Like the seventh-graders before her, my daughter has to read Ray Bradbury’s somewhat over-rated novel Fahrenheit 451 this year. I gave her my copy, a 1980 edition that I stole from my cousin, who is ten years older than I am, like a quarter-century ago. (I would share a pic of this edition, but my daughter took it to school and left it there, because she is irresponsible. It looks like this though.) So she needs the 60th-anniversary edition, apparently, so I head to the local used bookstore I love to browse on a Friday afternoon, where they have about a bajillion copies of F451, bu not this ugly-assed big-assed new trade paperback.
I did by way of random wondering come across the very unusual volume The Counterfeiters by Hugh Kenner though. Its spine called to me–the title, the font. The cover, quite strange. And Kenner, of course, the Joyce scholar who mentored the dude who I took a life-changing Joyce class in grad school. The Counterfeiters features art by Guy Davenport, including this piece, entitled Citizen Marx and Mr. Babbage Observed in Their Courses:
Other illustrations include Turing, Warhol, and Yeats, all subjects of the essays here.
I picked up a mass-market 1973 paperback copy from Doubleday, but here’s Dalkey Archive’s blurb for their 2005 reprint:
Wide-ranging enough to encompass Buster Keaton, Charles Babbage, horses, and a man riding a bicycle while wearing a gas mask, The Counterfeiters is one of Hugh Kenner’s greatest achievements. In this fascinating work of literary and cultural criticism, Kenner seeks the causes and outcomes of man’s ability to simulate himself (a computer that can calculate quicker than we can) and his world (a mechanical duck that acts the same as a living one).
This intertangling of art and science, of man and machine, of machine and art is at the heart of this book. He argues that the belief in art as a uniquely human expression is complicated and questioned by the prevalence of simulations—or “counterfeits”—in our culture. Kenner, with his characteristically accessible style and wit, brings together history, literature, science, and art to locate the personal in what is an increasingly counterfeit world.
The contemporary 1972 New York Times review of the book, by the like-totally-unbiased illustrator Guy Davenport, concludes thus:
It is therefore perhaps too early to re view The Counterfeiters. It looks like science fiction to the half‐educated and like fiction to the conservative scholar. A generation (when? where?) that doesn’t know that literary criticism is supposed to be dull and flat‐footed will embrace it as a magic book.
I picked up another illustrated book too, Mr. Pye by Mervyn Peake. After picking up the first two books in Peake’s Gormenghast trilogy earlier this month, and loving the first one, which I’ve almost finished, I scouted for the third—no luck—but I’m a sucker for Penguin Editions, and Mr Pye seemed too hard to pass up for two bucks. Peake illustrates: