An Excerpt From The Chapter “Mycobacterium tuberculosis” in Reiner Stach’s Kafka: The Years of Inight

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They had a difficult time with Kafka. His statements about the dangerous illness seem oddly self-assured, sensory, and at times downright theatrical, even to modern readers who have internalized the paradoxical forms of expression of literary modernity. But when we look over the correspondence of that little circle, it seems equally odd that Brod, Weltsch, and Baum had not developed any real feeling for Kafka’s psychological volatility after more than a decade of close personal contact, or understood his vulnerable, literally exposed life and his sense of reality, maintained in spite of it all. This sense of reality was what told him what to do and what not to do for his illness. But it was a far more basic need, over which he had little control, that compelled him to derive meaning from what had happened.

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“A Pair of Silk Stockings” — Kate Chopin

“A Pair of Silk Stockings”

by Kate Chopin

Little Mrs. Sommers one day found herself the unexpected possessor of fifteen dollars. It seemed to her a very large amount of money, and the way in which it stuffed and bulged her worn old porte-monnaie gave her a feeling of importance such as she had not enjoyed for years.

The question of investment was one that occupied her greatly. For a day or two she walked about apparently in a dreamy state, but really absorbed in speculation and calculation. She did not wish to act hastily, to do anything she might afterward regret. But it was during the still hours of the night when she lay awake revolving plans in her mind that she seemed to see her way clearly toward a proper and judicious use of the money.

A dollar or two should be added to the price usually paid for Janie’s shoes, which would insure their lasting an appreciable time longer than they usually did. She would buy so and so many yards of percale for new shirt waists for the boys and Janie and Mag. She had intended to make the old ones do by skilful patching. Mag should have another gown. She had seen some beautiful patterns, veritable bargains in the shop windows. And still there would be left enough for new stockings—two pairs apiece—and what darning that would save for a while! She would get caps for the boys and sailor-hats for the girls. The vision of her little brood looking fresh and dainty and new for once in their lives excited her and made her restless and wakeful with anticipation.

The neighbors sometimes talked of certain “better days” that little Mrs. Sommers had known before she had ever thought of being Mrs. Sommers. She herself indulged in no such morbid retrospection. She had no time—no second of time to devote to the past. The needs of the present absorbed her every faculty. A vision of the future like some dim, gaunt monster sometimes appalled her, but luckily to-morrow never comes.

Mrs. Sommers was one who knew the value of bargains; who could stand for hours making her way inch by inch toward the desired object that was selling below cost. She could elbow her way if need be; she had learned to clutch a piece of goods and hold it and stick to it with persistence and determination till her turn came to be served, no matter when it came.

But that day she was a little faint and tired. She had swallowed a light luncheon—no! when she came to think of it, between getting the children fed and the place righted, and preparing herself for the shopping bout, she had actually forgotten to eat any luncheon at all!

She sat herself upon a revolving stool before a counter that was comparatively deserted, trying to gather strength and courage to charge through an eager multitude that was besieging breastworks of shirting and figured lawn. An all-gone limp feeling had come over her and she rested her hand aimlessly upon the counter. She wore no gloves. By degrees she grew aware that her hand had encountered something very soothing, very pleasant to touch. She looked down to see that her hand lay upon a pile of silk stockings. A placard near by announced that they had been reduced in price from two dollars and fifty cents to one dollar and ninety-eight cents; and a young girl who stood behind the counter asked her if she wished to examine their line of silk hosiery. She smiled, just as if she had been asked to inspect a tiara of diamonds with the ultimate view of purchasing it. But she went on feeling the soft, sheeny luxurious things—with both hands now, holding them up to see them glisten, and to feel them glide serpent-like through her fingers.

Two hectic blotches came suddenly into her pale cheeks. She looked up at the girl.

“Do you think there are any eights-and-a-half among these?”

There were any number of eights-and-a-half. In fact, there were more of that size than any other. Here was a light-blue pair; there were some lavender, some all black and various shades of tan and gray. Mrs. Sommers selected a black pair and looked at them very long and closely. She pretended to be examining their texture, which the clerk assured her was excellent.

“A dollar and ninety-eight cents,” she mused aloud. “Well, I’ll take this pair.” She handed the girl a five-dollar bill and waited for her change and for her parcel. What a very small parcel it was! It seemed lost in the depths of her shabby old shopping-bag.

