Field with Two Rabbits — Vincent van Gogh

“Easter Eve” — Anton Chekhov

“Easter Eve”

by

Anton Chekhov


I was standing on the bank of the River Goltva, waiting for the ferry-boat from the other side. At ordinary times the Goltva is a humble stream of moderate size, silent and pensive, gently glimmering from behind thick reeds; but now a regular lake lay stretched out before me. The waters of spring, running riot, had overflowed both banks and flooded both sides of the river for a long distance, submerging vegetable gardens, hayfields and marshes, so that it was no unusual thing to meet poplars and bushes sticking out above the surface of the water and looking in the darkness like grim solitary crags.

The weather seemed to me magnificent. It was dark, yet I could see the trees, the water and the people. . . . The world was lighted by the stars, which were scattered thickly all over the sky. I don’t remember ever seeing so many stars. Literally one could not have put a finger in between them. There were some as big as a goose’s egg, others tiny as hempseed. . . . They had come out for the festival procession, every one of them, little and big, washed, renewed and joyful, and everyone of them was softly twinkling its beams. The sky was reflected in the water; the stars were bathing in its dark depths and trembling with the quivering eddies. The air was warm and still. . . . Here and there, far away on the further bank in the impenetrable darkness, several bright red lights were gleaming. . . .

A couple of paces from me I saw the dark silhouette of a peasant in a high hat, with a thick knotted stick in his hand.

“How long the ferry-boat is in coming!” I said.

“It is time it was here,” the silhouette answered.

“You are waiting for the ferry-boat, too?”

“No I am not,” yawned the peasant—”I am waiting for the illumination. I should have gone, but to tell you the truth, I haven’t the five kopecks for the ferry.”

“I’ll give you the five kopecks.”

“No; I humbly thank you. . . . With that five kopecks put up a candle for me over there in the monastery. . . . That will be more interesting, and I will stand here. What can it mean, no ferry-boat, as though it had sunk in the water!”

The peasant went up to the water’s edge, took the rope in his hands, and shouted; “Ieronim! Ieron—im!” Continue reading ““Easter Eve” — Anton Chekhov”

Dave Cooper’s Mudbite (Book acquired, 28 March 2018)

 

img_9439

Dave Cooper’s Mudbite is new in glorious full-color hardback from Fantagraphics. Here is the front cover:

img_9437

And here is the other front cover (Mudbite is a tête-bêche):

img_9438

I hope to post a review of Mudbite at The Comics Journal soon, but for now, here’s Fantagraphics’ blurb:

Eddy Table, the star of Mudbite, first appeared the early ’90s in Cooper’s award-winning underground comics series, Weasel. His stories were based on baffling dreams and reveled in a unique sort of logical nonsense. Mudbitecompiles two all-new Eddy Table stories, “Mud River” and “Bug Bite,” in which Eddy returns to his roots, acting as Dave’s alter ego in these dreamlike narratives.

In “Mud River,” Eddy makes a foolish mistake, causing a sweet, innocent Amazon to bonk her head, turning her into a very impressionable automaton. Of course, Eddy can’t resist taking advantage of this unexpected development, even as a river of mud approaches. In “Bug Bite,” Eddy has brought his family on a vacation to Europe, but he’s soon distracted by a series of manifestations of his own obsessions  — voluptuous women, mysterious and collectible “microdevices,”  and a strange, impromptu jam session. When he loses his family entirely, he’s led into a dark, slimy corridor inhabited by shiny black eels. What is their connection to the microdevices? And how will all this impact his family?

Mudbite marks the first new graphic novel by fan favorite Dave Cooper in more than 15 years, marking a welcome return to the medium that he made his name in before focusing on fine art and television, where he has focused most of his creative energy since.

Calvary (Crucifixion) — Ilya Repin

calvary-crucifixion-study-1869

Calvary (Crucifixion), 1869 by Ilya Repin (1844-1930)

A very short riff on a compelling Stephen Crane character (and six marvelous paragraphs of Crane’s prose)

I took a few paperback books with me when I went camping two weeks ago, but I didn’t actually read from them. Instead, I wound up reading (or rereading in some cases) a few of the tales in Stephen Crane’s collection The Open Boat and Other Stories, which I downloaded from Project Gutenberg onto my iPad thanks to a data connection from my phone. Rain was pouring down on my tent and for some reason, I want to reread “The Bride Comes to Yellow Sky,” popped into my head, so I made it happen. I don’t know how these details are germane to anything I am trying to say here.

