A riff on starting Robert Coover’s first novel, Origin of the Brunists

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Origin of the Brunists is Robert Coover’s first novel. First published in 1966, this long novel tells the story of an apocalyptic religious cult that forms around the sole survivor of a mining accident. The novel begins with the Brunists prepping for the upcoming end of the world (doomsday is scheduled for the weekend). After this somewhat bewildering prologue, the novel shifts back a few months in time, to lay out the cult’s genesis, a fatal mining accident.

Origin of the Brunist’s early chapters are an engrossing and unexpectedly smooth launch into a 500+ page novel. I read the first 70 pages in one night, rapt in the weird world of West Condon, the fictional midwesternish mining town where the Brunist cult originates. I woke up the next morning and continued to read in bed. I was, and am, enthusiastic. 

The second chapter of Origin of the Brunists is especially enthralling. Propulsive and engaging, the chapter zooms through the various consciousnesses of West Condon on the night of the novel’s originating disaster, the horrific mining collapse that imperils hundreds of miners. Coover inhabits the voices and minds of his characters with an easy if often grimy grace here. Evocation of consciousness has marked much of Coover’s work, from the early short story “The Brother” (1962) to his recent novel Huck Out West  (2017). The man can throw his voice around.  Origin of the Brunists overflows with voices. In small snatches of dialog and free-indirect speech, we get an aural and vivid picture of the miners, their children and spouses, as well as the other residents of West Condon.

The mining disaster chapter shuttles along with a filmic quality. Coover intercuts scenes of the miners escaping (or failing to escape) with a highschool basketball game, teenage lust in a parked car, and other odds and ends of West Condon life. The chapter builds in tension, reminding one of the climax of an epic movie, but one wedged unexpectedly at the narrative’s outset.

Indeed, Coover’s contest with film is something of a trademark. A signal example of this style can be found in the stories in his 1987 collection A Night at the Movies, or You Must Remember This. Stories like “The Phantom of the Movie Palace” and “Lap Dissolves” wrestle with film as a medium, deconstructing author and text, filmmakers and audiences, film reels and book pages. In the Night stories (and elsewhere, always elsewhere), Coover employs a host of metatextual techniques, dissolving one narrative into another, overlapping archetypes and synthesizing tropes, blending fables and history and commercial culture into a critique of American Pop mythology.

Coover’s metafiction always points back at its own origin, its own creation, a move that can at times take on a winking tone, a nudging elbow to the reader’s metaphorical ribs—Hey bub, see what I’m doing here? Coover’s metafictional techniques often lead him and his reader into cartoon landscapes, where postmodernly-plastic characters bounce manically off realistic contours. The best of Coover’s metafictions (like “The Babysitter,” 1969) tease their postmodern plastic into a synthesis of character, plot, and theme. However, in  large doses Coover’s metafictions can tax the reader’s patience and will—the simplest example that comes to mind is “The Hat Act” (from Pricksongs & Descants, 1969), a seemingly-interminable  Möbius loop that riffs on performance, trickery, and imagination. (And horniness).

I’m dwelling on Coover’s metafictional myth-making because I think of it as his calling card. And yet Origin of the Brunists bears only the faintest traces of Coover’s trademark metafictionalist moves (mostly, so far anyway, by way of its erstwhile hero, the journalist Tiger Miller). Coover’s debut reads rather as a work of highly-detailed, highly-descriptive realism, a realism that pushes its satirical edges up against the absurdity of modern American life. It reminds me very much of William Gass’s first novel Omensetter’s Luck (1966) and John Barth’s first two novels, The Floating Opera (1956) and The End of the Road (1958). (Barth heavily revised both of the novels in 1967). There’s a post-Faulknerian style here, something that can’t rightly be described as modern or postmodern. These novels distort reality without rupturing it in the way that the authors’ later works do. Later works like Barth’s Chimera (1973), Gass’s The Tunnel (1995), and Coover’s The Public Burning (1977) dismantle genre structures and tropes and rebuild them in new forms. (I might contrast here with the first novels of William Gaddis (The Recognitions, 1955), Thomas Pynchon (V., 1963), and Ishmael Reed (The Freelance Pallbearers, 1967), all of which employ postmodern and metafictional techniques right out of the gate—but that’s perhaps appropriate material for another riff).

While Origin of the Brunists doesn’t tip into Coover’s metatextual mode, it points towards his mythic style, but in a subtle, restrained way, as in this description of the moments preceding a high-school basketball game:

A ritual buzzer alerts the young athletes on the West Condon court and strikes a blurred roar from the two confronting masses of spectators. In a body, all stand. The mute patterns of run-pass-leap-thrust dissolve, congealing into two tight knots on either extremity of the court, each governed by a taut-faced dark-suited hierarch. Six young novices in black, breasts ablaze with the mark of their confession, discipline the brute roars into pulsing chants with soft loops of arm and skirt, while, at their backs, five acolytes of the invading persuasion pressed immodestly into sleek diabolic red, rattle talismans with red and white paper tails, seeking to neutralize the efficacy of the West Condon locomotive. Young peddlers circulate, selling condiments indiscriminately to all. A light oil of warm-up perspiration anoints the shoulders of the ten athletes chosen as they explode out of their respective rings to confront each other. Some of them cross themselves, some clap and cry oaths, others tweak their genitals.

These mythical touches are rare in the first section of Origin of the Brunists though. Instead, Coover seems to tease out the West Condoners’ building of their own mythology, one cobbled from the apocalyptic strands of rural American Christianity, a religion divined through signs and wonders.

Such signs have much of their origin in Ely Collins, a miner-cum-preacher who meets his fate in the disaster. In a shocking scene that plays out with frank realism, Collins loses his leg:

“It’s okay, boys,” Collins whispered up at them. “I kin take it.” And he took to praying again.

Strelchuk lifted the ax in the air and thought: Jesus! what if I miss, I’ve never swung a goddamn ax much, what if I hit the wrong leg, or—?

“Goddamn you, Mike!” Jinx screamed, losing control. “Quit messing around! This gas is knocking me out, man! We got to get us out of here!”

And while he was screaming away like that, Strelchuk came down with the ax, caught the leg right where he aimed, true and clean, just below the knee, and the blood flew everywhere, and Juliano was crying like a goddamn baby, and Bruno, his face blood-sprayed, went dumb, mouth agape, and broke away in a silent fit, but the leg was still hooked on, they couldn’t get him free. Preach was still praying to beat hell and never even whimpered. Mike raised the ax again and drove down with all the goddamn strength he had, felt the bone this time, heard the crack, felt the sickening braking of the ax in tough tissue, and he turned and vomited. He was gagging and hacking and crying and the blood was everywhere, and still that goddamn leg was hooked on. Mario ripped away Collins’ pant leg, took the wedge he had in his pocket, pressed it up against Collins’ thigh. Strelchuk whipped off his leather belt and, using it as a tourniquet against the wedge, they stopped the heavy bleeding. Pontormo whined Italian. Strelchuk grabbed up the ax once more. His hands were greasy with blood and it was wet on his chest and face. He was afraid of missing or losing hold, and the shakes were rattling him, so he took short hacking strokes, and at last it broke off. They dragged him free. And Preacher Collins, that game old sonuvabitch, he was still praying.

I’ve quoted at such length to give a sense of Coover’s meticulousness in Origin of the Brunists. The novel is thick with life, thick with voices, mimetic detail, shapes, smells, colors, sounds. West Condon feels utterly real, making the novel’s dramatic absurdities all the more pronounced. The characters tell stories, weep and pray, bury their desires. Coover’s command of character isn’t absolute, but if his West Condoners sometimes teeter on the edge of grotesquerie they are nevertheless real, or as real as words on a page can be. More to come.

 

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Blog about some recent reading

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I finished Angela Carter’s surreal fantasia The Infernal Desire Machines of Doctor Hoffman a week or so ago, in a bit of a fever at its depraved horniness. Hoffman sprints along with an out-of-the-frying-pan-into-the-fire energy. The story is essentially a picaresque adventure—our narrator Desiderio sets out on a mission to assassinate Dr. Hoffman, a not-really-mad scientist who’s waging war on reality. Desiderio falls in love with Hoffman’s daughter Albertina though, complicating matters. All kinds of wild shit happens in each episode of the book—indeed, each chapter feels like it could stand on its own as a short story. I loved it, and it deserves a proper review, but for now I’ll lazily compare it to a bunch of other books I loved: Voltaire’s Candide, Réage’s Story of O, Le Guin’s The Farthest Shore, Kafka’s The Castle, Acker’s Don Quixote, any of Robert Coover’s fables, Kristeva’s Powers of Horror, and Swift’s Gulliver’s Travels. Oh, and video games. Someone could make a fantastic video game out of The Infernal Desire Machines of Doctor Hoffman.

I read the first half of João Gilberto Noll’s novel Lord (new in English translation by Edgar Garbeletto) on Sunday. The book is seriously weird. The narrator is “a Brazilian who wrote books that were mostly well received by critics but not the public.” The Brazilian novelist (a strange cipher of Noll himself) arrives in London in the winter on a “mission.” What that mission is is completely unclear, but it seems to involve an English university. Like the other Noll books I’ve read, Quiet Creature on the Corner and Atlantic Hotel,  Lord moves on its own dream logic. The narrator seems unstuck in both time and space. He’s an abject voice trying to reinvent himself from the outside in—but his disintegration seems fatally imminent.

I’ve also started in on the latest Lucia Berlin collection, Evening in Paradise, reading the first three stories. The first two, “The Musical Vanity Boxes” (which I’d read before in Homesick) and “Sometimes in Summer” are memoir pieces set in Berlin’s childhood home of El Paso (or, more properly I suppose, El Paso–Juárez). There’s a frankness to these tales that’s remarkable, an artistry of storytelling that never announces itself as such. The stories read like vivid recollections, and center on a very young Lucia and her best friend Hope, a Syrian immigrant. There’s an underlying menace here, too, a sense that these two friends might fall into disaster at any given moment. (In this way, these stories recalled the young female friends at the center of Elena Ferrante’s My Brilliant Friend who slowly come into consciousness of the real world around them). The third story in the collection “Andado: A Gothic Romance” is written in the third-person, although its hero “Laura” is clearly a stand-in for a teenage Lucia. Laura, like Lucia was, is an ex-pat teenager living in Chile. “Andado” too offers a slow swelling malice, as we perceive the dangers that Laura cannot. The story culminates in an impressionistic dreamlike sequence that matches Laura’s shaken psyche. I’m trying to restrain myself from reading all of these stories too fast.

I’ve poked about in Leslie Fiedler’s collection No! In Thunder, reading first his essay on Walt Whitman, and then his essay on Faulkner (it trapped me with its title: “William Faulkner, Highbrows’ Lowbrow”).

Finally, I’ve been reading Letters, Dreams & Other Writings by Remedios Varo (translated by Margaret Carson) in bits and pieces. I really dig the book and am happy Carson translated it and Wakefield Press published it. There’s a neat section where Varo describes her paintings—like this, for example:

Phenomenon of Weightlessness, 1963

The Earth escapes from its axis and its center of gravity to the great surprise of the astronomer, who tries to keep his balance with his left foot standing in one dimension and his right foot standing in another.

