“I Don’t Need Anything from Here” — László Krasznahorkai

“I Don’t Need Anything from Here”

by

László Krasznahorkai

translated by Ottilie Mulzet


I would leave everything here: the valleys, the hills, the paths, and the jaybirds from the gardens, I would leave here the petcocks and the padres, heaven and earth, spring and fall, I would leave here the exit routes, the evenings in the kitchen, the last amorous gaze, and all of the city-bound directions that make you shudder, I would leave here the thick twilight falling upon the land, gravity, hope, enchantment, and tranquillity, I would leave here those beloved and those close to me, everything that touched me, everything that shocked me, fascinated and uplifted me, I would leave here the noble, the benevolent, the pleasant, and the demonically beautiful, I would leave here the budding sprout, every birth and existence, I would leave here incantation, enigma, distances, inexhaustibility, and the intoxication of eternity; for here I would leave this earth and these stars, because I would take nothing with me from here, because I’ve looked into what’s coming, and I don’t need anything from here.

Portis’s Gringos, Essays on Pynchon, Elkin’s End (Books acquired, 29 Sept. 2023)

So two of the three books I picked up today I’d read before, but I couldn’t pass on the editions.

I read Stanley Elkin’s The Living End last summer, checking a digital version out from the library. I wanted something very short and funny at the time, and it worked wonders. I couldn’t pass up this Warner Books edition with design by Gene Light featuring art by Don Ivan Punchatz. I have a few other Elkins in this series and I adore them, even if my eyes are fading to the point that mass market paperbacks cause me to squint.

I also picked up another book I’ve already read, a book I already own a copy of—Charles Portis’s last novel Gringos. But I didn’t own a first edition with this fun, silly cover.

On the last day of 2020, the year I read Gringos, I wrote:

Gringos was the last of Portis’s five novels. I read the other four greedily last year, and pulled them all out when he passed away in February. I started in on Gringos, casually, then just kept reading. Sweet and cynical, spiked with strange heroism, strange grace, and very, very funny, Gringos might just be my favorite Portis novel. But I’d have to read them all again to figure that out.

I also picked up Mindful Pleasures: Essays on Thomas Pynchon, a 1976 collection that seems ahead of its time. From Scott Sanders’ essay “Pynchon’s Paranoid History”:

Untitled (Hallucinate) — Eric Haven

From Vague Tales, 2017 by Eric Haven.

Plagiarism

Choose any tree that you think pretty.

Which is nearly bare of leaves.

Which you can see against the sky, or against a pale wall, or other light ground.

(It must not be against strong light, or you will find the looking at it hurt your eyes; nor must it be in sunshine, or you will be puzzled by the lights on the boughs. But the tree must be in shade; and the sky blue, or gray, or dull white. A wholly gray or rainy day is the best for this practice.)

You will see that all the boughs of the tree are dark against the sky.

Consider them as so many dark rivers, to be laid down in a map with absolute accuracy.

Without the least thought about the roundness of the stems, map them all out in flat shade, scrawling them in with pencil.

Then correct and alter them, rubbing out and out again, never minding how much your paper is dirtied.

(Only not destroying its surface.)

Correct until every bough is exactly, or as near as your utmost power can bring it, right in curvature and in thickness.

Look at the white interstices between the boughs with as much scrupulousness as if they were little estates which you had to survey, and draw maps of, for some important lawsuit, involving heavy penalties if you cut the least bit of a corner off any of them, or gave the hedge anywhere too deep a curve.

Try continually to fancy the whole tree nothing but a flat ramification on a white ground.

Do not take any trouble about the little twigs, which look like a confused network or mist.

Leave them all out, drawing only the main branches as far as you can see them distinctly.

Your object at present being not to draw a tree, but to learn how to do so.

When you have got the thing as nearly right as you can, take your pen, and put a fine outline to all the boughs.

Take care to put the outline within the edge of the shade, so as not to make the boughs thicker.

(The main use of the outline is to affirm the whole more clearly; to do away with little accidental roughnesses and excrescences.)

