Country Church — Robin Ironside

Country Church, 1951 by Robin Ironside (1912-1965)

“Faith of Our Fathers” — Philip K. Dick

“Faith of Our Fathers”

by

Philip K. Dick


On the streets of Hanoi he found himself facing a legless peddler who rode a little wooden cart and called shrilly to every passer-by. Chien slowed, listened, but did not stop; business at the Ministry of Cultural Artifacts cropped into his mind and deflected his attention: it was as if he were alone, and none of those on bicyles and scooters and jet-powered motorcycles remained. And likewise it was as if the legless peddler did not exist.

“Comrade,” the peddler called however, and pursued him on his cart; a helium battery operated the drive and sent the cart scuttling expertly after Chien. “I possess a wide spectrum of time-tested herbal remedies complete with testimonials from thousands of loyal users; advise me of your malady and I can assist.”

Chien, pausing, said, “Yes, but I have no malady.” Except, he thought, for the chronic one of those employed by the Central Committee, that of career opportunism testing constantly the gates of each official position. Including mine.

“I can cure for example radiation sickness,” the peddler chanted, still pursuing him. “Or expand, if necessary, the element of sexual prowess. I can reverse carcinomatous progressions, even the dreaded melanomae, what you would call black cancers.” Lifting a tray of bottles, small aluminum cans and assorted powders in plastic jars, the peddler sang, “If a rival persists in trying to usurp your gainful bureaucratic position, I can purvey an ointment which, appearing as a dermal balm, is in actuality a desperately effective toxin. And my prices, comrade, are low. And as a special favor to one so distinguished in bearing as yourself I will accept the postwar inflationary paper dollars reputedly of international exchange but in reality damn near no better than bathroom tissue.” Continue reading ““Faith of Our Fathers” — Philip K. Dick”

HELP! A Stereophonic Narrative for Authorial Voice — John Barth

 

“HELP! A Stereophonic Narrative for Authorial Voice” by John Barth.

Aira/Márquez/Moore (Books acquired, 18 Aug. 2023)

Last week I read a 1985 Washington Post profile of the American novelist William Gaddis. The profile, by Lloyd Grove, celebrated the publication of Gaddis’s third novel Carpenter’s Gothic. In the profile, Grove paraphrases literary critic Frederick Karl’s 1985 essay “The Mega-Novel” in the following way:

Karl argues that unlike “categories of Jewish novelists, gays, Black writers [and] female authors” who address special interests, “these white Protestant males [Gaddis, Pynchon, John Barth et al.] write very close to what America is,” having “sensed the country as a whole.”

I tracked down and read Karl’s essay “The Mega-Novel”; it is, almost entirely, a sustained argument for the kind of giant-assed so-called “experimental” novels typical of the bracketed Gaddis, Pynchon, and Barth above. And yet Karl seems to slide into and side with Harold Bloom in that old man’s pompous war against the so-called “School of Resentment”; once in the quote above, and then a few pages later, when he chooses to claim that “The Mega-Novelists have avoided the individuation of ethnic, gay, female (or even strictly male) experience and sensed the country as a whole.” Yes—Grove weds this second line in Karl’s covert attack on the “School of Resentment,” this maddening and dismissive “country as a whole” bit to the previous language. The effect is so odd, as if Grove has purposefully ignored every other bit of Karl’s essay and cherry-picked the lines that valorize the Real American Viewpoint™ as White Protestant Straight and Male.

Karl’s essay is, apart from these unnecessary declarations, really quite good—he champions Gaddis’s J R and Joseph McElroy’s Lookout Cartridge in particular. And yet I found myself troubled by his claim that it is the dead white guys who write very close to what America is because they sense the country as a whole, in a way that somehow, like, I guess Ishmael Reed or Fran Ross or Toni Morrison or etc. just can’t. And because I’m so simpatico with Karl’s general idea in “The Mega-Novel,” I found myself looking for his 1983 book American Fictions 1940-1980 : A Comprehensive History and Critical Evaluation.

While I didn’t find it in the literary criticism section of my beloved used bookmine, I did find the second volume of Gaddis-scholar Steven Moore’s The Novel, covering 1600-1800.

