Fast Lane by Nigel Van Wieck (b. 1947)
Fast Lane by Nigel Van Wieck (b. 1947)
From Actual Air (Open City, 1999)
Secret Laboratory inside the Skull Mountain, 2018 by Davor Gromilovic (b. 1985)
Chorlton Road, August 9th.–We have changed our lodgings since my last date, those at Old Trafford being inconvenient, and the landlady a sharp, peremptory housewife, better fitted to deal with her own family than to be complaisant to guests. We are now a little farther from the Exhibition, and not much better off as regards accommodation, but the housekeeper is a pleasant, civil sort of a woman, auspiciously named Mrs. Honey. The house is a specimen of the poorer middle-class dwellings as built nowadays,–narrow staircase, thin walls, and, being constructed for sale, very ill put together indeed,–the floors with wide cracks between the boards, and wide crevices admitting both air and light over the doors, so that the house is full of draughts. The outer walls, it seems to me, are but of one brick in thickness, and the partition walls certainly no thicker; and the movements, and sometimes the voices, of people in the contiguous house are audible to us. The Exhibition has temporarily so raised the value of lodgings here that we have to pay a high price for even such a house as this.
Mr. Wilding having gone on a tour to Scotland, I had to be at the Consulate every day last week till yesterday; when I absented myself from duty, and went to the Exhibition. U– and I spent an hour together, looking principally at the old Dutch masters, who seem to me the most wonderful set of men that ever handled a brush. Such lifelike representations of cabbages, onions, brass kettles, and kitchen crockery; such blankets, with the woollen fuzz upon them; such everything I never thought that the skill of man could produce! Even the photograph cannot equal their miracles. The closer you look, the more minutely true the picture is found to be, and I doubt if even the microscope could see beyond the painter’s touch. Gerard Dow seems to be the master among these queer magicians. A straw mat, in one of his pictures, is the most miraculous thing that human art has yet accomplished; and there is a metal vase, with a dent in it, that is absolutely more real than reality. These painters accomplish all they aim at,–a praise, methinks, which can be given to no other men since the world began. They must have laid down their brushes with perfect satisfaction, knowing that each one of their million touches had been necessary to the effect, and that there was not one too few nor too many. And it is strange how spiritual and suggestive the commonest household article–an earthen pitcher, for example–becomes, when represented with entire accuracy. These Dutchmen got at the soul of common things, and so made them types and interpreters of the spiritual world.
Afterwards I looked at many of the pictures of the old masters, and found myself gradually getting a taste for them; at least they give me more and more pleasure the oftener I come to see them. Doubtless, I shall be able to pass for a man of taste by the time I return to America. It is an acquired taste, like that for wines; and I question whether a man is really any truer, wiser, or better for possessing it. From the old masters, I went among the English painters, and found myself more favorably inclined towards some of them than at my previous visits; seeing something wonderful even in Turner’s lights and mists and yeasty waves, although I should like him still better if his pictures looked in the least like what they typify. The most disagreeable of English painters is Etty, who had a diseased appetite for woman’s flesh, and spent his whole life, apparently, in painting them with enormously developed busts. I do not mind nudity in a modest and natural way; but Etty’s women really thrust their nudity upon you with malice aforethought. . . . and the worst of it is they are not beautiful.
Among the last pictures that I looked at was Hogarth’s March to Finchley; and surely nothing can be covered more thick and deep with English nature than that piece of canvas. The face of the tall grenadier in the centre, between two women, both of whom have claims on him, wonderfully expresses trouble and perplexity; and every touch in the picture meant something and expresses what it meant.
The price of admission, after two o’clock, being six-pence, the Exhibition was thronged with a class of people who do not usually come in such large numbers. It was both pleasant and touching to see how earnestly some of them sought to get instruction from what they beheld. The English are a good and simple people, and take life in earnest.
Nathaniel Hawthorne’s journal entry for August 9th, 1857. From Passages from the English Note-Books.
From Actual Air (Open City, 1999)
…hate it. write it later
The Affair, 2018 by Kent Monkman (b. 1965)
Woman Power, 1979 by Maria Lassnig (1919-2014)
You think dark is just one color, but it ain’t. There’re five or six kinds of black. Some silky, some woolly. Some just empty. Some like fingers. And it don’t stay still, it moves and changes from one kind of black to another. Saying something is pitch black is like saying something is green. What kind of green? Green like my bottles? Green like a grasshopper? Green like a cucumber, lettuce, or green like the sky is just before it breaks loose to storm? Well, night black is the same way. May as well be a rainbow.