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Blog about a metatextual moment at the end of William Gaddis’s novel The Recognitions

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In the epilogue of his 1955 novel The Recognitions, William Gaddis checks in on the book’s enormous background cast, tying up loose ends, but also leaving many of the characters frayed, burned out, or destroyed. There’s a remarkable metatextual moment in this epilogue in which two minor characters are revealed to be carrying copies of a book that bears more than a passing resemblance to The Recognitions itself. These characters are both literary counterfeiters—Mr. Feddle, a faker who forges book jackets with his name in the author’s position and slips them over classic novels, and “the critic in the green wool shirt,” who doesn’t bother to read the books he reviews.

Meeting at a tailor’s shop, Feddle and the critic peer at each other, “fix[ing] the book the other was carrying with a look of myopic recognition.” The passage continues with the following acerbically ironic exchange:

—You reading that? both asked at once, withdrawing in surprise. —No. I’m just reviewing it, said the taller one, hunching back in his green wool shirt.

—A lousy twenty-five bucks. It’ll take me the whole evening tonight. You didn’t buy it, did you? Christ, at that price? Who the hell do they think’s going to pay that much just for a novel. Christ, I could have given it to you, all I need is the jacket blurb to write the review.

The exchange here accurately anticipates exactly how The Recognitions would be received by its contemporary critics—or “hacks,” as Jack Green repeatedly calls them in his infamous 1962 screed Fire the Bastards! For almost 80 pages, Green details the failures of the 55 critics who reviewed the book upon its release. Some of these major failures include—

failing to recognize the greatness of the book

failing to convey to the reader what the book is like, what its essential qualities are

counterfeiting this with stereotyped preconceptions—the standard cliches about a book that is “ambitious,” “erudite,” “long,” “negative,” etc

counterfeiting competence with inhuman jargon

Green’s repeated use of the word “counterfeit” not just here but throughout his tract demonstrates the essential realism of The Recognitions: Gaddis conceived how his novel of counterfeiters, poseurs, plagiarists, and hacks would be misread, misremembered, and misrecognized by counterfeiters, poseurs, plagiarists, and hacks. The green-wool-shirted critic’s declaration that all he needs “is the jacket blurb to write the view” transcends its original satirical contours—it is a prophecy that comes true.

This satirical metatextual prognostication finds fruition in the review of The Recognitions published in The Louisville Courier-Journal. In Fire the Bastards!, Green details how the reviewer plagiarized his review of The Recognitions from the novel’s jacket blurb. The metatextuality here is magical: Gaddis conjures the character of an unnamed counterfeiter critic who will (not-)review a book that appears to be The Recognitions itself; this character becomes real by (not-)reviewing the book in an unsigned review in The Louisville Courier-Journal that plagiarizes the book’s blurb.

But perhaps I’ve neglected to demonstrate that the book that Feddle the faker and the critic in the green wool shirt are both not reading is in fact a version of The Recognitions itself. Here is the next paragraph in the episode:

It was in fact quite a thick book. A pattern of bold elegance, the lettering on the dust1M5vpxx wrapper stood forth in stark configurations of red and black to intimate the origin of design. (For some crotchety reason there was no picture of the author looking pensive sucking a pipe, sans gêne with a cigarette, sang-froid with no necktie, plastered across the back.)

In his invaluable work A Reader’s Guide to William Gaddis’s The Recognitions, Steven Moore gives the following annotation to these lines:

 the description is of the first edition of R [The Recognitions]. Martin Dworkin’s photograph of Gaddis “sans gêne with a cigarette, sang-froid with no necktie” appeared in both the Time and Newsweek reviews.

Jack Green is more succinct in Fire the Bastards!: “the book the stubby
poet [Feddle] has is the recognitions [sic] itself.” And what is “the stubby poet” doing with such a bigass book? Reading it?

—Reading it? Christ no, what do you think I am? I just been having trouble sleeping, so my analyst told me to get a book and count the letters, so I just went in and asked them for the thickest book in the place and they sold me this damned thing, he muttered looking at the book with intimate dislike.

At least Feddle’s dislike is “intimate.” If he’d bothered to read it he might have gotten some weird alarming joy from this (meta)Recognitions. Or, even better, he might reread it—which is really the only way to read The Recognitions, I’m convinced, after my second full read. The book is more precise, more artfully constructed—more stuffed with motifs and symbols, doubled, tripled, quadrupled—than I had realized on first reading.

Jack Green made rereading The Recognitions a significant part of his life. He was an evangelist for the text, going so far as to take out a full page ad in The Village Voice in 1962 when the book was reprinted in paperback. His advertisement is five short paragraphs. The second paragraph is a proper, original blurb. The second paragraph is an argument for rereading. Here they are:

“The Recognitions” is a 956-page novel whose main theme is vanity or forgery—of Old Masters, $20 bills, slings, personality, everything. It is like a painting with a few primary figures presented in depth and an army of caricatures in the background. The main characters are unforgettable and, as is usually true, give the book most of its greatness. The minor characters, including the author himself who has a bit part, are very funny.

Like “Ulysses,” Gaddis’s book can be read the first time with enjoyment (my advice: don’t work at it) and then reread for years with increasing fascination. It has an intricate network of thousands of cross-references which give it a unique time-sense: as the connections are gradually recognized on rereading, the book appears to grow like a living being.

“Grow like a living being.” I think that’s about right.

Blog about some 2019 reading plans

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Here are some books I aim to read in 2019, sooner rather than later:

Letters, Dreams & Other Writings by Remedios Varo (translated by Margaret Carson). I’m really digging this so far—I got it a week ago and have been skimming around in it. Varo is one of my favorite modern painters, and I love that we’re getting some of her prose now—it seems to trend with the recent revival of the writings of her friend and fellow painter Leonora Carrington.

Lord by João Gilberto Noll (translated by Edgar Garbeletto). I hope this as surreal and upsetting as Noll’s Quiet Creature on the Corner.

Mothers by Chris Power. The US release for Power’s collection of subtle stories is later this month, and the book has already been very well-received in the UK. I’ve read the first four stories and dig what Power is doing.

The Infernal Desire Machines of Doctor Hoffman by Angela Carter. I picked this up late last year and stalled after the first fifty pages—I was reading three other books at the same time. I’ll make a proper commitment though in 2019.

The Christine Brooke-Rose Omnibus: Four Novels by Christine Brooke-Rose. Brooke-Rose wasn’t really on my radar until I read this intriguing essay about her “difficult” novels a few weeks ago.

Evening in Paradise by Lucia Berlin. A Manual for Cleaning Women was one of my favorite books of the past few years. Should I gobble all of these stories up at once? Or pace myself?

Vineland by Thomas Pynchon. I will finally read Vineland. (Although I got a real hankering to reread Gravity’s Rainbow as I was finishing up The Recognitions—but maybe that project is best saved for later in the year).

Happy New Year!

Gaddis Contra Carnegie | How to Win Friends and Influence People in The Recognitions

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The second episode of Part II, Ch. 5 of William Gaddis’s 1955 novel The Recognitions returns to the consciousness of sadsack everyman Mr. Pivner. Through milquetoast Mr. Pivner (the long-lost father of poseur-supreme Otto), Gaddis critiques the banal emptiness and rank venality of post-war life in America. In this particular section of The Recognitions, Gaddis reinforces one of his novel’s central themes: modern commerce has supplanted culture in contemporary America. Indeed, commerce is culture in America.

The episode begins as Papa Pivner prepares to meet Otto for the first time (their estrangement has not yet been explained in the narrative). They arrange to meet in a hotel restaurant, their recognition of each other secured in a promise to wear matching green scarves. Gaddis weaves this father-son plot into the schemes of the counterfeiter Frank Sinisterra, who plans to offload his oh-so-artistic fraudulent currency to “a spreader” who will disseminate “the queer” bills. Ever the conman, Sinisterra disguises himself before heading to the meetup, which is to be held in a hotel restaurant. He dons a green scarf, by which his contact will recognize him. You get it: Sinisterra misrecognizes Otto for the spreader, Otto misrecognizes Sinisterra for his long-lost father, tragicomedy ensues, and Gaddis multiplies the strands of deferred and displaced father figures threaded through his bigass too-big too-long novel. This paternity motif is underlined even more when we remember Otto’s competition with Sinisterra’s son Chaby for the affections of Esme. But such deferrals and displacements are the material for a different riff. Let us shift back to Papa Pivner, sad soul, Gaddis’s little manikin-symbol-thing of paternal cultural authority cuckolded by commercial masscult modernity.

As he preps to meet his boy Otto, Mr. Pivner skims through Dale Carnegie’s 1936 utlrabestseller How to Win Friends and Influence People, a self-help book that Gaddis beats up for nearly ten straight pages in The Recognitions(Not incidentally, Gaddis had his students at Bard College read Carnegie’s book as part of a class he taught called “The Theme of Failure in American Literature”). Carnegie’s book is the AntiRecognitions, and Gaddis delights in savaging its self-help hucksterism by setting How to Win Friends against the Western canon:

Mr. Pivner sat staring through rimless glasses at a kindly book-jacket face which returned his amorphous gaze. He was preparing to meet his son, to win him as a friend, and influence him as a person. As Odysseus had Mentor, Jesus John the Baptist, Cesare Borgia Machiavelli, Faust Mephistopheles, Descartes Father Dinet, Schopenhauer’s dog Schopenhauer, and Schiller his drawerful of rotten apples, Mr. Pivner had Dale Carnegie: he and four million other individuals, that is…

The passage’s bathos exemplifies Gaddis’s techniques in the Pivner episodes. Gaddis inflates the rhetoric with rich allusion and haughty parallelism, only to puncture the verbal balloon with the banality of middlebrow midcentury American values. For Gaddis, Carnegie’s book represented a signal synthesis of these venal values. How to Win Friends and Influence People cannibalized millennia of writings on wisdom, philosophy, ethics—and the strange mystery vibrating underneath these disciplines—and distilled it all into a self-help book centered on selling yourself to others. The contempt is palpable in another bathetic passage:

True, Mr. Pivner might have read Descartes; and, with tutelage, understood from that energetic fellow, well educated in Jesuit acrobatics (cogitans, ergo sum-ing), that everything not one’s self was an IT, and to be treated so. But Descartes, retiring from life to settle down and prove his own existence, was as ephemeral as some Roger Bacon settling down to construct geometrical proofs of God: for Mr. Pivner, a potential buyer (on page 95) who was head of the Hotel Greeters of America (and president of the International Greeters too!) was far more real.

Cribbing and re-appropriating Carnegie’s own words, Gaddis’s narrator notes that How to Win Friends “was not a book of thought, or thoughts, or ideas, but an action book.” Gaddis then ironically resituates the value of such a book:

An action book; and herein lay the admirable quality of this work: it decreed virtue not for virtue’s sake (as weary Stoics had it); nor courtesy for courtesy (an attribute of human dignity, as civilized culture would have it); nor love for love (as Christ had it); nor a faith which is its own explanation and its own justification (as any faith has it); but all of these excellences oriented toward the market place.

