Suma, 1982 by Cy Twombly (1928-2011)
“Buried in Colorado All Alone”
by
Joy Williams
from 99 Stories of God
The girl from the pharmacy who delivered Darvon to Philip K. Dick, the science fiction writer, wore a golden fish necklace.
“What does that mean?” asked Dick.
She touched it and said, “This is a sign worn by the early Christians so that they would recognize one another.”
“In that instant,” Dick writes, “I suddenly experienced anamnesis, a Greek word meaning, literally, loss of forgetfulness.”
Anamnesis is brought on by the action of the Holy Spirit. The person remembers his true identity throughout all his lives. The person recognizes the world for what it is—his own prior thought formations—and this generates the flash. He now knows where he is.
BURIED IN COLORADO ALL ALONE
Helen at the Scaean Gate, c. 1880s by Gustave Moreau (1826–1898)
You can read the full text of Vladimir Sorokin’s beautiful, abject, horrifying very long short story “Nastya” at The Baffler.
The novella-length piece swirls between fairy tale magic and Sadean cruelty. It is probably best if you consume “Nastya” on an empty stomach—like his novel Their Four Hearts, “Nastya” is reminiscent of Pasolini’s horrifying masterpiece Salò, or the 120 Days of Sodom. And like Their Four Hearts, this story is translated by Max Lawton, who vividly conveys the dream-nightmare-reality energy of Sorokin’s prose.
“Nastya” is from the collection Red Pyramid, which will publish in Lawton’s English-language translation early next year. (You can read the title story here.)
Here are the opening paragraphs of “Nastya”—
A GRAYISH-BLUE LULL BEFORE DAWN, a slow boat on the heavy mirror of Denezh Lake, emerald caverns in the juniper bushes creeping menacingly toward the white wash of the alpine waters.
Nastya turned the brass knob of the door to the balcony and pushed it open. The thick, reeded glass swam to the right, splintering the landscape with its parallel flutes and mercilessly dividing the little boat into twelve pieces. A damp avalanche of morning air flowed through the open door, embraced her, and shamelessly flew up into her nightgown.
Nastya inhaled greedily through her nose and walked out onto the balcony.
Her warm feet recognized the cool wood, and its boards creaked gratefully. Nastya lay her hands upon the peeling paint of the railing, tears came to her eyes as she took in the motionless world: the left and right wings of the manor, the garden’s milky green, the severity of the linden grove, the sugar-cube church on the hill, the willow branches lying on the ground, the stacks of mown grass.
Nastya rolled her wide, thin shoulders, let down her hair, and stretched out with a moan, listening to her vertebrae crack as her body woke up.
And here is a sentence from later in the story that made me laugh out loud:
“Don’t dare overcook my daughter!”
Great fucked up stuff.
Beppe Fenoglio’s A Private Affair is forthcoming this spring in translation by Howard Curtis from NYRB. Their blurb:
Milton—the name is a nom de guerre—is a member of a partisan band battling Italian Fascists and German forces in the chaotic last years of World War II. Before the war Milton was a student of English literature and a lover of poetry. He was in love with a girl, too, Fulvia, and from time to time she’d invite him over to her rich family’s fine house and have him read to her. Now, in the thick of war, he discovers that handsome Giorgio, his friend and fellow partisan, was sleeping with Fulvia at the time. Furious with jealousy, Milton hastens to have it out with Giorgio, but Giorgio has been captured by the Germans. A Private Affair tells the story of Milton’s mad quest—through mud and fog, rain and terror, while barely evading enemy patrols—to rescue his friend, the better to settle a grudge from a lost world of peace. Beppe Fenoglio’s masterpiece is a peerless story of the violent heart and world.
The Cage, 1972 by Lawrence Daws (b. 1927)
Farm, 1975 by Chris Orr (b. 1943)
I had never heard of the Argentinian author Osvaldo Soriano, but I plucked his novel A Funny Dirty Little War from the bookstore shelf because of its title. The goofy, menacingly violent cover, featuring an illustration by Oscar Zarate, intrigued me, and the Italo Calvino blurb on the back sold me on the book before I’d even opened it.
