This post covers stories 48-43.
48. “The Death of Edward Lear” (Great Days, 1979)
Like many of the stories culled from Great Days, the humor in “The Death of Edward Lear” is tinged with melancholy. Perhaps it’s because of its subject matter, or perhaps it’s knowing that Great Days was the last collection of originals Barthelme would write, but “The Death of Edward Lear” feels like the work of a much older man. In fact, it was first published in The New Yorker in 1971, when Barthelme was forty, barely middle aged. (For whatever reasons, Barthelme didn’t include the piece in his collections Sadness (1972) or Amateurs (1976.))
The story begins in the most straightforward manner:
The death of Edward Lear took place on a Sunday morning in May 1888. Invitations were sent out well in advance. The invitations read:
Mr. Edward LEAR
Nonsense Writer and Landscape Painter
Requests the Honor of Your Presence
On the Occasion of his DEMISE.
San Remo 2:20 a.m.
The 29th of May Please reply
One can imagine the feelings of the recipients. Our dear friend! is preparing to depart! and such-like. Mr. Lear! who has given us so much pleasure! and such-like. On the other hand, his years were considered. Mr. Lear! who must be, now let me see… And there was a good deal of, I remember the first time I (dipped into) (was seized by)…But on the whole, Mr. Lear’s acquaintances approached the occasion with a mixture of solemnity and practicalness…
Lear treats his many guests to a strange spectacle of rants, rhymes, and mandolin-playing. He also delivers a “short homily on the subject of Friendship.” Then he dies.
His audience is initially confused, before realizing that Lear had crafted his death into a piece of absurdist art:
People who attended the death of Edward Lear agreed that, all in all, it had been a somewhat tedious performance. Why had he seen fit to read the same old verses, sing again the familiar songs, show the well-known pictures, run through his repertoire once more? Why invitations? Then something was understood: that Mr. Lear had been doing what he had always done and therefore, not doing anything extraordinary. Mr. Lear had transformed the extraordinary into its opposite. He had, in point of fact, created a gentle, genial misunderstanding.
And Lear’s performance engenders future performances:
The death of Edward Lear can still be seen, in the smaller cities, in versions enriched by learned interpretation, textual emendation, and changing fashion. One modification is curious; no one knows how it came about. The supporting company plays in the traditional way, but Lear himself appears shouting, shaking, vibrant with rage.
That final angry image is sad, haunting even. It recalls that other Lear, mad on the heath, as well as Dylan Thomas’s most famous villanelle.
In his biography Hiding Man, Tracy Daugherty speculates that the idea for “Lear” might be attributed in part to the “farewell parties” Susan Sontag hosted in the mid-seventies when she thought she might die from cancer. There’s a human reality coursing under the story’s apparent absurdity that makes it a memorable, enjoyable tale about making art out of life and death.
Edward Lear’s actual death sounds much sadder. According to the Edward Lear Society, “Lear’s funeral was said to be a sad, lonely affair by the wife of Dr. Hassall, Lear’s physician, not one of Lear’s many lifelong friends being able to attend.”
47. “Morning” (Great Days, 1979)
In Hiding Man, Daugherty claims that “Morning” is about “the limits of the educational system,” but I don’t see it. It’s an absurdist dialogue, almost impenetrable in its obliquity—which would be fine if the sentences were better. There had to have been better stories in Great Days than “Morning” — the superior “Concerning the Bodyguard” is from that collection, and eventually ended up in Forty Stories—but I’m sure Barthelme had his reasons for including it. Those reasons, like the story, are inscrutable to me.
46. “The King of Jazz” (Great Days, 1979)
A great little ditty told (almost) entirely in dialogue, “The King of Jazz” takes place over the first few minutes of Hokie Mokie’s reign as the new, um, king of jazz. Hokie’s tenure comes under threat almost immediately when Hideo Yamaguchi, a stranger from Tokyo, appears seemingly from nowhere to challenger the new king. A musical duel ensues, helpfully described by one of the musicians in attendance:
“What’s that sound coming in from the side there?”
“You mean that sound that sounds like the cutting edge of life? That sounds like polar bears crossing Arctic ice pans? That sounds like a herd of musk ox in full flight? That sounds like male walruses diving to the bottom of the sea? That sounds like fumaroles smoking on the slopes of Mt. Katmai? That sounds like the wild turkey walking through the deep, soft forest? That sounds like beavers chewing trees in an Appalachian marsh? That sounds like an oyster fungus growing on an aspen trunk? That sounds like a mule deer wandering a montane of the Sierra Nevada? That sounds like prairie dogs kissing? That sounds like witchgrass tumbling or a river meandering? That sounds like manatees munching seaweed at Cape Sable? That sounds like coatimundis moving in packs across the face of Arkansas? That sounds like – ”
“Good God, it’s Hokie! Even with a cup mute on, he’s blowing Hideo right off the stand!”
Barthelme here and elsewhere excels at pushing and pulling language in ways with which we are unfamiliar. There’s a synesthetic quality to his best writing, writing which so frequently attempts to engage with and evoke other arts—visual, arts, poetry.
“The King of Jazz” also continues the thread of Oedipal anxiety that courses throughout Barthelme’s work. That anxiety here is not necessarily father-son oriented, but rather the anxiety of the outsider who becomes established, the experimenter who succeeds—and then finds his work challenged by new comers.