Gaddis posits How to Win Friends as the cynical, terminal destination for the radical transcendental values of the previous century. The values of self-determination, self-reliance, and self-making upheld by Henry David Thoreau, whose writings are alluded to in The Recognitions, are converted into self-improvement, which translates into self-selling. Art and philosophy are simply commodities. Gaddis intuits the ways that capitalism glosses its venality over with the promises of culture and transcendence. Consider this passage, which begins with a quote from Carnegie:

“Let me repeat: the principles taught in this book will work only when they come from the heart. I am not advocating a bag of tricks. I am talking about a new way of life.” That was the wonderful thing about this book [. . .] if at first its approach seemed fraught with guile, subterfuge, duplicity, sophistry, and insidious artifice, that feeling soon disappeared, and one had . . . “Ah yes, you are attempting a new way of life.”

The litany of the huckster’s “bag of tricks” — “guile, subterfuge, duplicity, sophistry, and insidious artifice” — doubles back to The Recognitions’ motif of counterfeiting and also bites viciously into Carnegie’s core disingenuousness.

Gaddis not only attacks the content of Carnegie’s book, but also the form and style of the book. Carnegie’s hucksterism evinces in its very rhetoric. Gaddis seems to propose his own novel as the opposite of How to Win Friends and Influence People in both content (searching quest for meaning and authenticity in a degraded commercial world) and form (an unwieldy and often abstruse polyglossic beast of a book). In the following remarkable passage he decidedly (if obliquely) situates The Recognitions as a work contra Carnegie:

Here was no promise of anything so absurd as a void where nothing was, nor so delusive as a chimerical kingdom of heaven: in short, it reconciled those virtues he had been taught as a child to the motives and practices of the man, the elixir which exchanged the things worth being for the things worth having. It was written with reassuring felicity. There were no abstrusely long sentences, no confounding long words, no bewildering metaphors in an obfuscated system such as he feared finding in simply bound books of thoughts and ideas. No dictionary was necessary to understand its message; no reason to know what Kapila saw when he looked heavenward, and of what the Athenians accused Anaxagoras, or to know the secret name of Jahveh, or who cleft the Gordian knot, the meaning of 666. There was, finally, very little need to know anything at all, except how to “deal with people.”

Poor Pivner. He’s really just wanting to win the friendship of the son he’s only just learned he has. Gaddis uses Pivner to indict American culture’s commercially cruel contours, where any entity might be misappropriated and misused in the market place of ideas:

Here were Barnum and the Bible, Charles Schwab, Dutch Schultz and Shakespeare, two Napoleons, Pola Negri, and the National Credit Men’s Association, Capone, Chrysler, Two-Gun Crowley, and Jesus Christ, each in his own way posting the way to the market place. Even Jehovah appeared, if only in brief reversal…

The repeated bathos in II.5 of The Recognitions is wonderfully mean humor, but Pivner doesn’t seem like Gaddis’s main mark—rather, Gaddis shows us that Pivner is Carnegie’s mark. And for all the bathos here, there’s pathos too. We can find a certain sympathy in Pivner’s mild and foiled quest to meet with his progeny. A diabetic (like Chaby Sinisterra, he too uses needles), Pivner waits too long to take his insulin and conks out in the hotel lobby. He is briefly arrested and of course fails to meet Otto.

The next chapter, II.6 is set on Christmas Eve. Pivner receives a Christmas present from Otto, a beautiful and expensive robe (Otto is now flush with plenty of the counterfeit cash). Pivner is deeply moved by the gift, and elects to head back to the hotel to try to meet Otto again. The moment he dons the robe is rendered with disarming pathos. Gaddis’s narrator describes Pivner as a man “whose world was a series of disconnected images, his life a procession of faces reflecting his own anonymity in the street, and faces sharing moments of severe intimacy in the press.” If Pivner is prey to a conman like Carnegie, it is because Pivner is lonely and alienated. The modern condition is one of anxious anonymity, where “intimacy” boils down to reading the same gruesome news that others read. Human connection is mediated through mass media.

When Pivner returns to the hotel, he actually does encounter Otto. They stand next to each other, pissing into urinals in the hotel lobby men’s room, staring straight ahead at the obscene graffiti scrawled on the wall. A pornographic drawing so alarms Pivner that he turns and lowers his head, catching a glimpse of a green scarf poking from the proximal pisser’s pocket. The recognition remains incomplete though: Otto turns his “bloodshot eyes in a desolation of contempt” upon the older man and departs into the night. Pivner is unable to find confirmation of the younger man’s identity, and retreats to the bar to drink orange juice.

The final image of the chapter resonates with sympathetic and lonely despair. It is like something from an Edward Hopper painting. On one end of the bar sits a blonde; next to her Pivner; to his right, a newly-disguised Mr. Sinisterra, hoping too to catch Otto. When the blonde pays for her drink with one of his fake bills, Sinisterra gasps in a moment of recognition. The gasp draws Pivner’s attention and he looks to Sinisterra whose

sharp eyes gleamed at something beyond him, and with such intensity that his own were drawn in a reflex to look to where the blonde paid for her drink. But all Mr. Pivner saw, in the dim light, was a crisp twenty-dollar bill exchange hands: or so it looked to him, moonblind in the tinted gloom of that landscape where the three of them hung, asunder in their similarity, images hopelessly expectant of the appearance of figures, or a figure, of less transient material than their own.

In those final words and images we see the dream behind The Recognitions—the dream of recognizing the metaphysical, the original thing itself comprised of “less transient material” than our own. The final image seems to emanate from Pivner’s consciousness, and to emanate in a moment freed from the ironic bathos the narrator dragged him through before. There’s an emergent if subdued rejection of the market place figures that Dale Carnegie blithely promises his marks can attain, replaced, if fleetingly, for a longing after something more, something mysterious and unnameable. Gaddis conjures a small moment of strange, hopeless expectation—the wish for transcendent recognition.

Riff on some recent reading

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It seems that for the past two weeks I have been reading mostly final exams and research papers, but I have read some other things too.

I have all but finished Tristan Foster’s collection Letter to the Author of the Letter to the Father, which I think is excellent contemporary fiction. Foster’s pieces do things that I did not know that I wanted contemporary fiction to do until I read the pieces. Read his story/poem/thing “Economies of Scale” to get an illustrating example. Letter to the Author of the Letter to the Father deserves a proper review and I will give it one sooner rather than later. For now let me say that I am jealous of that title.

I’ve continued sifting unevenly through John Berryman’s 77 Dream Songs. Earlier this year I tried reading one Dream Song a day and then realized I didn’t like reading one Dream Song a day. Some days I wanted to read three or five and some days I wanted to read none and some days I felt like skipping ahead to later Dream Songs and some days I got stuck on a few lines or a spare image or an oblique word and then I couldn’t move on. Here is Dream Song 30, which took me two days to read (I got hung up on “Hell talkt my brain awake” for more than a little while):

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I am still auditing/rereading William Gaddis’s first novel The Recognitions. I riffed on rereading it here and here and here) and hope to riff some more, but I doubt I’ll have anything comprehensible to write about the chapter I just finished, II.3 (Chapter 3 of Section II). The opening of this chapter is a stream-of-consciousness flowing so freely that it overwhelms the reader. Gaddis takes us into Wyatt’s addled brains, a space overstuffed with hurtling esoteric mythopoetic gobbledygook. (The section also strongly recalls Stephen Dedalus’s stroll on the beach in Chapter 3 of Ulyssesalthough Gaddis denied having read Joyce’s opus).

The interior of Wyatt’s skull is frustrating as hell, which is maybe half the point. Things don’t get any simpler when Wyatt goes to his childhood home where no one recognizes him. Or, rather, he is misrecognized, recognized as someone else: an acolyte of Mithras, Prester John, the Messiah. As always with The Recognitions though, there’s a radical ambiguity: Is Wyatt misrecognized? Or is there an originality under the surface that his ersatz fragmented family recognizes?

I have around 100 more pages left to read of Helen DeWitt’s debut novel The Last Samurai. I’ve read the book at such a fast clip that I’m frankly suspicious of it. The book is 530 pages but feels like its 150 pages. I’m not sure what that means. Maybe it means it’s not a particularly dense novel, although it is rich in ideas—ideas about art, language, family. The book won me over when DeWitt steers the narrative into one of its first major side quests, the story of a musician named Kenzo Yamamoto. I recall reading late into the night, overtired but unable to put the book down. I stayed up too late and was too tired the next day, and then sneaked in a few sections during office hours the next morning. I think that means that I like the book very much—but I also find myself irked at times by something in DeWitt’s style—a sort of archness that veers into preciousness, a cleverness that interminably announces itself. The book tries to spin irony into earnestness, which is vaguely exhausting. I think I would have been head over heels in love with this book if I had read it ten or fifteen years ago.

In his recent review of The Last Samurai at Vulture — where the book garnered the dubious prize of being prematurely called “The Best Book of the Century” — Christian Lorentzen wrote that DeWitt’s “novel was never easily subsumed in one of the day’s critical categories, like James Wood’s hysterical realism.” But reading The Last Samurai, I am reminded of the books that Wood thought of as “hysterical realism.” Wood coined the term to describe a trend he saw in literature of the late nineties, literature that combined absurdity with social and cultural realism (at the expense of Wood’s precious psychological realism). Wood specifically applied his description to Zadie Smith’s novel White Teeth (published, like The Last Samurai, in 2000), but slapped it down elsewhere, notably to David Foster Wallace. While I don’t endorse Wood’s scolding use of the phrase “hysterical realism,” I do think that it’s a useful (if perhaps too-nebulous) description for a set of trends in some of the major novels published in the late nineties and early 2000s: Infinite JestMiddlesexThe Corrections, A Heartbreaking Work of Something or Other, etc. And, to come in where I started: The Last Samurai shares a lot of the same features with these texts—the blending of styles and texts and disciplines, etc. DeWitt’s filtering a lot of the same stuff, I guess. I would maybe use the term post-postmodernism in place of “hysterical realism” though—although a novel need not be subsumed by any term, and maybe the best can’t really be described in language at all.

She was the poem | Another riff on William Gaddis’s The Recognitions

An intriguing and confounding section of Chapter 1 of Part II of William Gaddis’s 1955 novel The Recognitions focuses heavily on Esme, the poet who models for Wyatt Gwyon as he paints his forgeries. The episode eventually reveals Esme as one of the heroes of The Recognitions. It begins with Esme cloistering herself, pinning a sign to her door that reads: “Do Not Disturb Me I Am Working Esme.” She begins her “work” in a manic blur, “delighted to be alone.” As her energy shifts, she sews for a bit, before finally switching to attend to her small library:

But before that sewing was done she was up, rearranging her books with no concern but for size. There was, really, little else their small ranks held in common (except color of the bindings, and so they had been arranged, and so too the reason often enough she’d bought them). Their compass was as casual as books left behind in a rooming house; and this book of stories by Stevenson, with no idea where she’d got it, she hadn’t looked into it for years, now could not put it down, and to her now it was the only book she owned.