Calvino’s blurb offers a succinct summary of the novel:
A Funny Dirty Little War tells the story of a political confrontation in a small village in Argentina. Obscure differences between Peronist supporters and leaders escalate in a crescendo of violence to the final massacre.
Those “obscure differences” first evince as absurd, petty eruptions between the various characters. “You’ve got infiltrators,” the novel opens, and from there accusations accumulate and intensify.
That first accuser is the Inspector, who tells Ignacio, the city’s Council Leader, to fire a mild mannered clerk for his Marxist sympathies. Ignacio refuses, and the early part of the novel casts his as the closest thing to the protagonist. To be clear though, Soriano’s journalistic style recalls Hemingway’s brevity. His camera rarely dips into the interior lives of his characters; most of the action is conveyed in short, punchy sentences and often-terse, often-humorous dialogue. As Calvino observes, the “characters, who with each chapter evolve from the comic and grotesque to the tragic, are observed by the author with a cool, dispassionate gaze.”
The initial grotesquerie lends the novel a farcical air at the outset. Ignacio quickly deputizes an ad hoc militia to square off against the Inspector and his goon squad, and the atmosphere is one of buffoonish amateurism, best encapsulated in the drunken agricultural pilot who takes to the sky to spray DDT on his adversaries. As the violence escalates, we get farther from any ideological differences. Both sides claim to be true Peronists, yet there’s no real politics here beyond grievances exploding into vengeance.
That vengeance and violence overtakes the farcical absurdity of the novel’s first half, sweeping into brusque tragedy. “[In} the end we are left with a feeling of bitter pity,” Calvino writes, and I agree. There is a punchline at the end of the novel, but that punchline isn’t the novel’s cumulative, explosive slaughter—an explosion, an abject corpse laid out on a toilet.
Nick Caistor’s translation telegraphs Soriano’s journalistic, clipped style. At times, I wished that the dialogue might be rougher. While the men do curse at each other, there’s a veneer of gentility that at times seems out of place (at times I found myself substituting words or phrases I thought one of Bolaño’s translators might have employed). A Funny Dirty Little War could be even dirtier.
I’m not sure if Caistor or an editor or even Soriano settled on the English title A Funny Dirty Little War, which, as I mentioned above, called for my attention. Soriano’s original title is No habrá más penas ni olvido: “Pain and longing shall be no more.” This original title (from a tango by Carlos Gardel and Alfredo Le Pera that expresses a longing to return to Argentina) suggests the deeper melancholy behind the narrative’s farcical, funny contours. The novel was first published in 1978, while Soriano was living in exile in Europe after the US-supported 1976 military coup in Argentina. He returned to Buenos Aires in 1984 after the junta’s collapse. Caistor’s English translation of No habrá más penas ni olvido published two years later.
A Funny Dirty Little War will in no way explain the Dirty War to those unfamiliar with its history. The causes and effects here unfold in the most basic way (all in a neat Aristotelian unity of action, place, and time). There is no introspection, no analysis—the violence just escalates. Absurd farce hurtles into absurd tragedy. Yet for all their outlandish, grotesque contours, Soriano’s characters are ultimately sympathetic. Or at least pathetic. In any case, this short novel will reward those who don’t mind their black humor extra bitter, with a heavy dose of violence.
Salome with the Head of Saint John the Baptist (c. 1507–1509) by Andrea Solario (1460–1524)
A Fool and a Woman, 1520 by Lucas van Leyden (c. 1494–1533)
The full metaphor is not accepted any more. It isn’t taken seriously, and as we say, an arm of the sea threw a curve at the batter. No. Things do deflate and become literal in that sense. That is a conventional, standard way of thinking. My notion of metaphor comes again from scientific practice. Science consists of two realms of scientific operation: on one view, mathematical systems are proceeding and developing on their own, with their own rules on relationship. Then on the other side you have a collection of observations — very chaotic, unorganized. The idea of science is to get the observations into the system, because over here in the system all is wonderful, deductive, clear (relatively speaking). If we could get the observations over here, we could create a model which is an invested system. What Galileo did, for example, was to figure out how to get motion into geometry, once he saw that an inclined plane was a triangle, or that he could get, say, distance as a rectangle with speed and time — it’s just the same formula as the area of a rectangle. Then somebody like Descartes transforms the whole science of mechanics by putting geometry into algebra—makes it a much more sophisticated, subtle system. Everything is transformed without any move except that the algebra swallows geometry, and geometry has swallowed kinetics.