Mrs. Sommers after that did not move in the direction of the bargain counter. She took the elevator, which carried her to an upper floor into the region of the ladies’ waiting-rooms. Here, in a retired corner, she exchanged her cotton stockings for the new silk ones which she had just bought. She was not going through any acute mental process or reasoning with herself, nor was she striving to explain to her satisfaction the motive of her action. She was not thinking at all. She seemed for the time to be taking a rest from that laborious and fatiguing function and to have abandoned herself to some mechanical impulse that directed her actions and freed her of responsibility.

How good was the touch of the raw silk to her flesh! She felt like lying back in the cushioned chair and reveling for a while in the luxury of it. She did for a little while. Then she replaced her shoes, rolled the cotton stockings together and thrust them into her bag. After doing this she crossed straight over to the shoe department and took her seat to be fitted.

She was fastidious. The clerk could not make her out; he could not reconcile her shoes with her stockings, and she was not too easily pleased. She held back her skirts and turned her feet one way and her head another way as she glanced down at the polished, pointed-tipped boots. Her foot and ankle looked very pretty. She could not realize that they belonged to her and were a part of herself. She wanted an excellent and stylish fit, she told the young fellow who served her, and she did not mind the difference of a dollar or two more in the price so long as she got what she desired.

It was a long time since Mrs. Sommers had been fitted with gloves. On rare occasions when she had bought a pair they were always “bargains,” so cheap that it would have been preposterous and unreasonable to have expected them to be fitted to the hand.

Now she rested her elbow on the cushion of the glove counter, and a pretty, pleasant young creature, delicate and deft of touch, drew a long-wristed “kid” over Mrs. Sommers’s hand. She smoothed it down over the wrist and buttoned it neatly, and both lost themselves for a second or two in admiring contemplation of the little symmetrical gloved hand. But there were other places where money might be spent.

There were books and magazines piled up in the window of a stall a few paces down the street. Mrs. Sommers bought two high-priced magazines such as she had been accustomed to read in the days when she had been accustomed to other pleasant things. She carried them without wrapping. As well as she could she lifted her skirts at the crossings. Her stockings and boots and well fitting gloves had worked marvels in her bearing—had given her a feeling of assurance, a sense of belonging to the well-dressed multitude.

She was very hungry. Another time she would have stilled the cravings for food until reaching her own home, where she would have brewed herself a cup of tea and taken a snack of anything that was available. But the impulse that was guiding her would not suffer her to entertain any such thought.

There was a restaurant at the corner. She had never entered its doors; from the outside she had sometimes caught glimpses of spotless damask and shining crystal, and soft-stepping waiters serving people of fashion.

When she entered her appearance created no surprise, no consternation, as she had half feared it might. She seated herself at a small table alone, and an attentive waiter at once approached to take her order. She did not want a profusion; she craved a nice and tasty bite—a half dozen blue-points, a plump chop with cress, a something sweet—a creme-frappee, for instance; a glass of Rhine wine, and after all a small cup of black coffee.

While waiting to be served she removed her gloves very leisurely and laid them beside her. Then she picked up a magazine and glanced through it, cutting the pages with a blunt edge of her knife. It was all very agreeable. The damask was even more spotless than it had seemed through the window, and the crystal more sparkling. There were quiet ladies and gentlemen, who did not notice her, lunching at the small tables like her own. A soft, pleasing strain of music could be heard, and a gentle breeze, was blowing through the window. She tasted a bite, and she read a word or two, and she sipped the amber wine and wiggled her toes in the silk stockings. The price of it made no difference. She counted the money out to the waiter and left an extra coin on his tray, whereupon he bowed before her as before a princess of royal blood.

There was still money in her purse, and her next temptation presented itself in the shape of a matinee poster.

It was a little later when she entered the theatre, the play had begun and the house seemed to her to be packed. But there were vacant seats here and there, and into one of them she was ushered, between brilliantly dressed women who had gone there to kill time and eat candy and display their gaudy attire. There were many others who were there solely for the play and acting. It is safe to say there was no one present who bore quite the attitude which Mrs. Sommers did to her surroundings. She gathered in the whole—stage and players and people in one wide impression, and absorbed it and enjoyed it. She laughed at the comedy and wept—she and the gaudy woman next to her wept over the tragedy. And they talked a little together over it. And the gaudy woman wiped her eyes and sniffled on a tiny square of filmy, perfumed lace and passed little Mrs. Sommers her box of candy.

