Three Books

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Professor Noah’s Spaceship by Brian Wilsdsmith. First edition hardback by Oxford University Press, 1980; distributed through Macmillan Book Clubs. Design, cover, and art by Brian Wildsmith. This book is too beautiful.

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See Again, Say Again by Antonio Frasconi. First edition oversized hardback published by Hacourt, Brace and World, 1964. Cover design, fonts, and woodcuts by Antonio Frasconi.

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Do You Hear What I Hear? by Helen Borten. First edition hardback reprint by Flying Eye Books, a division of Nobrow; the book was originally published in 1960. Illustration and design by Helen Borten. Nowbrow kindly sent me a copy of Do You Hear What I Hear?—the book is beautiful, the text is lovely—Borten’s technique is to represent sound—or rather the feeling of sound (which is to say, the feeling of the feeling of sound) through language and art. Like any great children’s book, Do You Hear What I Hearis best read out loud, and my five-year-old son loved it so much that I had to read it again to him immediately after the first reading. We’ve read it a few times since then. Great stuff.

Snake Curling around a Bamboo Stalk with a Sparrow on It — Katsushika Hokusai

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The Werl Triptych (detail) — Robert Campin

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No great book is explicable (William Gass)

No great book is explicable, and I shall not attempt to explain this one. An explanation–indeed, any explanation–would defile it, for reduction is precisely what a work of art opposes. Easy answers, convenient summaries, quiz questions, annotations, arrows, highlight lines, lists of its references, the numbers of its sources, echoes, and influences, an outline of its design–useful as sometimes such helps are–nevertheless seriously mislead. Guidebooks are useful, but only to what is past. Interpretation replaces the original with the lamest sort of substitute. It tames, disarms. “Okay, I get it,” we say, dusting our hands, “and that takes care of that.” “At last I understand Kafka” is a foolish and conceited remark.

From “William Gaddis and His Goddamn Books” by William Gass. Originally published as the introduction to the Penguin Classics edition of The Recognitions, and also published (and repurposed and expanded) in A Temple of Texts—which is where I went looking for it—or rather, went looking for some of Gass’s language on J R, which I re-read last month, and was going to, I don’t know, try to write about (something beyond: J R is not nearly as difficult as you may think it is, and it is a very funny and important and tragic and entertaining novel). Anyway, this section leapt out at me—Yes, how wonderful!, thought I. And as I went to transcribe it here, to share, reader, I realized that of course I had done so already back in 2009. Ah! Why not share again. Isn’t J R about recycling, about language as a kind of detritus, redirected, repurposed? Isn’t it?

Lingam — Claudio Bravo

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Bitter pill

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e.e. cummings, 1926

The Lotus Gatherers — John Atkinson Grimshaw

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He Wants (Book acquired, some time in February 2016)

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British author Alison Moore’s novel He Wants is getting a release on this side of the Atlantic from Canadian publisher Biblioasis.

From novelist Rachel Cusk’s review of He Wants two years ago in The Guardian:

Following her Booker-shortlisted The Lighthouse, Alison Moore’s artistically pleasing second novel is a sort of Midlands Death in Venice, a story of ageing and thwarted desire in which a man drifts away from his moorings into Dionysian impulses, after a lifetime spent serving the values of the humdrum contemporary community in which he lives.

He Wants evokes a world that is purposefully pedestrian – the Dionysian impulses pertain to halves of shandy and the desire to taste a Swiss liqueur called Goldschläger – but its themes of self-realisation, identity and mortality are grand enough. Moore’s protagonist, a widower RE teacher who is approaching retirement, is intimately captured in the midst of a disintegration brought about by the loss of the structures that have thus far formed and maintained his personality: work, marriage and certain relationships that have created or reinforced his sense of existence.

The Forbidden World — Rene Magritte

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The Werl Triptych (detail) — Robert Campin

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“The Auction,” a very short story by Stephen Crane

“The Auction”

by

Stephen Crane


 

Some said that Ferguson gave up sailoring because he was tired of the sea. Some said that it was because he loved a woman. In truth it was because he was tired of the sea and because he loved a woman.

He saw the woman once, and immediately she became for him the symbol of all things unconnected with the sea. He did not trouble to look again at the grey old goddess, the muttering slave of the moon. Her splendours, her treacheries, her smiles, her rages, her vanities, were no longer on his mind. He took heels after a little human being, and the woman made his thought spin at all times like a top; whereas the ocean had only made him think when he was on watch.

He developed a grin for the power of the sea, and, in derision, he wanted to sell the red and green parrot which had sailed four voyages with him. The woman, however, had a sentiment concerning the bird’s plumage, and she commanded Ferguson to keep it in order, as it happened, that she might forget to put food in its cage.

The parrot did not attend the wedding. It stayed at home and blasphemed at a stock of furniture, bought on the installment plan, and arrayed for the reception of the bride and groom.