From Toni Morrison’s novel Song of Solomon.
RIP Toni Morrison, 1931-2019
The great American writer Toni Morrison died yesterday at the age of 88. Morrsion was a writer, academic, teacher, and playwright (among many other things), but will likely be best remembered for her eleven novels, which include Beloved (1987), The Bluest Eye (1970), and most recently God Help the Child (2015). Morrison’s slim essay collection Playing in the Dark (1992) remains a standard in college classrooms.
Playing in the Dark was probably the first thing I read by Morrison. I read it more than 20 years ago in a college classroom, and it was one of the first works of cultural criticism I’d read. I think I was probably too young to fully appreciate its scope, but I’ve since used elements of it (as well as Morrison’s essay on Adventures of Huckleberry Finn) in my own classes many times. Beloved, which I read around the same time, also as an undergraduate, had a more profound, visceral effect on me.
While Beloved, a mature exercise published when the author was in her fifties, is likely to be the book most people associate with Morrison, her early novels are especially compelling. The Bluest Eye is a study in abjection, painful, rich, fertile. The follow up, Sula (1973), centers on a black township in Ohio in the thirties. It’s also a painful and beautifully-written novel. Song of Solomon (1977) is maybe my favorite Morrison novel. Its protagonist Milkman Dead remains one of her most complex and memorable figures. I tend to think of these three early novels as a fecund trilogy, the rich base from which Morrison’s themes of race, memory, location, family, identity, and love continued to grow. These themes continued throughout her works, notably Beloved, of course, as well as Jazz (1992) and Paradise (1997). Morrison’s later works are perhaps underread or understudied compared to her early and middle period, but her 2008 novel A Mercy is a particularly focused and strong exploration of the myth of early America. It remains one of my favorites by Morrison. Morrison published two novels after: Home (2012) and God Help the Child. She also wrote the libretto for the opera Margaret Garner (2005), who was the historical inspiration for Beloved. Days after the 2016 election, Morrison published “Making America White Again” in The New Yorker.
A documentary film about her life, Toni Morrison: The Pieces I Am is in theaters now.
Here in the electric dusk your naked lover
tips the glass high and the ice cubes fall against her teeth.
It’s beautiful Susan, her hair sticky with gin,
Our Lady of Wet Glass-Rings on the Album Cover,
streaming with hatred in the heat
as the record falls and the snake-band chords begin
to break like terrible news from the Rolling Stones,
and such a last light—full of spheres and zones.
you’re just an erotic hallucination,
just so much feverishly produced kazoo music,
are you serious?—this large oven impersonating night,
this exhaustion mutilated to resemble passion,
the bogus moon of tenderness and magic
you hold out to each prisoner like a cup of light?
My family and I spent a wonderful week in Oregon at the end of July. We visited friends who live in Portland, where we based our stay, and we drove to the coast, to Mount Hood, and to all kinds of beautiful places. It was really fucking lovely.
Among all the gardens and forests and breweries and record shops, we managed to fit in some bookstores too, of course.
The first was Melville Books, right off of Alberta Street, tucked away just a bit. Our rental house was a block from Alberta, and we got there early in the afternoon and took a stroll. Melville Books is pretty new. The owner-proprietor was making a wooden “Open” sign while he chatted with me about his stock and his experiences scouting and buying used books. He was really friendly, and the small store was very well curated.
I picked up Charles Portis’s first novel Norwood there on something of a whim. I’ve never read Portis, but I know his fans love his stuff, and I couldn’t pass up the Vintage Contemporaries cover. There was also a hardback copy of True Grit in stock at Melville that I now regret not having picked up. Norwood is hilarious, and has evoked in me a need to read more Portis.
I actually went to my local used book store today to get some stuff for my kids (and maybe just to get out of the house), but the only copy of True Grit they had in stock was a Coen Brothers film adaptation tie in. I did pick up copies of Masters of Atlantis (in hardback) and The Dog of the South though.
We also visited Powell’s, of course. I wasn’t expecting it to be as big as it was. Powell’s is a very well-stocked general bookstore, but I was a little disappointed that I couldn’t find more weird or rare stuff there (I think my local place, Chamblin Bookmine, has spoiled me).
I picked up a first-edition hardback of Donald Barthelme’s “nonfiction” collection Guilty Pleasures for just a few bucks.