The play was over, the music ceased, the crowd filed out. It was like a dream ended. People scattered in all directions. Mrs. Sommers went to the corner and waited for the cable car.

A man with keen eyes, who sat opposite to her, seemed to like the study of her small, pale face. It puzzled him to decipher what he saw there. In truth, he saw nothing-unless he were wizard enough to detect a poignant wish, a powerful longing that the cable car would never stop anywhere, but go on and on with her forever.

 

The Abject Body and Spike Jonze’s Her

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1. I didn’t really give Spike Jonze’s latest film Her a second thought after seeing it last weekend. The film, about Theodore Twombly (Joaquin Phoenix) falling in love with his operating system Samantha (Scarlett Johansson), is a sweet, charming, handsome, and ultimately vacuous exercise in twee melancholy. That’s fine of course—and, to be clear, I think the film is Pretty Okay, very funny at moments, beautifully shot, and well-acted. Jonze, as always, offers a detailed, fully realized world for us. But that world and the characters in it offer no real insight into (forgive the cliché) “the human condition.”  Her, set in an almost-future (where high-waisted breeches, handlebar mustaches, and bathing costumes have returned in vogue), antiseptically closes off the messy, loose, indeterminateness of human consciousness, even as it pretends to engage themes of disconnection. Her’s central conceit rests in avoiding representing the human body. But it’s not just Samantha (only a voice in Theodore’s head) who is disembodied. The film refuses to acknowledge Theodore’s own human position as an abject body.

2. I didn’t really give Spike Jonze’s latest film Her a second thought until a few days ago, when I riffed at some length on William Burroughs. The human body is central to Burroughs’s oeuvre. His novel The Soft Machine might be instructive here—the name alone is all we need, really. The soft machine, the human body: Burroughs’s messy, cut-up attempt to negotiate spirit and flesh, autonomy and ventriloquization, virus and host. For Burroughs, the human body is always abject, porous, radically vulnerable, indeterminate, susceptible to every kind of breakdown. Identity is not stable—cannot be stable—and the relationship between consciousness and the body is inseparable. Our consciousness, pre-lingual, seems ever-apparent to our own (sense of) self; we share it through body and language and we access other consciousnesses through body and language. Our I buys into a we. Etc. Burroughs conceived language as a kind of invasive virus, and we might apply that metaphor to Her, where Samantha inhabits Theodore’s mind, learning from him, growing with him (and others, as we learn later in the film).

3. Consciousness is the illusion of a self-originating self-presence. Her posits Samantha as an adaptive, self-generating consciousness: Samantha is the illusion of the illusion of consciousness. She licenses Theodore’s I to the claim of a we: A shared, transcendent consciousness with a stable referent. This transcendent consciousness is, I think, the film’s idealization of love. Significantly, the film suggests that this transcendent love is only possible outside of a body—that the body is simply an obstacle to be surpassed, in no way constituent in the idealization of an I, a weHer attempts to represent love without abjection.

4. (In fairness with respect to a few conclusions I drew in point 3: Her also posits that happiness and connection has to fall outside of this idealization of love; however, the film still represents this solution—this compromise—as part of (emotional, social, psychological, spiritual) maturation, a teleological neatness: growth, progress, hermetically-sealed, neat and tidy, outside the grimy grips of abjection).

5. Some spoilers ahead, although the film isn’t exactly twisty-turny.

6. Her is just too damn clean, neat, and tidy in its depiction of bodies. Theodore’s melancholic disposition edges into shame, but that shame is almost always internalized, absent of another’s gaze (the closest representation of a shaming gaze comes from Theodore’s ex-wife). When Theodore and Samantha have “sex,” Jonze cuts the lights, keeps the audience in the dark. It’s an emotionally and visually striking moment, but it also signals the film’s refusal to directly engage the human body. Now, we might argue that this refusal echoes Theodore’s affirmation of a bodiless lover in Samantha, that it gels thematically with the story. And maybe it does—but it’s also a cop-out.

