Nathaniel Hawthorne’s Book Burning

In his strange story “Earth’s Holocaust,” Nathaniel Hawthorne describes how “this wide world had become so overburdened with an accumulation of worn-out trumpery, that the inhabitants determined to rid themselves of it by a general bonfire.” What ensues is a horrific satire that seems more relevant than ever; the people burn liquor, money, guns, laws, and other sundry items before eventually turning on books—

The truth was, that the human race had now reached a stage of progress so far beyond what the wisest and wittiest men of former ages had ever dreamed of, that it would have been a manifest absurdity to allow the earth to be any longer encumbered with their poor achievements in the literary line. Accordingly a thorough and searching investigation had swept the booksellers’ shops, hawkers’ stands, public and private libraries, and even the little book-shelf by the country fireside, and had brought the world’s entire mass of printed paper, bound or in sheets, to swell the already mountain bulk of our illustrious bonfire. Thick, heavy folios, containing the labors of lexicographers, commentators, and encyclopedists, were flung in, and, falling among the embers with a leaden thump, smouldered away to ashes like rotten wood. The small, richly gilt French tomes of the last age, with the hundred volumes of Voltaire among them, went off in a brilliant shower of sparkles and little jets of flame; while the current literature of the same nation burned red and blue, and threw an infernal light over the visages of the spectators, converting them all to the aspect of party-colored fiends. A collection of German stories emitted a scent of brimstone. The English standard authors made excellent fuel, generally exhibiting the properties of sound oak logs. Milton’s works, in particular, sent up a powerful blaze, gradually reddening into a coal, which promised to endure longer than almost any other material of the pile. From Shakespeare there gushed a flame of such marvellous splendor that men shaded their eyes as against the sun’s meridian glory; nor even when the works of his own elucidators were flung upon him did he cease to flash forth a dazzling radiance from beneath the ponderous heap. It is my belief that he is still blazing as fervidly as ever.

Destino, Salvador Dali’s Disney Film

“The Routine Things Around the House” — Stephen Dunn

“The Routine Things Around the House,” a poem by Stephen Dunn

When Mother died
I thought: now I’ll have a death poem.
That was unforgivable

yet I’ve since forgiven myself
as sons are able to do
who’ve been loved by their mothers.

I stared into the coffin
knowing how long she’d live,
how many lifetimes there are

in the sweet revisions of memory.
It’s hard to know exactly
how we ease ourselves back from sadness,

but I remembered when I was twelve,
1951, before the world
unbuttoned its blouse.

I had asked my mother (I was trembling)
if I could see her breasts
and she took me into her room

without embarrassment or coyness
and I stared at them,
afraid to ask for more.

Now, years later, someone tells me
Cancers who’ve never had mother love
are doomed and I, a Cancer,

feel blessed again. What luck
to have had a mother
who showed me her breasts

when girls my age were developing
their separate countries,
what luck

she didn’t doom me
with too much or too little.
Had I asked to touch,

perhaps to suck them,
what would she have done?
Mother, dead woman

who I think permits me
to love women easily,
this poem

is dedicated to where
we stopped, to the incompleteness
that was sufficient

and to how you buttoned up,
began doing the routine things
around the house.

Rippowam — John Currin

Melville House Wants to Duel with You

The good folks at Melville House want to duel with you. They’re publishing five novellas, all called The Duel, and they want you to make a trailer for the books. You can win books and “underground fame,” which I’m sure won’t be fleeting (in any case, winning all 42 titles in their Art of the Novella series is nothing to sneeze at). Full details at Moby Lives.

Some other duels we like:

A duel from Barry Lyndon

Jean-Léon Gérôme’s Duel After the Masked Ball—

“Duel” by Swervedriver—

The Universe Sequence from Terrence Malick’s Film The Tree of Life

Cerberus — William Blake

Slavoj Žižek Explains How The Sound of Music Addresses Our Secret Fascist Dreams

Job’s Evil Dreams — William Blake

Youth Reading — Riza Abassi

Youth Reading -- Riza Abassi (ca. 1600)

Virginia Woolf’s Bust (and Other Author Gravesites)

Great post today at Page Pulp featuring author gravesites. Check it out — Edmund Spenser, Shakespeare, Keats, Woolf (above), and more.

Private Moment, YouTube Star

Wayne Koestenbaum’s new book Humiliation is great stuff—tender, thoughtful, maddening, very funny, and possibly wise; I’ll have a proper review (whatever that means) up soon, but, in the meantime check out his book trailers, which are probably the best I’ve seen.

 

“I am like one of those seeds taken out of the Egyptian Pyramids” — Herman Melville Writes to Nathaniel Hawthorne

From Herman Melville’s June 1851 letter to Nathaniel Hawthorne (read the whole letter here)—