Esme’s bookshelving is purely aesthetic, and the aesthetic seems arbitrary (and likely temporary). In this little scene she moves from arrangement by color to arrangement by size. Her aesthetic arrangement leads her back to a collection of Robert Louis Stevenson stories (likely The Merry Men, and Other Tales), her current (arbitrary, temporary) aesthetic obsession. The “Esme working” section of II.1 of The Recognitions actually begins with an entire paragraph a Stevenson story, presumably read aloud by Esme. This long quote goes unattributed, but Steven Moore identifies it in his annotations for The Recognitions as part of the Gothic short story “Olalla.”

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The passage from “Olalla” quoted in The Recognitions begins with the phrase “What is mine, then, and what am I?” Olalla poses these questions to the narrator of Stevenson’s tale, a nameless Scottish soldier who recuperates from wounds in a Spanish hospital and then in the home of a fallen noble family (Gaddis cribs from this plot in the first chapter of The Recognitions, where Wyatt’s father, the Reverend Gwyon, recovers in a Spanish monastery).

Olalla’s questions are quite literal. She recognizes herself in the paintings of her ancestors, which line the walls of her family’s house, and claims a part of herself in those paintings in a haunting phrase: “Others, ages dead, have wooed other men with my eyes.” Olalla recognizes something in herself that antecedes her ancestors, some essential element that surpasses death and transcends time. She describes herself as “a transitory eddy” in a stream of time (lines not included in Gaddis’s graft from the story): not the original, but the wave that carries the impulse of origination. Her words challenge the notion of a stable, self-present self.

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Olalla’s questions — “What is mine, then, and what am I?” — are essentially Esme’s questions. Esme fragments as the novel progresses, and Gaddis rhetorically highlights her looming madness by employing a daunting elliptical prose style in the sections that wander into her consciousness. Consider here, where we learn about Esme the reader:

Even so she had never read for the reasons that most people give themselves for reading. Facts mattered little, ideas propounded, exploited, shattered, even less, and narrative nothing.

This sentence is fairly straightforward—we see how Esme’s reading might differ from the way most of us read. But let’s see where we go next—what does Esme read for?

Only occasional groupings of words held her,

Esme reads discontinuously, perhaps arbitrarily, aesthetically—but let’s let that sentence unwind:

Only occasional groupings of words held her, and she entered to inhabit them a little while, until they became submerged, finding sanctuary in that part of herself which she looked upon distal and afraid, a residence as separate and alien, real or unreal, as those which shocked her with such deep remorse when the features of others betrayed them. An infinite regret, simply that she had seen, might rise in her then, having seen too much unseen; and it brought her eyes down quick.

I’ll admit I find the lines baffling. Esme inhabits the words, which then, strangely, become submerged within her, or a part of her that she has disassociated from her self-present self. The paragraph ends with a shock of recognition. Is this Esme gazing into the abyss? In any case, we see here Gaddis’s rhetorical skill at conjuring complex instability in his subject.

Let’s continue by moving from Esme the aesthetic reader to Esme the aesthetic writer:

The sole way, it seemed to her often enough when she was working at writing a poem, to use words with meaning, would be to choose words for themselves, and invest them with her own meaning: not her own, perhaps, but meaning which was implicit in their shape, too frequently nothing to do with dictionary definition.

And yet it would be too simple to suggest that Esme’s poetry is utterly meaningless, pure sound and shape without content. Rather, her writing is a writing against: A writing against the cheapness of language in a masscult zeitgeist, against newspapers and memos and comic books and flyers and stock ticker tape and museum guides and informational pamphlets and millions and millions of copies of How to Win Friends and Influence People. The paragraph continues, highlighting Gaddis’s fascination with entropy:

The words which the tradition of her art offered her were by now in chaos, coerced through the contexts of a million inanities, the printed page everywhere opiate, row upon row of compelling idiocies disposed to induce stupor, coma, necrotic convulsion; and when they reached her hands they were brittle, straining and cracking, sometimes they broke under the burden which her tense will imposed, and she found herself clutching their fragments, attempting again with this shabby equipment her raid on the inarticulate.

Esme is one of Gaddis’s heroes. Like Jack Gibbs in J R or McCandless in Carpenter’s Gothic or the narrator of Agapē Agape, she forces her will against an entropic dissolving world, and she does so to make art. And in her art she makes her self, or a version of her self, a self apart from the self-present self that might have to haggle and bustle in the tumult of the masscult midcentury metropolis. Esme strives for transcendence from language through language toward a place of pure recognition:

It was through this imposed accumulation of chaos that she struggled to move now: beyond it lay simplicity, unmeasurable, residence of perfection, where nothing was created, where originality did not exist: because it was origin; where once she was there work and thought in causal and stumbling sequence did not exist, but only transcription: where the poem she knew but could not write existed, ready-formed, awaiting recovery in that moment when the writing down of it was impossible: because she was the poem.

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The Fall of Man, Hugo van der Goes

 

Seek it like a dream | Another blog about Gaddis’s The Recognitions

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Earlier this week, continuing my audit of William Gaddis’s 1955 novel The Recogntions, I felt a tingling sense of recognition in the following lines from which Basil Valentine reads from “a copy of Thoreau” (this is at the very end of Part I, on page 265):

What you seek in vain for, half your life, one day you come full upon, all the family at dinner. You seek it like a dream, and as soon as you find it you become its prey.

I attributed this tingling recognition to having read The Recognitions before (and to having read Part I once before that)—but then I realized that I’d read the line far, far more recently: It’s the epigraph to Gaddis’s fourth novel A Frolic of His Own, which I’d opened up again just a few weeks ago (and subsequently put back down).

This recognition is nothing special and certainly uninteresting to longtime Gaddis fans, but it motivated me enough to look more into the remark, so I plugged it into Google and quickly found  J. M. Tyree’s essay “Henry Thoreau, William Gaddis, and the Buried History of an Epigraph.” Tyree’s essay was originally published in New England Review but I found it, natch, on Steven Moore’s The Gaddis Annotations.

Tyree’s essay is a fascinating read, tracking the strange history of the line. Thoreau’s words, it turns out, are not exactly Thoreau’s words—rather, they are Emerson’s recollections of a conversation between the pair from a walk in the woods. Additionally, Emerson wrote and attributed these words after Thoreau’s death. The remark initially appeared in Emerson’s literary eulogy “Thoreau,” published in the August 1862 edition of Atlantic Monthly. As Tyree observes,

This detail, which seems highly trivial at first, in fact slyly reinforces the theme of original and copy supersaturating Gaddis’s novel. The very nature of authorship falls into question here, in a manner similar to the problem of Socrates and Plato: is Thoreau’s saying from Emerson or from Thoreau, or is it from both?

While issues of originality and authenticity of authorship clearly correlate to the themes of The Recognitions, Tyree’s essay is most interesting to me in the ways by which it situates Gaddis’s work with/against the American Renaissance tradition. Tyree gives us some of the flavor of that tradition, recontextualizing Gaddis’s epigraph in a full paragraph of Emerson’s. Here’s Emerson eulogizing his friend Thoreau:

It was a pleasure and a privilege to walk with him. He knew the country like a fox or a bird, and passed through it as freely by paths of his own. He knew every track in the snow or on the ground, and what creature had taken this path before him. One must submit abjectly to such a guide, and the reward was great . . . Presently he heard a note which he called that of the night-warbler, a bird he had never identified, had been in search of twelve years, which always, when he saw it, was in the act of diving down into a tree or bush, and which it was vain to seek; the only bird that sings indifferently by night and by day. I told him he must beware of finding and booking it, lest life should have nothing more to show him. He said, “What you seek in vain for, half your life, one day you come full upon, all the family at dinner. You seek it like a dream, and as soon as you find it you become its prey.”

Tyree situates the passage within the contrasting (and quickly diverging) philosophies of the old friends: “Emerson was essentially cosmic in his Transcendentalism, while Thoreau sought the divine in the actual empirical details of nature.”

Tyree’s essay becomes most interesting to me when he begins to interpret just what the hell the quote means. His analysis hovers around the word family, underlining an obsession of American literature: escape from domesticity. Here’s Tyree’s paraphrase of the Thoreau’s/Emerson’s line:

One finds the object of a long quest, quite suddenly, at the family dinner table. But in the moment of discovery, something seems to go wrong; rather than capturing the truth, one becomes its prey.  Clearly, the conversation here has expanded beyond night-warblers. Thoreau is now speaking of truth and its relationship to the family dinner table.

Tyree then susses out Thoreau’s complicated relationship with Emerson’s family:

It is possible to make too much of the fact that Thoreau’s intellectual life, as both a thinker and a man, developed in Emerson’s shade, in the shelter of Emerson’s house and family. But it is clear that Thoreau was often of two minds about living with or near Emerson. In a September 1841 letter….Thoreau told a friend that he was “living with Mr. Emerson in very dangerous prosperity.”

That “dangerous prosperity” of domestic life echoes one of the grand themes of American literature—namely, civilization is a blockade to be surpassed on the trek into wild nature, individuality, and freedom. Domestic duty interferes with such adventures. Just ask Rip Van Winkle, Ishmael, or Huck Finn. (Or perhaps Hawthorne’s cautionary figure, Young Goodman Brown).

Tyree underlines the point (final emphasis mine):

In the exchange over the night-warbler, the family is again identified in terms of danger; the quest is a danger to the family, or the family is a danger to the quest. One might read this as Thoreau’s critique of what would now be called Emerson’s “lifestyle.” A man who is the prey to truth must leave the dinner table to find it, but Emerson, in the comfort of his household, among his family, will never book the night-warbler. Thoreau does not say that having “all the family at dinner” stops one’s seeking, only that one becomes the prey of a protracted, half-conscious quest at mealtime. Then, one must decide what to do about it—whether to search out the night-warbler or not, and how to do it. The question seems to be whether the truth can be found through the life of the family, or whether one must leave it behind in some sense.

In The Recognitions, Wyatt circumvents the danger to his quest by not only removing himself from family (in the form of his wife Esther), but from removing himself from society in general. In J R (1975), most of Gaddis’s heroes find themselves unable to reconcile to Wyatt’s solution; their seeking fumbled out in half measures, neatly figured in the 96th Street apartment apartment shared by Gibbs, Eigen, and Bast. This hellhole is a transitory space, an inbetweeness of domesticity and city wilderness. Carpenter’s Gothic (1985) offers a more thorough critique of the impulse in American literature to send its (generally masculine) characters out into the wild spaces where they can transcend all the trappings of domesticity that bog them down. Carpenter’s Gothic confines its heroine to one haunted house, the men in her life flitting in and out if like silly birds on foiled quests. That domestic confinement reaches a kind of apotheosis in Gaddis’s posthumous novel Agapē Agape (2002), the stifling uninterrupted monologue of a man in a room, fighting against entropy.

And what about A Frolic of His Own (1994)? Well I haven’t read it yet.