45. “The Zombies” (Great Days, 1979)
“The Zombies” is another fun story—and one of the rare late stories not told entirely in dialogue. I’m not really sure if “The Zombies” is a specific parody or just a goof, but it makes me laugh:
In a high wind the leaves fall from the trees. The zombies are standing about talking. “Beautiful day!” “Certainly is!” The zombies have come to buy wives from the people of this village, the only village around that will sell wives to zombies. “Beautiful day!” “Certainly is!” The zombies have brought many cattle. The bride price to a zombie is exactly twice that asked of an ordinary man. The cattle are also zombies and the zombies are in terror lest the people of the village understand this.
There are good zombies and bad zombies. Gris Grue is the hero of the good zombies. There’s a Bishop involved. Watch out: “The kiss of a dying animal, a dying horse or dog, transforms an ordinary man into a zombie.”
And watch out too for bad zombies: “If a bad zombie gets you, he will scarify your hide with chisels and rakes. If a bad zombie gets you, he will make you walk past a beautiful breast without even noticing.”
44. “The New Music” (Great Days, 1979)
“The New Music”: Another dialogue, another synesthetic excursion into Oedipal territories—this time focused on the mother:
–She had a lot on her mind. The chants. And Daddy of course.
–Let’s not do Daddy today.
Two brothers discuss “the new music,” which both is and is not music. As in much of Barthelme’s work, elements of art and culture might be patched and pasted in new designs, new collages.
–The new music burns things together, like a welder. The new music says, life becomes more and more exciting as there is less and less time.
–Momma wouldn’t have ‘lowed it. But Momma’s gone.
With their disallowing mother out of the way, the boys can now move forward into the new music.
43. “Cortés and Montezuma” (Great Days, 1979)
“Cortés and Montezuma” is the strongest tale in this batch. The story tells a version of the “friendship” between the Spanish conquistador and the Aztec emperor. Unlike the quippy, often absurd dialogue pieces, “Cortés and Montezuma” is told in a simple, direct (even flat) third-person voice. Here’s how the story opens:
Because Cortés lands on a day specified in the ancient writings, because he is dressed in black, because his armor is silver in color, a certain ugliness of the strangers taken as a group-for these reasons, Montezuma considers Cortés to be Quetzacoatl, the great god who left Mexico many years before, on a raft of snakes, vowing to return.
Montezuma gives Cortés a carved jade drinking cup.
Cortés places around Montezuma’s neck a necklace of glass beads strung on a cord scented with musk.
Montezuma offers Cortés an earthenware platter containing small pieces of meat lightly breaded and browned which Cortés declines because he knows the small pieces of meat are human fingers.
The story repeats the image of Cortés and Montezuma walking and holding hands, exchanging gifts, and not really trusting each other. There is plenty of intrigue and paranoia. Cortés is sleeping with his translator, but she’s also taken a high-ranking Aztec for a lover. The nobles are starting to turn on Montezuma. Various folks employ detectives to trail other folks. Assassination plots loom.
Much of the strength of “Cortés and Montezuma” derives from Barthelme’s decision to tactically employ the occasional anachronism. Consider the “powdered wigs” and “limousines” here:
Montezuma writes, in a letter to his mother: “The new forwardness of the nobility has come as a welcome relief. Whereas formerly members of the nobility took pains to hide among the general population, to pretend that they were ordinary people, they are now flaunting themselves and their position in the most disgusting ways. Once again they wear scarlet sashes from shoulder to hip, even on the boulevards; once again they prance about in their great powdered wigs; once again they employ lackeys to stand in pairs on little shelves at the rear of their limousines. The din raised by their incessant visiting of one another is with us from noon until early in the morning.”
These anachronisms highlight language’s inability to accurately translate reality. Barthelme gives us images that we identify with wealth and power — “powdered wigs” and “limousines” — but they do not fit within the historical context of Montezuma’s Aztec Empire, and they do not square historically with each other. The anachronisms do offer the contemporary reader an idea of the power of the Aztec aristocracy, and at the same time, their inclusion highlights how incomplete our picture of historical reality is—absurdly incomplete.
Indeed, Barthelme was working from a translation when he crafted “Cortés and Montezuma.” His fourth (and final) wife, the writer Marion Knox, had brought home a copy of Bernal Diaz del Castillo book about Spain’s invasion of the Aztec Empire. Barthelme translated that translation into a new translation, adding a postmodern wink to his story in the process: “Bernal Diaz del Castillo, who will one day write The True History of the Conquest of New Spain, stands in a square whittling upon a piece of mesquite.”
Behind the metatextual cleverness and intentionally-flat tone though, there is a strong, sympathetic core to “Cortés and Montezuma,” a deep sorrow summed up in the final line:
The pair walking down by the docks, hand in hand, the ghost of Montezuma rebukes the ghost of Cortés. “Why did you not throw up your hand, and catch the stone?”
Summary thoughts: It was a bit of an unexpected relief to get out of the dialogue stories. I appreciate what Barthelme did with them, but they are too often constrained but their form, despite highlights like “The Emerald,” “The Leap,” and “The King of Jazz,” which is the strongest dialogue in this batch. I found “Morning” an ugly irritation, some sub-Gertrude-Stein stuff, and “The New Music,” while better, is not especially strong. “Cortés and Montezuma” was the highlight of the six for me.
Going forward (in reverse): One last Great Days stories, and we get into the (stronger) collection Amateurs.