Literary Recipes

Fat Kitchen, Jan Steen

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Enjoy Thanksgiving with our menu of literary recipes:

F. Scott Fitzgerald’s Turkey Twelve Ways

Zora Neale Hurston’s Mulatto Rice

Ian McEwan’s Fish Stew

James Joyce’s Burnt Kidney Breakfast

Herman Melville’s Whale Steaks

Ernest Hemingway’s Absinthe Cocktail, Death in the Afternoon

Vladimir Nabokov’s Eggs à la Nabocoque

Thomas Pynchon’s Banana Breakfast

Cormac McCarthy’s Turtle Soup

Robert Crumb’s Macaroni Casserole

Truman Capote’s Caviar-Smothered Baked Potatoes with 80-Proof Russian Vodka

Emily Dickinson’s Cocoanut Cake

Thomas Jefferson’s Vanilla Ice Cream

Charles Dickens’s Own Punch

Ben Jonson’s Egg Wine

Willam Faulkner’s Hot Toddy

Christmas Bonus:  George Orwell’s Recipes for Plum Cake and Christmas Pudding

Review: Tim O’Brien’s Novel The Things They Carried, Read by Bryan Cranston

thingsI’ve used Tim O’Brien’s short story “The Things They Carried” in the classroom for so many years now that I’ve perhaps become immune to any of the tale’s rhetorical force.Trekking through the story again with a new group of students can occasionally turn up new insights—mostly these days from veterans going back to school after tours in Iraq and Afghanistan—but for the most part, the story “The Things They Carried” is too blunt in its symbols, too programmatic in its oppositions of the physical and metaphysical, too rigid in its maturation plot. There’s no mystery to it, unlike other oft-anthologized stories which can withstand scores of rereadings (I think of Hawthorne or O’Connor here; when I reread “A Good Man Is Hard to Find,” for example, I always understand it or misunderstand it in a new, different way).

But my students invariably love “The Things They Carried,” and I love reading it with them.

Despite reading the story “The Things They Carried” semester after semester, I hadn’t gone back to the novel The Things They Carried in years, until the kind people at Audible sent me a new audiobook version read by character actor Bryan Cranston (Malcolm in the MiddleSeinfeld). I enjoyed the audiobook over a week of commutes.

The Things They Carried is a loose collection of stories that centers on a character named Tim O’Brien and his time with Alpha Company during the Vietnam War. The book also focuses on O’Brien’s experiences, as well as the experiences of some of his fellow soldiers, before and after Vietnam. O’Brien ties the book around a few major stories, fleshing it out with fragments, and telling tales from different viewpoints and even different chronologies. If a character dies in one story, he’s welcome to show up in a later story or vignette. That’s how memory works. And when memory fails, there are stories:

Forty-three years old, and the war occurred half a lifetime ago, and yet the remembering makes it now. And sometimes remembering will lead to a story, which makes it forever. That’s what stories are for. Stories are for joining the past to the future. Stories are for those late hours in the night when you can’t remember how you got from where you were to where you are. Stories are for eternity, when memory is erased, when there is nothing to remember except the story.

O’Brien’s major concern in The Things They Carried isn’t just the experiences of regular soldiers in the Vietnam War. He’s also deeply concerned with how to frame, recall, tell, and retell those experiences. In this sense, the formal aspects of the novel—its fragmentary, decentered structure—carry out its themes. The result is a strange beast, a novel that is simultaneously postmodern metafiction and dirty realism. Almost every single story in The Things They Carried attempts to suss out its own telling; indeed, how to tell, how to witness to (horror, violence, war) is probably the book’s real aim. Nowhere is this more evident than in “How to Tell a True Story”:

A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil.

The notation of a “rule of thumb” there is a dark little sick joke, a thread that O’Brien picks up from the opening title story. Moments like these, little threads, little images, help the work to cohere as a novel, even as O’Brien does his damnedest to fracture the whole business. His hand-wringing about truth and fiction and reality begins to wear on the reader. It’s not that O’Brien isn’t right to be concerned about these issues, but The Things They Carried spends a bit too much time dithering over its own right to imagine a truth.