Novel factory | A passage from (and a short riff on) William Gaddis’s The Recognitions

In Ch. VII of Part I of William Gaddis’s 1955 novel The Recognitions, the erstwhile hero of the novel, Wyatt Gwyon—who has by this point disappeared into an anonymous he—meets Basil Valentine, a somewhat ambiguous and priestly art-world contact for Recktall Brown, the arch-capitalist Mephistophelean villain of the novel. Brown uses Valentine to arrange the forgeries that Gwyon executes. Here, Valentine and Wyatt discuss Brown, who has left the room. (Brown is the initial He; Valentine speaks first):

—He would absolutely have to have Alexander Pope in a box, to enjoy him. He is beyond anything I’ve ever come upon. Honestly, I never in my life could have imagined that business could live so powerfully independent of every other faculty of the human intelligence. Basil Valentine rested his head back, blowing smoke toward the ceiling, and watching it rise there. —Earlier, you know, he mentioned to me the idea of a novel factory, a sort of assembly line of writers, each one with his own especial little job. Mass production, he said, and tailored to the public taste. But not so absurd, Basil Valentine said sitting forward suddenly.

—Yes, I … I know. I know.

—When I laughed . . . but it’s not so funny in his hands, you know. Just recently he started this business of submitting novels to a public opinion board, a cross-section of readers who give their opinions, and the author makes changes accordingly. Best sellers, of course.

—Yes, good God, imagine if … submitting paintings to them, to a cross section? You’d better take out . . . This color . . . These lines, and . . . He drew his hand down over his face, —You can change a line without even touching it. No, he went on after a pause, and Valentine watched him closely, —nothing is funny in his hands. Everything becomes very . . . real.

Do you like the passage? I do.

I continue to enjoy re-reading Gaddis’s debut novel, aided in large part by an audiobook version read by Nick Sullivan. I’ve also been reading The Recognitions with/against Letters of William Gaddis (ed. Steven Moore, Dalkey Archive, 2013), which I do not recommend doing (especially for first-time readers). Gaddis, paraphrasing his own novel, said that the artist was simply “the dregs of his [own] work,” and much of The Recognitions reads like Gaddis polishing the material from his own early life and travels and readings, and then forcing that material—the nuggets and the morsels (and, let us be honest, the occasional duds)—into an angry demanding sustained attack on the Modern condition. But the material is good ammunition in that oh-so self-conscious attack on Modernism—an attack that in many ways engenders postmodernism, or at least builds a bridge to it, or perhaps sunders links to Modernism—

—look, I have way too many stupid metaphors cooking here, forgive me: What I mean to say, in simpler terms, is that The Recognitions diagnoses the end of big-em Modernism, that it describes something yet-to-emerge, and that it also, significantly, performs that something yet-to-emerge. Gaddis’s letters show the frustrations of a young man trying to cook up adventures in a modern world: a world already explored, mapped, tagged, and written about by other folks. And not just written about im histories and novels, but also in cheap guide books and cheap glossy magazines. This is the world after the age of mechanical reproduction, the world in which Gaddis’s hero Wyatt strives to forge a legitimate forgery of a place for himself.

Gaddis’s novel’s emergent postmodernism—more fully realized in his follow-up, J R—also presciently points to the post-postmodernist storytelling world of late capitalism. Gaddis’s villain Recktall Brown is a brute, but this philistine is perceptive, and he understands the economy of middlebrow aesthetics. As erudite Valentine laments, “I never in my life could have imagined that business could live so powerfully independent of every other faculty of the human intelligence.” Valentine should imagine harder. But this is America, where people frequently mistake wealth and the power to create wealth with creative intelligence.

Maybe I’m too hard here on Valentine, who eventually realizes that an appeal to the lowest common denominator is “not so absurd,” after he reflects on Recktall’s business idea “of a novel factory, a sort of assembly line of writers, each one with his own especial little job. Mass production…tailored to the public taste.” And we then learn that Recktall has already capitalized on his vision of masscult writing: “Just recently he started this business of submitting novels to a public opinion board, a cross-section of readers who give their opinions, and the author makes changes accordingly. Best sellers, of course.”

Reading this, I mentally annotated: Ah, Netflix-that’s the novel factory of 2018. And not just Netflix—I mean, clearly, not just Netflix, that’s simply a signal example—but rather the idea of the data-driven artefact, the non-artefact, the copy of a copy of a copy, the narrative entirely derived from atomizing the masscult nostalgia artefacts of 20, 30, 40 years ago, retrofitting them, repackaging them, and selling them as the real thing. Wyatt’s final observation in the passage laments that Recktall Brown, and the emerging late capitalism he represents, is winning a kind of war on culture and imagination. And nothing is funny in this devil’s busy hands: “Everything becomes very . . . real.” Even the fakes. Even the copies. Especially the copies.

Blog about November reading (and blogging) goals

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For the past few days I’ve felt as if I would never put one word after another again, that I would never put together a sentence, string together clauses and sling them out into the world. This previous statement is hyperbole and I am silly—but even simple emails have seemed the acme of wretched futility to compose. Chalk it up to a mild head cold; chalk it up to too many essays to grade; chalk it up to anxiety of (fear of) writing. But I feel like I used to want to feel like I needed to write, right? On 1 Oct. 2018 I wrote a silly post on this weblog called “Blog about October reading (and blogging) goals,” in which I set a goal to blog “every day, even about nothing,” which I failed to achieve.

did actually achieve some of the reading goals expressed in that October goals blog though: I finished George Eliot’s Silas Marner; I made a bigger dent in Moderan, David R. Bunch’s cult dystopian novel; I finally read William Gaddis’s novel Carpenter’s Gothic; I actually returned and did not keep forever a book I borrowed from a friend; I did not gobble up Paul Kirchner’s Hieronymus & Bosch but rather limited myself to one or two cartoon strips a day (or sometimes, like, five).

So for November—

I’ve read the first two stories in Chris Power’s debut collection Mothers and they are good (the collection is available in the US in January 2019; I should have a full review then).

Tristan Foster’s collection Letter to the Author of the Letter to the Father is very much my weird cup of weird tea.

David Bunch’s Moderan deserves a big proper essay. I’ve suggested that our zeitgeist surpasses the parodic powers of postmodernism’s toolkit, but Moderan anticipates and slices up Our Bad Times.

Part of my anxiety about writing comes from having failed three times now to write a proper review of Conversations with Gordon Lish, which is the kind of self-deconstructing performance of writing about writing that is difficult to describe or analyze; it’s the sort of thing you simply want the reader to read.

I started the audiobook of William Gaddis’s novel The Recognitions, and have ended up not only reading my Penguin edition in tandem—a sort of re-rereading—but have also been flirting with The Gaddis Tapes1 and Letters of William Gaddis.  (This summer I said I’d reread The Recognitions: is this that?). I don’t really know what I want from this material, and I certainly don’t suggest it as anything approaching ancillary or auxiliary “help” with Gaddis’s project—I mean, in his Paris Review interview Gaddis paraphrases his hero and explains why we shouldn’t look for keys to art in the artist:

I’d go back to The Recognitions where Wyatt asks what people want from the man they didn’t get from his work, because presumably that’s where he’s tried to distill this “life and personality and views” you speak of. What’s any artist but the dregs of his work: I gave that line to Wyatt thirty-odd years ago and as far as I’m concerned it’s still valid.

—but hey look I know what I just did—took my cue from the artist in explaining the artist’s art. So. Oh, hey, here’s a great little segment from a letter Gaddis to his mama (from Mexico City) in April, 1947:

Could you then do this?: Send, as soon as it is conveniently possible, to me at Wells-Fargo:

My high-heeled black boots.

My spurs.

a pair of “levis”—those blue denim pants, if you can find a whole pair

the good machete, with bone handle and wide blade—and scabbard—if

this doesn’t distend package too much.

Bible, and paper-bound Great Pyramid book from H—Street.

those two rather worn gabardine shirts, maroon and green.

Incidentally I hope you got my watch pawn ticket, so that won’t be lost.

PS My mustache is so white and successful I am starting a beard.

The same day I got The Labyrinth, a collection of mid-century cartooning by Saul Steinberg (new from NYRB, I read a passage in The Gaddis Tapes where Gaddis quotes his friend, Saul Steinberg. That same day my son, eight, went through the whole volume, and asked me what it was, how I was supposed to write about it, etc. Still not sure, but it’s great, heroic, etc. and I hope to post a review at The Comics Journal later this month. Here is Steinberg’s Quixote:

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And I like to pretend this is his illustration of some Gaddis character at a party in The Recognitions (even if I recognize it is not):

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Bottom of the stack is Paul Kirchner’s latest Hieronymus & Bosch, a sort of MAD Magazine take on eternal damnation that puts the scatology in eschatology. Great stuff.

Not pictured in the stack is Angela Carter’s 1972 novel The Infernal Desire Machines of Doctor Hoffman, which is by my bed and which I keep falling asleep to. It deserves better from me; or maybe it’s a bit of evidence in the emerging truth that I can’t read before bed most of the time most of these days. (Separate blog post, perhaps—chalk it up to a head cold; chalk it up to too many essays to grade; chalk it up to two kids; chalk it up to too much read wine; chalk chalk chalk).

Hope to do better than this in the next 29 days.


Knight, Christopher J., William Gaddis, and Tom Smith. “The New York State Writers Institute Tapes: William Gaddis.” Contemporary Literature 42, no. 4 (2001): 667-93. doi:10.2307/1209049.

Blog about starting the audiobook version of William Gaddis’s novel The Recognitions

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I downloaded the audiobook of version of William Gaddis’s first novel The Recognitions the other afternoon. The recording is 51 hours and 41 minutes long, and read by Nick Sullivan.

I am almost exactly six hours in, over halfway through the novel’s third chapter, an aural space that correlates to page 114 of my 956-page Penguin edition of the novel. In this particular moment, Wyatt Gwyon, the sorta-hero of The Recognitions, rants to his wife Esther about literary modernism. I stopped the book at that particular moment to find that particular passage in my copy of The Recognitions; it was particularly easy to find because I’d already dogeared that particular page.

I’m not sure if I dogeared that particular page when I first attempted The Recognitions in 2009 (I stalled out in the book’s second of three sections, somewhere around page 330 or so), or if I dogeared it on my second (and successful) reading in 2012. And while I’m tempted to focus on the passage I’ve just audited and then reread—a meta-moment where Wyatt raves about Modernism (even making a dig at Hemingway)—I’m more interested in making a few generalizations about the audiobook and the first chapter of The Recognitions.

So a few generalizations:

Nick Sullivan, who reads The Recognitions, is excellent. He’s expressive, and imbues the novel with a wonderful rhythm and vitality, differentiating the voices of each of the characters (no mean feat). I have audited Sullivan’s reading of Gaddis’s second novel JR, which is marvelous, and in many ways taught me to “read” that novel, which is told in almost entirely unattributed dialogue. I would strongly recommend anyone daunted by JR to read it in tandem with Sullivan’s audiobook version.

I would not, however, recommend using the audiobook of The Recognitions for a first go through (unless you intend to use the audiobook chapters after you’ve read the chapters yourself). The Recognitions simply contains a density of information unparalleled in almost any other novel I can think of). You’ll need to attend closely to it to parse the threads that matter in terms of the plot and the threads that are there to build the theme. And unless you’re a polyglot, hearing all the untranslated Latin, Spanish, Italian, and German read aloud does little for comprehension. No, I think The Recognitions is best read slowly, and ideally the reader should take the time to attend to its many allusions and motifs (Steven Moore’s online guide is invaluable here). This isn’t to say that readers need to get every damn little reference to enjoy and appreciate Gaddis’s novel—but it doesn’t hurt to try.