I also picked up César Aira’s An Episode in the Life of a Landscape Painter (in translation by Chris Andrews) and Gabriel García Márquez’s In Evil Hour (in translation by Gregory Rabassa). The latter is another title in Avon/Bard’s Latin American authors series, and I can’t resist them.

 

The next day, yesterday, Saturday, I participated in an online discussion about the literature of William Gaddis on non-academic forums. (I represented Ye Olde Bloggers, and I will share more about the forum some time in the future.) Early in our forum, one of the participants, the author Jeff Bursey, raised a copy of Frederick Karl’s American Fictions 1940-1980 in front of his webcam. I believe he declared it one of the first places he’d heard of Gaddis, although I could be misremembering. It seemed like a serendipitous moment. I hope to muster more words on most of this later.

“Pete Resists the Man of His Old Room,” a very short story by Barry Hannah

“Pete Resists the Man of His Old Room”

by

Barry Hannah


Who is that?” hissed the woman at the corner. Pete and Tardy were necking. They could never quit. They hardly ever heard. The porch where their bench was was purple and smelly with creeping pot plants. Their child, who was thirty, rode a giant trike specially made, he being, you know, simple, back and forth on the walk, singing : Awwwww. Ernnnnnn. Oobbbbbbbb.

The man, remarked only by the hissing woman at the corner, who was Tardy’s mother, walked, or rather verged, here and there, undecided, froth running down his chin and a dagger in his hand. He had an address printed on some length of cardboard. His fingernails were black.

“Out! Out of here, you mange!” shouted Tardy’s mother.

“In, in, in!” the hairy man in the street shouted back.

Pete looked up. “It’s my old college roommate.

Lay off, Mamma,” Pete expressed, rising.

The fellow in the street straightaway made for Pete but got caught in the immense rose hedge. “I knew I’d find you! Peace! Joy! Communion at last!” the filthy fellow shouted as he writhed, disabled.

“Son of a gun!” roared Pete. “Look here, Tardy. It’s old Room Man!”’

“Jumping Jesus, do these thorns hurt!” shouted the filthy hairy fellow. He’d lost his dagger in the leaf mold. That hedge really had him.

“What say?” shouted Pete.

“I got no more discretion, Pete boy! I’m just a walking reminiscence ! Here I am ! I remember you when you were skinny and cried about a Longfellow poem! Your rash! Everything! Edna, Nannie, Fran! Puking at the drive-in!”

“I thought so,” said Pete to Tardy, low, his smile dropped aside. “Would you get me my piece, my charm?”

“Your spiritual phase!” the filthy hairy fellow was screaming. “Your Albert Schweitzer dreams! Signing on the dorm wall with your own blood !” shouted the awful man who was clogged in the hedge.

“Yes,” Pete said, lifting the weary corners of his lips.

Tardy lugged out the heavy piece.

Pete took it and jammed home the two big ones.

“Remember Juanita and her neat one? Played the cornet with her thing and you did the fingering?” screamed the wretched fellow all fouled in the hedge.

Yes.

He cut half his hedge away when he fired the double through it. The dagger blew out in the street along with the creep that held it. All the while Tardy’s mother stood with crossed arms.

The son stopped his giant trike. He said, “Ernnnnn,” to his dad on the porch.

“Albert,” said Pete. “Take care of the stuff in the street,” and within minutes the son was back with the wagon attached and the scoop.

“It makes me not hardly want to kiss anymore,” Tardy said, fft

The World had been expected to end in the year one thousand | From T.H. White’s The Ill-Made Knight

The World had been expected to end in the year one thousand, and, in the reaction which followed its reprieve, there had been a burst of lawlessness and brutality which had sickened Europe for centuries. It had been responsible for the doctrine of Might which was the Table’s enemy. The fierce lords of the Strong Arm had hunted the wild woodlands—only, of course, there had always been exceptions like the good Sir Ector of Forest Sauvage—till John of Salisbury had been forced to advise his readers: “If one of these great and merciless hunters shall pass by your habitation, bring forth hastily all the refreshment you have in your house, or that you can readily buy, or borrow from your neighbour: that you may not be involved in ruin, or even accused of treason.” Children, Duruy tells us, had been seen hanging in trees, by the sinews of their thighs. It had been no uncommon sight to see a man-at-arms whistling like a lobster, and looking like porridge, because they had emptied a bucket of boiling bran over his armour during a siege. Other spectacles even more dramatic have been mentioned by Chaucer: the smyler with the knyf under the cloke, the careyne in the bush with throte y-corve, or the colde deeth with mouth gaping upright. Everywhere it had been blood on steel, and smoke on sky, and power unbridled—and, in the general confusion of the times, Gawaine had at last contrived to murder our dear old friend King Pellinore, in revenge for the death of his own father, King Lot.

