From “The Art and Manner of Arranging One’s Books,” collected in Species of Spaces and Other Pieces. English translation by John Surrock.
There are four paintings on the walls.
The first is a still life that despite its modern manner is strongly reminiscent of those compositions constructed on the theme of the five senses which were so common throughout Europe from the end of the Renaissance to the eighteenth century: on a table, there is an ashtray with a lighted Havana, a book of which the title and subtitle can be seen – The Unfinished Symphony: A Novel – though the name of the author is hidden, a bottle of rum, a cup-and-ball, and, in a shallow bowl, a pile of dried fruit, walnuts, almonds, apricot halves, prunes, etc.
The second depicts a street on the edge of a city, at night, alongside wasteland. To the right, a metal pylon with crossbars supporting at each point of intersection a large, lighted electric lamp. To the left, a constellation of stars reproduces precisely the inverse image of the pylon (base in the sky, apex towards the ground). The sky is covered in a flower pattern (dark blue on a lighter background) identical to the shapes made by frost on glass.
The third is of a legendary beast, the tarand, first described by Gelon the Sarmatian:
A tarand is an animal as big as a bullock, having a head like a stag, or a little bigger, two stately horns with large branches, cloven feet, hair long like that of a furred Muscovite, I mean a bear, and a skin almost as hard as steel armour. The Scythian said that there are but few tarands to be found in Scythia, because it varieth its colour according to the diversity of the places where it grazes and abides, and represents the colour of the grass, plants, trees, shrubs, flowers, meadows, rocks, and generally of all things near which it comes. It hath this in common with the sea-pulp, or polypus, with the thoes, with the wolves of India, and with the chameleon; which is a kind of lizard so wonderful, that Democritus hath written a whole book of its figure, and anatomy, as also of its virtue”“and property in magic. This I can confirm, that I have seen it change its colour, not only at the approach of things that have a colour, but by its own voluntary impulse, according to its fear or other affections: as for example, upon a green carpet, I have certainly seen it become green; but having remained there some time, it turned yellow, blue, tanned and purple, in course, in the same manner as you sec a turkey-cock’s comb change colour according to its passions. But what we find most surprising in this tarand is, that not only its face and skin, but also its hair could take whatever colour was about it.
The fourth picture is a black-and-white reproduction of a painting by Forbes called A Rat Behind the Arras. This painting was inspired by a true story which took place at Newcastle-upon-Tyne during the winter of 1858.
From Georges Perec’s novel Life A User’s Manual. English translation by David Bellos.
From Georges Perec’s “Reading: A Socio-Physiological Outline.” Collected in Species of Spaces and Other Pieces.
I picked up Georges Perec’s twofer Things and A Man Asleep last Friday at the used bookstore. I was there looking for something else. The Perec was not even shelved under “P.” I found it laid on a table. The good people at Melville House also sent me a copy of Perec’s La Boutique Obscure last week, which I do not photograph here because it is an ebook. I read a big chunk of Obscure this week and will do some kind of write-up sometime soon, but here’s David Auerbach’s review at the LA Review of Books in the meantime.