Still, there’ a lot in The Recognitions. The book is wonderful, a work of genius, and this is perhaps one of its faults—it suffers from First Novel Syndrome, the author cramming in all that he can, anxious that the audience Recognize Genius. Gaddis was young when it was published—just 34 (amazing). A much older Gaddis seemed to recognize this, saying the following in 1990:

So, in the work I’ve tried to do, in J R, especially the awful lot of description and narrative interference, as I see it now, in The Recognitions, where I am awfully pleased with information that I have come across and would like to share it with you-so I go on for two pages about, oh, I don’t know, the medieval Church,… the forgery, painting, theories of forgery and so forth, and descriptions, literally, of houses or landscapes. And when I got started on the second novel, which was J R, 726 pages, almost entirely my intention was to get the author out of there, to oblige the characters to create themselves and each other and their story, and all of it in dialogue

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The first chapter of The Recognitions, the fruit of an author awfully pleased with information that he has come across, lays out an encyclopedic range of references to literature, art, religion, history, and every other manifestation of culture you might think of. The chapter is impossibly rich, and in some ways, the rest of the novel can never quite match it. Or rather, the rest of the novel teases out the material that Gaddis offers at its outset, threading the material into cables of plot and theme. Or maybe what I’m trying to say is, The first chapter of The Recognitions might be the best first chapter of any novel I can think of.  At 62 pages, it’s almost a novella, and it can arguably stand on its own. Let me borrow my own summary of Chapter I from my 2009 write-up:

The first chapter is the best first chapter of any book I can remember reading in recent years. It tells the story of Rev. Gwyon looking for solace in the Catholic monasteries of Spain after his wife’s death at sea under the clumsy hands of a fugitive counterfeiter posing as a doctor (already, the book posits the inherent dangers of forgery, even as it complicates those dangers by asking who isn’t in some sense a phony). There’s a beautiful line Gaddis treads in the first chapter, between pain, despair, and melancholy and caustic humor, as Gwyon slowly realizes the false limits of his religion. The chapter continues to tell the story of young Wyatt, growing up under the stern care of his puritanical Aunt May, whose religious attitude is confounded by the increasingly erratic behavior of Wyatt’s often-absent father. While deathly ill, Wyatt teaches himself to paint by copying masterworks. He also attempts an original, a painting of his dead mother, but he cannot bear to finish it because, as he tells his father, “There’s something about . . . an unfinished piece of work . . . Where perfection is still possible. Because it’s there, it’s there all the time, all the time you work trying to uncover it.” This problem of originality, of Platonic perfection guides much of the novel’s critique on Modernism.

(The “novel’s critique on Modernism” — well, hey, that’s sort of how I came into this riff—stopping the audiobook six hours in to go track down pages 113-14, where Wyatt attacks Hemingway’s modern prose style). There’s more to the plot of Ch. 1, including a ritual sacrifice that’s easy to miss if you’re not paying close enough attention. There are also numerous references to pipe organs, planting the seeds of The Recognitions’ strange conclusion. But now of course is not the time to write about that conclusion; instead, I’ll conclude by remarking that I saw more of the novel’s form—including its conclusion—in its introduction than I had previously thought was there. And that’s the value in rereading a big novel—recognizing what we previously did not recognize.

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Blog about some recent reading

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I ended up reading the last two chapters of William Gaddis’s novel Carpenter’s Gothic a few times, trying to figure out exactly what happened. I then read Steven Moore’s excellent essay on the novel, “Carpenter’s Gothic or, The Ambiguities.” (If you have library access to the Infobase database Bloom’s Literature, you can find the essay there; if not, here’s a .pdf version). Moore offers a tidy summary of Carpenter’s Gothic—a summary which should be avoided by anyone who wants to read the novel. Because Carpenter’s Gothic isn’t so much about what happens but how it happens. Moore writes:

As is the case with any summary of a Gaddis novel, this one not only fails to do justice to the novel’s complex tapestry of events but also subverts the manner in which these events are conveyed. Opening Carpenter’s Gothic is like opening the lid of a jigsaw puzzle: all the pieces seem to be there, but it is up to the reader to fit those pieces together. …Even after multiple readings, several events remain ambiguous, sometimes because too little information is given, sometimes because there are two conflicting accounts and no way to confirm either.

Moore then lays out the novel’s theme in clear, precise language:

Such narrative strategies are designed not to baffle or frustrate the reader but to dramatize the novel’s central philosophic conflict, that between revealed truth versus acquired knowledge. Nothing is “revealed” by a godlike omniscient narrator in this novel; the reader learns “what really happens” only through study, attention, and the application of intelligence.

Quite frankly, Moore has written an essay that I wish I had written myself. I had been sketching parallels between Carpenter’s Gothic and Leslie Fiedler’s classic study Love and Death in the American Novel all throughout my reading; Moore ends up citing Fiedler a few times in his essay, in particularly working from Fiedler’s idea of how Gothicism manifests in American writing. (Moore does not bring up Fiedler’s critique of masculinity though, which opens up an occasion for me to write—once I’ve reread the puzzle though).

Anyway—I loved loved loved Carpenter’s Gothic, and I read it at just about the right time: It’s a Halloween novel. Great stuff.

In line with the Halloween theme: I had been working on a post about horror, about how I love scary films, grotesque literature, and weird art, because fantasy evocations of terror offer a reprieve from anxiety, from true dread, etc. Like, you know, a climate change report—I mean, that’s genuinely horrifying. But scary films and scary stories almost never really scare me. So I was thinking about literature that does produce dread in me, anxiety in me, and listing out examples in my draft, and so well anyway I reread Roberto Bolaño’s short story “Last Evenings on Earth.” I wrote about the collection named for the story almost a decade ago on this blog, focusing on the “ebb and flow between dread and release, fear and humor, ironic detachment and romantic idealism” in the tales:

In “Last Evenings on Earth,” B takes a vacation to Acapulco with his father. Bolaño’s rhetoric in this tale is masterful: he draws each scene with a reportorial, even terse distance, noting the smallest of actions, but leaving the analytical connections up to his reader. Even though B sees his holiday with his dad heading toward “disaster,” toward “the price they must pay for existing,” he cannot process what this disaster is, or what paying this price means. The story builds to a thick, nervous dread, made all the more anxious by the strange suspicion that no, things are actually fine, we’re all just being paranoid here. (Not true!)

I’m not sure if I’ll get the essay I was planning together any time soon, but I’m glad I reread “Last Evenings.”

There’s a strange background plot in “Last Evenings” in which Bolaño’s stand-in “B” dwells over a book of French surrealist poets, one of whom disappears mysteriously. Jindřich Štyrský isn’t French—he’s Czech—but he was a surrealist poet (and artist and essayist and etc.), so I couldn’t help inserting him into Bolaño’s story. I’ve been reading Dreamverse, which ripples with sensual horror. I wrote about it here. Here’s one of Štyrský’s poems (in English translation by Jed Slast); I think you can get the flavor from this one:

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And here’s a detail from his 1937 painting Transformation:

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I’ve finished the first section of David Bunch’s Moderan, which is a kind of post-nuke dystopia satire on toxic masculinity. While many of the tropes for these stories (most of which were written in the 1960s and ’70s) might seem familiar—cyborgs and dome homes, caste systems and ultraviolence, a world of made and not born ruled by manunkind (to steal from E.E. Cummings)—it’s the way that Bunch conveys this world that is so astounding. Moderan is told in its own idiom; the voice of our narrator Stronghold-10 booms with a bravado that’s ultimately undercut by the authorial irony that lurks under its surface. I will eventually write a proper review of Moderan, but the book seems equal to the task of satirizing the trajectory of our zeitgeist.

I started Angela Carter’s novel The Infernal Desire Machines of Doctor Hoffman last night and the first chapter is amazing.

Finally, I got a hard copy of Paul Kirchner’s new collection, Hieronymus & Bosch which finds humor in the horror of hell. The collection is lovely—I should have a post about it here later this week and hopefully a review at The Comics Journal later this month. For now though, a sample strip:

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Blog about Jindřich Štyrský’s Dreamverse

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I have to admit that I had never heard of the Czech artist Jindřich Štyrský (1899-1942) until a review copy of something called Dreamverse arrived at Biblioklept World Headquarters a week or so ago. I was excited when I saw the package though—the book is from Twisted Spoon Press, and their books are always gorgeous and strange and fascinating. Dreamverse is no exception, collecting Štyrský’s paintings, collages, sketches, poems, essays, and prose in a baffling (and yet simultaneously accessible) compendium translated by Jed Slast. Here is Twisted Spoon’s blurb:

Published posthumously in 1970 as Dreams, Štyrský’s dream journal spanning the interwar years comprises prose, sketches, collages, and paintings. The present volume includes the complete series of texts and full-color and halftone images based on Štyrský’s layout for its publication in the 1940s, his sole volume of poetry (also published posthumously), as well as a selection of his most important essays, articles, manifestos, and assorted other texts. This edition presents in English for the first time the broad range of Štyrský’s contribution to the interwar avant-garde and Surrealism.

Dreamverse begins with an (overly academic) introduction by the Czech avant garde artist Karel Teige dated from 1948, which argues that the Štyrský is deeply underappreciated. Teige describes Štyrský’s gradual artistic shift into surrealism, an excursion Štyrský shared with his partner Toyen.

Teige writes like an art historian, fussily constructing a place for a displaced artist. Dreamverse really takes off when we get to Štyrský’s prose. Dreams (1925-1940) comprises about half of the book, and begins with this lucidly surreal self-description:

Work birthed in the wellsprings of hypnagogic mental models, via faithful representations of dream objects and authentic dream records.

Štyrský then offers a brief introduction in which he dedicates the work to “my CHIMERA, my PHANTOM OBJECT.” This particular chimera is a Freudian’s fantasy: Štyrský begins by discussing his prepubescent infatuation with “the image of a woman’s head, exquisite with golden hair” which he sees in a cheap magazine. This image somehow transmogrifies into “the head of Medusa, the whole of it in a pool of blood,” its hair a “cluster of vipers, erect, ready to penetrate the woman through her mouth, nose, and ears.” Štyrský then tells us that this “ghastly horror,” this “alluring horror” haunts his dreams, and he tries to “place the head” on his mother and sister. The head fits his sister: “So I was madly in love with her.” Štyrský then details his sister’s death in strange, alarmingly sensual language. (She died in 1905 when he was a young boy). His muse then, his chimera, foregrounds the dreamverse he creates: we get a mass media image reconverted into a mythological figure, then reconverted again, through creative imagination, into a sister, who is in turn transformed again into a mythic trope of some kind—a figure like Eurydice for Štyrský to play Orpheus to. Štyrský’s dreamverse is a writhing collage of contradictions. Hope and despair, sex and death, the beautiful and the lurid are all collapsed into surrealist expression.

