Judge Holden holds forth on war (Blood Meridian)

From Chapter XVII of Cormac McCarthy’s novel Blood Meridian

They grew gaunted and lank under the white suns of those days and their hollow burnedout eyes were like those of noctambulants surprised by day. Crouched under their hats they seemed fugitives on some grander scale, like beings for whom the sun hungered. Even the judge grew silent and speculative. He’d spoke of purging oneself of those things that lay claim to a man but that body receiving his remarks counted themselves well done with any claims at all. They rode on and the wind drove the fine gray dust before them and they rode an army of gray-beards, gray men, gray horses. The mountains to the north lay sunwise in corrugated folds and the days were cool and the nights were cold and they sat about the fire each in his round of darkness in that round of dark while the idiot watched from his cage at the edge of the light. The judge cracked with the back of an axe the shinbone on an antelope and the hot marrow dripped smoking on the stones. They watched him. The subject was war.

The good book says that he that lives by the sword shall perish by the sword, said the black.

The judge smiled, his face shining with grease.

What right man would have it any other way? he said.

The good book does indeed count war an evil, said Irving. Yet there’s many a bloody tale of war inside it.

It makes no difference what men think of war, said the judge. War endures. As well ask men what they think of stone. War was always here. Before man was, war waited for him. The ultimate trade awaiting its ultimate practitioner. That is the way it was and will be. That way and not some other way.

He turned to Brown, from whom he’d heard some whispered slur or demurrer. Ah Davy, he said. It’s your own trade we honor here. Why not rather take a small bow. Let each acknowledge each.

My trade?

Certainly.

What is my trade?

War. War is your trade. Is it not?

And it aint yours?

Mine too. Very much so.

What about all them notebooks and bones and stuff?

All other trades are contained in that of war.

Is that why war endures?

No. It endures because young men love it and old men love it in them. Those that fought, those that did not.

That’s your notion.

The judge smiled. Men are born for games. Nothing else. Every child knows that play is nobler than work. He knows too that the worth or merit of a game is not inherent in the game itself but rather in the value of that which is put at hazard. Games of chance require a wager to have meaning at all. Games of sport involve the skill and strength of the opponents and the humiliation of defeat and the pride of victory are in themselves sufficient stake because they inhere in the worth of the principals and define them. But trial of chance or trial of worth all games aspire to the condition of war for here that which is wagered swallows up game, player, all.

Suppose two men at cards with nothing to wager save their lives. Who has not heard such a tale? A turn of the card. The whole universe for such a player has labored clanking to this moment which will tell if he is to die at that man’s hand or that man at his. What more certain validation of a man’s worth could there be? This enhancement of the game to its ultimate state admits no argument concerning the notion of fate. The selection of one man over another is a preference absolute and irrevocable and it is a dull man indeed who could reckon so profound a decision without agency or significance either one. In such games as have for their stake the annihilation of the defeated the decisions are quite clear. This man holding this particular arrangement of cards in his hand is thereby removed from existence. This is the nature of war, whose stake is at once the game and the authority and the justification. Seen so, war is the truest form of divination. It is the testing of one’s will and the will of another within that larger will which because it binds them is therefore forced to select. War is the ultimate game because war is at last a forcing of the unity of existence. War is god. Brown studied the judge.

You’re crazy Holden. Crazy at last.

The judge smiled.

 

Gassed — John Singer Sargent

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Gassed, 1919 by John Singer Sargent (1856-1925)

“War Is Kind” — Stephen Crane

“War Is Kind”

by

Stephen Crane


Do not weep, maiden, for war is kind.
Because your lover threw wild hands toward the sky
And the affrighted steed ran on alone,
Do not weep.
War is kind.

Hoarse, booming drums of the regiment,
Little souls who thirst for fight,
These men were born to drill and die.
The unexplained glory flies above them,
Great is the battle-god, great, and his kingdom—
A field where a thousand corpses lie.

Do not weep, babe, for war is kind.
Because your father tumbled in the yellow trenches,
Raged at his breast, gulped and died,
Do not weep.
War is kind.