(It may perfectly well happen that in Nature it should be less distinct than your outline will make it; but it is better in this kind of sketch to mark the facts clearly.)

The temptation is always to be slovenly and careless.

The outline is like a bridle, and forces our indolence into attention and precision.

You cannot do too many studies of this kind.

Every one will give you some new notion about trees.

The Party — Rita Kernn-Larsen

The Party, 1937 by Rita Kernn-Larsen (1904–1998)

“The Job Application” — Robert Walser

“The Job Application”

by

Robert Walser

translated by Christopher Middleton


ESTEEMED GENTLEMEN,

I am a poor, young, unemployed person in the business field, my name is Wenzel, I am seeking a suitable position, and I take the liberty of asking you, nicely and politely, if perhaps in your airy, bright, amiable rooms such a position might be free. I know that your good firm is large, proud, old, and rich, thus I may yield to the pleasing supposition that a nice, easy, pretty little place would be available, into which, as into a kind of warm cubbyhole, I can slip. I am excellently suited, you should know, to occupy just such a modest haven, for my nature is altogether delicate, and I am essentially a quiet, polite, and dreamy child, who is made to feel cheerful by people thinking of him that he does not ask for much, and allowing him to take possession of a very, very small patch of existence, where he can be useful in his own way and thus feel at ease. A quiet, sweet, small place in the shade has always been the tender substance of all my dreams, and if now the illusions I have about you grow so intense as to make me hope that my dream, young and old, might be transformed into delicious, vivid reality, then you have, in me, the most zealous and most loyal servitor, who will take it as a matter of conscience to discharge precisely and punctually all his duties. Large and difficult tasks I cannot perform, and obligations of a far-ranging sort are too strenuous for my mind. I am not particularly clever, and first and foremost I do not like to strain my intelligence overmuch. I am a dreamer rather than a thinker, a zero rather than a force, dim rather than sharp. Assuredly there exists in your extensive institution, which I imagine to be overflowing with main and subsidiary functions and offices, work of the kind that one can do as in a dream? —I am, to put it frankly, a Chinese; that is to say, a person who deems everything small and modest to be beautiful and pleasing, and to whom all that is big and exacting is fearsome and horrid. I know only the need to feel at my ease, so that each day I can thank God for life’s boon, with all its blessings. The passion to go far in the world is unknown to me. Africa with its deserts is to me not more foreign. Well, so now you know what sort of a person I am. —I write, as you see, a graceful and fluent hand, and you need not imagine me to be entirely without intelligence. My mind is clear, but it refuses to grasp things that are many, or too many by far, shunning them. I am sincere and honest, and I am aware that this signifies precious little in the world in which we live, so I shall be waiting, esteemed gentlemen, to see what it will be your pleasure to reply to your respectful servant, positively drowning in obedience,

Wenzel

In the future we will have the impression of a day that is endlessly clear and endlessly cold | Thomas Bernhard

” Speech at the Award Ceremony for the Literature Prize of the Free Hanseatic City of Bremen”

by

Thomas Bernhard

from My Prizes

translated by Carol Janeway


Honored Guests,

I cannot follow the fairy tale of your town musicians; I don’t want to tell a story; I don’t want to sing; I don’t want to preach; but it’s true: fairy tales are over, the fairy tales about cities and states and all the scientific fairy tales, and all the philosophical ones; there is no more world of the spirit; Europe, the most beautiful, is dead; this is the truth and the reality. Reality, like truth, is no fairy tale and truth has never been a fairy tale.

Fifty years ago Europe was a single fairy tale, the whole world a fairy-tale world. Today there are many who live in this fairy-tale world, but they’re living in a dead world and they themselves are dead. He who isn’t dead lives, and he doesn’t live in fairy tales; it’s no fairy tale.

I myself am no fairy tale and I do not come from a world of fairy tales; I had to live through a long war and I saw hundreds of thousands die, and others who went on right over them; everyone went on, in reality; everything changed, in truth; in the five decades during which everything turned to revolt and everything changed, during which a thousand-year-old fairy tale gave way to the reality and the truth, I felt myself getting colder and colder while a new world and a new nature arose from the old.