What I am trying to say here is that I didn’t read “The Bride Comes to Yellow Sky” right away. Instead, I read a story I’d never read before, “A Man and Some Others.” This tale contains some of the most fantastic sentences I’ve read in ages. (This is what I’m trying to say here: That “A Man and Some Others” contains some magical fucking prose).

Here is the opening paragraph:

Dark mesquit spread from horizon to horizon. There was no house or horseman from which a mind could evolve a city or a crowd. The world was declared to be a desert and unpeopled. Sometimes, however, on days when no heat-mist arose, a blue shape, dim, of the substance of a spectre’s veil, appeared in the south-west, and a pondering sheep-herder might remember that there were mountains.

I confess that I might have had some beers and Bushmills that evening, but I read and reread the opening sentences of “A Man and Some Others” in a little loop, hypnotized by the way Crane’s prose collapses human agency into an overwhelming naturalism—a naturalism with just the slightest Romantic touch of “a spectre’s veil.” (In “The Open Boat,” Crane demonstrates a more masterful and more complete grappling of naturalism resisting (and perhaps ultimately synthesizing) the Romantic traces of his transcendentalist forebears. But that’s a topic for another riff).

“A Man and Some Others” is about a cowboy named Bill. Threatened off a range that he claims as his own by Mexican ranchers who see otherwise, Bill retaliates. Along the way he meets a stranger—a stand-in for Crane, perhaps—who bears witness to the whole fandango. As a story, “A Man and Some Others” is slight, a thin premise that exists primarily as a space for Bill to swagger around in for a few pages. Sure, there could be a critique of Manifest Destiny somewhere in there, but Crane’s tale never coheres into a fully realized allegory or satire (as the poet John Berryman pointed out in his study of Crane, “Crane‘s humor, finally, and his irony are felt as weird or incomprehensible.” Berryman was referring to War Is Kind, but the description fits here as well).

Crane’s humor and irony are on vivid display in the six paragraphs that make up the second short chapter of “A Man and Some Others.” In this section, we get the improbable and wild life story of Bill, which reads on the one hand as a hyperbolic archetype of American machoism, a kind of fabulous legend of Manifest Destiny. On the other hand, Bill’s bio strikes the reader as so thoroughly and lovingly true that it seems Crane must have wholly plagiarized the life of a real individual (or at least combined a few wild but true stories from a handful of folks).

I won’t comment any further, but instead offer those six paragraphs, which I simply could never improve upon:

Bill had been a mine-owner in Wyoming, a great man, an aristocrat, one who possessed unlimited credit in the saloons down the gulch. He had the social weight that could interrupt a lynching or advise a bad man of the particular merits of a remote geographical point. However, the fates exploded the toy balloon with which they had amused Bill, and on the evening of the same day he was a professional gambler with ill-fortune dealing him unspeakable irritation in the shape of three big cards whenever another fellow stood pat. It is well here to inform the world that Bill considered his calamities of life all dwarfs in comparison with the excitement of one particular evening, when three kings came to him with criminal regularity against a man who always filled a straight. Later he became a cow-boy, more weirdly abandoned than if he had never been an aristocrat. By this time all that remained of his former splendour was his pride, or his vanity, which was one thing which need not have remained. He killed the foreman of the ranch over an inconsequent matter as to which of them was a liar, and the midnight train carried him eastward. He became a brakeman on the Union Pacific, and really gained high honours in the hobo war that for many years has devastated the beautiful railroads of our country. A creature of ill-fortune himself, he practised all the ordinary cruelties upon these other creatures of ill-fortune. He was of so fierce a mien that tramps usually surrendered at once whatever coin or tobacco they had in their possession; and if afterward he kicked them from the train, it was only because this was a recognized treachery of the war upon the hoboes. In a famous battle fought in Nebraska in 1879, he would have achieved a lasting distinction if it had not been for a deserter from the United States army. He was at the head of a heroic and sweeping charge, which really broke the power of the hoboes in that country for three months; he had already worsted four tramps with his own coupling-stick, when a stone thrown by the ex-third baseman of F Troop’s nine laid him flat on the prairie, and later enforced a stay in the hospital in Omaha. After his recovery he engaged with other railroads, and shuffled cars in countless yards. An order to strike came upon him in Michigan, and afterward the vengeance of the railroad pursued him until he assumed a name. This mask is like the darkness in which the burglar chooses to move. It destroys many of the healthy fears. It is a small thing, but it eats that which we call our conscience. The conductor of No. 419 stood in the caboose within two feet of Bill’s nose, and called him a liar. Bill requested him to use a milder term. He had not bored the foreman of Tin Can Ranch with any such request, but had killed him with expedition. The conductor seemed to insist, and so Bill let the matter drop.

