“Everything has been merely attempted, nothing completed” (Thomas Bernhard)

At the same time I had to tell myself that we invariably made excessive demands of everything and everybody: nothing is done thoroughly enough, everything is imperfect, everything has been merely attempted, nothing completed. My unhealthy craving for perfection had come to the surface again. It actually makes us ill if we always demand the highest standards, the most thorough, the most fundamental, the most extraordinary, when all we find are the lowest, the most superficial, the most ordinary. It doesn’t get us anywhere, except into the grave. We see decline where we expect improvement, we see hopelessness where we still have hope: that’s our mistake, our misfortune. We always demand everything, when in the nature of things we should demand little, and that depresses us. We see somebody on the heights, and he comes to grief while he is still on the low ground. We want to achieve everything, and we achieve nothing. And naturally we make the highest, the very highest demands of ourselves, completely leaving out of account human nature, which is after all not made to meet the highest demands. The world spirit, as it were, overestimates the human spirit. We are always bound to fail because we set our sights a few hundred per cent higher than is appropriate. And if we look, wherever we look, we see only people who have failed because they set their sights too high. But on the other hand, I reflect, where should we be if we constantly set our sights too low?

From Thomas Bernhard’s novel Concrete.

Nostalgia — Luke Pearson

“All art constantly aspires towards the condition of music”

Avian Flower Serpent — Fred Tomaselli

“Good Old Neon” — David Foster Wallace

“Good Old Neon”

by

David Foster Wallace

My whole life I’ve been a fraud. I’m not exaggerating. Pretty much all I’ve ever done all the time is try to create a certain impression of me in other people. Mostly to be liked or admired. It’s a little more complicated than that, maybe. But when you come right down to it it’s to be liked, loved. Admired, approved of, applauded, whatever. You get the idea. I did well in school, but deep down the whole thing’s motive wasn’t to learn or improve myself but just to do well, to get good grades and make sports teams and perform well. To have a good transcript or varsity letters to show people. I didn’t enjoy it much because I was always scared I wouldn’t do well enough. The fear made me work really hard, so I’d always do well and end up getting what I wanted. But then, once I got the best grade or made All City or got Angela Mead to let me put my hand on her breast, I wouldn’t feel much of anything except maybe fear that I wouldn’t be able to get it again. The next time or next thing I wanted. I remember being down in the rec room in Angela Mead’s basement on the couch and having her let me get my hand up under her blouse and not even really feeling the soft aliveness or whatever of her breast because all I was doing was thinking, ‘Now I’m the guy that Mead let get to second with her.’ Later that seemed so sad. This was in middle school. She was a very big-hearted, quiet, self-contained, thoughtful girl — she’s a veterinarian now, with her own practice — and I never even really saw her, I couldn’t see anything except who I might be in her eyes, this cheerleader and probably number two or three among the most desirable girls in middle school that year. She was much more than that, she was beyond all that adolescent ranking and popularity crap, but I never really let her be or saw her as more, although I put up a very good front as somebody who could have deep conversations and really wanted to know and understand who she was inside. Continue reading ““Good Old Neon” — David Foster Wallace”

First Reader — John George Brown

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“Why Do They Prate?” — Helene Johnson

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Bitter Eden (Book Acquired, 2.12.2014)

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This one looks pretty good. Blurb from publisher Picador:

Bitter Eden is based on Tatamkhulu Afrika’s own capture in North Africa and his experiences as a prisoner of war during World War II in Italy and Germany. This frank and beautifully wrought novel deals with three men who must negotiate the emotions that are brought to the surface by the physical closeness of survival in the male-only camps. The complex rituals of camp life and the strange loyalties and deep bonds among the men are heartbreakingly depicted. Bitter Eden is a tender, bitter, deeply felt book of lives inexorably changed, and of a war whose ending does not bring peace.

Read an excerpt here.

Karlheinz Stockausen on Human Evolution

“The Breathing Author” by Gerald Murnane

From Delphic Intimations: Dialogues with Australian Writers and Critics, ed. Pradeep Trikha. 2007: Sarup & Sons, New Delhi.