It is harder to live without fairy tales, that is why it is so hard to live in the twentieth century; it’s more that we exist, we don’t live, no one lives anymore; but it is a fine thing to exist in the twentieth century, to move, but to where? I know I did not emerge from any fairy tale and I will not enter any fairy tale, this is already progress and thus already a difference between then and now.

We are standing on the most frightening territory in all of history. We are in fear, in fear of this enormous material that is the new humanity, and of a new knowledge of our nature and the renewal of our nature; together we have been only a single mass of pain in the last half century; this pain today is us; this pain is now our spiritual condition.

We have a wholly new system, a wholly new way of seeing the world, and a wholly new, truly most outstanding view of the world’s own surroundings, and we have a new morality and we have new sciences and new arts. We feel dizzy and we feel cold. We believed that because we are human, we would lose our balance, but we haven’t lost our balance; we’ve also done everything to avoid freezing.

Everything has changed because it is we who have changed it, our external geography has changed as much as our internal one.

We make great demands now, we cannot make enough great demands; no era has made such great demands as ours; we are already megalomaniacal; because we know we cannot fall and we cannot freeze, we trust ourselves to do what we do.

Life is only science now. The science of the sciences. Now we are suddenly taken up with nature. We have become intimate with the elements. We have put reality to the test. Reality has put us to the test. We now know the laws of nature, the infinite High Laws of nature, and we can study them in reality and in truth. We no longer have to rely on assumptions. When we look into nature, we no longer see ghosts. We have written the boldest chapter in the book of world history, every one of us has written it for himself in fright and deathly fear and none of us of our own free will, nor according to his own taste, but following the laws of nature, and we have written this chapter behind the backs of our blind fathers and our foolish teachers, behind our own backs; after so much that has been endlessly long and dull, the shortest and the most important.

We are frightened by the clarity out of which our world suddenly is born, our world of science; we freeze in this clarity; but we wanted this clarity, we evoked it, so we cannot complain now that the cold reigns and we’re freezing. The cold increases with the clarity. This clarity and this cold will now rule us. The science of nature will give us a greater clarity and will be far colder than we can imagine.

Everything will be clear, a clarity that increases and deepens unendingly, and everything will be cold, a coldness that intensifies ever more horribly. In the future we will have the impression of a day that is endlessly clear and endlessly cold.

I thank you for your attention. I thank you for the honor you have shown me today.

Professor of High Caliber (Portrait of Barry Hannah) — Steve Brodner

Professor of High Caliber, 1988, a portrait of Barry Hannah by Steve Brodner (b. 1954)

The portrait appeared in the 1 July 1988 issue of Esquire, accompanied by the following text:

There he stood, in front of his class at the University of Alabama, tooting on his trumpet: Barry Hannah, gonzo novelist and pseudo-jazz musician, a man possessed by more than the English language. He was playing his own brand of jazz, the kind only a tonedeaf mother could love. Pausing to wipe his brow, Hannah exclaimed, “Whew, this is some good soul!” and began to squawk again. The class grew restive. Several made a break for the door. Hannah pulled a gun out and motioned them back to their seats. “Now this,” he said, waving the gun, “is some bad soul. You guys had better learn the difference.”

Fishing Gear, Sark — Marion Adnams

Fishing Gear, Sark, c. 1930 by Marion Adnams (1898-1995)

The cozy creepiness of Lisa Tuttle’s novella My Death

Lisa Tuttle’s 2004 novella My Death receives an American reprint this fall from NYRB. In her introduction to this new edition, novelist Amy Gentry expresses her hope the reprint will set off a “Lisa Tuttle renaissance.” My Death was first published in the UK (Tuttle’s adopted home), and released in a small run from the feminist indie press Aqueduct; their edition is now out of print.

I had never heard of Lisa Tuttle’s work until a reading copy of the novella arrived in my mail a few days ago. The enigmatic title and the wonderful cover art by Cameron (Marjorie Cameron Parsons Kimmel) intrigued me. So did, I admit, the slim shape of My Death. It is one hundred pages of dialogue-driven weirdo art mystery stuff. Skipping Gentry’s introduction, I started reading, finishing the book over the course of two nights.