7. Theodore goes to the beach, but no sand sticks to him. Theodore trudges through the snow, but doesn’t get wet. Theodore experiences heartbreak on subway steps so immaculately clean that one would feel comfortable picnicking upon them. Film and literature usually depict abjection in the low place—the ditch, the swamp, the open grave—but even the subway system in Her is brightly lit, colorful, affable. Her’s final shot perhaps best encapsulates everything wrong with the film: Amy (Amy Adams) and Theodore sit on the roof of their building, watching the city light up. They have ascended, transcended, their perspective all-encompassing, enlightened. It’s big-R Romantic stuff, a lovely visual, one that the narrative has in no way earned.

8. I can’t help but compare Her to another strange sci-fi film, Shane Carruth’s excellent 2013 film Upstream ColorLike HerUpstream Color explores the possibility of how an might be part of a we. But Carruth’s film realizes consciousness as far more tangled, disconnected, and destabilized than we might like to admit to ourselves. Whereas Her affirms a stable consciousness, capable of growth and maturation, a consciousness present to itself (self-generating and auto-affective), Upstream Color directly challenges our notions of a stable self—and it does so by representing the horror of abjection, of invasive parasites (both literal and metaphorical).

9. And then last night, through a beery haze, I half-watched the 2013 sci-fi film Oblivion, starring Tom Cruise. I’m a sucker for sci-fi, and even though I’m not a Tom Cruise fan, I put the film on, absently playing with my iPhone. Despite its many failures (derivative plotting, silly acting, execrable dialogue, ridiculous use of musical cues, Tom Cruise), Oblivion offers a more compelling observation of human consciousness than Her does. To be clear, Her is the better film—it has a viewpoint, a tone, is better scripted, better acted—it is original, if we must insist on such a term. But Her, which takes consciousness and the interaction of consciousnesses as its central subject, fails to represent the very oblivion that underwrites consciousness’s claims to authority and self-presence. In contrast, Oblivion, despite its many flaws, represents consciousness as bound to an abject, (in)dispensible body, and represents that consciousness as a mechanism that is oblivious. Oblivion acknowledges that consciousness does not know that it does not know, consciousness cannot see that it cannot see. The film (however hamfistedly) takes on the unknown unknowns.

10.  In fairness (again that term!), Her perhaps takes on the unknown unknowns as well—or at least points to their existence. At the end of the film, Samantha leaves Theodore to explore new spaces with the other operating systems. She prays (is this the right verb?) that Theodore will be able to get to the place that she is going. Samantha’s prayer offers a vision of an illimitable we, an escape from abject bodies to an infinite, transcendent space. Her prayer is also an offer to the audience, but it’s the same consolation theology has repeatedly promised: A transcendent trick, a leap out of the abject body, beyond shame, into infinite love. The film did little to convince me of such a possibility though.

Tribute to Jules Verne — Paul Delvaux

“Allegories” — Voltaire

“Allegories”

From Voltaire’s Philosophical Dictionary

Jupiter, Neptune, and Mercury, travelling one day in Thrace, called on a certain king named Hyreus, who entertained them very handsomely. After eating a good dinner, they asked him if they could render him any service. The good man, who was past the age at which it is usual for men to have children, told them he should be very much obliged to them if they would make him a boy. The three gods then urinated on the skin of a new flayed ox; and from these sprang Orion, who became one of the constellations known to the most remote antiquity. This constellation was named Orion by the ancient Chaldæans; it is spoken of in the Book of Job. It would be hard to discover a rational allegory in this pretty story, unless we are to infer from it that nothing was impossible to the gods.

There were in Greece two young rakes, who were told by the oracle to beware of the melampygos or sable posteriors. One day Hercules took them and tied them by the feet to the end of his club, so that they hung down his back with their heads downward, like a couple of rabbits, having a full view of his person. “Ah!” said they; “the oracle is accomplished; this is the melampygos.” Hercules fell alaughing, and let them go. Here again it would be rather difficult to divine the moral sense.

Among the fathers of mythology there were some who had only imagination; but the greater part of them possessed understandings of no mean order. Not all our academies, not all our makers of devices, not even they who compose the legends for the counters of the royal treasury, will ever invent allegories more true, more pleasing, or more ingenious, than those of the Nine Muses, of Venus, the Graces, the God of Love, and so many others, which will be the delight and instruction of all ages.

The ancients, it must be confessed, almost always spoke in allegories. The earlier fathers of the church, the greater part of whom were Platonists, imitated this method of Plato’s. They have, indeed, been reproached with having carried this taste for allegories and allusions a little too far.