I have preserved Australian spelling and style.

***

“The Breathing Author” — Gerald Murnane

This essay is the edited version of a talk given at the final session of the Gerald Murnane Research Seminar, held at the University of Newcastle on 20-21 September 2001.

I cannot conceive of myself reading a text and being unmindful that the object before my eyes is a product of human effort.

Much of my engagement with a text consists of my speculating about the methods used by the writer in the putting together of the text, or about the feelings and beliefs that drove the writer to write the text, or even about the life story of the writer.

What I am about to tell you today is the sort of detail that I would have been eager to know if it had been my fate to be a person who was drawn to read these books (points to the stack of his books near by) rather than the person who was drawn to write them.

I have for long believed that a person reveals at least as much when he reports what he cannot do or has never done as when he reports what he has done or wants to do.

I have never been in an aeroplane.

I have been as far north from my birthplace as Murwillumbah in New South Wales and as far south as Kettering in Tasmania; as far east as Bemm River in Victoria and as far west as Streaky Bay in South Australia. The distance between Murwillumbah in the north and Kettering in the south is about 1500 km. It so happens that the distance between Streaky Bay in the west and Orbost in the east is about the same. Until I calculated these distances a few days ago, I was quite unaware that my travels had been confined to an area comprising almost a square, but my learning this was no surprise to me.

I became confused, or even distressed, whenever I find myself among streets or roads that are not arranged in a rectangular grid or are so arranged but not so that the streets or roads run approximately north-south and east-west. Whenever I find myself in such a place, I feel compelled to withdraw from social intercourse and all activities other than what I call finding my bearings. These I try to find by reference to the sun or to roads or streets the alignments of which are known to me. I know I have found my bearings when I can visualise myself and my surroundings as details of a map that includes the northern suburbs of Melbourne and such prominent east-west or north-south thoroughfares of those suburbs as Bell Street or Sydney Road.

My trying to find my bearings takes much mental effort, and I fail more often than I succeed. I often believe I have succeeded but later refer to maps and find that my visualised map was wrong. When I discover this, I feel compelled to attempt a complicated exercise that I have probably never succeeded at. I am compelled first to recall the scene where I tried to find my bearings, then to recall the visualised map that proved to be wrong, and last to try to correct my remembered self, as it were: to relive the earlier experience but with the difference that I get my correct bearings. I sometimes feel this compulsion many years after the original event. While writing these notes, for example, I was compelled to recall the evening in November 1956 when I visited for the first time the suburb or Brighton, on Port Phillip Bay. It was my last day of secondary school, and my class had to meet at the home of the school captain and later to take a train into Melbourne to see a film. I arrived in Brighton by bus, in the company of boys who knew their way around that quarter of Melbourne. Later, when our class arrived on foot at Brighton Beach railway station, I stood with them on the platform where they had gathered, but I was convinced that we were waiting for the train from Melbourne. After the train had arrive and we had boarded, I remained convinced for some time that we were travelling away from Melbourne, and my peace of mind was continually disturbed during the rest of the evening by my wondering how I had so utterly lost my bearings at the railway station. Just now, as I said, I was compelled to relive that experience of more than forty years ago, but I failed yet again to understand how the map of Melbourne in my mind had been stood on its head.

I cannot understand the workings of the International Date Line.

Continue reading ““The Breathing Author” by Gerald Murnane”