Take, for example, Dream XXXI:a

Štyrský’s dream—and its expression—excavates the sexuality suppressed just beneath the surface of our fairy tales. And while sexual abjection is typical in both Dreams (and in many of the poems collected in the Verse section of Dreamverse, sex is not always the dominant motif. Consider Dream VIII:

 

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The vignette is a perfect slice of dread an horror, and the accompanying illustration—humorous and grotesque—is nightmare fuel.

I’ve been reading the Dreams somewhat slowly, a handful at a time, and then dipping deeper in the book, into the Verse, reading the Dreamverse as a sort of push-pull of image and word.

Štyrský’s writing is abject, evocative of a world that decays and regenerates at the same moment. A poem with the title “In the Swamps” of course stands out to me, a Florida boy always on the look out for abject images:

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Štyrský’s imagery here is wonderful: The “fortune of blackcaps” pops out as an invented form of venery. Are the “blackcaps” actually little warblers—or just a surreal transformation of moorhens, the birds we would expect to find in the swamps? In either case, they are merely prey for “compassionate hunters,” susceptible to the arms of unseen brunettes and hunting dogs. The end of the poem is beautifully abject. The “horde of black swine” rumble in, neatly parallel to the “fortune of blackcaps” in the poems’s first line. These pigs slough through the swamp for “Sodden sacks of gold,” some kind of treasure there in the abject muck. Above it all is a speaker—a poet? Language hovers over the swamp.

Jed Slast deserves much praise for his translation, which seems tonally perfect and consistent over both the Dreams and the Verse sections. I’ll admit I haven’t gotten into any of the Writings at the end, which include lectures, essays, manifestos, and other fragments, but that gives me something to look forward to. So far though, Dreamverse has been an unexpected and strange joy, a dark and often perverse collection that plants its own dreamseeds in its reader.

A patchwork of conceits, a hodgepodge of good intentions, another blog about William Gaddis’s novel Carpenter’s Gothic

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In its sixth (and penultimate chapter), William Gaddis’s 1985 novel Carpenter’s Gothic includes a rare scene. Our heroine Elizabeth Booth exits the house she spends most of the book confined in and actually looks at it from the outside. With her is the house’s owner, the mysterious Mr. McCandless:

—I’ve never really looked at it.

—At what… looking where she was looking.

—At the house. From outside I mean.

Carpenter’s Gothic is a novel of utter interiority—the reader never makes it but a few feet out of the house, and only then on rare occasions. This postmodern Gothic novel tingles with a smothering claustrophobia, its insularity underscored by continual references to other spaces outside the house. The possibility of an outside world waiting for Elizabeth is realized through dialogue with her husband Paul, her brother Billy, and mysterious Mr. McCandless, as well as the non-stop (and, from the reader’s perspective, one-sided) telephone conversations that make up so much of the novel’s material. And yet with all its references to traveling away to California, Africa, New York City, Acapulco, etc., Carpenter’s Gothic keeps Elizabeth locked away in the old house, tethered to the umbilical phone cord at the novel’s center.

McCandless is off in his own interior space—the shifting tortured howl of his own consciousness—when Elizabeth remarks that she has never really seen the house from the outside. Her observation raises him “to the surface” of concrete reality:

—Oh the house yes, the house. It was built that way yes, it was built to be seen from outside it was, that was the style, he came on, abruptly rescued from uncertainty, raised to the surface —yes, they had style books, these country architects and the carpenters it was all derivative wasn’t it, those grand Victorian mansions with their rooms and rooms and towering heights and cupolas and the marvelous intricate ironwork.

The house is built in the Carpenter Gothic style (sometimes called Rural Gothic style), which essentially amounts to an American imitation of European Gothic’s forceful elegance. McCandless continues:

That whole inspiration of medieval Gothic but these poor fellows didn’t have it, the stonework and the wrought iron. All they had were the simple dependable old materials, the wood and their hammers and saws and their own clumsy ingenuity bringing those grandiose visions the masters had left behind down to a human scale with their own little inventions, those vertical darts coming down from the eaves? and that row of bull’s eyes underneath?

McCandless, stand-in for Gaddis, performs a metatextual interpretation for the reader. The Carpenter Gothic is Carpenter’s Gothic, the American postGothic reinterpreation of the European form—namely, the Gothic novel. The materials Gaddis uses to build his book are the materials of mass media and mass textuality. He condenses high literature, lurid newspaper clippings, mail, textbook pages, scraps of illegible notes, pornographic centerfolds, and every other manner of paper into a postGothic synthesis. And not just paper, but also the telephone (always ringing) and the radio (always on, always tuned to inhuman human voices). And the television too, tuned to Orson Welles as Mr. Rochester in Jane Eyre (dir. Robert Stevenson, 1943),  a film which weaves its way in and out of Elizabeth’s consciousness in the beginning of the novel, planting seeds of romance and locked rooms and secrets and fire.

But I’ve cut off McCandless, who was just about to give us another neat description of the Carpenter Gothic, which is to say another neat description of Carpenter’s Gothic:

He was up kicking leaves aside, gesturing, both arms raised embracing —a patchwork of conceits, borrowings, deceptions, the inside’s a hodgepodge of good intentions like one last ridiculous effort at something worth doing even on this small a scale, because it’s stood here, hasn’t it, foolish inventions and all it’s stood here for ninety years…

 Carpenter’s Gothic is more than just a hodgepodge or patchwork; it is more than a ridiculous effort; it is more than the sum of its foolish inventions. Gaddis gives us something new, a postmodern Gothic analysis of the end of the American century.

McCandless, Gaddis’s stand-in, wants to put all the pieces together. He echoes Jack Gibbs, the (anti-)hero (and fellow Gaddis stand-in) of J R, and he prefigures the narrator of Gaddis’s last novel, Agapē Agape, who, like Gibbs, strives to stitch together something from the atomized scraps and remnants of the 20th century.  Gaddis’s protagonists contend with entropy and attempt to get the detritus of the modern world “sorted and organized.” The push-pull of hope and despair drives these protagonists, but often drives them too far.

And McCandless’s reverie takes him too far, again into the interiority of his skull:

…breaking off, staring up where her gaze had fled back with those towering heights and cupolas, as though for some echo: It’s like the inside of your head McCandless, if that was what brought him to add —why when somebody breaks in, it’s like being assaulted, it’s the…

In a moment of self-speech, McCandless realizes that the Carpenter Gothic is “like the inside of [his] head,” underscoring his connection to his creator, Gaddis, as well as the connection between the house and the novel.

The (always) ringing phone punctures the scene:

—Listen! The phone had rung inside and she started up at the second ring, sank back with the third. —All I meant was, it’s a hard house to hide in…

Elizabeth’s lines here emphasize Carpenter’s Gothic’s central Gothicism—the Carpenter Gothic and Carpenter’s Gothic is a hard place to hide in. Secrets will out.

And so well where does our hodgepodge of good intentions lead?

Blog about Blog about 4

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On 1 Oct. 2018 on this foolish blog I foolishly wrote about my foolishgood intent to blog about something—books, film, art—every day or nearly every day.” I added, ” I’m not sure how it will go,” although I was a little bit sure about how it would go, which was, not great. Like, I knew that I would stumble in writing every day this month, which I have. October has snuck up (or sneaked up) on me like a thief or a serpent or a hobbit or a pick-your-simile—I even somehow missed taking my kid to her dentist appointment yesterday, and will almost surely get a bill from them over that. October sneaked/snuck up on me, and here we are 16 of 31 days in, and I have only managed 10 of these posts (including this one), which is like, 10 of 16, or 62.5%. (10/16 is also today’s date though, so like, uh, so like nothing).

Anyway.

have been reading, and the initial blog I wrote about even included some specific goals, along with this picture, which semi-summarized those goals:

From bottom to top—

did, as I promised I would, return (and not steal) the Ravel book, Irony and Sound, which was frankly over my head.

I have not returned to Hoffman’s Poe book, but I haven’t shelved it.

I’ve been reading the Gordon Lish interviews. Like, the book is good—it’s sort of almost like a book of Lish stories. I blogged about it a bit even.

I’ve absolutely loved reading William Gaddis’s third novel Carpenter’s Gothic. It’s turned out to be a perfect Halloween novel, too. I’ll finish the last of its seven chapters tonight—I would’ve finished last night, but I got sidetracked by some lines that reminded me of Leslie Fiedler’s 1960 analysis of American literature, Love and Death in the American Novel. Gaddis’s book in many ways performs a similar analysis to Fiedler’s—they both trace the weight of American guilt. As if anticipating Gaddis’s postmodern postGothic Gothic novel, Fiedler writes, a quarter century before Carpenter’s Gothic’s publication,

…in the United States, certain special guilts awaited projection in the gothic form. A dream of innocence had sent Europeans across the ocean to build a new society immune to the compounded evil of the past from which no one else in Europe could ever feel himself free. But the slaughter of the Indians, who would not yield their lands to the carriers of utopia, and the abominations of the slave trade, in which the black man, rum, and money were inextricably entwined in a knot of guilt, provided new evidence that evil did not remain with the world that had been left behind—but stayed alive in the human heart, which had come the long way to America only to confront the horrifying image of itself.

(I have stalled out on writing a stupid “Blog about” blog post these past few days because I have been cobbling together notes on something about Fiedler and Gaddis. But, like, really—I need to finish Gaddis’s book first).

No dent in the Pirandello.

I’ll return to David Bunch’s Moderan after finishing Carpenter’s Gothic. Bunch’s work is, so far, a perfectly-pitched pitch black satire of toxic (like nuclearly-toxic) masculinity. Horror-as-comedy, weird and undelightful.

I finished George Eliot’s Silas Marner pretty quickly in October, and enjoyed it. I’m glad I read Middlemarch first though. What Eliot next, reader?

So—what next? The picture at the top is the stack I’ve been stacking and unstacking and restacking. Gaddis and Fiedler feel like the thing I really want to write about—gender roles, Gothic promises, domesticity vs. adventure, the house vs. the frontier, the collapse of self into fragments of language, etc. I’m also loving Dreamverse, a collection of poems, art, and prose by Jindřich Štyrský’ that Twisted Spoon Press has put together.  Its insides look like this, at least in one place—

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I think the next novel I will read will be Angela Carter’s The Infernal Machines of Doctor Hoffman.

Blog about some books and some book covers and acquiring some books and not acquiring some books

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I went to the book store this afternoon to pick up a copy of the latest graphic novel in by Kazu Kibuishi’s Amulet series for my kids, and of course I browsed a while. Looking for a copy of Anne Carson’s Plainwater, I ended up finding Angela Carter’s 1972 novel Infernal Desire Machines of Doctor Hoffman. It’s a British edition, 1985, Penguin, with a lovely Boschian cover by James Marsh. Here’s a detail from the cover:

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I’ve wanted to pick up Carter’s novel since I read about it on a silly good dystopian fiction list last year, and I’m thrilled that I was able to get one with a Marsh cover. This particular cover, along with Marsh’s cover for The Bloody Chamber, are included in Phil Baines lovely book Penguin by Design.

