June 17, 2012
Five Favorite Fictional Fathers
Literature seems to have an ambivalence toward fatherhood that’s too complex to address in a simple blog post–so I won’t even try. But before I riff on a few of my favorite fathers from a few of my favorite books, I think it’s worth pointing out how rare biological fathers of depth and complexity are in literature. That’s a huge general statement, I’m sure, and I welcome counterexamples, of course, but it seems like relationships between fathers and their children are somehow usually deferred, deflected, or represented in a shallow fashion. Perhaps it’s because we like our heroes to be orphans (whether it’s Moses or Harry Potter, Oliver Twist or Peter Parker) that literature tends to eschew biological fathers in favor of father figures (think of Leopold Bloom supplanting Stephen Dedalus in Ulysses, or Merlin taking over Uther Pendragon‘s paternal duties in the Arthur legends). At other times, the father is simply not present in the same narrative as his son or daughter (think of Telemachus and brave Odysseus, or Holden Caulfield wandering New York free from fatherly guidance). What I’ve tried to do below is provide examples of father-child relationships drawn with psychological and thematic depth; or, to put it another way, here are some fathers who actually have relationships with their kids.
Prospero and Miranda–William Maw Egley
1. Prospero, The Tempest (William Shakespeare)
Prospero has always seemed to me the shining flipside to King Lear’s dark coin, a powerful sorcerer who reverses his exile and is gracious even in his revenge. Where Lear is destroyed by his scheming daughters (and his inability to connect to truehearted Cordelia), Prospero, a single dad, protects his Miranda and even secures her a worthy suitor. Postcolonial studies aside, The Tempest is fun stuff.
2. Abraham Ebdus, The Fortress of Solitude, (Jonathan Lethem)
Like Prospero, Abraham Ebdus is a single father raising his child (his son Dylan) in an isolated, alienating place (not a desert island, but 1970′s Brooklyn). After Dylan’s mother abandons the family, the pair’s relationship begins to strain; Lethem captures this process in all its awkward pain with a poignancy that never even verges on schlock. The novel’s redemptive arc is ultimately figured in the reconciliation between father and son in a beautiful ending that Lethem, the reader, and the characters all earn.
3. Jack Gladney, White Noise (Don DeLillo)
While Jack Gladney is an intellectual academic, an expert in the unlikely field of “Hitler studies” (and something of a fraud, to boot), he’s also a pretty normal dad. Casual reviewers of White Noise tend to overlook the sublime banality of domesticity represented in DeLillo’s signature novel: Gladney is an excellent father to his many kids and step-kids, and DeLillo draws their relationships with a realism that belies–and perhaps helps to create–the novel’s satirical bent.
4. Oscar Amalfitano, 2666 (Roberto Bolaño)
Sure, philosophy professor Amalfitano is a bit mentally unhinged (okay, more than a bit), but what sane citizen of Santa Teresa wouldn’t go crazy, what with all the horrific unsolved murders? After his wife leaves him and their young daughter, Amalfitano takes them to the strange, alienating land of Northern Mexico (shades of Prospero’s island?) Bolaño portrays Amalfitano’s descent into paranoia (and perhaps madness) from a number of angles (he and his daughter show up in three of 2666‘s three sections), and as the novel progresses, the reader slowly begins to grasp the enormity of the evil that Amalfitano is confronting (or, more realistically, is unable to confront directly), and the extreme yet vague danger his daughter is encountering. Only a writer of Bolaño’s tremendous gift could make such a chilling episode simultaneously nerve-wracking, philosophical, and strangely hilarious.
5. The father, The Road (Cormac McCarthy)
What happens when Prospero’s desert island is just one big desert? If there is a deeper expression of the empathy and bonding between a child and parent, I have not read it. In The Road, McCarthy dramatizes fatherhood in apocalyptic terms, positing the necessity of such a relationship in hard, concrete, life and death terms. When the father tells his son “You are the best guy” I pretty much break down. When I first read The Road, I had just become a father myself (my child was only a few days old when I finished it), yet I was still critical of McCarthy’s ending, which affords a second chance for the son. It seemed to me at the time–as it does now–that the logic McCarthy establishes in his novel is utterly infanticidal, that the boy must die, but I understand now why McCarthy would have him live–why McCarthy has to let him live. Someone has to carry the fire.
