“I want to plant some object in the world” — William H. Gass

I want to plant some object in the world. Now it happens to be made of signs, which may lead people to think, because it’s made of signs, that it’s pointing somewhere. But actually I’ve gone down the road and collected all sorts of highway signs, made a piece of sculpture out of these things that says Chicago, 35,000 miles. What I hope, of course, is that people will come along, gather in front of the sculpture and take a look at it—consequently, forgetting Chicago. I want to add something to the world. Now, what kind of object? Old romantic that I am, I would like to add objects to the world worthy of love. I think that the things one loves, most particularly in other people, are quite beyond anything they communicate or merely “mean.” Planting those objects is a moral activity, I suppose. You certainly don’t want to add objects to the world that everybody will detest: “Another slug made by Bill Gass.” That’s likely to be their attitude, but you don’t hope for it. The next question is, why is it that one wants this thing loved? My particular aim is that it be loved because it is so beautiful in itself, something that exists simply to be experienced. So the beauty has to come first.

From a fantastic 1978 conversation between John Gardner and William H. Gass.

Postcard for L’Avenç — Ramón Casas

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The Temptation of St. Anthony (Detail) — Hieronymus Bosch

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Television — Robert Crumb

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“Go read Jacques Derrida or the like, something to break your brain on” | Gordon Lish’s Chicken Soup Recipe

Get lost for two hours. Go read Jacques Derrida or the like, something to break your brain on and convince you that mind is nothing in the comfort department compared to the things of the spirit, which is what is going on in back in the kitchen. And down’t worry about setting a timer. The fevers sailing the ethers will call you back the instant you’re wanted.

From “Not Just Any Soup,” Gordon Lish’s recipe for chicken noodle soup, published in The New York Times in 1977.

Before you can get lost in Derrida (or the like) for a few hours, you’ve got to fill an 11″ by 5″ pot with three inches of water and inch of beer. Set the heat to low and add “scrubbed carrots…chopped chive, slivered celery, sliced onion, minced garlic, ground dill, paprika, Dijon mustard, pepper, salt, a dash of cinnamon.”

How much of each? Lish is unwilling to list amounts: “Amounts is for the insurance business…The heart with good posture doesn’t stoop to check amounts.”

Add the chicken (sans fat and skin), cover, lower to a simmer, and get lost for two hours.

After you’ve read Derrida (or the like) for two hours, add the noodles — “the slenderest money can buy” — and take another hour off. To kill the time, Lish prescribes Jack Gilberts’ Views of Jeopardy — “the last poems the English language needed”).

Once that hour’s passed, stir the mixture again, thoroughly: “Lid off, the eucharist rolled over in his languid waters so that the bottom shall be the top.” Put the lid back on and wait for eight hours. Lish advises using the time to think.

Huge thanks to David Winters for sharing the recipe with me; David found the piece as part of a great big important research thing he’s doing on Lish (he also interviewed Lish for the project, so we’ll have that to look forward to—but it’s not going to be in his new book, Infinite Fictions, new from Zero this January).

“The way hope builds his house” — Emily Dickinson (Manuscript)

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Read Donald Barthelme’s short story, “The Phantom of the Opera’s Friend”

 “The Phantom of the Opera’s Friend”
by
Donald Barthelme

I have never visited him in his sumptuous quarters five levels below the Opera, across the dark lake.

But he has described them. Rich divans, exquisitely carved tables, amazing silk and satin draperies. The large, superbly embellished mantelpiece, on which rest two curious boxes, one containing the figure of a grasshopper, the other the figure of a scorpion…

He can, in discoursing upon his domestic arrangements, become almost merry. For example, speaking of the wine he has stolen from the private cellar of the Opera’s Board of Directors:

“A very adequate Montrachet! Four bottles! Each director accusing every other director! I tell you, it made me feel like a director myself! As if I were worth two or three millions and had a fat, ugly wife! And the trout was admirable. You know what the Poles say—fish, to taste right, must swim three times: in water, butter, and wine. All in all, a splendid evening!”

But he immediately alters the mood by making some gloomy observation. “Our behavior is mocked by the behavior of dogs.”

It is not often that the accents of joy issue from beneath that mask.

Monday. I am standing at the place I sometimes encounter him, a little door at the rear of the Opera (the building has 2, 531 doors to which there are 7, 593 keys). He always appears “suddenly”—a coup de theatre that is, to tell the truth, more annoying than anything else. We enact a little comedy of surprise.

“It’ s you!”

“Yes. ”

“What are you doing here?”

“Waiting. ”

But today no one appears, although I wait for half an hour. I have wasted my time. Except—

Faintly, through many layers of stone, I hear organ music. The music is attenuated but unmistakable. It is his great work Don Juan Triumphant. A communication of a kind.

I rejoice in his immense, buried talent.

(Read the rest here).

Young Decadent — Ramón Casas

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The Temptation of St. Anthony (Detail) — Hieronymus Bosch

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All my dreams (Wilfred Owen)

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Gassed — John Singer Sargent

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Wuthering Heights’ Questions (Chapters 1 and 2)

CHAPTER I

‘Mr. Heathcliff?’

And what did I do?

‘What the devil is the matter?’

‘Take a glass of wine?’

‘Not bitten, are you?’

‘Your health, sir?’

CHAPTER II

‘What are ye for?’

‘Is there nobody inside to open the door?’

‘Why?  Cannot you tell her whom I am, eh, Joseph?’

‘Do you intend parting with the little ones, madam?’

‘Ah, your favourites are among these?’

‘Were you asked to tea?’

‘Were you asked?’

‘Half an hour?’

‘Do you know that you run a risk of being lost in the marshes?’

‘Perhaps I can get a guide among your lads, and he might stay at the Grange till morning—could you spare me one?’

‘Are you going to mak’ the tea?’

‘Is he to have any?’

‘Get it ready, will you?’

‘Where is she—my amiable lady?’

‘Is that it?’

‘How must I do?’

‘Are you not afraid of being carried away bodily, whenever you mention the devil’s name?’

‘Then, if you hear of me being discovered dead in a bog or a pit full of snow, your conscience won’t whisper that it is partly your fault?’

‘How so?’

‘Who? … Which would you have?’

‘Are there no boys at the farm?’

‘And who is to look after the horses, eh?’

‘I wonder what you’ll have agait next? Are we going to murder folk on our very door-stones?’

Read George Saunders’s “Home,” A Short Story for Veteran’s Day

“You the one who threw down Mr. Klees?” the sheriff said.

“He’s just back from the war,” Ma said.

“Thank you for your service,” the sheriff said. “Might I ask you to refrain from throwing people down in the future?”

“He also threw me down,” Harris said.

“My thing is I don’t want to go around arresting veterans,” the sheriff said. “I myself am a veteran. So if you help me, by not throwing anyone else down, I’ll help you. By not arresting you. Deal?”

“He was also going to burn the house down,” Ma said.

“I wouldn’t recommend burning anything down,” the sheriff said.

“He ain’t himself,” Ma said. “I mean, look at him.”

The sheriff had never seen me before, but it was like admitting he had no basis for assessing how I looked would have been a professional embarrassment.

“He does look tired,” the sheriff said.

Read all of “Home” by George Saunders at The New YorkerCollected in Tenth of December.

“All art constantly aspires towards the condition of music”

Astrologer — Domenicus van Wijnen

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