It includes one of my favorite Barthelme pieces, “Eugenie Grandet.” It also includes quite a bit of his collage work.
I also picked up a hardback copy of Barry Hannah’s High Lonesome. I’ve read a lot of the stories in here (collected in Long Lost Happy), but some are unfamiliar. Also, the cover is by the photorealist painter Glennray Tutor, a Southern contemporary of Hannah’s. Tutor did the covers for several other Hannah volumes.
Over in the sci-fi section of Powell’s I found some books by the Strugatsky brothers, which I’ve been into lately. I’ve heard Monday Starts on Saturday is good, but the cover for this edition is so godawful bad that I couldn’t go for it. That’s what library e-books are for, I guess. (Really though, a blank white cover would have been better.)
I ended up picking up The Doomed City instead, which I might try to squeeze in before the end of summer.
I was impressed with the art books collection at Powell’s but also disappointed not to find anything by Remedios Varo or Leonora Carrington, other than recent editions of their fiction—no real art books though. I was happy though to see a shelf recommendation for Margaret Carson’s recent translation of Varo’s Letters, Dreams & Other Writings though. I sent a pic to Margaret, who was really generous to me with her time in recent interview about her translation.
I visited a few other bookshops, not so much as destinations, but rather in happy accidents in the neighborhoods we visited—but I restrained myself from picking anything else up. (And no, I didn’t make it to Mother Foucault’s, unfortunately, although many folks told me to. Next time.)
We visited Floating World Comics the same day as Powell’s, where I picked up a copy of Kilian Eng’s Object 10. I’ve been a fan of Eng’s for years, sharing his images on the blog and following him on Instagram. I hadn’t realized though that Floating World was his publisher. Object 10 is lovely.
I also picked up a pack of 1993 Moebius trading cards there for a dollar. I haven’t opened them yet though. Saving it for a treat later. It was neat to see copies of Anders Nilsen’s Tongues in the wild, too. I had reviewed the title awhile back for The Comics Journal, but I hadn’t realized that Nilsen lived in Portland. We also checked out Bridge City Comics on Mississippi, which had a nice selection of dollar comics that I indulged my kids in.
Portland was fantastic in general. The only real disappointment came when we visited the Portland Art Museum expecting to see a major Frida Kahlo exhibit. Unfortunately, we misread the dates—the show starts next summer. The museum has a nice collection though. Just a few pics of some pieces I liked:
Rip Van Winkle (1945) by William Gropper:
The Fair Captive (1948) by Rene Magritte
and The Femminiello (1740-60) by Giuseppe Bonito.
Here’s the museum’s description of this unusual painting:
Owing to widespread social prejudice, cross-dressing was rarely depicted in European art until the modern era. This recently discovered painting from the mid-eighteenth century is a testament to the exceptional and long-standing acceptance of cross-dressers known as femminielli in the great Italian city of Naples. The term, which might be translated “little female-men,” is not derogatory, but rather an expression of endearment. Femminielli come from impoverished neighborhoods, as is evidenced by this individual’s missing tooth and goiter, a common condition among the poor in the Neapolitan region. Although femminiellicross-dress from an early age, they do not try to conceal their birth sex completely. Rather than being stigmatized, they are deemed special and are accepted as a “third sex” that combines the strengths of both males and females. In particular, femminielli are thought to bring good luck, so Neapolitans often take newborn babies to them to hold. Femminielli are also popular companions for an evening of gambling. This association is represented by the necklace of red coral, which is similarly thought to bring good fortune. Neapolitan genre paintings (images of everyday life) frequently feature a grinning figure to engage the viewer. Here, we are invited to consider the artist’s playful inversion of traditional views of gender, which contrasts the pretty young male with the more masculine femminiello.
Maybe we’ll get back to the Pacific Northwest next summer and see the Kahlo then.
Anyway so well—
Like I said, I went to the bookstore today, not looking for myself (promise!) except that I did stop and browse Portis briefly, picking up the aforementioned copies. When I got home, I had a package from NYRB containing The Corner That Held Them by Sylvia Townsend Warner. It immediately interested me when I flicked through it—seems like a weird one. NYRB’s blurb below; more to come.
Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.
Last Dance, 2018 by Clive Smith (b. 1967)
Sisters of Anarchy, 1941 by Edith Rimmington (1902-1986)
Narrative in the Rain, 2013 by Quint Buchholz (b. 1957)
Island Library, 1977 by Jamie Wyeth (b. 1946)