List with No Name #44

  1. In Kyoto, in the hot summer rain, sweating in a poncho, fighting with my girlfriend in front of a golden temple.
  2. At 17, experiencing the most intense jealousy of my life, watching a classmate weep in front of The Pietà, thinking, feeling, Why can’t I feel that?
  3. On the way to work, sleepy, maybe a bit hungover, breaking down in tears at “Space Oddity,” concern for Major Tom, his family. Swearing off music in the early morning. News radio ever since.
  4. Religion is just a set of aesthetic possibilities, conditions, and experiences.
  5. In Cork, drinking beer on a roof in the summer sun, a wasp landed on my very eye.
  6. In the last year of college, writing and recording dozens of songs with friends, editing the songs into a cohesive thing, calling the thing an album, sharing it with friends, with never even once the intention of doing anything else with that music, with no dreams of anyone else hearing it, live or recorded. An album made entirely for ourselves.
  7. Listening to it a dozen years later, conceding that it was actually maybe very good.
  8. Vomiting in foreign cities.
  9. Wary of my own susceptibility to sentimentalism, to sentimentality, to my awful tendency to experience catharsis through a fast food commercial on television.
  10. Never able to feel transcendent peace in nature, despite Emerson, Thoreau, Dickinson, Whitman, etc.—because just at the moment that the affect of transcendent peace manifests (the verb is inadequate), my awareness of the affect and the process of the affect and my feeling of the feeling of the affect spoils it all.
  11. Crashing into a road sign on an off ramp, walking away from the wreck, lying down on the slanted concrete abutment in the shade of a roaring overpass, feeling the best feeling, unspoiled.
  12. My child born—that nothing was more original, real, terrifying, beautiful.
  13. In dreams, sometimes: A whole other life, full, brimming, rich, real. He who wakes me wounds me, I think Nietzsche wrote. Or was it Bernhard? Or am I imagining the phrase?
  14. Never not jealous of a hawk in flight.
  15. My mother falling asleep, I kept reading until I too fell asleep.
  16. Vomiting into the trashcan in my classroom.
  17. My brother, balling up wrapping paper, hurling at me. My explosive rage.
  18. The snakes, the rats, the roaches I’ve killed.
  19. Workshopping a story in class. How I hated everyone.
  20. Friends jumping on my bed the afternoon of my wedding. (How did they get in?). Vomiting in the bed.
  21. Reading a certain novel, its plot, its construction essentially destroying a hundred or more of my own pages, my own outline, my own idea.
  22. A Modigliani in the New Orleans Museum of Art: Her neck was everything I remembered of the visit.
  23. My electric guitar, literally rusty from salt air and disuse.
  24. Irony as an aesthetic experience—or a defense against aesthetic experience?
  25. Painting the same scene in watercolors, dozens of times, with my daughter—the loquat tree, the grass, the sky. Her paintings surpassed mine so quickly.
  26. The rat that scuttled over my feet by the river in Chiang Mai. My horror and laughter.
  27. Removing dead rats from a shed as an aesthetic experience.
  28. All experiences are aesthetic experiences.
  29. Does maturity necessitate that we turn down the volume on these aesthetic experiences? That we manage the affect? That we blunt the feeling of the feeling?
  30. Seeing The Pietà again at 27 and moved by the memory of the classmate’s aesthetic response a decade earlier.
  31. The tourists crowding out Mona Lisa, I shuffled into some other room full of heavy, dark, black paintings—Caravaggios?—the names didn’t matter, the authority didn’t matter, I was 15 I think, I relaxed, I could look, I was alone, or I felt alone, it was lovely.
  32. My office: Prints by Goya, Picasso, Tintoretto, Leonardo. A painting by my grandmother, a dog resting, a bird and a bone nearby. Students come by to look at the giant Bosch reproduction, which I wish were more giant, more real.
  33. At the Dali Museum. Shock at how small some of the paintings were.
  34. Is there an aesthetic experience outside of sharing?
  35. Endlessly copying figures from comic books.
  36. Photographing food and sharing it on social media as a kind of thanksgiving prayer.
  37. Seeing the Bacon collection at MoMA, feeling a feeling that I still don’t have a name for.
  38. Rising early on Saturday mornings to watch a show where a man (or was it a woman?) guided me (and others, I suppose) through the rudiments of sketching animals. My grandmother made me sausages.
  39. My daughter’s thorough indifference to a Dürer etching in our local museum I wanted her to see. Her pleading to go to the gardens to paint with watercolors, to paint the fountain, the flowers.
  40. Sometimes in my dreams I write something, or paint something, or create wonderful, strange music.
  41. At eleven years old, sitting for a friend’s mother, who painted my portrait in watercolor. She didn’t draft in pencil, she worked so quickly. I was jealous and grateful.
  42. One of the reasons I love the internet so much is that it allows me to look at paintings. But looking at a painting on a screen is not the same as looking at paintings in the real.
  43. As a teenager, attempting wax dripping paintings in the style of Pollock, starting small fires in my bedroom, covering the scorched carpet with books, clothes, my parents sometimes not discovering the marks for weeks. Trying to explain them, but unwilling to share the paintings.
  44. A wish for anything that disrupts the feeling of feeling the feeling.