O’Brien is better at the dirty realism, I think, which we can see in the brutal vivid details in “Sweetheart of the Song Tra Bong,” a story about a guy who brings his teenage girlfriend to Vietnam. “Vietnam was full of strange stories, some improbable, some well beyond that,” O’Brien writes at the beginning, “but the stories that will last forever are those that swirl back and forth across the border between trivia and bedlam, the mad and the mundane.” In “Sweetheart,” O’Brien toes that line to great effect. The story culminates in imagery that seems borrowed from Cormac McCarthy’s Blood Meridian. I’m tempted to share the story’s strongest image but won’t. No spoilers.

“Sweetheart” is less concerned with the frames and edges of its own telling than some of the other stories in The Things They Carried, but O’Brien still highlights the essential problem of witnessing:

“Patience, man. Up to now, everything I told you is from personal experience, the exact truth, but there’s a few other things I heard secondhand. Thirdhand, actually. From here on it gets to be … I don’t know what the word is.”

“Speculation.”

I think it helped me to hear The Things They Carried in a different voice, a different tone or mode or mood than my own. Bryan Cranston does a wonderful job here. I’ve written before about how a good reader makes all the difference in an audiobook. Cranston, surely most famous for his iconic performance as hapless father Hal in Malcolm in the Middle, telegraphs O’Brien’s tales in a straightforward but sonorous voice, injecting pathos and wry humor at the appropriate moments. Cranston inhabits each voice in The Things They Carried, imbuing every character with his own tone and rhythm. The result is a compelling and moving interpretation of The Things They Carried. Cranston opens up what I had thought to be a more-or-less closed book.

This new audiobook features a bonus essay called “The Vietnam in Me” which recounts O’Brien’s 1994 return to Vietnam with his young girlfriend. The essay reads as a condensation, repetition, and extension of the book that precedes it, with O’Brien repeatedly admitting as much—reminding us again and again of the relationship between memory and story. O’Brien reads the essay himself in a reedy, often shaky voice. The recording quality seems to depart from the clean studio perfection of the book proper—there’s more hiss, more crackly, longer gaps. More dirty realism. Strangely, O’Brien’s quaver suggests a man less in control of the story than alter-ego Cranston’s confidence suggested. The divergence in the two readers underscores the book’s core theme, reminding us that it’s not just the story that matters, but the storyteller

You can see/hear Cranston read bits of the book in this video:

Teaser Trailer for James Franco’s Film Adaptation of Cormac McCarthy’s Novel Child of God

So James Franco has taken a stab at Faulkner and one of Faulkner’s literary descendants, Cormac McCarthy—in the same year no less. Franco has adapted McCarthy’s 1973 novel Child of God; the film will play this weekend at the Toronto Film Festival.

Here is my review of McCarthy’s novel Child of God.

Suttree, Cormac McCarthy’s Grand Synthesis of American Literature

In his 1992 interview with The New York Times, Cormac McCarthy said, “The ugly fact is books are made out of books. The novel depends for its life on the novels that have been written.” McCarthy’s fourth novel, 1979’s Suttree is such a book, a masterful synthesis of the great literature — particularly American literature — that came before it. And like any masterful synthesis, Suttree points to something new, even as it borrows, lifts, and outright steals from the past. But before we plumb its allusions and tropes and patterns, perhaps we should overview the plot, no?