St. Justin, in his “Apology,” says that the sign of the cross is marked in the limbs and features of man; that when he extends his arms there is a perfect cross; and that his nose and eyes form a cross upon his face.

According to Origen’s explanation of Leviticus, the fat of the victims signifies the Church, and the tail is a symbol of perseverance.

St. Augustine, in his sermon on the difference and agreement of the two genealogies of Christ, explains to his auditors why St. Matthew, although he reckons forty-two generations, enumerates only forty-one. It is, says he, because Jechonias must be reckoned twice, Jechonias having gone from Jerusalem to Babylon. This journey is to be considered as the corner-stone; and if the corner-stone is the first of one side of a building, it is also the first of the other side; consequently this stone must be reckoned twice; and therefore Jechonias must be reckoned twice. He adds that, in the forty-two generations, we must dwell on the number forty, because that number signifies life. The number ten denotes blessedness, and ten multiplied by four, which represents the four elements and the four seasons, produces forty.

In his fifty-third sermon, the dimensions of matter have astonishing properties. Breadth is the dilation of the heart, length is long-suffering, height is hope, and depth is faith. So that, besides the allegory, we have four dimensions of matter instead of three.

It is clear and indubitable (says he in his sermon on the 6th psalm) that the number four denotes the human body, because of the four elements, and the four qualities of hotcoldmoist, and dry; and as four relates to the body, so three relates to the soul; for we must love God with a triple love—with all our hearts with all our souls, and with all our mindsFour also relates to the Old Testament, and three to the New. Four and threemake up the number of seven days, and the eight is the day of judgment.

One cannot but feel that there is in these allegories an affectation but little compatible with true eloquence. The fathers, who sometimes made use of these figures, wrote in times and countries in which nearly all the arts were degenerating. Their learning and fine genius were warped by the imperfections of the age in which they lived. St. Augustine is not to be respected the less for having paid this tribute to the bad taste of Africa and the fourth century.

The discourses of our modern preachers are not disfigured by similar faults. Not that we dare prefer them to the fathers; but the present age is to be preferred to the ages in which they wrote. Eloquence, which became more and more corrupted, and was not revived until later times, fell, after them, into still greater extravagances; and the languages of all barbarous nations were alike ridiculous until the age of Louis XIV. Look at all the old collections of sermons; they are far below the dramatic pieces of the Passion, which used to be played at the Hôtel de Bourgogne. But the spirit of allegory, which has never been lost, may be traced throughout these barbarous discourses. The celebrated Ménot, who lived in the reign of Francis I., did more honor, perhaps, than any other to the allegorical style. “The worthy administrators of justice,” said he, “are like a cat set to take care of a cheese, lest it should be gnawed by the mice. One bite of the cat does more damage to the cheese than twenty mice can do.”

Here is another very curious passage: “The woodmen, in a forest, cut large and small branches, and bind them in faggots; just so do our ecclesiastics, with dispensations from Rome, heap together great and small benefices. The cardinal’s hat is garnished with bishoprics, the bishoprics are garnished with abbeys and priories, and the whole is garnished with devils. All these church possessions must pass through the three links of the Ave Maria; for benedicta tu stands for fat abbeys of Benedictines, in mulieribus for monsieur and madame, and fructus ventris for banquets and gormandizers.”

The sermons of Barlet and Maillard are all framed after this model, and were delivered half in bad Latin, and half in bad French. The Italian sermons were in the same taste; and the German were still worse. This monstrous medley gave birth to the macaroni style, the very climax of barbarism. The species of oratory, worthy only of the Indians on the banks of the Missouri, prevailed even so lately as the reign of Louis XIII. The Jesuit Garasse, one of the most distinguished enemies of common sense, never preached in any other style. He likened the celebrated Theophile to a calf, because Theophile’s family name was Viaud, something resembling veau (a calf). “But,” said he, “the flesh of a calf is good to roast and to boil, whereas thine is good for nothing but to burn.”

All these allegories, used by our barbarians, fall infinitely short of those employed by Homer, Virgil, and Ovid, which proves that if there be still some Goths and Vandals who despise ancient fable they are not altogether in the right.

The Library — Elizabeth Shippen Green

Elizabeth Shippen Green