Such had been the England which Arthur had inherited, such the birthpangs of the civilization which he had sought to invent. Now, after twenty-one years of patient success, the land presented a different picture.

Where the black knights had hoved, all brim and furious by some ford, to take toll of anybody rash enough to pass that way, now any virgin could circumambulate the whole country, even with gold and ornaments upon her person, without the least fear of harm. Where once the horrible lepers—they called them Measles—had been accustomed to ramble through the woods in white cowls, ringing their doleful clappers if they wanted to give warning, or just pouncing on you without ringing them if they did not, now there were proper hospitals, governed by religious orders of knighthood, to look after those who had come back sick with leprosy from the Crusades. All the tyrannous giants were dead, all the dangerous dragons—some of which used to come down with a burrr like the peregrine’s stoop—had been put out of action. Where the raiding parties had once streamed along the highways with fluttering pennoncels, now there were merry bands of pilgrims telling each other dirty stories on the way to Canterbury. Demure clerics, taking a day’s outing to Our Lady of Walsingham, were singing Alleluia Dulce Carmen, while the less demure ones were warbling the great medieval drinking-song of their own composition: Meum est propositum in taberna mori. There were urbane abbots, titupping along on ambling palfreys, in furred hoods which were against the rules of their orders, and yeomen in smart tackle with hawks on their fists, and sturdy peasants quarrelling with their wives about new cloaks, and jolly parties going out to hunt without armour of any sort. Some were riding to fairs as great as that of Troyes, others to universities which rivalled Paris, where there were twenty thousand scholars whose ranks eventually provided seven popes. In the abbeys all the monks were illuminating the initial letters of their manuscripts with such a riot of invention that it was impossible to read the first page at all. Those who were not doing the chi-ro page were carefully copying out the Historia Francorum of Gregory of Tours, or the Legenda Aurea, or the Jeu d’Echecs Moralisé, or a Treatise of Hawkynge—that is, if they were not engaged upon the Ars Magna of the magician Lully, or the Speculum Majus by the greatest of all magicians. In the kitchens the famous cooks were preparing menus which included, for one course alone: ballock broth, caudle ferry, lampreys en galentine, oysters in civey, eels in sorré, baked trout, brawn in mustard, numbles of a hart, pigs farsed, cockintryce, goose in hoggepotte, venison in frumenty, hens in brewet, roast squirrels, haggis, capon-neck pudding, garbage, tripe, blaundesorye, caboges, buttered worts, apple mousse, gingerbread, fruit tart, blancmange, quinces in comfit, stilton cheese, and causs boby. In the dining halls the older gentlemen, who had spoiled their palates with drinking, were relishing those strange delicacies of the Middle Ages—the strong flavours of whale and porpoise. Their dainty ladies were putting roses and violets in their dishes—baked marigolds still make an excellent flavouring for bread-and-butter puddings—while the squires were showing their weakness for sheep’s-milk cheese. In the nurseries all the little boys were moving heaven and earth to persuade their mothers to have hard pears for dinner, which were stewed in honey-syrup and vinegar, and eaten with whipped cream. The manners of the table, too, had reached a pitch of civilization far beyond our own. Now, instead of the plates made of bread, there were covered dishes, scented finger bowls, sumptuous table cloths, a plethora of napkins. The diners themselves were wearing chaplets of flowers and graceful draperies. The pages were serving the food with the formal movements of a ballet. Wine bottles were being placed on the tables, but ale, being less respectable, was being put beneath. The musicians, with strange orchestras of bells, large horns, harps, viols, zithers and organs, were playing as the people ate. Where once, before King Arthur had made his chivalry, the Knight of the Tower Landry had been compelled to warn his daughter against entering her own dining hall in the evening unaccompanied—for fear of what might happen in the dark corners—now there was music and light. In the smoky vaults, where once the grubby barons had gnawed their bones with bloody fingers, now there were people eating with clean fingers, which they had washed with herb-scented toilet soap out of wooden bowls. In the cellars of the monasteries the butlers were tapping new and old ale, mead, port, claree, dry sherry, hock, beer, metheglyn, perry, hippocras, and the best white whisky. In the law courts the judges were dispensing the King’s new law, instead of the fierce law of Fort Mayne. In the cottages the good wives were making hot griddle bread enough to make your mouth water, and putting fine turf on their fires regardless of expense, and herding fat geese on the commons enough to support twenty families for twenty years. The Saxons and Normans of Arthur’s accession had begun to think of themselves as Englishmen.