The novel rambles over several years in the life of Cornelius Suttree. It is the early 1950s in Knoxville, Tennessee, and Suttree ekes out a mean existence on the Tennessee River as a fisherman, living in a ramshackle houseboat on the edge of a shantytown. This indigent life is in fact a choice: Suttree is the college-educated son of an established, wealthy family. His choice is a choice for freedom and self-reliance, those virtues we like to think of, in our prejudicial manner, as wholly and intrinsically American. Suttree then is both Emersonian and Huck Finnian, a reflective and insightful man who finds his soul via a claim to agency over his own individuality, an individuality poised in quiet, defiant rebellion against the conforming forces of civilization. These forces manifest most pointedly in the Knoxville police, a brutal, racist organization, but we also see social constraint in the form of familial duty. One thinks of the final lines of Huckleberry Finn: “I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me and I can’t stand it. I been there before.”

Like Huck, Suttree aims to resist all forces that would “sivilize” him. His time on the river and in the low haunts of Tennessee (particularly the vice-ridden borough of McAnally) brings him into close contact with plenty of other outcasts, but also his conscience, which routinely mulls over its place in the world. Suttree is punctuated by–perhaps even organized by–several scenes of hallucination. Some of these psychotrips result from drunkeness, one comes from accidentally ingesting the wrong kind of mushrooms (or, the right kind, if that’s your thing), and the final one, late in the novel, sets in as Suttree suffers from a terrible illness. In his fever dream, a small nun–surely a manifestation of the guilt that would civilize us–accuses him–

Mr. Suttree it is our understanding that at curfew rightly decreed by law in that hour wherein night draws to its proper close and the new day commences and contrary to conduct befitting a person of your station you betook yourself to various low places within the shire of McAnally and there did squander several ensuing years in the company of thieves, derelicts, miscreants, pariahs, poltroons, spalpeens, curmudgeons, clotpolls, murderers, gamblers, bawds, whores, trulls, brigands, topers, tosspots, sots and archsots, lobcocks, smellsmocks, runagates, rakes, and other assorted and felonious debauchees.

The passage is a marvelous example of McCarthy’s stream-of-consciousness technique in Suttree, moving through the various voices that would ventriloquize Suttree, into the edges of madness, strangeness, and the sublimity of language. The tone moves from somber and portentous into bizarre imagery that blends humor and pathos. This is the tone of Suttree, a language that gives voice to transients and miscreants, affirming the dignity of their humanity even as it details the squalor of their circumstance.

It is among these criminals and whores, transvestites and gamblers that Suttree affirms his own freedom and humanity, a process aided by his comic foil, Gene Harrogate. Suttree meets Harrogate on a work farm; the young hillbilly is sent there for screwing watermelons. After his release, Harrogate moves to a shantytown in Knoxville. He’s the country mouse determined to become the city rat, the would-be Tom Sawyer to Suttree’s older and wiser Huck Finn. Through Harrogate’s endless get-rich-quick schemes, McCarthy parodies that most-American of tales, the Horatio Alger story. Simply put, the boy is doomed, on his  “way up to the penitentiary” as Suttree constantly admonishes. In one episode, Harrogate tries to buy arsenic from “a grayhaired and avuncular apothecary” to poison bats he hopes to sell to a hospital (don’t ask)–

May I help you? said the scientist, his hands holding each other.

I need me some strychnine, said Harrogate.

You need some what?

Strychnine. You know what it is dont ye?

Yes, said the chemist.

I need me about a good cupful I reckon.

Are you going to drink it here or take it with you?

Shit fire I aint goin to drink it. It’s poisoner’n hell.

It’s for your grandmother.