My Death is very readable, in that page-turning, suspense-building way. Gentry points its readability out at in the first line of her summary of the novella, which I will steal for its precision:

The opening pages of My Death seem to promise nothing more than a cozy tale of literary detective work. The narrator, who remains unnamed throughout the story, is a recently widowed novelist living on Scotland’s craggy western shore, her career stalled out by grief. While visiting the National Gallery in Edinburgh, she comes upon a portrait of the painter and writer Helen Ralston, an early-twentieth-century visionary whose work has long been overshadowed by her tempestuous affair with a more famous male author, W.W. Logan. Having been heavily influenced by Ralston’s work as a young woman, the narrator embarks on a biography that will elevate her from muse to “forgotten modernist” — and, it is implied, help the narrator rediscover the wellspring of her own creativity.

Tuttle shuttles her plot along, pushing her narrator out of the inertia of grief and into the possibility–quite literally–of a new life. We sit upon the narrator’s shoulder, by her eyes, ears, mouth, nose, as she goes about changing her life. This process kicks off in weird earnest when she finally meets her would-be subject, Helen Elizbeth Ralston (yes, “H.E.R.”). Previous to this meeting, Tuttle spikes her tight narrative with occasional vertiginous dips into the uncanny, but for the most part the novella chugs along its track as “nothing more than a cozy tale of literary detective work.” After the two writers converge, things good far more creepy.

Creepy, but also comfortable—the narrator indulges herself in Ralston’s tales of Paris in the Modernist thirties (“she’d taken tea with Sylvia Beach and James Joyce and his Nora”; she and her pal Virginia Woolf have their photo taken), and Tuttle indulges herself and her reader in a fantasy of this celebrated time. Notably, those macho sexist sons of guns “Picasso and Hemingway were both, by then, much too grand to be known.” Tuttle subtly highlights the art of women instead: Stein, Woolf, and Barnes echo throughout My Death, as does A.S. Byatt, whose 1990 novel Possession–perched on Ralston’s shelf by Nightwood and The Rings of Saturn—might be a prototype for Tuttle’s novella. These moments, even in their oddity, confirm the old pleasures of Art Gone By, high days of Grand Modernism not to be found again, except in novels and paintings—but also to be found anew in, say, the diaries and notes of “forgotten” modernists like Helen Elizabeth Ralston. Is there a strange, unnerving, uncanny set of secrets in Ralston’s diaries?! Well of course.

The fun of My Death is in its propulsive mystery plot; the art in the novella is in the small eruptions that distort that plot. Tuttle’s prose, for the most part, is straightforward and workmanlike, delivering action and thought without any many messy seams showing. The best bits break through the surface, showing just a glimpse of all the weird writhing underneath. Consider the following passage–never mind the context:

The sounds, our unnaturally slow pace, my worries about what was going to happen all combined to affect my brain, and after a while it seemed to me that the earth beneath my feet had become flesh, that I was treading upon a gigantic female body. This was bad enough, but there was something stranger to come, as it seemed I felt the footsteps upon my own, naked, supine body: that I was the land, and it was me. My body began to ache, but it seemed there was nothing to be done. I lost track of time, and my sense of myself as an individual became tenuous.

Elsewhere, there are eruptions of raw memory that penetrate any cozy gauze, as when the narrator recalls being a child and waking screaming from a nightmare. Her mother tries to comfort her but fails. And fails indelibly, imprinting a negative epiphany on her young daughter:

…what upset me was that I’d just realized that my mother and I were separate people. We didn’t share the same dreams or nightmares. I was alone in the universe, like everybody else.

Alone in the universe underscores one of the novella’s major thematic tracks—grief. My Death does not wallow in its grief; it never wallows, it always moves. But it does explore different kinds of grief, different kinds of relief, different kinds of loneliness. And, as it hurries to its conclusion, it suggests that maybe being alone in the universe might not be so awful.

