The Reader — Henri Fantin-Latour

The Reader (Marie Fantin Latour, the Artist’s Sister), 1861 by Henri Fantin-Latour (1836-1904)

Blossoming Almond Branch in a Glass with a Book — Vincent van Gogh

Blossoming Almond Branch in a Glass with a Book, 1888 by Vincent van Gogh (1853–1890)

Without Even Looking — Nigel Van Wieck

Without Even Looking by Nigel Van Wieck (b. 1947)

Old Man Reading — Vincent van Gogh

Old Man Reading, 1882 by Vincent van Gogh (1853–1890)

Annie Reading — Lucian Freud

Annie Reading, 1961 by Lucian Freud (1922-2011)

The Magdalene Reading — Rogier van der Weyden

The Magdalene Reading, 1445 by Rogier van der Weyden (c. 1399-1464)

Mass-market Monday | Stanley Elkin’s The Living End

The Living End, Stanley Elkin. First Warner Books printing (1980). Cover art by Don Ivan Punchatz; cover design by Gene Light; cover type by Richard Nebiola. 141 pages.

An excerpt from The Living End:

God gave a gala, a levee at the Lord’s.

All Heaven turned out.

“Gimme,” He said, that old time religion.” His audience beamed. They cheered, they ate it up. They nudged each other in Paradise.

“What did I tell you?” He demanded over their enthusiasm.

“It’s terrific, isn’t it? I told you it would be terrific. All you ever had to do was play nice. Are you disappointed? Is this Heaven? Is this God’s country? In your wildest dreams-let Me hear it. Good-in your wildest dreams, did you dream such a Treasury, this museum Paradise? Did you dream My thrones and dominions, My angels in fly-over? My seraphim disporting like dolphins, tumbling God’s sky in high Heaven’s high acrobacy? Did you imagine the miracles casual as card tricks, or ever suspect free lunch could taste so good? They should see you now, eh? They should see you now, trembling in rapture like neurological rut. Delicious, correct? Piety a la mode! That’s it, that’s right. Sing hallelujah! Sing Hizzoner’s hosannas, Jehovah’s gee whiz! Well,” God said, .1 that’s enough, that will do.” He looked toward the Holy Family, studying them for a moment.

“Not like the creche, eh?” He said.

“Well is it? Is it?” He demanded of Jesus.

“No,” Christ said softly.

“No,” God said, “not like the creche. just look
at this place- the dancing waters and indirect lighting. I could put gambling in here, off-track betting. Oh, oh, My costume jewelry ways, My game show vision.

Well, it’s the public. You’ve got to give it what it wants. Yes, Jesus?”

“Yes,” Jesus said.

“It just doesn’t look lived in, is that what you think

“Call on someone else,” Christ said.

“Sure,” God said.

“I’m Hero of Heaven. I call on Myself.”

That was when He began His explanations. He revealed the secrets of books, of pictures and music, telling them all manner of things-why marches were more selfish than anthems, lieder less stirring than scat, why landscapes were to be preferred over portraits, how statues of women were superior to statues of men but less impressive than engravings on postage. He explained why dentistry was a purer science than astronomy, biography a higher form than dance. He told them how to choose wines and why solos were more acceptable to Him than duets. He told them the secret causes of inflation-“It’s the markup,” He said-and which was the best color and how many angels could dance on the head of a pin. He explained why English was the first language at Miss Universe pageants and recited highlights from the eighteen-minute gap.

Mary, wondering if she showed yet, was glad Joseph was seated next to her. Determined to look proud, she deliberately took her husband’s hand. So rough, she thought, such stubby fingers. He explained why children suffered and showed them how to do the latest disco steps. He showed them how to square the circle, cautioning afterwards that it would be wrong.

He revealed the name of Kennedy’s assassin and told how to shop for used cars.

Gravity’s Rainbow annotations (so far)

img_4025

I’ll be adding to these and then doing more the next time (?!) I read Gravity’s Rainbow.*

Pages 82-83: The White Visitation, etc.

Page 103: Black Markets, King Kong, etc.

Pages 148-49: Preterite/Elect, Lurianic Kabbalah, Uncanny X-Men, etc.

Page 203: Rainbows, Fuck-yous, Plastic Man, etc.

Pages 204-05: Paper, mise en abyme, a silkenness of girls, etc.

Page 256: “Real America,” Hughes contra Whitman, BANZAI!, etc.

Pages 257-58: The War, nimbus clouds, Zoot Suit Riot!, etc.

Page 299: Tannhäuser, horny expectations, etc.

Page 364: Knights and fools, dendrites and axons, etc.

Pages 412-13:  Ouroboros, organic chemistry, tarot, etc.

Page 419: Innocence, experience, Wm Blake, Wagner’s Ring cycle, etc.

Page 539: Critical Mass, Weismann’s tarot reading, Rilke, hymns, etc.

Pages 627-28: Optimum time, barrage balloons, Wall of Death, etc.

Pages 712-13: The Man has a branch office in each of our brains. We might be freaks, but We are not doomed and We are not Their pets.