From The Ill-Made Knight by T.H. White.

May God Deliver Us from the Venom of the Cobra, Teeth of the Tiger, and Cinema of the Americans — Jean-Pierre Roy

May God Deliver Us from the Venom of the Cobra, Teeth of the Tiger, and Cinema of the Americans, 2023 by Jean-Pierre Roy (b. 1974)

Self-Portrait with Land Skirt — Julie Heffernan

Self-Portrait with Land Skirt, 2022 by Julie Heffernan (b. 1956)

“Edgy Pleasures” — William T. Vollmann

“Edgy Pleasures”

by

William T. Vollmann


The most significant characteristic of the lovely nineteenth-century Indian daggers I collect is their blunt edges. Their purpose, in short, is to symbolize the power and authority of weapons, much like an officer’s pistol or even a policeman’s uniform. They are talismanic, like a crucifix or a Platonic form. Evidently, beauty was an absolute requirement in their crafting, since any such dagger was metonymic with the official function of a maharaja, whose life had to symbolize perfection to the rest of society. What purpose now? The maharajas are impoverished, and even such distant cousins of these daggers as bayonets are frequently used. For acts of war, we have our bombs, flying machines, crawling machines, swimming machines; for acts of legislation, the truncheon and the gun; for acts of atrocity, again the gun. Thus, these daggers are doubly removed from sharpness. It is emblematic that the little store in Udaipur that sold them (lubricated well with coconut oil, wrapped in bundles of old newspaper) was equally forward in displaying jointed silverfish made up of many small pieces more complex than bones. This made the daggers seem even more beautifully useless, metonymic still of the maharaja but only the Maharaja of Astonishment—for instance, Sawai Madho Singh I, who was reputedly seven feet tall and four feet wide.

In Jaipur, I saw his maharani’s eighteen-pound dress. “That must have been heavy,” I said. The guide smiled. “The Indian women don’t feel the weight when it’s real gold,” he said. The real gold of these daggers is, of course, their craftsmanship. The longer I handle the smooth, yellow ivory of that camel’s head or peer into the checkered gape of that flower-inlaid tiger, the more I perceive this and the more fairylike the pieces become. I have seen the maharaja’s sun emblem: It was composed of muskets raying outward from sacredness. Surely these muskets were never fired. How blasphemous it would have been to wrench off a ray from the sun! I went to another palace, whose wooden gates were forty feet high. I saw the high window where the maharani used to welcome her husband with rose flowers. I passed through green-bordered receding arches like the leaves of artichokes. Now: the Hall of Glory. The ceiling was inlaid with silvered glass in tiny, complex pieces to shimmer a million reflected flames of a single candle. Skeletons dazzled me in the perforated marble screens. But the guide said, “Before, the maharaja had elephants. Now, not a single one!” No utility anywhere. Consider the so-called tiger knife, which is shaped like the letter A with two horizontals. The hand grips one of them: The legs of the A curve inward into parallels to enclose the wrist and lock it. The tiger comes; the point of the A stabs him; he falls dead. Functional, no doubt. But many of these tiger knives—old ones gilded, damascened, tawny-striped like tigers— are for sale. A good one goes for $3,000 (less, of course, if you bargain, cash in hand). A maharaja had placed it on consignment. The maharajas sell things incognito, I heard; the maharajas are ashamed. Sometimes, to decrease the likelihood that the knives will be recognized as theirs, they sell to distant provinces, even though there’s less money that way. This is how it must be. Recently, an art connoisseur came to buy Mogul miniatures. He asked a maharaja if anything was for sale. The maharaja said no, but if the man was serious, he knew another noble who might sell. It had to be understood, however, that the connoisseur would never meet him or learn his name. What is a tiger knife without its maharaja? And, indeed, the matter is worse, much worse, for in Udaipur I saw towers alone and incongruous upon the desert hills. Sentries used to watch there for tigers, but that was when there were still forests. The trees are all burned now. What use, then, a tiger knife? No matter whether any blade is sharp.


