“Decoration Day” — Sarah Orne Jewett

“Decoration Day” by Sarah Orne Jewett

I.

A week before the thirtieth of May, three friends—John Stover and Henry Merrill and Asa Brown—happened to meet on Saturday evening at Barton’s store at the Plains. They were ready to enjoy this idle hour after a busy week. After long easterly rains, the sun had at last come out bright and clear, and all the Barlow farmers had been planting. There was even a good deal of ploughing left to be done, the season was so backward.

The three middle-aged men were old friends. They had been school-fellows, and when they were hardly out of their boyhood the war came on, and they enlisted in the same company, on the same day, and happened to march away elbow to elbow. Then came the great experience of a great war, and the years that followed their return from the South had come to each almost alike. These men might have been members of the same rustic household, they knew each other’s history so well.

They were sitting on a low wooden bench at the left of the store door as you went in. People were coming and going on their Saturday night errands,—the post-office was in Barton’s store,—but the friends talked on eagerly, without being interrupted, except by an occasional nod of recognition. They appeared to take no notice at all of the neighbors whom they saw oftenest. It was a most beautiful evening; the two great elms were almost half in leaf over the blacksmith’s shop which stood across the wide road. Farther along were two small old-fashioned houses and the old white church, with its pretty belfry of four arched sides and a tiny dome at the top. The large cockerel on the vane was pointing a little south of west, and there was still light enough to make it shine bravely against the deep blue eastern sky. On the western side of the road, near the store, were the parsonage and the storekeeper’s modern house, which had a French roof and some attempt at decoration, which the long-established Barlow people called gingerbread-work, and regarded with mingled pride and disdain. These buildings made the tiny village called Barlow Plains. They stood in the middle of a long narrow strip of level ground. They were islanded by green fields and pastures. There were hills beyond; the mountains themselves seemed very near. Scattered about on the hill slopes were farmhouses, which stood so far apart, with their clusters of out-buildings, that each looked lonely, and the pine woods above seemed to besiege them all. It was lighter on the uplands than it was in the valley, where the three men sat on their bench, with their backs to the store and the western sky.

“Well, here we be ‘most into June, an’ I ‘ain’t got a bush-bean above ground,” lamented Henry Merrill.

“Your land’s always late, ain’t it? But you always catch up with the rest on us,” Asa Brown consoled him. “I’ve often observed that your land, though early planted, was late to sprout. I view it there’s a good week’s difference betwixt me an’ Stover an’ your folks, but come first o’ July we all even up.”

“‘Tis just so,” said John Stover, taking his pipe out of his mouth, as if he had a good deal more to say, and then replacing it, as if he had changed his mind.

“Made it extry hard having that long wet spell. Can’t none on us take no day off this season,” said Asa Brown; but nobody thought it worth his while to respond to such evident truth.

“Next Saturday’ll be the thirtieth o’ May—that’s Decoration Day, ain’t it?—come round again. Lord! how the years slip by after you git to be forty-five an’ along there!” said Asa again. “I s’pose some o’ our folks’ll go over to Alton to see the procession, same’s usual. I’ve got to git one o’ them small flags to stick on our Joel’s grave, an’ Mis’ Dexter always counts on havin’ some for Harrison’s lot. I calculate to get ’em somehow. I must make time to ride over, but I don’t know where the time’s comin’ from out o’ next week. I wish the women folks would tend to them things. There’s the spot where Eb Munson an’ John Tighe lays in the poor-farm lot, an’ I did mean certain to buy flags for ’em last year an’ year before, but I went an’ forgot it. I’d like to have folks that rode by notice ’em for once, if they was town paupers. Eb Munson was as darin’ a man as ever stepped out to tuck o’ drum.” Continue reading ““Decoration Day” — Sarah Orne Jewett”

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

The Adjectives of Cormac McCarthy’s Road

the-road

 

(By/via).

Yellow Zine #3 (Books, Comix, Etc. Acquired 5.13.2013)

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Got a sweet bundle from Roman Muradov a few weeks ago: Yellow Zine #3 plus some other comix, including a take on Italo Calvino’s If on a Winter’s Night. Love the Joyce bookmark.

The comix themselves are funny, weird, and strangely heartfelt (why “strangely” — I suppose because there’s this weird cerebral/linguistic bent to them + literary allusion — these aren’t  sad boy emo comics — but emotion and feeling comes through in Roman’s clean, expressive style).

Check out Roman’s site for more. I’m hoping for a graphic novel one day…

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Elmore Leonard Talks About His Writing Process

“Casablanca, or, the Clichés Are Having a Ball” — Umberto Eco

“Casablanca, or, the Clichés Are Having a Ball” by Umberto Eco

 

When people in their fifties sit down before their television sets for a rerun of Casablanca, it is an ordinary matter of nostalgia. However, when the film is shown in American universities, the boys and girls greet each scene and canonical line of dialogue (“Round up the usual suspects,” “Was that cannon fire, or is it my heart pounding?”–or even every time that Bogey says “kid”) with ovations usually reserved for football games. And I have seen the youthful audience in an Italian art cinema react in the same way. What then is the fascination of Casablanca?

The question is a legitimate one, for aesthetically speaking (or by any strict critical standards) Casablanca is a very mediocre film. It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects. And we know the reason for this: The film was made up as the shooting went along, and it was not until the last moment that the director and script writer knew whether Ilse would leave with Victor or with Rick. So all those moments of inspired direction that wring bursts of applause for their unexpected boldness actually represent decisions taken out of desperation. What then accounts for the success of this chain of accidents, a film that even today, seen for a second, third, or fourth time, draws forth the applause reserved for the operatic aria we love to hear repeated, or the enthusiasm we accord to an exciting discovery? There is a cast of formidable hams. But that is not enough.