He became the bouncer of a saloon on the Bowery in New York. Here most of his fights were as successful as had been his brushes with the hoboes in the West. He gained the complete admiration of the four clean bar-tenders who stood behind the great and glittering bar. He was an honoured man. He nearly killed Bad Hennessy, who, as a matter of fact, had more reputation than ability, and his fame moved up the Bowery and down the Bowery.

But let a man adopt fighting as his business, and the thought grows constantly within him that it is his business to fight. These phrases became mixed in Bill’s mind precisely as they are here mixed; and let a man get this idea in his mind, and defeat begins to move toward him over the unknown ways of circumstances. One summer night three sailors from the U.S.S. Seattle sat in the saloon drinking and attending to other people’s affairs in an amiable fashion. Bill was a proud man since he had thrashed so many citizens, and it suddenly occurred to him that the loud talk of the sailors was very offensive. So he swaggered upon their attention, and warned them that the saloon was the flowery abode of peace and gentle silence. They glanced at him in surprise, and without a moment’s pause consigned him to a worse place than any stoker of them knew. Whereupon he flung one of them through the side door before the others could prevent it. On the sidewalk there was a short struggle, with many hoarse epithets in the air, and then Bill slid into the saloon again. A frown of false rage was upon his brow, and he strutted like a savage king. He took a long yellow night-stick from behind the lunch-counter, and started importantly toward the main doors to see that the incensed seamen did not again enter.

The ways of sailormen are without speech, and, together in the street, the three sailors exchanged no word, but they moved at once. Landsmen would have required two years of discussion to gain such unanimity. In silence, and immediately, they seized a long piece of scantling that lay handily. With one forward to guide the battering-ram, and with two behind him to furnish the power, they made a beautiful curve, and came down like the Assyrians on the front door of that saloon.

Mystic and still mystic are the laws of fate. Bill, with his kingly frown and his long night-stick, appeared at precisely that moment in the doorway. He stood like a statue of victory; his pride was at its zenith; and in the same second this atrocious piece of scantling punched him in the bulwarks of his stomach, and he vanished like a mist. Opinions differed as to where the end of the scantling landed him, but it was ultimately clear that it landed him in south-western Texas, where he became a sheep-herder.

The sailors charged three times upon the plate-glass front of the saloon, and when they had finished, it looked as if it had been the victim of a rural fire company’s success in saving it from the flames. As the proprietor of the place surveyed the ruins, he remarked that Bill was a very zealous guardian of property. As the ambulance surgeon surveyed Bill, he remarked that the wound was really an excavation.

Illustration for Frankenstein — Bernie Wrightson

596de571d9ea5a0f6fcb1cc0d4562bea

Yard Sale — Robin F. Williams

2015YardSale

Yard Sale, 2015 by Robin F. Williams (b. 1984)

“Murnane has not made the selling of himself an easy task”

01murnane5-extra-superjumbo

This week’s New York Times Magazine offers a compelling profile of Gerald Murnane. The profile, by Mark Binelli, is an expansive and engaging look at the Australian author, whose cult will undoubtedly grow larger after this exposure. From Binelli’s piece:

Murnane’s books are strange and wonderful and nearly impossible to describe in a sentence or two. After his third novel, “The Plains,” a fable-like story reminiscent of Italo Calvino published in 1982, Murnane largely turned away from what might be called conventional narrative pleasures. Dispensing almost entirely with plot and character, his later works are essayistic meditations on his own past, a personal mythology as attuned to the epic ordinariness of lost time as Proust, except with Murnane it’s horse races, a boyhood marble collection, Catholic sexual hang-ups and life as a househusband in the suburban Melbourne of the 1970s.