The creepy coziness of My Death evinces most strongly in its final brief twin chapters. I won’t spoil the novella—for its pleasures really do depend on plot—but simply suggest that the final moments of Tuttle’s book point to a looping abyssal structure, simultaneously finite and infinite. We get to eat our doomed cake and keep it too; the narrative is both finished and unresolved. My Death is not life changing, but it is a creepy, cozy pleasure, the kind of story that bothers a reader in the nicest sort of way.

Plagiarism

He was born in New York City on August 1, 1819, the third of eight children.

His mother added a final e to the family name after her husband’s death, perhaps to distance herself from his financial problems.

His grandfathers had participated in the Revolutionary War.

At the time of his birth, his father was a fairly prosperous importer of luxury items such as silks and colognes, and his family lived well in a series of houses around New York City, each with comfortable furnishings, refined food and drink, and household servants to keep things in order.

Such lineage and lifestyle notwithstanding, family letters suggest that he was a rather unremarkable child, at least in his father’s eyes.

In 1826, when he was seven years old, his father wrote of him to his brother-in-law : “He is very backward in speech & somewhat slow in comprehension, but you will find him as far as he understands men & things both solid and profound, & of a docile & amiable disposition.”

Instead, the family’s highest praise often went to his older brother

In 1830, after years of increasing debts, his father’s business collapsed, and the family moved—or, some might say, fled—to Albany, New York, to seek sanctuary among his mother’s relatives.

His father died of pneumonia in 1832, entirely bankrupt and raving deliriously from fever.

After his father’s death, he, at 13 years old assumed the responsibilities of a “man” in the family.

With his father’s death and the family’s debt, he was now obliged to seek employment.

He worked as an errand boy at a local bank.  A clerk at his brother’s store. A hand on his uncle’s farm.

After, he enrolled in Albany Classical School in 1835 in order to prepare for a business career, but once there, the young man whom his father had described as inarticulate and “slow” discovered that he had an interest in writing.

He required the requisite knowledge of Latin to obtain a teaching position in the Sikes district of Pittsfield, Massachusetts, in the fall of 1837.

He found teaching in a country school unappealing at best.

His students were, by his own accounts, dull and backward

An early biographer hints at “a rebellion in which some of the bigger boys undertook to ‘lick’ him.”

He left the teaching position after one term, and in 1838 he enrolled in the Lansingburgh Academy, where he was certified as a surveyor and engineer but failed to find the employment he had hoped for as part of the Erie Canal project.

In 1837 he took his first trip to sea.

Several of his uncles were sailors, and he had grown up hearing about their exploits.

He sailed out as a cabin boy on the merchant ship St. Lawrence on June 4, 1839.

He spent four months aboard, including a visit to Liverpool that would provide inspiration and material for scenes of England’s urban poverty in one of his early novels.

None of his letters from this voyage have survived.

When he returned he found his mother and sisters in serious financial trouble, and desperate for extra income, he once again took a teaching job, only to lose it a few months later. He visited an uncle in Galena, Illinois, hoping to find better job prospects there, but failed.

He returned to New York and signed on with the New Bedford whaler Acushnet.

On January 3, 1841, he shipped for the Pacific.

He had signed up for the customary four-year tour aboard the whaler.

Once in the fleet, he quickly grew restless under the conditions imposed by his captain.

Rations were scanty, work and discipline were harsh, and, perhaps most unforgivably, time at sea was continually extended in search of greater hauls.

The Acushnet made one of its few stops in the port of Nuku Hivain the Marquesas in June 1842.

He jumped ship on July 9, 1842.

By the time the Acushnet completed its voyage, fully half the crew had deserted, and several more had died.

He fled into the island’s interior, where he was taken in by the Taipi.

Known as fierce warriors who were actively hostile to neighboring groups, the Taipi were also reputed to practice cannibalism on their conquered enemies.

He lived among the Taipi for four weeks before finding his way back to Nukuheva, where on August 9 he went aboard an Australian whaler named the Lucy-Ann.