But I was talking about the “Whale” [“Moby-Dick”]. As the fishermen say, “he’s in his flurry” when I left him some three weeks ago. I’m going to take him by his jaw, however, before long, and finish him up in some fashion or other. What’s the use of elaborating what, in its very essence, is so short-lived as a modern book? Though I wrote the Gospels in this century, I should die in the gutter. — I talk all about myself, and this is selfishness and egotism. Granted. But how help it? I am writing to you; I know little about you, but something about myself so I write about myself, — at least, to you. Don’t trouble yourself, though, about writing; and don’t trouble yourself about visiting; and when you do visit, don’t trouble yourself about talking. I will do all the writing and visiting and talking myself — By the way, in the last “Dollar Magazine” I read “The Unpardonable Sin.” He was a sad fellow, that Ethan Brand. I have no doubt you are by this time responsible for many a shake and tremor of the tribe of “general readers.” It is a frightful poetical creed that the cultivation of the brain eats out the heart. But it’s myprose opinion that in most cases, in those men who have fine brains and work them well, the heart extends down to hams. And though you smoke them with the fire of tribulation, yet, like veritable hams, the head only gives the richer and the better flavor. I stand for the heart. To the dogs with the head! I had rather be a fool with a heart, than Jupiter Olympus with his head. The reason the mass of men fear God, and at bottom dislike Him, is because they rather distrust His heart, and fancy Him all brain like a watch. (You perceive I employ a capital initial in the pronoun referring to the Deity; don’t you think there is a slight dash of flunkeyism in that usage?) Another thing. I was in New York for four-and-twenty hours the other day, and saw a portrait of N.H. And I have seen and heard many flattering (in a publisher’s point of view) allusions to the “Seven Gables.” And I have seen “Tales,” and “A New Volume” announced, by N.H. So upon the whole, I say to myself, this N.H. is in the ascendant. My dear Sir, they begin to patronize. All Fame is patronage. Let me be infamous: there is no patronage in that. What “reputation” H.M. has is horrible. Think of it ! To go down to posterity is bad enough, any way; but to go down as a “man who lived among the cannibals”! When I speak of posterity, in reference to myself, I only mean the babies who will probably be born in the moment immediately ensuing upon my giving up the ghost. I shall go down to some of them, in all likelihood. Typee will be given to them, perhaps, with their gingerbread. I have come to regard this matter of Fame as the most transparent of all vanities. I read Solomon more and more, and every time see deeper and deeper and unspeakable meanings in him. I did not think of Fame, a year ago, as I do now. My development has been all within a few years past. I am like one of those seeds taken out of the Egyptian Pyramids, which, after being three thousand years a seed and nothing but a seed, being planted in English soil, it developed itself, grew to greenness, and then fell to mould. So I. Until I was twenty-five, I had no development at all. From my twenty-fifth year I date my life. Three weeks have scarcely passed, at any time between then and now, that I have not unfolded within myself. But I feel that I am now come to the inmost leaf of the bulb, and that shortly the flower must fall to the mould. It seems to be now that Solomon was the truest man who ever spoke, and yet that he a little managed the truth with a view to popular conservatism; or else there have been many corruptions and interpolations of the text. — In reading some of Goethe’s sayings, so worshipped by his votaries, I came across this, “Live in the all.” That is to say, your separate identity is but a wretched one, — good; but get out of yourself, spread and expand yourself, and bring to yourself the tinglings of life that are felt in the flowers and the woods, that are felt in the planets Saturn and Venus, and the Fixed Stars. What nonsense! Here is a fellow with a raging toothache. “My dear boy,” Goethe says to him, “you are sorely afflicted with that tooth; but you must live in the all, and then you will be happy!” As with all great genius, there is an immense deal of flummery in Goethe, and in proportion to my own contact with him, a monstrous deal of it in me.

H. Melville.

P.S. “Amen!” saith Hawthorne.

N.B. This “all” feeling, though, there is some truth in. You must often have felt it, lying on the grass on a warm summer’s day. Your legs seem to send out shoots into the earth. Your hair feels like leaves upon your head. This is the all feeling. But what plays the mischief with the truth is that men will insist upon the universal application of a temporary feeling or opinion.

P.S. You must not fail to admire my discretion in paying the postage on this letter.

“Out, Vile Jelly!”

A scene from the Peter Brook directed version of King Lear. Cornwall gouges out old man Gloucester’s eyes. The horror!

Heinrich Heine’s Death Mask

“Shakespeare Humiliates the Prior Body of Language” — Wayne Koestenbaum

A passage from Wayne Koestenbaum’s new book, Humiliation

Shakespeare humiliates the prior body of language—the poor body of English, lackluster before he came along and renovated it. Shakespeare ennobled English, and so it may seem odd to say that he also humiliated it; but in his semantic magnanimity, his aural cornucopia, I detect the presence of lacerations. When Shakespeare commits lexical excess (by coining new words, by larding a simple thought with plump, dense sounds and metaphors, by hyper-enlivening every sentiment with figurative language), English becomes a body punctured by his violent actions. Example: “The murmuring surge / That on th’ unnumb’red idle pebble chafes / Cannot be heard so high.” “Murmuring” and “surge” and “unnumb’red” present the ear with a glut of “u” and “m” and “r” sounds. And “idle” and “pebble,” next to each other, create a pebble effect. With purple ripeness, low-pitched vowels (“murmuring surge”) ascend to high-pitched vowels (“high”). This apex virtuosity—language creaming, ascending, and thickening—this process (I’m straining my point) alerts me to a violence committed, symbolically, against English’s body. Poetic intensity—linguistic bravado, musical compression—hurts the mother tongue. “Good” language is hurt language. Bare, desiccated language—Samuel Beckett’s—is also humiliated: shorn, Samson-like. If you don’t understand what I’m saying, I will feel humiliated. If I fail to communicate my meaning, and if you tell me I’ve failed, then you will have humiliated me.

The Greeting — Bill Viola