Swift, blazing flag of the regiment,
Eagle with crest of red and gold,
These men were born to drill and die.
Point for them the virtue of slaughter,
Make plain to them the excellence of killing
And a field where a thousand corpses lie.

Mother whose heart hung humble as a button
On the bright splendid shroud of your son,
Do not weep.
War is kind.

Untitled (Pool) — William Eggleston

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Untitled from The Democratic Forest, 1983-1986 by William Eggleston (b. 1939)

 

Dreaming Head — John Armstrong

Dreaming Head 1938 by John Armstrong 1893-1973

Dreaming Head, 1938 by John Armstrong (1893–1973)

Selections from One-Star Amazon Reviews of Thomas Pynchon’s The Crying of Lot 49

[Editorial note: The following citations come from one-star Amazon reviews of Thomas Pynchon’s novel The Crying of Lot 49. To be clear, I’m a big Pynchon fanI’ve preserved the reviewers’ own styles of punctuation and spelling. More one-star Amazon reviews].


If it were better written, it might qualify as pretentious.

the prose was simultaneously confusing and boring

my first Pynchon novel and probably my last

I am really picky when it comes to reading.

I suppose if you like post modernist crap?

This novel just did not do it for me.

Opaque, muddled, and mindless.

Yuck! Had to read for class. :-(

the characters were unlikable

Reading shouldn’t be work…

If you’re an English major

What is this I don’t even

I didn’t finish it

insufferable

convoluted

No thanks.

overly complicated

gacked-up cartoon of a…thing

stupidest thing I’ve ever read

left confused about many things

deliberate manipulation of names

palpably viscerally nauseated and sick

Pynchon and Robbins can just go and get a room.

I love A LOT of post-modern experimental fiction, but

I managed to finish this novel only because it’s short

This is really the worst book I have ever read

loaded with pretentious intellectualism

I find the weirdness too weird

required too much effort

A Silly Word Salad

wacky hi-jinks

post-beatnik weirdoes

difficult, delirious writing style

pretentious intellectualism posing as literature

like Sacha Baron Cohen of the dreadful movie “Borat” fame

(modern life is uncertain; there is no guarantee of a happy ending)

Pynchon is a sad man with a rather warped and gloomy view of the world

a prose style that is going to either delight or dismay most readers

physics, Greek tragedies, postal history, drug culture

is bizarre like the author is high when he wrote it

hyperstylized game of literary three card monte

I was expecting a Victorian crime drama

nothing to interest a decent reader

he really should find a day job

the character names; silly

without the humor

Thankfully brief

chaos engine

 

 

I consider myself a student of colours and shades and hues and tints (From Gerald Murnane’s Border Districts)

I consider myself a student of colours and shades and hues and tints. Crimson lake, burnt umber, ultramarine … I was too clumsy as a child to paint with my moistened brush the scenery that I would have liked to bring into being. I preferred to leave untouched in their white metallic surroundings my rows of powdery rectangles of water-colours, to read aloud one after another of the tiny printed names of the coloured rectangles, and to let each colour seem to soak into each word of its name or even into each syllable of each word of each name so that I could afterwards call to mind an exact shade or hue from an image of no more than black letters on a white ground.