Mass-market Monday | Philip K. Dick’s A Maze of Death

A Maze of Death, Philip K. Dick. Dawn Books, first Daw printing (1983). Cover art by Bob Pepper. 191 pages.

In my review of Philip K. Dick’s 1970 novel, I wrote that A Maze of Death is

…a mishmash of metaphysical mumbo jumbo, filtered through touches of space opera and good old fashioned haunted housery. A Maze of Death is a messy space horror that threatens to leave its readers unsatisfied right up until the final moments wherein it rings its sad coda, a reverberation that nullifies all its previous twists and turns in a soothing wash of emptiness. Not the best starting place for PKD, but I’m very glad I read it.

Mass-market Monday | Harry Crews’ A Feast of Snakes

A Feast of Snakes, Harry Crews. Ballantine Books, first edition, first printing (1978). No cover artist credited. 165 pages.

While the cover designer and artist aren’t credited, there is a signature on the back which I believe is “Gentile.” If anyone has a guess as to the artist’s full name I’d be happy to hear it.

From the novel: not quite a recipe for snakes:

When they got to his purple double-wide, Joe Lon skinned snakes in a frenzy. He picked up the snakes by the tails as he dipped them out of the metal drums and swung them around and around his head and then popped them like a cowwhip, which caused their heads to explode. Then he nailed them up on a board in the pen and skinned them out with a pair of wire pliers. Elfie was standing in the door of the trailer behind them with a baby on her hip. Full of beer and fascinated with what Joe Lon could feel—or thought he could—the weight of her gaze on his back while he popped and skinned the snakes. He finally turned and looked at her, pulling his lips back from his teeth in a smile that only shamed him.

He called across the yard to her. “Thought we’d cook up some snake and stuff, darlin, have ourselves a feast.”

Her face brightened in the door and she said: “Course we can, Joe Lon, honey.”

Elfie brought him a pan and Joe Lon cut the snakes into half-inch steaks. Duffy turned to Elfie and said: “My name is Duffy Deeter and this is something fine. Want to tell me how you cook up snakes?”

Elfie smiled, trying not to show her teeth. “It’s lots of ways. Way I do mostly is I soak’m in vinegar about ten minutes, drain’m off good, and sprinkle me a little Looseanner redhot on’m, roll’m in flour, and fry’m is the way I mostly do.”

Untitled (Do You See Stars, Fascist Superman?) — Raymond Pettibon

Untitled (Do You See Stars, Fascist Superman?), 2015 by Raymond Pettibon (b. 1957)

Mass-market Monday | Ursula K. Le Guin’s The Left Hand of Darkness

The Left Hand of Darkness, Ursula K. Le Guin. Ace Books, first edition (1969). Cover art by Leo & Diane Dillon. 286 pages.

I read all of Le Guin’s Hainish novels eight years ago, and wrote this about The Left Hand of Darkness:

—The Left Hand of Darkness is amazing. Perfect in its strange imperfections and crammed with fables and myths and misunderstandings, it is the apotheosis of Le Guin’s synthesis of adventure with philosophy. Darkness is about shadows and weight. About pulling weight—literally, figuratively. It’s also the story of an ice planet. (A stranger comes to the ice planet!). It’s a political thriller. It’s a sexual thriller. But the impression that lingers strongest: The Left Hand of Darkness is one of the better literary evocations of friendship (its precarious awful strange wonderful tenuous strength) that I’ve ever read.

The Pleasures of Dagobert — Leonora Carrington

The Pleasures of Dagobert, 1945 by Leonora Carrington (1917–2011)

Posted in Art

The Pleasures of Dagobert (Detail) — Leonora Carrington

The Pleasures of Dagobert (detail), 1945 by Leonora Carrington (1917–2011)

The Pleasures of Dagobert (Detail) — Leonora Carrington

The Pleasures of Dagobert (detail), 1945 by Leonora Carrington (1917–2011)

Mass-market Monday | American Short Stories since 1945

American Short Stories since 1945, edited by John Hollander. Perennial Classics, first edition, 1968. Cover design by Emanuel Schongut. 525 pages.

I think it was the title and the spine that first intrigued me when I pulled American Short Stories since 1945 from the shelf of a used book store: What would the selections be? How many years does the collection span? If Emanuel Schongut’s exquisite cover didn’t sell me on the book (which it did, all two dollars of it!), then the track list on the back certainly would have. And not so much for the authors I’d already read–Gass, Pynchon, Barthelme, O’Connor, Baldwin, and so on—but for the ones I hadn’t heard of, or at least didn’t think I’d heard of. Paul Goodman? Gilbert Rogin? Jeremy Larner? George P. Elliott? The poet who compiled the collection, John Hollander, writes in his introduction that it “aims to show the major shapes taken by shorter fiction in America since the end of World War II.” It’s the sort of book I wish I’d found when I was much, much younger, the kind of mixtape that would have sent me a lot of strange, wonderful directions.

The Pleasures of Dagobert (Detail) — Leonora Carrington

The Pleasures of Dagobert (detail), 1945 by Leonora Carrington (1917–2011)

Posted in Art