Life aboard the Lucy-Ann proved to be even harder than it had been on the Acushnet. The captain of the ship had fallen ill and was taken ashore at Papeete, Tahiti’s largest port, to be treated, and while the ship was anchored, the crew revolted.

Along with most of the crew, he was arrested as a mutineer and handed over to the British authorities, who locked him up in a makeshift outdoor jail.

Conditions at the “calabooza,” as the jail was called, were far better than they had been aboard ship.

Though the inmates did sleep with their feet locked in wooden stocks, they were well fed and were allowed a great deal of leisure and liberty during the day—including being allowed small day-trips across the island. This laxity resulted in the escape of four prisoners. He and his friend were among these escapees.

After touring the Society Islands briefly, they signed up on yet another whaler, the Charles & Henry.

He left that ship on May 2, 1843, in Lahaina, on the island of Maui, Hawaii. He traveled to Honolulu, where he went to work at several odd jobs, including as a clerk in a shop and a pin-setter in a bowling alley.

On August 17 he joined the crew of the USS United States as an ordinary seaman.

He observed flogging routinely used as punishment per existing naval codes of discipline, and he also saw several burials at sea. The United States docked in Boston 14 months later.

Upon his return to Lansingburgh, his tales of the South Pacific made him a minor celebrity.

Friends and family encouraged him to write about his experiences, and he did, transforming his time among the “cannibals” of the Marquesas into a novel published to critical acclaim and financial reward in 1846.

Around this time, he began courting a family friend who lived in Boston, the daughter of the powerful chief justice of the Massachusetts supreme court.

Buoyed by his recent literary success, he married her on August 4, 1847.

Letters suggest a happy, flirtatious union, at least early in the marriage.

They would eventually have four children together.

He made an unsuccessful attempt to gain a government position in Washington, D.C. and had to rely on the support of his father-in-law to supplement his income.

He then wrote two financially-successful novels, which he would later refer to as “two jobs—which I did for money—being forced to it, as other men are to sawing wood. … [M]y only desire for their ‘success’ (as it is called) springs from my pocket, & not from my heart.”

While vacationing in Pittsfield, Massachusetts, in the summer of 1850, he met a successful New England writer, and struck up an immediate and intense, though short-lived, friendship.

The two writers spent a great deal of time together discussing all manner of intellectual and philosophical matters.

In September 1850, he borrowed money from his father-in-law and bought a farm in Pittsfield, a mere six miles from his writer friend.

In 1851, he dedicated his next novel to his friend.

The novel was not a success.

His next novel was even less successful.

An 1853 fire at his publishers warehouse destroyed most of the existing copies of his novels.

He tried unsuccessfully to obtain a consular appointment.

He completed and unsuccessfully attempted to publish two other novels in the 1850s.

One of these was a story about tortoise hunting.

Both manuscripts are lost.

His physical and mental health continued to concern his family.

He suffered severe back problems and recurrent eyestrain; family letters also hint carefully at “ugly attacks” of a more psychological nature.

In 1856, his father-in-law financed a seven-month trip  during which he visited Europe and the Holy Land.

On the trip out, he stopped in Liverpool and spent three days with his successful New England writer friend, who was serving there on a diplomatic appointment. The friend noted in his journal that he appeared “much as he used to (a little paler, and perhaps a little sadder).”

His next novel, the last published in his lifetime, met with critical and popular rejection. 

He failed to earn money on the lecture circuit.

Once again he tried to obtain a consular appointment, but failed.

He continued to meet rejection in his attempts to earn a government position, and his first volume of poetry was rejected for publication in 1860.

He sold his country estate to his brother and bought his brother’s house in New York City.

They visited their cousin on the Virginia battlefields in 1864, leading to a series of poems published in 1866.

He finally won a position as a customs inspector in New York in 1866—which marked the end of his attempts to sustain a living through writing.

He would work there for nineteen years.

Many of his friends died in the 1860s.

His eldest son died of a self-inflicted gunshot wound in 1867. He had argued with his son the night before.

His wife consulted her minister about the possibility of legally separating from him.

He may have also developed alcohol-related emotional problems over time.

She stayed with him until his death.