From a 1996 Esquire feature called “My Favorite Things.” The feature also included Charles M. Schulz, Francis Ford Coppola, David Lee Roth, Wayne Gretzky, Susan Sontag, John Travolta and many other folks on their favorite thing.

Rainer J. Hanshe’s Closing Melodies (Book acquired, 8 Aug. 2023)

Rainer J. Hanshe’s enormous, strange tome Closing Melodies is new from Contra Mundum. Their description:

As the 19th century comes to a close, Friedrich Nietzsche and Vincent van Gogh unknowingly traverse proximate geographical terrain, nearly circling one another like close but distant stars as the philosopher wanders between Nizza, Sils Maria, and Torino, and the painter wanders between Paris, Arles, and Saint-Rémy. In the midst of their philosophical and artistic pursuits, simultaneously, the Eiffel Tower, symbol of artistic progress and industrialization, begins to rise in Paris amidst clamors of protest and praise.

Through intertwining letters written to (& sometimes by) friends, family, and others, the philosopher and painter are brought into ever-greater proximity as we witness their daily personal and artistic struggles. Woven between and interrupting this panoply of voices are a series of intervals, short illuminating blasts, like a camera’s exploding flash powder, of artistic, scientific, political, and other events spanning 1888 to 1890, drawing Nietzsche and Van Gogh in and out of the wider expanses of history.

As construction of the Eiffel Tower comes to completion in Paris and Elisabeth Förster, the sister of the philosopher of the will to power, tries to found a utopic race colony in South America, the lives of Nietzsche and Van Gogh come to their terrible denouements. Her brother now a full-fledged zombie, the former queen of Nueva Germania seizes the reins of his living corpse and rides him into the future.

With no deus ex machina in sight, and none possible, WWI and the terrors and the beauties of the 20th century crack the horizon.

“Awareness is its own action” and other things Harry Dean Stanton learned

That doormat? That doormat? It was a gift. Got that years and years ago. “Welcome UFOs and crews.”

Churches. Catholics. Jews. Christians. Protestants. Mormons. Muslims. Scientologists. They’re all macrocosms of the ego. When man began to think he was a separate person with a separate soul, it created a violent situation.

Everyone wants an answer. I think it was Gertrude Stein who wrote, “There is no answer, there never was an answer, there’ll never be an answer. That’s the answer.” It’s a hard sell, but that’s the ultimate truth.

For Ride in the WhirlwindJack came to me and said, “Harry I’ve got this part for you. His name is Blind Dick Reilly and he’s the head of the gang. He’s got a patch over one eye and a derby hat.” Then he says, “But I don’t want you to do anything. Let the wardrobe play the character.” Which meant, just play yourself. That became my whole approach.

Awareness is its own action.

We had a scene in One from the Heart. Francis Ford Coppola comes up to me and he says, “Harry Dean, why don’t you direct this scene?” Can you imagine that?

Ten seconds from now you don’t know what you’re gonna say or think. So who’s in charge?

I make my living asking questions, too. Acting, you ask questions.

There’s no answer to what made Paul Newman a great actor.

A friend is somebody who doesn’t lie. My friend Logan, great guy, said to me once, “Lie to me once, it’s strike one. Like to me twice, it’s strike three.”

Jack Nicholson could be president, easy.

Marilyn Monroe was used and tossed away. I told Madonna, “You’re not like that. Don’t be.”

I don’t know why I’ve never married. Again, I had nothing to do with it. I just evolved, you know.

No, I’m not curious about anything. I’m just letting it all happen.

There’s no answer to the state of Kentucky. Again, you’re looking for an answer and there is none.

I only eat so I can smoke and stay alive.

The Ten Commandments. What is that? That’s what they do in the army. Give you orders. “Thou shalt not kill?” And we immediately set on killing each other—in spades.

Most people as they get older don’t talk about it. But the sex drive lessens. You’re not driven by it.

I’d love to meet Gandhi. And Christ. I’m sure he’d be interesting. And a lot different than a lot of people would think.