No, said Harrogate, craning his neck suspectly. She’s done dead

Suttree, unwilling father-figure, eventually buys the arsenic for the boy against his better judgment. The scene plays out as a wonderful comic inversion of William Faulkner’s “A Rose for Emily,” from which it is so transparently lifted. McCarthy borrows liberally from Faulkner here, of course, most notably in the language and style of the novel, but also in scenes like this one, or a later episode that plays off Faulkner’s comic-romantic story of a man and a woman navigating the aftermath of a flood, “Old Man.” Unpacking the allusions in Suttree surpasses my literary knowledge or skill, but McCarthy is generous, if oblique, with his breadcrumb trail. Take, for example, the following sentence: “Suttree with his miles to go kept his eyes to the ground, maudlin and muttersome in the bitter chill, under the lonely lamplight.” The forced phrase “miles to go” does not immediately present itself as a reference to Robert Frost’s famous poem, yet the direction of the sentence retreats into the history of American poetry; with its dense alliteration and haunted vowels, it leads us into Edgar Allan Poe territory. Only a few dozen pages later, McCarthy boldly begins a chapter with theft: “In just spring the goatman came over the bridge . . .” The reference to e.e. cummings explicitly signifies McCarthy’s intentions to play with literature. Later in the book, while tripping on mushrooms in the mountains, Suttree is haunted by “elves,” the would-be culprits in Frost’s poem “Mending Wall.” The callback is purposeful, but tellingly, McCarthy’s allusions are not nearly as fanciful as their surface rhetoric might suggest: the goatman does not belong in Knoxville–he’s an archaic relic, forced out of town by the police; the elves are not playful spirits but dark manifestations of a tortured psyche.

Once one spots the line-lifting in Suttree it’s hard to not see it. What’s marvelous is McCarthy’s power to convert these lines, these riffs, these stories, into his own tragicomic beast. An early brawl at a roadhouse recalls the “Golden Day” episode of Ralph Ellison’s Invisible Man; a rape victim’s plight echoes Hubert Selby’s “Tralala”; we find the comic hobos of John Steinbeck’s Cannery Row–we even get the road-crossing turtle from The Grapes of Wrath. A later roadhouse chapter replays the “Circe/Nighttown” nightmare in James Joyce’s Ulysses. Ulysses is an easy point of comparison for Suttree, which does for Knoxville what Joyce did for Dublin. Suttree echoes Ulysses’s language, both in its musicality and appropriation of varied voices, as well as its ambulatory structure, its stream-of-consciousness technique, its rude earthiness, and its size (nearly 600 pages). But, as I argued earlier, there’s something uniquely American about Suttree, and its literary appropriations tend to reflect that. Hence, we find Mark Twain, Herman Melville, Ernest Hemingway, Walt Whitman, Emerson and Thoreau, Emily Dickinson, and William Carlos Williams, to name just a few writers whose blood courses through this novel (even elegant F. Scott Fitzgerald is here, in an unexpected Gatsbyish episode late in the novel).

Making a laundry list of writers is weak criticism though, and these sources–all guilty of their own proud plagiarisms–are mentioned only as a means to an end, to an argument that what McCarthy does in Suttree is to synthesize the American literary tradition with grace and humor, while never glossing over its inherent dangers and violence. So, while it appropriates and plays with the tropes of the past, Suttree is still pure McCarthy. Consider the following passage, which arrives at the end of a drunken, awful spree, Suttree locked up for the night–

He closed his eyes. The gray water that dripped from him was rank with caustic. By the side of a dark dream road he’d seen a hawk nailed to a barn door. But what loomed was a flayed man with his brisket tacked open like a cooling beef and his skull peeled, blue and bulbous and palely luminescent, black grots his eyeholes and bloody mouth gaped tonguless. The traveler had seized his fingers in his jaws, but it was not alone this horror that he cried. Beyond the flayed man dimly adumbrate another figure paled, for his surgeons move about the world even as you and I.

