The Hall of Spiders (An Illustration for Mervyn Peake’s Gormenghast) — Charles W. Stewart

On the Way to the Doctor, 1974 by Charles W. Stewart (1915 – 2001).

Part of a series of unpublished illustrations that were to illustrate Mervyn Peake’s 1950 novel, Gormenghast. (More here.)

King Cheetah — Angela Gram

King Cheetah, 2022 by Angela Gram (b. 1985)

Playground No.6 — Peter Colville Horridge Gardner

Playground No.6, 1968 by Peter Colville Horridge Gardner (b. 1921)

Books acquired (First week of May, 2023)

My wife and I spent a lovely few days in Sunny Manhattan last week in celebration of a recent anniversary. We stayed in the venerable Hotel Chelsea, where we were lucky enough to get a brief visit to room 629, the former residence of the artist Vali Myers. The current resident, photographer Tony Notarberardino was hosting a party later, and the theatrical currents outside of his door, accompanied by ethereal music, attracted us to peer in as we were looking around the hotel. Tony graciously invited us for a brief peek before his party, and the rooms are simply otherworldy, covered in murals by Myers along with beautiful paintings, furniture, and other sundries. Among other books, he recommended Sherill Tippins’ history of the hotel, Inside the Dream Palace. The short tour was a highlight of our visit.

I wasn’t able to find Tippins’ book at any of the four bookstores I visited in NYC, but I found it at my trusty enormous used bookstore when I got home. I’m enjoying it very much so far—it’s really almost like a history of 20th c. modernism focused around one locale. I’m not quite halfway through, around the early 1960s, in a chapter focusing on Harry Smith (he of the Anthology of American Folk Music, and many other things), who was a one-time resident of the Chelsea.

Admittedly, I didn’t scour the history books at The Strand’s main store too closely, spending most of my time browsing fiction. I ended up with László Krasznahorkai’s Spadework for a Palace (trans. by John Batki) and a hardback copy of Joy Williams’ HarrowHarrow was one of my favorite books of last year. I listened to the audiobook twice and have had an eye out for a physical copy since then. Something I wrote on it in a 2022 round up:

Williams takes the “post-apocalyptic” quite literally–Harrow is about post-revelation, an uncovering, a delayed judgment from an idiot savant. It’s one of those books you immediately start again and see that what appeared to be baggy riffing was knotting so tight you couldn’t recognize it the first time through — the appropriate style for a novel that dramatizes Nietzsche’s eternal return as a mediation of preapocalyptic consciousness in a post-apocalyptic world.

I’ve sat down many times and tried to write a bestseller but something always goes wrong | William S. Burroughs

BOCKRIS: Do you ever get worried that being a writer provides a pretty thin income?

BURROUGHS: It’s gotten very thin. I’ve sat down many times and tried to write a bestseller but something always goes wrong. It isn’t that I can’t bring myself to do it or that I feel I’m commercializing myself or anything like that, but it just doesn’t work. If your purpose is to make a lot of money on a book or film, there are certain rules to observe. You’re aiming for the general public, and there are all sorts of things the general public doesn’t want to see or hear. A good rule is never ask the general public to experience anything they cannot easily experience. You don’t want to scare them to death, knock them out of their seats, and above all, you don’t want to puzzle them.

From With William Burroughs: A Report from the Bunker by Victor Bockris. The selection is from Bockris’s recording of a 1978 dinner with Maurice Girodias, Gerard Malanga, and Glenn O’Brien.

 

“Mothers” — William Gaddis

“Mothers”

by

William Gaddis

When Ralph Waldo Emerson informed—or rather, perhaps, warned us—that we are what our mothers made us, we might dismiss it as received opinion and let it go at that, like the broken clock which is right twice a day, like the self-evident answer contained in Freud’s oft-quoted query “What do women want?” when, as nature’s handmaid, she must want what nature wants which is, quite simply, More. But which woman? Whose mother, Emerson’s? A woman so in thrall to religion that we confront another dead end; or Freud’s? or even one’s own, even mine, offering an opportune bit of wisdom to those of us engaged in the creative arts, where paranoia is almost an occupational hazard: “Bill, just try to remember,” she said, “there is much more stupidity than there is malice in the world,” an observation lavish with possibilities recalling Anatole France finding the fool more dangerous than the rogue because “the rogue does at least take a rest sometimes, the fool never.”

