging train from the city’s light-rail line rumbled by, just feet from his curtained windows. Woodcuts, watercolors, ink sketches, silver-gelatin black-and-white photographs, portraits. “Gum-printing is a nineteenth-century technique,” he told me. “It’s the most permanent coloring process. But it’s slow, and toxic. … I also have this device here, which is based in dental technology. … It’s like a non-vibrating, very high-speed Dremel tool. … This was originally drawn with pen and ink, and then I had a magnesium block made with a photo resist.” Some of the pieces he showed me were complete; most were not. He estimated that he has “dozens and dozens” of pieces going at any one time.
Vollmann’s most important artistic influences are Gauguin and what he described as the “power colors” of Native American art. His other inescapable influence is the female body. The majority of Vollmann’s visual art centers upon women generally and geishas, sex workers, and those he calls “goddesses” specifically. Usually they are nude. From where I was standing I counted at least two dozen vaginas, their fleshy machinery painstakingly drawn and then painted over with a delicate red slash. Vollmann uses live models, so every vagina within sight is currently out there right now, wandering the world.
As you, savvy reader, are undoubtedly already aware, The New Yorker has opened up some of its archive for the rest of the summer (to show off its website redesign, I guess).
Here’s a reading list of short fiction from the archives (admittedly, some of the stuff I wanted to put on here is still behind a paywall).
Some of the stories on the list are classics, some are pieces I’ve shared on this blog before, some are excerpts from longer works, and a few are stories I have yet to read myself.
Did it happen this way? The land lay like stone, and one night, all night long, rain pelted down on it the way people, they say, hammer hard on a stone to find blood. And in the morning the land was cut in two by a deep flow of creek, clotted with red weed—Gavin Highly’s creek.
But all this was a long time ago. I did not know back then that hearts could be laid out like land and cut in two by storms coming out of the sky, or that dreams could be thrown, as Gavin Highly threw the ashes of his fire or his oyster shells or his old tins and bottles or his scraps of food, deep into the dark flowing divided heart to be buried there. I did not know, and my brother did not know. We cared more about plums—ah, they were yellow and dusty blue and hung on trees, over Gavin Highly’s fence, and in the early autumn the sun burned on each plum till its tight yellow or blue dusty skin gave in and rolled up like a blind to let in more sun. The plums split and were ripe and we ate them and, if Gavin Highly caught us, all he said, in one breath, was “Hop-it-you.” I think he understood about plums.