April 10, 2012
“How few of the tales we listen to can lay any claim to originality!”
How many brothers, sisters, uncles, aunts, and cousins of all degrees a little story has! And how few of the tales we listen to can lay any claim to originality! There is scarcely a story which I hear which I cannot connect with some family of myths, and whose pedigree I cannot ascertain with more or less precision.
Shakespeare drew the plots of his plays from Boccaccio or Straparola; but these Italians did not invent the tales they lent to the English dramatist. King Lear does not originate with Geofry of Monmouth, but comes from early Indian stores of fable, whence also are derived the Merchant of Venice and the pound of flesh, ay, and the very incident of the three caskets. But who would credit it, were it not proved by conclusive facts, that Johnny Sands is the inheritance of the whole Aryan family of nations, and that Peeping Tom of Coventry peeped in India and on the Tartar steppes ages before Lady Godiva was born?
If you listen to Traviata at the opera, you have set before you a tale which has lasted for centuries, and which was perhaps born in India. If you read in classic fable of Orpheus charming woods and meadows, beasts and birds, with his magic lyre, you remember to have seen the same fable related in the Kalewala of the Finnish Wainomainen, and in the Kaleopoeg of the Esthonian Kalewa. If you take up English history, and read of William the Conqueror slipping as he landed on British soil, and kissing the earth, saying he had come to greet and claim his own, you remember that the same story is told of Napoleon in Egypt, of King Olaf Harold’s son in Norway, and in classic history of Junius Brutus on his return from the oracle . . .
From Sabine Baring-Gould’s indispensable work Curious Myths of the Middle Ages (1866).
October 19, 2011
King Lear on Occupy Wall Street
Through tatter’d clothes small vices do appear;
Robes and furr’d gowns hide all. Plate sin with gold,
And the strong lance of justice hurtless breaks;
Arm it in rags, a pigmy’s straw does pierce it.
King Lear, 4.6
July 24, 2011
“Out, Vile Jelly!”
A scene from the Peter Brook directed version of King Lear. Cornwall gouges out old man Gloucester’s eyes. The horror!
June 25, 2011
“Finnegans Wake: What It’s All About” — Anthony Burgess
Read Anthony Burgess’s essay on James Joyce’s Finnegans Wake. From said essay—
In his dream HCE, as we shall now call him, tries to make the whole of history swallow up his guilt for him. His initials are made to stand for the generality of sinful man, and they are expanded into slogans like “Here Comes Everybody” and “Haveth Childers Everywhere”. After all, sexual guilt presupposes a certain creative, or procreative, vitality, and a fall only comes to those who are capable of an erection. The unquenchable vitality appears in “our Human Conger Eel” (despite the “down, wantons, down” of the eel-pie-maker in King Lear); the erector of great structures is seen in “Howth Castle and Environs”. From the point of view of the ultimate dreamer of the dream, though (the author himself), “HCE” has a structural task to perform. As a chemical formula (H2CE3) or as a genuine vocable (“hec” or “ech” or even “Hecech”) it holds the dream down to its hero, is sewn to it like a monogram-HCE: his dream. But HCE has, so deep is his sleep, sunk to a level of dreaming in which he has become a collective being rehearsing the collective guilt of man. Man falls, man rises so that he can fall again; the sequence of falling and rising goes on till doomsday. The record of this, expressed in the lives of great men, in the systems they make and unmake and remake, is what we call history.