After his 1889 retirement, he resumed writing as his primary occupation.

Much of his late work was poetry.

He died of heart failure at home in his bed on September 28, 1891, having been largely forgotten by the literary world in the thirty years since his last novel was published.

The New York Times misspelled his name in its obituary.

Virtually all of the letters he wrote were destroyed after his death, as were many of his manuscripts and writing notes.

Gert Hofmann’s Our Philosopher (Book acquired, 13 Sept. 2023)

Gert Hofmann’s 1986 novel Veilchenfeld is forthcoming in the U.S. in an English translation by Eric Mace-Tessler, The new edition is from NYRB. Their back cover copy:

The time is the 1930s. Our philosopher is Herr Veilchenfeld, a renowned thinker and distinguished professor, who, after his sudden dismissal from the university, has retired to live quietly in a country town in the east of Germany. Our narrator is Hans, a clever and inquisitive boy. He relates a mix of things he witnesses himself and things he hears about from his father, the town doctor, who sees all sorts of people as he makes his rounds, even Veilchenfeld, with his troubled heart. Veilchenfeld is in decline, it’s true—he keeps ever more to himself—but the town is in ever better shape. After the defeat of the Great War and the subsequent years of poverty, things are looking up. The old, worn people are heartened to see it. The young are exhilarated. It is up to them to promote and patrol this new uplifting reality—to make it safe from the likes of Veilchenfeld, whose very existence is an affront to it. And so the doctor listens, and young Hans looks on.

And novelist Ian McEwan’s blurb:

The best novel I’ve read that describes events through the eyes of a child is little known and a minor masterpiece….Hans, the son of a small-town doctor, watches as the life of his fascinating neighbor, Professor Veilchenfeld, unravels and is then destroyed…In this learned old man, Hofmann condenses the industrialized extermination of millions…To recount it through the limited and fragmented understanding of an innocent child was an inspired authorial choice.

On Photography (Homage to Susan Sontag) — Mark Tansey

On Photography (Homage to Susan Sontag), 1982 by Mark Tansey (b. 1949)

“Sorokin and the Rest of Us,” an essay by Svetlana Satchkova on the anxiety of Vladimir Sorokin’s influence

Gregory Klassen, First Day of the Season, 2023

The Fall/Winter 2023 issue of Evergreen Review includes an “Sorokin and the Rest of Us,” an essay by Svetlana Satchkova on Vladimir Sorokin.

The essay includes a number of illustrations by Gregory Klassen, who illustrated Max Lawton’s translation of Sorokin’s shocking novel Their Four Hearts.

From “Sorokin and the Rest of Us”:

Why is Sorokin in a class by himself? Why is he the only contemporary Russian writer who takes these kinds of risks? If we imagine Russian literature as earth with the sky above, Sorokin would be sitting up on a cloud together with Tolstoy and Chekhov, while the rest of us––his Russian contemporaries––would be confined to the earth’s surface, maybe some of us having risen as high as the tenth floor of a building. Present-day Russian literature isn’t very original and is forever ripping off Anglophone fiction. This matter is personal to me, since I’m a Russian writer myself or at least I was before I made the United States my home and started writing in English.

So I don’t mean to praise Sorokin as much as I mean to ask: why are we as a whole not more interesting? There must be reasons for this that have to do with the soul, with imagination, and with courage––and also with history and the current milieu. What has prevented me from being a writer like Sorokin? Would I even want to be?

Plagiarism

Thomas Chatterton (1770), English poet and forger, arsenic poisoning

Heinrich von Kleist (1811), German author, poet and journalist, gunshot

Manuel Acuña (1873), Mexican poet, ingestion of potassium cyanide

Amy Levy (1889), British writer, inhaling charcoal gas

Per Sivle (1904), Norwegian poet and novelist, gunshot

Sergei Yesenin (1925), Russian and Soviet poet, hanging

Ryūnosuke Akutagawa (1927), Japanese writer, overdose of barbital

Kostas Karyotakis (1928), Greek poet, gunshot

Charlotte Mew (1928), English poet, Lysol poisoning

Vladimir Mayakovsky (1930), Russian and Soviet poet, gunshot

Vachel Lindsay (1931), American poet, poison

Hart Crane (1932), American poet, jumped off ship

Austra Skujiņa (1932) Latvian poet, jump from a bridge

Charlotte Perkins Gilman (1935), American writer, chloroform overdose

Robert E. Howard (1936), American author, gunshot to the head

Horacio Quiroga (1937), Uruguayan playwright, poet, and short story writer, drank a glass of cyanide