Deep cadmium, geranium lake, imperial purple, parchment … after the last of our children had found employment and had moved out of our home, my wife and I were able to buy for ourselves things that had previously been beyond our means. I bought my first such luxury, as I called it, in a shop selling artists’ supplies. I bought there a complete set of coloured pencils made by a famous maker of pencils in England: a hundred and twenty pencils, each stamped with gold lettering along its side and having at its end a perfectly tapered wick. The collection of pencils is behind me as I write these words. It rests near the jars of glass marbles and the kaleidoscope mentioned earlier. None of the pencils has ever been used in the way that most pencils are used, but I have sometimes used the many-striped collection in order to confirm my suspicion as a child that each of what I called my long-lost moods might be recollected and, perhaps, preserved if only I could look again at the precise shade or hue that had become connected with the mood – that had absorbed, as it were, or had been permeated with, one or more of the indefinable qualities that constitute what is called a mood or a state of feeling. During the weeks since I first wrote in the earlier pages of this report about the windows in the church of white stone, I have spent every day an increasing amount of time in moving my pencils to and fro among the hollow spaces allotted to them in their container. I seem to recall that I tried sometimes, many years ago, to move my glass marbles from place to place on the carpet near my desk with the vague hope that some or another chance arrangement of them would restore to me some previously irretrievable mood. The marbles, however, were too variously coloured, and each differed too markedly from the other. Their colours seemed to vie, to compete. Or, a single marble might suggest more than I was in search of: a whole afternoon in my childhood or a row of trees in a backyard when I had wanted back only a certain few moments when my face was brushed by a certain few leaves. Among the pencils are many differing only subtly from their neighbours. Six at least I might have called simply red if I had not learned long ago their true names. With these six, and with still others from each side of them, I often arrange one after another of many possible sequences, hoping to see in the conjectured space between some or another unlikely pair a certain tint that I have wanted for long to see.

From Gerald Murnane’s 2018 novel Border Districts.

The Sacrifice — Martin Wittfooth

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The Sacrifice, 2011 by Martin Wittfooth (b. 1981)

Desayuno sobre la Obrera — Carmen Chami 

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Desayuno sobre la Obrera by Carmen Chami (b. 1974)

The Strangers — Wolfgang Paalen

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Les étrangers (The Strangers), 1937 by Wolfgang Paalen (1905-1959)

I failed as a reader of fiction (From Gerald Murnane’s Border Districts)

Whenever I tried long ago to learn from books about the workings of minds, I was equally troubled whether I read fiction or non-fiction. In the same way that I struggled and failed to follow plots and to comprehend the motives of characters, so did I struggle to follow arguments and to understand concepts. I failed as a reader of fiction because I was constantly engaged not with the seeming subject-matter of the text but with the doings of personages who appeared to me while I tried to read and with the scenery that appeared around them. My image-world was often only slightly connected with the text in front of my eyes; anyone privy to my seeming-sights might have supposed I was reading some barely recognisable variant of the text, a sort of apocrypha of the published work. As a reader of texts intended to explain the mind, I failed because the words and phrases in front of my eyes gave rise only to the poorest sort of image. Reading about our minds or the mind, and about purported instincts or aptitudes or faculties, not to mention such phantasms as ego, id, and archetype, I supposed the endless-seeming landscapes of my own thoughts and feelings must have been a paradise by comparison with the drab sites where others located their selves or their personalities or whatever they called their mental territories. And so, I decided long ago to take no further interest in the theoretical and to study instead the actual, which was for me the seeming-scenery behind everything I did or thought or read.

From Gerald Murnane’s 2018 novel Border Districts.

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Untitled — Riccardo Tommasi Ferroni

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Untitled by Riccardo Tommasi Ferroni (1934-2000)

Dark Water, Shima — Ikenaga Yasunari

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Dark Water, Shima by Ikenaga Yasunari

あなたのなかの暗い水。

目を閉じる、
ゆらゆら揺れる。

The Three Graces, after Rubens — Jake Wood-Evans

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The Three Graces, after Rubens, 2018 by Jake Wood-Evans (b. 1980)

Don Quixote — Daniele Galliano

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Don Quixote, 2014 by Daniele Galliano (b. 1961)

Book Party — Jansson Stegner

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Book Party, 2016 by Jansson Stegner (b. 1972)

Way too cheap (From Thomas Pynchon’s Vineland)

“Whole problem ’th you folks’s generation,” Isaiah opined, “nothing personal, is you believed in your Revolution, put your lives right out there for it—but you sure didn’t understand much about the Tube. Minute the Tube got hold of you folks that was it, that whole alternative America, el deado meato, just like th’ Indians, sold it all to your real enemies, and even in 1970 dollars—it was way too cheap. . . .”

A critique (by Gen X punker Isaiah Two Four) of the Baby Boomers. From Thomas Pynchon’s 1990 novel Vineland.  The “Tube” is television, of course, but might be a placeholder for any passively-consumed entertainment.