Murnane has not made the selling of himself an easy task. Even by the standards of the solitary writer, his eccentricities are manifest. He has never flown on an airplane; in fact, he has barely traveled outside of Victoria. In a 2001 speech that has become legend among Murnanophiles, he informed an audience at the University of Newcastle of his longstanding belief that “a person reveals at least as much when he reports what he cannot do or has never done.”

A lovely section from later in Binelli’s essay touches on Murnane’s archives:

Murnane began keeping the archives more than 50 years ago, both for posterity and to satisfy his own meticulous sense of order, and he has left strict instructions regarding their contents, which are not to be made public until after his own death and the death of his surviving siblings. (He has one brother, a Catholic priest, and a sister; another brother, who was born with an intellectual disability and was repeatedly hospitalized, died in 1985.) Nonetheless, Murnane opened the cabinets to give me a sense of their contents. His so-called Chronological Archive is stuffed with hanging files covering each period of his life and featuring headings like “I rebuff a wealthy widow,” “I fall out with an arrogant student of mine,” “Two women bother me,” “I decide that most books are crap,” “Hoaxes! How I love them!” and “Peter Carey exposed at last.” He also has multiple drafts of his 13 books; letters addressed, as in a time capsule, to a future Murnane scholar, whom he imagines as a young woman, and whom he addresses in the letters as “Fc,” for “future creature”; a notebook of 20,000 words titled “My Shame File”; a 40,000-word report on miraculous or unexplained events in his life; and a 75,000-word account of his dealings with everyone he has ever courted romantically or considered courting.

Read the profile at The New York Times Magazine.

Lemminkäinen’s Mother — Akseli Gallen-Kallela

gallen_kallela_lemminkainens_mother

Lemminkäinen’s Mother, 1897 by Akseli Gallen-Kallela (1865-1931)

 


“Lemminkainen’s Restoration”

Rune XV of The Kalevala

in English translation by

John Martin Crawford


Lemminkainen’s aged mother
Anxious roams about the islands,
Anxious wonders in her chambers,
What the fate of Lemminkainen,
Why her son so long has tarried;
Thinks that something ill has happened
To her hero in Pohyola. Continue reading “Lemminkäinen’s Mother — Akseli Gallen-Kallela”

Thieves’ Reckoning — Peter Ferguson

thieves-reckoning-final-lo

Thieves’ Reckoning by Peter Ferguson (b. 1968)

The Death of Cain — George Frederick Watts

mgajwrisi0bkvzidmwha

The Death of Cain, c. 1872 by George Frederick Watts (1817-1904)

(Another) Moby-Dick (Book acquired, 26 March 2018)

img_9433

While I wasn’t thrilled to return to work after a pleasant Spring Break, I was very happy to find a copy of Herman Melville’s Moby-Dick in the campus mail today. A Norton book rep visited our campus before the break and asked what my favorite book was. It was kind of her to send me their new critical edition.

I wrote a post almost five years ago about the various versions of Moby-Dick that I’ve accumulated (including a Norton Critical Edition). Since that post, I’ve picked up two more illustrated children’s versions, another comic book version, as well as an edition illustrated by Barry Moser. I will almost certainly reread the book this year.

St. Jerome in His Study — Antonello da Messina

about 1475

Screenshot 2018-03-26 at 1.38.47 PMScreenshot 2018-03-26 at 1.39.30 PMScreenshot 2018-03-26 at 1.38.21 PMScreenshot 2018-03-26 at 1.39.56 PMScreenshot 2018-03-26 at 1.39.08 PMScreenshot 2018-03-26 at 1.40.59 PM

St. Jerome in His Study, c. 1475 by Antonello da Messina (c.1430 – 1479)

You tell a story because a statement would be inadequate (Flannery O’Connor)

When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very good one. The meaning of a story has to be embodied in it, has to be made concrete in it. A story is a way to say something that can’t be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell him to read the story. The meaning of fiction is not abstract meaning but experienced meaning, and the purpose of making statements about the meaning of a story is only to help you experience that meaning more fully.

From Flannery O’Connor’s essay “Writing Short Stories.” Collected in Mystery and Manners.