Macbeth Consulting the Vision of the Armed Head — Henry Fuseli

“Proof Positive” — Graham Greene

“Proof Positive”

by

Graham Greene

The tired voice went on. It seemed to surmount enormous obstacles to speech. The man’s sick, Colonel Crashaw thought, with pity and irritation. When a young man he had climbed in the Himalayas, and he remembered bow at great heights several breaths had to be taken for every step advanced. The five-foot-high platform in the Music Rooms of The Spa seemed to entail for the speaker some of the same effort, he should never have come out on such a raw afternoon, thought Colonel Crashaw, pouring out a glass of water and pushing it across the lecturer’s table. The rooms were badly heated, and yellow fingers of winter fog fell for cracks in the many windows. There was little doubt that the speaker had lost all touch with his audience. It was scattered in patches about the hall – elderly ladies who made no attempt to hide their cruel boredom, and a few men, with the appearance of retired officers, who put a show of attention.

Colonel Crashaw, as president of the local Psychical Society, had received a note from the speaker a little more than a week before. Written by a hand which trembled with sickness, age or drunkenness, it asked urgently for a special meeting of the society. An extraordinary, a really impressive, experience was to be described while still fresh in the mind, thought what the experience had been was left vague. Colonel Crashaw would have hesitated to comply if the note had not been signed by a Major Philip Weaver, Indian Army, retired. One had to do what one could for a brother officer; the trembling of the hand must be either age or sickness.

It proved principally to be the latter when the two men met for the first time on the platform. Major Weaver was not more than sixty, tall, thin, and dark, with an ugly obstinate nose and, satire in his eye, the most unlikely person to experience anything unexplainable. What antagonised Crashaw most was that Weaver used scent; a white handkerchief which drooped from his breast pocket exhaled as rich and sweet an odour as a whole altar of lilies. Several ladies prinked their noses, and General Leadbitter asked loudly whether lie might smoke.

It was quite obvious that Weaver understood. He smiled provocatively and asked very slowly, “Would you mind not smoking? My throat has been bad for some time.” Crashaw murmured that it was terrible weather; influenza throats were common. The satirical eye came round to him and considered him thoughtfully, while Weaver said in a voice which carried halfway across the hall, “It’s cancer in my case.”

In the shocked vexed silence that followed the unnecessary intimacy he began to speak without waiting for any introduction from Crashaw. He seemed at first to be in a hurry. It was only later that the terrible impediments were placed in the way of his speech. He had a high voice, which sometimes broke into a squeal, and must have been peculiarly disagreeable on the parade ground. He paid a few compliments to the local society; his remarks were just sufficiently exaggerated to be irritating. He was glad, lie said, to give them the chance of hearing him; what he had to say might after their whole view of the relative values of matter and spirit.

Mystic stuff, thought Crashaw.

Weaver’s high voice began to shoot out hurried platitudes. The spirit, he said, was stronger than anyone realised; the physiological action of heart and brain and nerves were subordinate to the spirit. The spirit was everything. He said again, his voice squeaking up like bats into the ceiling, “The spirit is so much stronger than you think.” He put his hand across his throat and squinted sideways at the window-panes and the nuzzling fog, and upwards at the bare electric globe sizzling with heat and poor light in the dim afternoon. “It’s immortal,” he told them very seriously, and they shifted, restless, uncomfortable, and weary, in their chairs.

