Fascinating story today at The Paris Review about a first edition of Jorge Luis Borges’s early poems stolen—and then returned (perhaps?)—to the National Library of Argentina. Forgeries, facsimiles, and book thefts! The following paragraph points out that Borges himself was once director of the library:
The National Library is as old as Argentina: it was created in 1810, together with the first national government, and its first director was Mariano Moreno, one of the greatest national heroes and the founder of the country’s first newspaper. The library was, at one point, something to be proud of, and Borges’s name is inextricably linked to its history; he was its director for eighteen years, between 1955 and 1973. By then, books were already disappearing from its shelves. When asked whether this was true, he replied, in typical fashion, “I can’t tell whether books are being stolen, because I’m blind.”
From Joseph T. Shipley’s The Origin of English Words: A Discursive Dictionary of Indo-European Roots. I’ve found the book indispensable for years now—its discursiveness is a lunatic joy to get lost in. Anyway, the above passages extend/unwind from the root ap/apo; I found it while looking up the eytmology of poseur.
“Finally, feverishly, I read this book that I would love to have written” (Vollmann’s Europe Central in Binet’s HHhH)
I, too, am transfixed—because I’m reading Europe Central by William T. Vollmann, which has just appeared in French. Finally, feverishly, I read this book that I would love to have written, and I wonder, reading the endless first chapter, how long he’ll keep it up, this style, this incredible tone. In fact, it lasts only eight pages, but those eight pages are magical, with phrases streaming past as in a dream, and I understand nothing, and understand everything. This is perhaps the first time that the voice of history has resounded so perfectly, and I am struck by this revelation: history is a prophet who says “We.” The first chapter is entitled “Steel in Motion,” and I read: “In a moment steel will begin to move, slowly at first, like troop trains pulling out of their stations, then more quickly and ubiquitously, the square crowds of steel-helmed men moving forward, flanked by rows of shiny planes; then tanks, planes and other projectiles will accelerate beyond recall.” And, further on: “Serving the sleepwalker’s rapture, Göring promises that five hundred more rocket-powered planes will be ready within a lightning-flash. Then he runs out for a tryst with the film star Lida Baarova.” The Czech. When I quote an author, I must be careful to cut my quotations every seven lines. No longer than seven lines. Like spies on the telephone: no more than thirty seconds, so they can’t track you down. “In Moscow, Marshal Tukhachevsky announces that operations in a future war will unfold as broad maneuver undertakings on a massive scale. He’ll be shot right away. And Europe Central’s ministers, who will also be shot, appear on balconies supported by nude marble girls, where they utter dreamy speeches, all the while listening for the ring of the telephone.” In the newspaper, somebody explains to me that this is an account of “slow-burning intensity,” a novel that is “more fantastical than historical,” the reading of which “requires a psychoanalytic listening.” I understand. I will remember. So … where was I?
From Laurent Binet’s novel HHhH.
I need to slam out a review of HHhH, which I loved.
A poster on an Internet forum expresses the opinion that Max Aue, Jonathan Littell’s protagonist in The Kindly Ones, “rings true because he is the mirror of his age.” What? No! He rings true (for certain, easily duped readers) because he is the mirror of our age: a postmodern nihilist, essentially. At no moment in the novel is it suggested that this character believes in Nazism. On the contrary, he displays an often critical detachment toward National Socialist doctrine—and in that sense, he can hardly be said to reflect the delirious fanaticism prevalent in his time. On the other hand, this detachment, this blasé attitude toward everything, this permanent malaise, this taste for philosophizing, this unspoken amorality, this morose sadism, and this terrible sexual frustration that constantly twists his guts … but of course! How did I not see it before? Suddenly, everything is clear. The Kindly Ones is simply “Houellebecq does Nazism.”
From Laurent Binet’s novel HHhH; English Translation by Sam Taylor.
Enjoyed the novel tremendously.
I’m not sure if Binet’s remarks (or, Binet’s narrator, who is Binet-performing-author-as-narrator) are exactly a literary dis or not (I’m pretty sure he’s dissing Littell, but unsure how Houellebecq fits in there, or what).
So I shall, keeping one in each of my four pockets while one is in my mouth, describe five common methods by which sex gains an entrance into literature . . . as through French doors and jimmied windows thieves break in upon our dreams to rape our women, steal our power tools, and vandalize our dreams. The commonest, of course, is the most brazen: the direct depiction of sexual material— thoughts, acts, wishes; the second involves the use of sexual words of various sorts, and I shall pour one of each vile kind into the appropriate porches of your ears , for pronounc-ing and praising print to the ear is what the decently encouraged eye does happily. The third can be considered, in a sense, the very heart of indirection, and thus the essence of the artist’s art— displacement: the passage of the mind with all its blue elastic ditty bags and airline luggage f r o m steamy sexual scenes and sweaty bodies to bedrooms with their bedsteads, nightstands, water-glasses, manuals of instruction, thence to sheets and pillowcases, hence to dents in these, and creases, stains and other cries of passion which have left their prints , and finally to the painted chalk-white oriental face of amorously handled air and mountains,, lewdly entered lakes. The fourth I shall simply refer to now as the skyblue eye (somewhere, it seems to me, there should be a brief pinch of suspense), and the fifth, well, it’s really what I’m running into all my inks about, so I had better mention it: the use of language like a lover . . . not the language of love, but the love of language, not matter, but meaning, not what the tongue touches, but what it forms, not lips and nipples, but nouns and verbs.
From William H. Gass’s essay-novel On Being Blue: A Philosophical Inquiry.