Library Rules (William H. Gass)

We can’t frisk our customers—I wouldn’t want to put my hands on some—but in the reading room or anywhere—if you see someone taking notes with a pen, you must caution them. Highli—? Indeed. Highlighters—highlighters are evil, they must be immediately confiscated and their users given a talking-to, even if they are marking up their own books or some harmless paper copies. Oh … Marjorie raised her hands to heaven. How I hate highlighters—you don’t use them, do you? Joseph wagged his head. Good, she said, good sign. The dog-ear people do it, stupid students do it, and they will grow dog-ears in due time. You don’t do dogs, do you, Joseph? We never could afford a pet, Joseph said. Good sign. Good sign. Dogs are bad for books. Don’t ever do dogs. They chew. Cats are bad, too. They claw. They love to rub their chins on the corners of covers, leave sneezers of fur. Rub their chins and grin at you. Before they fade from view, Joseph said. Oh, you are a darling, I kiss the nearby air, Marjorie exclaimed.

But it would not be for the last time. The neighboring air got many a smooch. Marjorie’s approval made Joey happy. He was a success.

Do not lean with heavy hands or rest your elbows on a book, even closed, even at apparent peace. You know why, I suppose?

Ah—

It compresses the covers against the spine and may crack the adhesive.

Oh.

Do not use a book as a writing board. Points can make indentations, especially—you’d be surprised—on jackets, many of which are waxy, slick, easily marked, for example, with a fingernail. And never put your notepaper on an open book, even to write a word—a dozen crimes in one action there.

I wouldn’t do that. Open books are so uneven.

Never mark in a book not your own, but even then, unless you think you’re Aristotle, never make a marginal note or a clever remark you will surely regret, and always assume the author is smarter than you are—have you written a book on his subject? … well?—so put down your differences on a piece of paper made for the purpose, or keep the quarrel quietly in your head where it will bother only you and never fluster another, not even your future self who will have forgotten the dispute, you can be sure, and will not wish to be reminded.

Yes, ma’am.

Marjorie. Not Miss, Mizz, or Ma’am. Marjorie. Marjorie.

It was a nice name, he thought, well syllabled.

Don’t put your palms down on illustrations, reproductions, any page at all, really, because even the most fastidious sweat—men sweat the most, women have more discipline over their bodies—did you know that? except for their hands, their hands are public advertisements, they encounter a porcupine, a precipice, a proposal, and their palms get runny; oh yes, and in the old days, when men kissed a milady’s hand, it was the top of it they put their lips to, not the palm, you never know where the palm has been or what it’s been wrapped around. Well. Where was … Ah … Be wary. Inks may smear. Pigments flake. Thumb oils may seep into the paper, leave prints, and sweat attracts insects, did you know? also there may be a fungus in the neighborhood. Sweat is a magnet.

Gee, I didn’t know that.

Joseph. That is your last “gee.” Never even feel—“gee.” You are a grown-up.

Okay …“Okay” is also out? Gee … Okay.

Marjorie laughed like a wind chime. Good man, she said. Good man.

From William H. Gass’s novel Middle C.

Flowers in a Crystal Vase — Edouard Manet

“Two Cures for Love” — Wendy Cope

Capture

Four-Dimensional Abduction — Ryan Heshka

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“Hubert and Minnie” — Aldous Huxley

“Hubert and Minnie”

by

Aldous Huxley

For Hubert Lapell this first love-affair was extremely important. “Important” was the word he had used himself when he was writing about it in his diary. It was an event in his life, a real event for a change. It marked, he felt, a genuine turning-point in his spiritual development.

“Voltaire,” he wrote in his diary – and he wrote it a second time in one of his letters to Minnie – “Voltaire said that one died twice: once with the death of the whole body and once before, with the death of one’s capacity to love. And in the same way one is born twice, the second time being on the occasion when one first falls in love. One is born, then, into a new world – a world of intenser feelings, heightened values, more penetrating insights.” And so on.

In point of actual fact Hubert found this new world a little disappointing. The intenser feelings proved to be rather mild not by any means up to literary standards.

“I tell thee I am mad
In Cressid’s love. Thou answer’st; she is fair,
Pour’st in the open ulcer of my heart
Her eyes, her hair, her cheek, her gait, her voice….”

No, it certainly wasn’t quite that. In his diary, in his letters to Minnie, he painted, it is true, a series of brilliant and romantic landscapes of the new world. But they were composite imaginary landscapes in the manner of Salvator Rosa – richer, wilder, more picturesquely clear-obscure than the real thing. Hubert would seize with avidity on the least velleity of an unhappiness, a physical desire, a spiritual yearning, to work it up in his letters and journals into something substantially romantic. There were times, generally very late at night, when he succeeded in persuading himself that he was indeed the wildest, unhappiest, most passionate of lovers. But in the daytime he went about his business nourishing something like a grievance against love. The thing was a bit of a fraud; yes, really, he decided, rather a fraud. All the same, he supposed it was important. Continue reading ““Hubert and Minnie” — Aldous Huxley”

Portrait of Henri Cordier, teacher at the School of Oriental Languages — Gustave Caillebotte