September 3, 2008
Caged Bedouins, Uruguayan Cannibals, Mr. Max Tundra, Absent Adventurer Anniversary, and a Few Morsels of Hurricane Lit
Attention:
1. Friends of the ‘klept have embarked on a new culinary adventure. Read all about it at brand new blog Confined Nomad. Their mission:
The goal of this journey is to find cuisines from every United Nations member state, within New York City limits, in alphabetical order. We realize that there are a few flaws to this logic, and will make every attempt to handle these wisely when we reach a questionable issue. For instance, cuisines are not defined by the UN. There are regional specialties, there are countries not internationally recognized, there are border disputes, and new countries are being formed all the time . . . This blog will serve as documentation of the adventure, in which we will do our best to describe not only the food we eat, but also things we learn about its nation of origin, culture, and the immigrant communities here in New York City. We hope this will be much more than a food blog.
The virgin entries on Afghanistan and Albania are tasty fare (sorry!) and we’re looking forward to plenty more delectable treats (yikes! sorry again!).
2. We finally saw Frank Marshall’s 1993 film Alive this weekend. Alive, based on Piers Paul Read’s book of the same name, tells the true story of the Uruguayan Air Force Flight 571 crash of October 13, 1972, in which a Uruguayan rugby team’s chartered flight crashes in the Andes. The survivors eventually resort to cannibalizing the dead to survive (let’s see what happens when Confined Nomad gets to ‘U’ on their list). Despite plenty of strange flaws, including egregious over-acting, the film is oddly great. An intense, chest-tightening narrative that offers few moments of relief, Alive is a real-life horror movie masquerading as an adventure tale. Recommended.
3. With distinguished Englishman Max Tundra’s new album Parallax Error Beheads You ready to drop any day now (glowing review forthcoming), we thought we’d bring up the greatness of his last CD, Mastered by Guy at the Exchange. Max’s MBGATE was easily one of our favorite albums of the early aughties. Weird and tuneful and splendid and frenetic, MBGATE is a neglected classic, perhaps due to its unclassifiable sound. Max programs old Amigas, plays dozens of instruments, and sings along with his sister on a strange group of songs about Michel Gondry, delivery jobs, amino acids, the break up of Don Caballero (with Storm & Stress as consolation prize), and, uh, girls. We love it and so should you. His website is awesome, by the way.
4. Today marks the one-year anniversary of gazillionaire adventurer Steve Fossett disappearing along with his single-engine Bellanca Super Decathlon airplane. We don’t think Fossett is dead, and neither, apparently, does Chris Irvine, who speculated in the Telegraph that Fossett faked his own death. We now invite our readers, again, to speculate on the whereabouts of Mr. Fossett. Check out our Steve Fossett Fan Fiction Contest blog for all the details!
5. Down here in The Florida, we continue to have hurricane concerns. And, because this blog likes to masquerade as a a literary affair, we offer a few lines from books on the subject:
In Shakespeare’s King Lear, Act 3 scene 2, we find one of the earliest usages of the word hurricane in the English language:
Blow, winds, and crack your cheeks! rage! blow!
You cataracts and hurricanoes, spout
Till you have drenched our steeples, drowned the cocks!
You sulphurous and thought-executing fires,
Vaunt-couriers to oak-cleaving thunderbolts,
Singe my white head! And thou, all-shaking thunder,
Strike flat the thick rotundity o’ the world!
Crack nature’s molds, all germens spill at once
That make ingrateful man!
Bit of a drama queen, Lear, what with all these apocalyptic fantasies. Speaking of drama queens, how about the opening lines of Walt Whitman’s “With Husky-haughty Lips, O Sea!”:
With husky-haughty lips, O sea!
Where day and night I wend thy surf-beat shore,
Imaging to my sense thy varied strange suggestions,
(I see and plainly list thy talk and conference here,)
Thy troops of white-maned racers racing to the goal,
Thy ample, smiling face, dash’d with the sparkling dimples of the sun,
Thy brooding scowl and murk–thy unloos’d hurricanes,
Thy unsubduedness, caprices, wilfulness
Fanciful stuff. For a less romanticized description, might we suggest the end of Zora Neale Hurston’s Their Eyes Were Watching God, where a massive hurricane turns Lake Okeechobee into a “monstropolous beast,” a monster that floods the streets and destroys homes. Stay away, Hannah.
Said