Baines’s book doesn’t include any of Marsh’s fantastic covers of J.G. Ballard novels, opting instead to include Dave Pelham’s versions. I love both Pelham and Marsh’s Ballard covers, and would love to get my mitts on one at some point. I always browse for old mass market paperbacks of sci-fi authors I like — Philip K. Dick, Ursula K. LeGuin, the Strugatsky Brothers, J.G. Ballard — hoping to find an interesting cover, something inventive and fun, something from before their works were, under the cloak of awful respectability, given safe, boring literary covers. I didn’t find any Ballard editions with Marsh or Pelham covers, but I did come across this lovely pair of mass market paperback:

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They’re US Vintage versions, 1985, with covers by Chris Moore. There’s like a proto-Cherry 2000 thing going on here that I kinda love, but I already own these novels, and I don’t love the covers quite enough. So instead, this post. Here are the covers of my copies of Crash and Concrete Island:

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While Henry Sene Yee’s cover design for my copy of Concrete Island (using a photograph by Kevin Laubacher) isn’t terrible, it is a good example of what I mean by boring respectable literary covers. Still, this trade edition (Picador, 2001) is really readable—I mean, it’s easy to read. The pages are nice, the typeset is great, etc. (And the book is killer). I actually like the cover of my copy of Crash, a lot (design by Michael Ian Kaye and Melissa Hayden), but it’s also trying just a little too hard. (Again—very readable version from FS&G’s Noonday Press imprint, 1994).

While I had to pass today on the mass market copies of Crash and Concrete Island today—not because they would have set me back five bucks in store credit, but because I don’t need them, because I hope some kid goes in there and picks them up—while I had to pass on those lurid beauties, I did pick up a mass market 1967 copy of The Crystal World. Publisher Berkley Medallion didn’t bother to name the cover designer/artist, and I haven’t been able to track it down, but it is, I admit, a bit disappointing—an early pulp bid for literary respectability. At least I can be on the look out for a weirder one in the future.

Blog about about the Halloween chapter of William Gaddis’s novel Carpenter’s Gothic

Mischief Night, Jamie Wyeth

The fourth of seven unnumbered chapters in William Gaddis’s Carpenter’s Gothic is set over the course of Halloween, moving from morning, into afternoon, and then night. Halloween is an appropriately Gothic setting for the midpoint of Gaddis’s postmodern Gothic novel, and there are some fascinating turns in this central chapter.

A summary with spoilers is not necessary here. Suffice to say that our heroine Elizabeth Booth is left alone on Halloween in the dilapidated Rural Gothic style house she and her awful husband Paul rent from mysterious Mr. McCandless. As Paul exits the house to go on one his many fruitless business trips, he notices that some neighborhood kids have already played their Halloween tricks:

He had the front door open but he stood there, looking out, looking up, —little bastards look at that, not even Halloween till tonight but they couldn’t wait… Toilet paper hung in disconsolate streamers from the telephone lines, arched and drooped in the bared maple branches reaching over the windows of the frame garage beyond the fence palings where shaving cream spelled fuck. —Look keep the doors locked, did this last night Christ knows what you’re in for tonight… and the weight of his hand fell away from her shoulder, —Liz? just try and be patient? and he pulled the door hard enough for the snap of the lock to startle her less with threats locked out than herself locked in, to leave her steadying a hand on the newel…

The kids’ Halloween antics take on a particularly sinister aspect here, set against the stark New England background Gaddis conjures. We get gloomy streamers, desolate trees, and the bald, ugly signification of one lone word: fuck. (Fuck and its iterations, along with Gaddis’s old favorite God damn, are bywords in Carpenter’s Gothic). Paul’s reading of this scene is also sinister; he underscores the Gothic motif in telling Elizabeth to “keep the doors locked” because she doesn’t know what she’s “in for tonight.” Tellingly, the aural snap of Paul’s exit shows us that Elizabeth is ultimately more paranoid about being locked in. Indeed, by the middle of the novel, we see her increasingly trapped in her (haunted) house. The staircase newel, an image that Gaddis uses repeatedly in the novel, becomes her literal support. Elizabeth spends the rest of the morning avoiding chores before eventually vomiting and taking a nap.

Then, Gaddis propels us forward a few hours with two remarkable paragraphs (or, I should say, two paragraphs upon which I wish to remark). Here is the first post-nap paragraph:

She woke abruptly to a black rage of crows in the heights of those limbs rising over the road below and lay still, the rise and fall of her breath a bare echo of the light and shadow stirred through the bedroom by winds flurrying the limbs out there till she turned sharply for the phone and dialed slowly for the time, up handling herself with the same fragile care to search the mirror, search the world outside from the commotion in the trees on down the road to the straggle of boys faces streaked with blacking and this one, that one in an oversize hat, sharing kicks and punches up the hill where in one anxious glimpse the mailman turned the corner and was gone.

What a fantastic sentence. Gaddis’s prose here reverberates with sinister force, capturing (and to an extent, replicating) Elizabeth’s disorientation. Dreadful crows and flittering shadows shake Elizabeth, and searching for stability she telephones for the time. (If you are a young person perhaps bewildered by this detail: This is something we used to do. We used to call a number for the time. Like, the time of day. You can actually still do this. Call the US Naval Observatory at 202-762-1069 if you’re curious what this aesthetic experience is like). The house’s only clock is broken, further alienating Elizabeth from any sense of normalcy. In a mode of “fragile care,” anxious Elizabeth glances in the mirror, another Gothic symbol that repeats throughout this chapter. She then spies the “straggle of boys” (a neat parallel to the “black rage of crows” at the sentence’s beginning) already dressed up in horrorshow gear for mischief night and rumbling with violence. The mailman—another connection to the outside world, to some kind of external and steadying authority—simply disappears.

Here is the next paragraph:

Through the festoons drifting gently from the wires and branches a crow dropped like shot, and another, stabbing at a squirrel crushed on the road there, vaunting black wings and taking to them as a car bore down, as a boy rushed the road right down to the mailbox in the whirl of yellowed rust spotted leaves, shouts and laughter behind the fence palings, pieces of pumpkin flung through the air and the crows came back all fierce alarm, stabbing and tearing, bridling at movement anywhere till finally, when she came out to the mailbox, stillness enveloped her reaching it at arm’s length and pulling it open. It looked empty; but then there came sounds of hoarded laughter behind the fence palings and she was standing there holding the page, staring at the picture of a blonde bared to the margin, a full tumid penis squeezed stiff in her hand and pink as the tip of her tongue drawing the beading at its engorged head off in a fine thread. For that moment the blonde’s eyes, turned to her in forthright complicity, held her in their steady stare; then her tremble was lost in a turn to be plainly seen crumpling it, going back in and dropping it crumpled on the kitchen table.

The paragraph begins with the Gothic violence of the crows “stabbing and tearing” at a squirrel. Gaddis fills Carpenter’s Gothic with birds—in fact, the first words of the novel are “The bird”—a motif that underscores the possibility of flight, of escape (and entails its opposite–confinement, imprisonment). These crows are pure Halloween, shredding small mammals as the wild boys smash pumpkins. Elizabeth exits the house (a rare vignette in Carpenter’s Gothic, which keeps her primarily confined inside it) to check the mail. The only message that has been delivered to her though is from the Halloween tricksters, who cruelly laugh at their prank. The pornographic image, ripped from a magazine, is described in such a way that the blonde woman trapped within it comes to life, “in forthright complicity,” making eye contact with Elizabeth. There’s an intimation of aggressive sexual violence underlying the prank, whether the boys understand this or not. The scrap of paper doubles their earlier signal, the shaving creamed fuck written on the garage door.

Elizabeth recovers herself to signify steadiness in return, demonstratively crumpling the pornographic scrap—but she takes it with her, back into the house, where it joins the other heaps of papers, scraps, detritus of media and writing that make so much of the content of the novel. Here, the pornographic scrap takes on its own sinister force. Initially, Elizabeth sets out to compose herself anew; the next paragraph finds her descending the stairs, “differently dressed now, eyeliner streaked on her lids and the
colour unevenly matched on her paled cheeks,” where she answers the ringing phone with “a quaver in her hand.” The scene that follows is an extraordinary displacement in which the phone takes on a phallic dimension, and Elizabeth imaginatively correlates herself with the blonde woman in the pornographic picture. She stares at this image the whole time she is on the phone while a disembodied male voice demands answers she cannot provide:

The voice burst at her from the phone and she held it away, staring down close at the picture as though something, some detail, might have changed in her absence, as though what was promised there in minutes, or moments, might have come in a sudden burst on the wet lips as the voice broke from the phone in a pitch of invective, in a harried staccato, broke off in a wail and she held it close enough to say —I’m sorry Mister Mullins, I don’t know what to… and she held it away again bursting with spleen, her own fingertip smoothing the still fingers hoarding the roothairs of the inflexible surge before her with polished nails, tracing the delicate vein engorged up the curve of its glistening rise to the crown cleft fierce with colour where that glint of beading led off in its fine thread to the still tongue, mouth opened without appetite and the mascaraed eyes unwavering on hers without a gleam of hope or even expectation, —I don’t know I can’t tell you!

Gaddis’s triple repetition of the verb burst links the phone to the phallus and links Elizabeth to the blonde woman. This link is reinforced by the notation of the woman’s “mascaraed eyes,” a detail echoing the paragraph’s initial image of Elizabeth descending the stairs with streaked eyeliner. The final identification between the two is the most horrific—Elizabeth reads those eyes, that image, that scrap of paper, as a work “without a gleam of hope or even expectation.” Doom.

Elizabeth is “saved,” if only temporarily, by the unexpected arrival of the mysterious Mr. McCandless, who quickly stabilizes the poor woman. Gaddis notes that McCandless “caught the newel with her hand…He had her arm, had her hand in fact firm in one of his.” When he asks why she is so upset, she replies, “It’s the, just the mess out there, Halloween out there…” McCandless chalks the mess up to “kids with nothing to do,” but Elizabeth reads in it something more sinister: “there’s a meanness.” McCandless counters that “it’s plain stupidity…There’s much more stupidity than there is malice in the world.” This phrase “Halloween out there” repeats three times in the chapter, suggesting a larger signification—it isn’t just Halloween tonight, but rather, as McCandless puts it, the night is “Like the whole damned world isn’t it.” It’s always Halloween out there in Carpenter’s Gothic, and this adds up to mostly malice of mostly stupidity in this world—depending on how you read it.

The second half of the chapter gives over to McCandless, who comes to unexpectedly inhabit the novel’s center. Elizabeth departs, if only for a few hours, leaving McCandless alone, if only momentarily. A shifty interlocutor soon arrives on the thresh hold of his Carpenter Gothic home, and we learn some of his fascinating background. It’s a strange moment in a novel that has focused so intently on the consciousness of Elizabeth, but coming in the novel’s center, it acts as a stabilizing force. I won’t go into great detail here—I think much of what happens when McCandless is the center of the narrative is best experienced without any kind of spoiler—but we get at times from him a sustained howl against the meanness and stupidity of the world. He finally ushers his surprise interlocutor out of his home with the following admonition: “It’s Halloween out there too.”