A Naturalist’s Study — Pierre Roy

A Naturalist's Study 1928 by Pierre Roy 1880-1950

A Naturalist’s Study, 1928 by Pierre Roy (1880–1950)

St. Genevieve — Élisabeth Vigée Le Brun

stgenevieve

St. Genevieve, 1793 by Élisabeth Vigée Le Brun (1755—1842)

Like trying to read a hundred poems at once | Nathaniel Hawthorne’s journal entry for March 24th, 1856

We first went into Wolsey’s great Hall, up a most spacious staircase, the walls and ceiling of which were covered with an allegorical fresco by Verrio, wonderfully bright and well preserved; and without caring about the design or execution, I greatly liked the brilliancy of the colors. The great Hall is a most noble and beautiful room, above a hundred feet long and sixty high and broad. Most of the windows are of stained or painted glass, with elaborate designs, whether modern or ancient I know not, but certainly brilliant in effect. The walls, from the floor to perhaps half their height, are covered with antique tapestry, which, though a good deal faded, still retains color enough to be a very effective adornment, and to give an idea of how rich a mode of decking a noble apartment this must have been. The subjects represented were from Scripture, and the figures seemed colossal. On looking closely at this tapestry, you could see that it was thickly interwoven with threads of gold, still glistening. The windows, except one or two that are long, do not descend below the top of this tapestry, and are therefore twenty or thirty feet above the floor; and this manner of lighting a great room seems to add much to the impressiveness of the enclosed space. The roof is very magnificent, of carved oak, intricately and elaborately arched, and still as perfect to all appearance as when it was first made. There are banners, so fresh in their hues, and so untattered, that I think they must be modern, suspended along beneath the cornice of the hall, and exhibiting Wolsey’s arms and badges. On the whole, this is a perfect sight in its way.

Next to the hall there is a withdrawing-room, more than seventy feet long, and twenty-five feet high. The walls of this apartment, too, are covered with ancient tapestry, of allegorical design, but more faded than that of the hall. There is also a stained-glass window; and a marble statue of Venus on a couch, very lean and not very beautiful; and some cartoons of Carlo Cignani, which have left no impression on my memory; likewise, a large model of a splendid palace of some East Indian nabob.

I am not sure, after all, that Verrio’s frescoed grand staircase was not in another part of the palace; for I remember that we went from it through an immensely long suite of apartments, beginning with the Guard-chamber. All these rooms are wainscoted with oak, which looks new, being, I believe, of the date of King William’s reign. Over many of the doorways, or around the panels, there are carvings in wood by Gibbons, representing wreaths of flowers, fruit, and foliage, the most perfectly beautiful that can be conceived; and the wood being of a light hue (lime-wood, I believe), it has a fine effect on the dark oak panelling. The apartments open one beyond another, in long, long, long succession,–rooms of state, and kings’ and queens’ bedchambers, and royal closets bigger than ordinary drawing-rooms, so that the whole suite must be half a mile, or it may be a mile, in extent. From the windows you get views of the palace-grounds, broad and stately walks, and groves of trees, and lawns, and fountains, and the Thames and adjacent country beyond. The walls of all these rooms are absolutely covered with pictures, including works of all the great masters, which would require long study before a new eye could enjoy them; and, seeing so many of them at once, and having such a nothing of time to look at them all, I did not even try to see any merit in them. Vandyke’s picture of Charles I., on a white horse beneath an arched gateway, made more impression on me than any other, and as I recall it now, it seems as if I could see the king’s noble, melancholy face, and armed form, remembered not in picture, but in reality. All Sir Peter Lely’s lewd women, and Kneller’s too, were in these rooms; and the jolly old stupidity of George III. and his family, many times repeated; and pictures by Titian, Rubens, and other famous hands, intermixed with many by West, which provokingly drew the eye away from their betters. It seems to me that a picture, of all other things, should be by itself; whereas people always congregate them in galleries. To endeavor really to see them, so arranged, is like trying to read a hundred poems at once,–a most absurd attempt. Of all these pictures, I hardly recollect any so well as a ridiculous old travesty of the Resurrection and Last Judgment, where the dead people are represented as coming to life at the sound of the trumpet,–the flesh reëstablishing itself on the bones,–one man picking up his skull, and putting it on his shoulders,–and all appearing greatly startled, only half awake, and at a loss what to do next. Some devils are dragging away the damned by the heels and on sledges, and above sits the Redeemer and some angelic and sainted people, looking complacently down upon the scene!

From Nathaniel Hawthorne’s journal entry for March 24th, 1856. From Passages from the English Note-Books.

The boldface emphasis on the sentences in the last paragraph is mine.