Suttree’s dark vision points directly toward the language of McCarthy’s next novel, 1985’s Blood Meridian, roundly considered his masterpiece. Critics who disagree tend to point to Suttree as the pinnacle of McCarthy’s writing. I have no interest at this time in weighing the books against each other, nor do I think that doing so would be especially enlightening. For all of their sameness, they are very different animals: Suttree provides us intense access to its hero’s consciousness, where Blood Meridian always keeps the reader on the outside of its principals’ souls (if those grotesques could be said to have souls). And while Blood Meridian does display some humor, it is the blackest and driest humor I’ve ever read. Suttree is broader and more compassionate; it even has a fart joke. Blood Meridian, at least in my estimation (and many critics will contend this notion) has no flawed episodes; much of this results from the book’s own internal program–it resists love, compassion, and even human dignity. In contrast, Suttree is punctuated by two deaths the audience is meant to read as tragic, yet I found it impossible to do so. The first is the death of Suttree’s child, whom he has abandoned, along with its mother. As such, he is not permitted to take part in the funeral, observing the process rather from its edges. The second tragedy is the death of Suttree’s young lover in a landslide. The book begs us to empathize with Suttree, just as he often empathizes with the marginal figures in the novel, but ultimately these tragedies are a failed ploy. They underwrite a sublime encounter with death for Suttree, an encounter that deepens and enriches his character while paradoxically freeing him from the burdens of social duty and familial order. McCarthy is hardly alone in such a move; indeed, it seems like the signature trope of American masculine literature to me. It’s the move that Huck Finn wishes to make when he promises to light out for the Territory to escape the civilizing body of Aunt Sally; it’s the ending that Hemingway was compelled to give to Frederic Henry at the end of A Farewell to Arms; it’s all of Faulkner, with his mortification of fatherhood and the dramatic responsibility fatherhood entails. It is a cost analysis that neglects any potential benefits.

But these are small criticisms of a large, beautiful, benevolent novel, a book that begs to be reread, a rambling picaresque of comic and tragic proportions. “I learned that there is one Suttree and one Suttree only,” our hero realizes, but this epiphany is set against a larger claim. Near the end of the novel, Suttree goes to check on an old ragman who he keeps a watchful eye on. He finds the man dead, his shack robbed, his body looted. Despairing over the spectacle’s abject lack of humanity, Suttree cries, “You have no right to represent people this way,” for “A man is all men. You have no right to your wretchedness.” Here, Suttree’s painful epiphany is real and true, an Emersonian insight coded in the darkest of Whitman’s language. If there is one Suttree and one Suttree only, he is still beholden to all men; to be anti-social or an outcast is not to be anti-human. Self-hood is ultimately conditional on others and otherness. To experience the other’s wretchedness is harrowing; to understand the other’s wretchedness and thus convert it to dignity is life-affirming and glorious. Suttree is a brilliant, bold, marvelous book. Very highly recommended.

[Ed. note—Biblioklept originally published a version of this review on November 27, 2010].

 

“—boys to your bellybone and chuck a chum a chance!” — Pynchon Riff + Joyce + Moebius + Chloral Hydrate Party

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1. Here is a rambling riff if ever I rambled and riffed:

2, First, look, that lovely image—it’s by Jean Giraud, aka Moebius. I came across it a week or two ago and digitally nabbed it.

I love Moebius’s work in general and something about the image reminds me of Thomas Pynchon’s Against the Day, although maybe I’m too immersed in the thick novel to not have much of what I see recall it in some ways.

Something about the airship and the horseman recalls an early passage where Reef Traverse, in the American West, dream-reads the airship adventures of The Chums of Chance into existence. (There are parts of Against the Day that recall to me Cormac McCarthy’s westerns (sometimes—often—called anti-westerns, but come, let’s be adults)…where was I going here? It’s Friday and I’ve consumed the better part (aka “all”) of a bottle of rosé and now I’m circling round some odd notes here—yes—the western/Western thing: Manifest Destiny, etc. — I see it in the Moebius illustration, but of course I bring it with me like a sickness. I move on).

3. ” . . . boys to your bellybone and chuck a chum a chance!” — This is from James Joyce’s Finnegans Wake (85.8). Pointed out to me by Roman Tsivkin, this seems like a most reasonable/splendid source for the namesake of our aeronaut adventurers (who seem rather, uh, absent of late in the final moments of the Bilocations book I’m in right now).