As a sailor, Ferguson had suffered the acute hankering for port; and being now always in port, he tried to force life to become an endless picnic. He was not an example of diligent and peaceful citizenship. Ablution became difficult in the little apartment, because Ferguson kept the wash-basin filled with ice and bottles of beer: and so, finally, the dealer in second-hand furniture agreed to auction the household goods on commission. Owing to an exceedingly liberal definition of a term, the parrot and cage were included. “On the level?” cried the parrot, “On the level? On the level? On the level?”

On the way to the sale, Ferguson’s wife spoke hopefully. “You can’t tell, Jim,” she said. “Perhaps some of ’em will get to biddin’, and we might get almost as much as we paid for the things.”

The auction room was in a cellar. It was crowded with people and with house furniture; so that as the auctioneer’s assistant moved from one piece to another he caused a great shuffling. There was an astounding number of old women in curious bonnets. The rickety stairway was thronged with men who wished to smoke and be free from the old women. Two lamps made all the faces appear yellow as parchment. Incidentally they could impart a lustre of value to very poor furniture.

The auctioneer was a fat, shrewd-looking individual, who seemed also to be a great bully. The assistant was the most imperturbable of beings, moving with the dignity of an image on rollers. As the Fergusons forced their way down the stair-way, the assistant roared: “Number twenty-one!”

“Number twenty-one!” cried the auctioneer. “Number twenty-one! A fine new handsome bureau! Two dollars? Two dollars is bid! Two and a half! Two and a half! Three? Three is bid. Four! Four dollars! A fine new handsome bureau at four dollars! Four dollars! Four dollars! F-o-u-r d-o-l-l-a-r-s! Sold at four dollars.”

“On the level?” cried the parrot, muffled somewhere among furniture and carpets. “On the level? On the level?” Every one tittered.

Mrs. Ferguson had turned pale, and gripped her husband’s arm. “Jim! Did you hear? The bureau—four dollars—”

Ferguson glowered at her with the swift brutality of a man afraid of a scene. “Shut up, can’t you!”

Mrs. Ferguson took a seat upon the steps; and hidden there by the thick ranks of men, she began to softly sob. Through her tears appeared the yellowish mist of the lamplight, streaming about the monstrous shadows of the spectators. From time to time these latter whispered eagerly: “See, that went cheap!” In fact when anything was bought at a particularly low price, a murmur of admiration arose for the successful bidder.

The bedstead was sold for two dollars, the mattresses and springs for one dollar and sixty cents. This figure seemed to go through the woman’s heart. There was derision in the sound of it. She bowed her head in her hands. “Oh, God, a dollar-sixty! Oh, God, a dollar-sixty!”

The parrot was evidently under heaps of carpet, but the dauntless bird still raised the cry, “On the level?”

Some of the men near Mrs. Ferguson moved timidly away upon hearing her low sobs. They perfectly understood that a woman in tears is formidable.

The shrill voice went like a hammer, beat and beat, upon the woman’s heart. An odour of varnish, of the dust of old carpets, assailed her and seemed to possess a sinister meaning. The golden haze from the two lamps was an atmosphere of shame, sorrow, greed. But it was when the parrot called that a terror of the place and of the eyes of the people arose in her so strongly that she could not have lifted her head any more than if her neck had been of iron.

At last came the parrot’s turn. The assistant fumbled until he found the ring of the cage, and the bird was drawn into view. It adjusted its feathers calmly and cast a rolling wicked eye over the crowd.

“Oh, the good ship Sarah sailed the seas,And the wind it blew all day—”

This was the part of a ballad which Ferguson had tried to teach it. With a singular audacity and scorn, the parrot bawled these lines at the auctioneer as if it considered them to bear some particular insult.

The throng in the cellar burst into laughter. The auctioneer attempted to start the bidding, and the parrot interrupted with a repetition of the lines. It swaggered to and fro on its perch, and gazed at the faces of the crowd, with so much rowdy understanding and derision that even the auctioneer could not confront it. The auction was brought to a halt; a wild hilarity developed, and every one gave jeering advice.

Ferguson looked down at his wife and groaned. She had cowered against the wall, hiding her face. He touched her shoulder and she arose. They sneaked softly up the stairs with heads bowed.

Out in the street, Ferguson gripped his fists and said: “Oh, but wouldn’t I like to strangle it!”

His wife cried in a voice of wild grief: “It—it m—made us a laughing-stock in—in front of all that crowd!”

For the auctioning of their household goods, the sale of their home—this financial calamity lost its power in the presence of the social shame contained in a crowd’s laughter.

Mater Dolorosa — Hans Memling

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Sex ed (Glen Baxter)

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March — Djuna Barnes

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From Djuna Barnes’s Ladies Almanack.

A Mossy Glen — John Atkinson Grimshaw

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“Your Hard Work is About to Pay Off. Keep On Keeping On.” — Bitchin Bajas & Bonnie ‘Prince’ Billy

Wisdom is cold (Wittgenstein)

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From The Wittgenstein Reader, Blackwell (1994). Edited by Anthony Kenny; English translation by Peter Winch.