The void, the concept of nothingness, is terrifying to most people on the planet. And I get anxiety attacks myself. I know the fear of that void. You have to learn to die before you die. You give up, surrender to the void, to nothingness.

Oh, yeah, Marlon and I talked about this stuff all the time. On the phone once, he said, “What do you think of me?” And I said, “I think you’re nothing.” And he goes, “Bahahaha!”

Is there an interesting way to go? Who gives a fuck? You’re already gone.

The only fear I have is how long consciousness is gonna hang on after my body goes. I just hope there’s nothing. Like there was before I was born.

Anybody else you’ve interviewed bring these things up?

Hang on, I gotta take this call. “Hey, brother. That’s great, man. Yeah, I’m being interviewed by this Esquire guy. We’re talking about nothing. I’ve got him well-steeped in nothing right now. He’s stopped asking questions.”

From a January 2009 feature on Harry Dean Stanton in Esquire. The interview is by Cal Fussman.

Sphinx II — Ludwig Schwarzer

Sphinx II, 1978 by Ludwig Schwarzer (1912 – 1989)

Steven Moore on William Gaddis and Russian Literature

Photograph of William Gaddis by William H. Gass

The good folks at indie publisher Sublunary have shared on their site the text of Gaddis scholar Steven Moore’s essay “William Gaddis and Russian Literature.” The essay serves as the preface for a forthcoming Russian translation of Moore’s Gaddis study, William Gaddis: Expanded Edition.

From the essay:

By the age of twenty Gaddis had already read Dostoevsky’s Crime and Punishment—he later called it “the first ‘great’ novel I experienced”—and over the next decade he devoured much more Russian literature, as is evident from the letters he wrote while writing his first novel, The Recognitions. He tells his mother about reading Chekhov’s plays and Dostoevsky’s House of the Dead, praises Crime and Punishment and The Idiot to short-story writer Katherine Anne Porter, and informs an ex-girlfriend that he is re-reading Goncharov’s Oblomov, which he continued to praise all his life. When his first novel was published in 1955, many critics mistakenly assumed that it was influenced by James Joyce’s Ulysses; but an informed reader would have noticed the numerous references to books by Dostoevsky (Brothers Karamazov, Crime and Punishment, Demons, The Idiot) and Tolstoy (Kingdom of God, Power of Darkness, Redemption), and would have correctly concluded that Gaddis had adapted the 19th-century Russian novel for 20th-century Americans, one closer to The Idiot than to Ulysses.

Read the essay at Sublunary.

A Portent for All Good Dogs of Tulsa Who Want to Show Their Quality — Peter Ferguson

A Portent for All Good Dogs of Tulsa Who Want to Show Their Quality by Peter Ferguson (b. 1968)

On the Beach — Peter Busch

On the Beach, 2019 by Peter Busch (b. 1971)

“Making Do,” a very short tale by Italo Calvino

“Making Do”

by

Italo Calvino

translated by Tim Parks


There was a town where everything was forbidden.

Now, since the only thing that wasn’t forbidden was the game tip-cat, the town’s subjects used to assemble on meadows behind the town and spend the day there playing tip-cat.

And as the laws forbidding things had been introduced one at a time and always with good reason, no one found any cause for complaint or had any trouble getting used to them.

Years passed. One day the constables saw that there was no longer any reason why everything should be forbidden and they sent messengers to inform their subjects that they could do whatever they wanted.

The messengers went to those places where the subjects were wont to assemble.

‘Hear ye, hear ye,’ they announced, ‘nothing is forbidden any more.’

The people went on playing tip-cat.

‘Understand?’ the messengers insisted. ‘You are free to do what you want.’

‘Good,’ replied the subjects. ‘We’re playing tip-cat.’

The messengers busily reminded them of the many wonderful and useful occupations they had once engaged in and could now engage in once again. But the subjects wouldn’t listen and just went on playing, stroke after stroke, without even stopping for a breather.

Seeing that their efforts were in vain, the messengers went to tell the constables.

‘Easy,’ the constables said. ‘Let’s forbid the game of tip-cat.’

That was when the people rebelled and killed the lot of them.

Then without wasting time, they got back to playing tip-cat.

Conspirators — Aaron Gilbert

Conspirators, 2020 by Aaron Gilbert (b. 1979)