4. Data, perhaps imperfect (again, digitally nabbed)—

In Against the Day:

—Some form of the word invisible appears 173 times—

—The word inconvenience or inconvenient — 84 times—

—The phrase the day — 213 times (usually in a cadence suggestive of the book’s title—some kind of rhythm to it, anyway)—

—The phrase against the day — once (unless you count the chapter (book, really) called “Against the Day,” or the colophon, or what-have-you)—

5. I’m a few sections past this, but a nice passage to end on of a Friday night:

Among students of mathematics here, chloral hydrate was the preferred drug. Sooner or later, whatever the problem being struggled with, having obsessed themselves into nightly insomnia, they would start taking knockout drops to get to sleep—Geheimrat Klein himself was a great advocate of the stuff—and next thing they knew, they were habitués, recognizing one another by the side-effects, notably eruptions of red pimples, known as “the dueling scars of chloralomania.” On Saturday nights in Göttingen, there was always sure to be at least one chloral party, or Mickifest.

It was a peculiar gathering, only intermittently, as you’d say, brisk. People were either talking wildly, often to themselves and without seeming to pause for breath, or lounging draped in pleasurable paralysis across the furniture or, as the evening went along, flat on the floor in deep narcosis.

Read an Excerpt from Cormac McCarthy’s Script for The Counselor

The New Yorker has published an excerpt of Cormac McCarthy’s script for The Counselor, a film directed by Ridley Scott that will come out this fall.

An excerpt of the excerpt:

the kid rakes an object from under the paper into his helmet and puts down the paper and stands and puts the helmet under his arm and crosses the plaza to his bike and puts his foot over the bike and starts it and pulls his gloves from the helmet and lays them on the tank in front of him and pulls on the helmet and fastens the strap and then pulls on the gloves and kicks back the stand and pulls away into the traffic.

night. two-lane blacktop road through the high desert. A car passes and the lights recede down the long straight and fade out. A man walks out from the scrub cedars that line the road and stands in the middle of the road and lights a cigarette. He is carrying a roll of thin braided wire over one shoulder. He continues across the road to the fence. A tall metal pipe is mounted to one of the fence posts and at the top—some twenty feet off the ground—is a floodlight. The man pushes the button on a small plastic sending unit and the light comes on, flooding the road and the man’s face. He turns it off and walks down the fence line a good hundred yards to the corner of the fence and here he drops the coil of wire to the ground and takes a flashlight from his back pocket and puts it in his teeth and takes a pair of leather gloves from his belt and puts them on. Then he loops the wire around the corner post and pulls the end of the wire through the loop and wraps it about six times around the wire itself and tucks the end several times inside the loop and then takes the wire in both hands and hauls it as tight as he can get it. Then he takes the coil of wire and crosses the road, letting out the wire behind him. In the cedars on the far side, a flatbed truck is parked with the bed of the truck facing the road. There is an iron pipe at the right rear of the truck bed mounted vertically in a pair of collars so that it can slide up and down and the man threads the wire through a hole in the pipe and pulls it taut and stops it from sliding back by clamping the wire with a pair of vise grips. Then he walks back out to the road and takes a tape measure from his belt and measures the height of the wire from the road surface. He goes back to the truck and lowers the iron pipe in its collars and clamps it in place again with a threaded lever that he turns by hand against the vertical rod. He goes out to the road and measures the wire again and comes back and wraps the end of the wire through a heavy three-inch iron ring and walks to the front of the truck, where he pulls the wire taut and wraps it around itself to secure the ring at the end of the wire and then pulls the ring over a hook mounted in the side rail of the truck bed. He stands looking at it. He strums the wire with his fingers. It gives off a deep resonant note. He unhooks the ring and walks the wire to the rear of the truck until it lies slack on the ground and in the road. He lays the ring on the truck bed and goes around and takes a walkie-talkie from a work bag in the cab of the truck and stands in the open door of the truck, listening. He checks his watch by the dome light in the cab.

The Adjectives of Cormac McCarthy’s Road

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(By/via).