It was then that his voice grew tired and his speech impeded. The knowledge that he had entirely lost touch with his audience may have been the cause. An elderly lady at the back had taken her knitting from a bag, and her needles flashed along the walls when the light caught them, like a bright ironic spirit. Satire for a moment deserted Weaver’s eyes, and Crashaw saw the vacancy it left, as though the ball had turned to glass.

“This is important,” the lecturer cried to them. “I can tell you a story-” His audience’s attention was momentarily caught by this promise of something definite, but the stillness of the lady’s needles did not soothe him. He sneered at them all: “Signs and wonders,” he said.

Then he lost the thread of his speech altogether.

His hand passed to and fro across his throat and he quoted Shakespeare, and then St. Paul’s Epistle to the Galatians. His speech, as it grew slower, seemed to lose all logical order, though now and then Crashaw was surprised by the shrewdness in the juxtaposition of two irrelevant ideas. It was like the conversation of an old man which flits from subject to subject, the thread a subconscious one. “When I was a Simla,” he said, bending his brows as though to avoid the sunflash on the barrack square, but perhaps the frost, the fog, the tarnished room broke his memories. He began to assure the wearied faces all over again that the spirit did not die when the body died, but that the body only moved at the spirit’s will. One had to be obstinate, to grapple…

Pathetic, Crashaw thought, the sick man’s clinging to his belief. It was as if life were an only son who was dying and with whom he wished to preserve some form of communication…

A note was passed to Crashaw from the audience. It came from a Dr. Brown, a small alert man in the third row; the society cherished him as a kind of pet sceptic. The note read: “Can’t you make him stop? The man’s obviously very ill. And what good is his talk, anyway?”

Crashaw turned his eyes sideways and upwards and felt his pity vanish al sight of the roving satirical eyes that gave the lie to the tongue, and al the smell, over-poweringly sweet, of the scent in which Weaver had steeped his handkerchief. The man was an “outsider”; he would look up his record in the old Army Lists when he got home.

“Proof positive,” Weaver was saying, sighing a shrill breath of exhaustion between the words. Crashaw laid his watch upon the table, but Weaver paid him no attention. He was supporting himself on the rim of the table with one hand. “I’ll give you,” he said, speaking with increasing difficulty, “proof pos….” His voice scraped into stillness, like a needle at a record’s end, but the quiet did not last. From an expressionless face, a sound which was more like a high mew than anything else, jerked the audience into attention. He followed it up, still without a trace of any emotion or understanding, with a succession of incomprehensible sounds, a low labial whispering, an odd jangling note, while his fingers lapped on the table. The sounds brought to mind innumerable seances, the bound medium, the tambourine shaken in mid-air, the whispered trivialities of loved ghosts in the darkness, the dinginess, the airless rooms.

Weaver sat down slowly in his chair and let his head fall backwards. An old lady began to cry nervously, and Dr. Brown scrambled on to the platform and bent over him. Colonel Crashaw saw the doctor’s hand tremble as he picked the handkerchief from the pocket and flung it away from him. Crashaw, aware of another and more unpleasant smell, heard Dr. Brown whisper: “Send them all away. He’s dead.”

He spoke with a distress unusual in a doctor accustomed to every kind of death. Crashaw, before he complied, glanced over Dr. Brown’s shoulder at the dead man. Major Weaver’s appearance disquieted him. In a long life he had seen many forms of death, men shot by their own hand, and men killed in the field, but never such a suggestion of mortality. The body might have been one fished from the sea a long while after death; the flesh of the face seemed as ready to fall as an over ripe fruit. So it was with no great shock of surprise that he heard Dr. Brown’s whispered statement: “The man must have been dead a week.”

What The Colonel thought of most was Weaver’s claim – “Proof positive” – proof, he had probably meant, that the spirit outlived the body, that it lasted eternity. But all he had certainly revealed was how, without the body’s aid, the spirit in seven days decayed into whispered nonsense.

Woman Reading at Home — Karin Kinser

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“On a Primitive Canoe” — Claude McKay

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The Toothpuller — Caravaggio

“Freight Train” — Elizabeth Cotten