So you have those great moves, and what it means is that what science does is develop a model in which we look at the shadow the tree casts, and we see a right triangle. If we make a few measurements, we make some deductions. Now, what a metaphor tends to do, it seems to me, is that one element of a metaphor tends to stand as the abstract system, while the other is the set of unorganized observations, and what you build is a model that all observational system to be structured by the abstract system is a choice — it is arbitrary, in the sense that there is nothing more abstract about the one term in the metaphor than the other. And you can have interactive ones where they take turns — this suddenly is the abstract system where it was disorganized.
Furthermore, what is the system? Let’s say, “rose.” There is a history of the term, and it isn’t organized in a nice, algebraic way. It is, in fact, this great landscape of meanings connected in various ways, and sometimes not, and even connected with other meanings — “he rose up” — just on sound parallels. We now create this model that is one thing seen in terms of this whole system. Then, just as in science, you have the scope of the law. It only holds for gases. It has only a range of things. And so there is this scope of the metaphor: How far is it pushed? Is it just to be held for a certain distance, and then dropped? Shakespeare is wonderful, because he tends to hold on to an image throughout a play.
For me, when you are doing this, you are exploring what would happen to this one meaning if it suddenly reorganized. Then it produces a multiple of metaphors, of models. One of my favorite examples is in Shakespeare’s Antony and Cleopatra, “The hearts that spanieled me at heels.” Antony is complaining that his followers have deserted him: “Hearts that spanieled me at heels, to whom I gave their wishes, do discandy, melt their sweets on blossoming Caesar, and this pine is barked, that overtopped them all.” Well, what happened there is a metaphor. “Hearts” right from the beginning is a pun on “harts,” in a way, and then the dog imagery for the followers is put inside, and then another one and then another one. Incredibly complex, incredibly rich multiplying imagery. You know how the followers behave, in detail. But every phrase is a metaphor.
From an interview with William H. Gass published in 2002 in Contemporary Literature, vol. 43, no. 4. Jim Neighbors conducted the interview.
The first part of Konstantin Paustovsky’s memoir The Story of a Life is forthcoming in a new translation by Douglas Smith from NYRB. Their blurb:
In 1943, the Soviet author Konstantin Paustovsky started out on what would prove a masterwork, The Story of a Life, a grand, novelistic memoir of a life spent on the ravaged frontier of Russian history. Eventually expanding to fill six volumes, this extraordinary work of a lifetime would establish Paustovsky as one of Russia’s great writers and lead to a nomination for the Nobel Prize in Literature.
Here the first three books of Paustovsky’s epic autobiography—long unavailable in English—appear in a splendid new translation by Douglas Smith. Taking the reader from Paustovsky’s Ukrainian youth, his family struggling on the verge of collapse, through the first stirrings of writerly ambition, to his experiences working as a paramedic on the front lines of World War I and then as a journalist covering Russia’s violent spiral into revolution, this vivid and suspenseful story of coming-of-age in a time of troubles is lifted by the energy and lyricism of Paustovsky’s prose and marked throughout by his deep love of the natural world. The Story of a Life is a dazzling achievement of modern literature.
Study of Hand by William Mulready (1786-1863)
Free by Kenton Nelson (b. 1954)
The task of the narrator is not an easy one, he said. He appears to be required to choose his tale from among the many that are possible. But of course that is not the case. The case is rather to make many of the one. Always the teller must be at pains to devise against his listener’s claim–perhaps spoken, perhaps not–that he has heard the tale before. He sets forth the categories into which the listener will wish to fit the narrative as he hears it. But he understands that the narrative is itself in fact no category but is rather the category of all categories for there is nothing which falls outside its purview. All is telling. Do not doubt it.
From Cormac McCarthy’s novel The Crossing.
Right Hand of Artemisia Gentileschi Holding a Brush, 1625 by Pierre Dumonstier II (c. 1585-1656)
Biblioklept 