Alfonsina Storni (1938), Argentine poet, drowning

Walter Benjamin (1940), German-Jewish literary critic and culture theorist, morphine overdose

Walter Hasenclever (1940), German poet and playwright, overdose of Veronal

Marina Tsvetaeva (1941), Russian poet, hanging

Virginia Woolf (1941), English author, essayist, and publisher, drowning

Stefan Zweig (1942), Austrian novelist, playwright, journalist and biographer, barbiturate overdose

Osamu Dazai (1948), Japanese author, drowning in the Tamagawa Aqueduct

Cesare Pavese (1950), Italian author, overdose of barbiturates

Sadegh Hedayat (1951), Iranian writer, carbon monoxide poisoning

Ernest Hemingway (1961), American writer and journalist, gunshot to head

Sylvia Plath (1963), American poet, novelist, children’s author, gas inhalation

Charles R. Jackson (1968), American writer, barbiturate overdose

José María Arguedas (1969), Peruvian novelist and poet, gunshot

John Kennedy Toole (1969), American novelist, carbon monoxide poisoning

Paul Celan (1970), Romanian poet, drowning in the Seine

Yukio Mishima (1970), Japanese author, poet, playwright, film director and activist, ritual seppuku disembowelment

John Berryman (1972), American poet, jumped off the Washington Avenue Bridge in Minneapolis, Minnesota

Yasunari Kawabata (1972), Japanese writer, gas inhalation

Alejandra Pizarnik (1972), Argentine poet, secobarbital overdose

William Inge (1973), American writer, carbon monoxide poisoning

B. S. Johnson (1973), English novelist, poet, literary critic, sports journalist, television producer and filmmaker, cut his wrists

Anne Sexton (1974), American poet, carbon monoxide poisoning

Jens Bjørneboe (1976), Norwegian novelist, hanging

Frank Stanford (1978), American poet, gunshot

Jean-Louis Bory (1979), French writer, gunshot to the chest

Breece D’J Pancake (1979), American short story writer, gunshot

Wally Wood (1981), American comic book writer and artist, gunshot

Arthur Koestler (1983), Hungarian-British author, novelist, barbiturates

Richard Brautigan (1984), American writer, gunshot

Alice Bradley Sheldon (James Tiptree, Jr.) (1987), American writer, gunshot

Hai Zi (1989), Chinese poet, lying down on railroad tracks

Jerzy Kosinski (1991), Polish-born American writer, suffocation with plastic bag

Charles Crumb (1992), American comics writer and artist, overdosed on pills

Gu Cheng (1993), Chinese poet, hanging

John O’Brien (1994), American novelist, gunshot to the head

Walter M. Miller Jr. (1996), American writer, gunshot

Hunter S. Thompson (2005), gonzo journalist, author of Fear and Loathing in Las Vegas, gunshot

Thomas M. Disch (2008), American writer, gunshot

David Foster Wallace (2008), American author, hanging

Ned Vizzini (2013), American author of young adult fiction, leapt from a building

Mark Fisher (2017), English writer and political theorist, hanging

Anthony Bourdain (2018), American chef, author, and television personality, hanging

Victor Heringer (2018), Brazilian novelist and poet, winner of the 2013 Prêmio Jabuti, self-defenestration

David Berman (2019), American musician and poet, hanging

24 frames from Martin Scorsese’s The King of Comedy

From The King of Comedy, 1982. Directed by Martin Scorsese. Cinematography by Fred Schuler. Stills via Film Grab.

Uncle George — Mervyn Peake

Uncle George by Mervyn Peake (1911-1968)