This is hardly to see stupidity and malice as mutually exclusive: look at your morning paper, where their combined forces explode exponentially (women and children first) from Bosnia to Belfast, unlike the international “intelligence community” so self-contained in its malice-free exercises that it generally ensnares only its own dubious cast of players. Of further importance is the distinction between stupidity and ignorance, since ignorance is educable, while stupidity’s self-serving mission is the cultivation and exploitation of ignorance, as politicians are keenly aware.

How, then, might Emerson’s mother have seen herself stumbling upon Thomas Carlyle’s vision of her son as a “hoary-headed and toothless baboon”? Or Freud’s, in the gross unlikelihood of her reading the Catholic World’s review of her son’s book Moses and Monotheism as “poorly written, full of repetitions . . . and spoiled by the author’s atheistic bias and his flimsy psychoanalytic fancies”? Goethe’s Wilhelm Meister dismissed as “sheer nonsense” by the Edinburgh Review and, a good century later, the hero of Saul Bellow’s Dangling Man ridiculed as a “pharisaical stinker” in Time magazine, John Barth’s The End of the Road recommended by Kirkus Reviews “for those schooled in the waste matter of the body and the mind,” and William Faulkner’s Absalom, Absalom! shrugged off as the “final blowup of what was once a remarkable, if minor, talent” by The New Yorker magazine where, just forty years later, “a group of avant-garde critics has put forward the idea that books should be made unreadable. This movement has manifest advantages. Being unreadable, the text repels reviewers, critics, anthologists, academic literati, and other parasitical forms of life,” indicting the author of the novel J R wherein “to produce an unreadable text, to sustain this foxy purpose over 726 pages, demands rare powers. Mr. Gaddis has them.” “You’re a fool, a fool!” the distraught mother of Dostoevski’s ill-fated hero Nikolay Stavrogin cries out at the “parasitical forms of life” surrounding her. “You’re all ungrateful fools. Give me my umbrella!”

(“Mothers” is collected in The Rush to Second Place).

Mother and Child (Nancy and Olivia) — Alice Neel

Mother and Child (Nancy and Olivia), 1967 by Alice Neel (1900-1984)

Meshes of the Afternoon

Self Portrait — Dora Carrington

Self Portrait by Dora Carrington (1893-1932)

Medusa Grown Old — Marion Adnams

Medusa Grown Old, 1945 by Marion Adnams (1898-1995)

Pipe — Hideko Inoue

Pipe, 2004 by Hideko Inoue (b.1975)

Gulf Women Prepare for War — Maggi Hambling

Gulf Women Prepare for War, 1986 by Maggi Hambling b.1945;

An Unconscious Naked Man Lying on a Table Being Attacked by Little Demons Armed with Surgical Instruments; Representing the Effects of Chloroform on the Human Body — Richard Tennant Cooper

An Unconscious Naked Man Lying on a Table Being Attacked by Little Demons Armed with Surgical Instruments; Representing the Effects of Chloroform on the Human Body c. 1912, by Richard Tennant Cooper (1885–1957)

I am on kind of a Borges kick (Thomas Pynchon)

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More Thomas Pynchon letters here. Via Reddit user Forest Limit.

“Togetherness” — Thomas Pynchon

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(Click to enlarge.)

“Togetherness,” by Thomas Pynchon was published in the vol. 16, no. 12 issue of Aerospace Safety in December 1960. The byline reads “Thomas H. Pynchon” (for Huggles, presumably).

Full text of the article here (for completists only, of course).

Pynchon book titles embedded in other Pynchon books

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Slow Learner. From page 641 of Gravity’s Rainbow.

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Vineland. From the beginning of ch. 66 of Mason & Dixon.

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Inherent Vice. From page 272, chapter 27 of Mason & Dixon. 

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Against the Day. From page 125, chapter 13 of Mason & Dixon.

Way too cheap (From Thomas Pynchon’s Vineland)

“Whole problem ’th you folks’s generation,” Isaiah opined, “nothing personal, is you believed in your Revolution, put your lives right out there for it—but you sure didn’t understand much about the Tube. Minute the Tube got hold of you folks that was it, that whole alternative America, el deado meato, just like th’ Indians, sold it all to your real enemies, and even in 1970 dollars—it was way too cheap. . . .”

A critique (by Gen X punker Isaiah Two Four) of the Baby Boomers. From Thomas Pynchon’s 1990 novel Vineland.  The “Tube” is television, of course, but might be a placeholder for any passively-consumed entertainment.