Here are the romantic lovers–he bitter, she tender–but both have been seen to better advantage. And Casablanca is not Stagecoach, another film periodically revived. Stagecoach is a masterpiece in every respect. Every element is in its proper place, the characters are consistent from one moment to the next, and the plot (this too is important) comes from Maupassant–at least the first part of it. And so? So one is tempted to read Casablanca the way T. S. Eliot reread Hamlet. He attributed its fascination not to its being a successful work (actually he considered it one of Shakespeare’s less fortunate plays) but to something quite the opposite: Hamlet was the result of an unsuccessful fusion of several earlier Hamlets, one in which the theme was revenge (with madness as only a stratagem), and another whose theme was the crisis brought on by the mother’s sin, with the consequent discrepancy between Hamlet’s nervous excitation and the vagueness and implausibility of Gertrude’s crime. So critics and public alike find Hamlet beautiful because it is interesting, and believe it to be interesting because it is beautiful.

On a smaller scale, the same thing happened to Casablanca. Forced to improvise a plot, the authors mixed in a little of everything, and everything they chose came from a repertoire of the tried and true. When the choice of the tried and true is limited, the result is a trite or mass-produced film, or simply kitsch. But when the tried and true repertoire is used wholesale, the result is an architecture like Gaudi’s Sagrada Familia in Barcelona. There is a sense of dizziness, a stroke of brilliance. Continue reading ““Casablanca, or, the Clichés Are Having a Ball” — Umberto Eco”

Self Portrait — Gerrit Dou

Saul Bellow’s Review of Ralph Ellison’s Invisible Man

“Man Underground,” a Review of Ralph Ellison’s Invisible Man, by Saul Bellow

A few years ago, in an otherwise dreary and better forgotten number of Horizon devoted to a louse-up of life in the United States, I read with great excitement an episode from Invisible Man. It described a free-for-all of blindfolded Negro boys at a stag party of the leading citizens of a small Southern town. Before being blindfolded the boys are made to stare at a naked white woman; then they are herded into the ring, and, after the battle royal, one of the fighters, his mouth full of blood, is called upon to give his high school valedictorian’s address. As he stands under the lights of the noisy room, the citizens rib him and make him repeat himself; an accidental reference to equality nearly ruins him, but everything ends well and he receives a handsome briefcase containing a scholarship to a Negro college.

This episode, I thought, might well be the high point of an excellent novel. It has turned out to be not the high point but rather one of the many peaks of a book of the very first order, a superb book. The valedictorian is himself Invisible Man. He adores the college but is thrown out before long by its president, Dr. Bledsoe, a great educator and leader of his race, for permitting a white visitor to visit the wrong places in the vicinity. Bearing what he believes to be a letter of recommendation from Dr. Bledsoe he comes to New York. The letter actually warns prospective employers against him. He is recruited by white radicals and becomes a Negro leader, and in the radical movement he learns eventually that throughout his entire life his relations with other men have been schematic; neither with Negroes nor with whites has he ever been visible, real. I think that in reading the Horizon excerpt I may have underestimated Mr. Ellison’s ambition and power for the following very good reason, that one is accustomed to expect excellent novels about boys, but a modern novel about men is exceedingly rare. For this enormously complex and difficult American experience of ours very few people are willing to make themselves morally and intellectually responsible. Consequently, maturity is hard to find. Continue reading “Saul Bellow’s Review of Ralph Ellison’s Invisible Man”

“I bristle at the idea that the only thing Susan Sontag or David Foster Wallace had to offer is advice for me.”

If I had first encountered Anaïs Nin by reading a quote of hers about love or dreams or fulfilling your potential or massaging your inner child superimposed on an insufferably twee image, I would never have picked up her wonderful remarkably-transgressive books. Perhaps this shows the shortsightedness of my own prejudices but it’s still not a fair or substantial representation of her work. What I want when I encounter Anaïs Nin is Anaïs Nin, not a therapist or a motivational speaker. The same goes for Susan Sontag or Henry Miller or David Foster Wallace or any of the other incandescently brilliant writers whose writing has recently been cherry-picked and repackaged as glorified self-help tracts. The quotes are certainly theirs, being culled from diaries, journals, speeches and interviews (with the double meaning of culled being entirely apt). The sentiments may well be true. Yet it seems to me duplicitous because the quotes have been carefully selected to fit a pre-existing agenda – us. I am a ludicrously solipsistic and selfish person but even I bristle at the idea that the only thing Susan Sontag or David Foster Wallace had to offer is advice for me. At the risk of impertinence, if I chance upon someone using the currently virulent “there is actually no such thing as atheism” quote by Foster Wallace out of context to bash atheists (ignoring its implicit ‘worship God precisely because He is so ineffectual He can’t harm you’ angle) with no further interest in his writing or life, I’m going to nail a copy of Infinite Jest to their collective forehead.

—From an essay that had me enthusiastically mumbling yes the whole way, “Albert Camus and the ventriloquists” by Darran Anderson. Read it.

“Powerhouse” — Eudora Welty

“Powerhouse” by Eudora Welty

Powerhouse is playing!

He’s here on tour from the city–“Powerhouse and His Keyboard”– “Powerhouse and His Tasmanians”–think of the things he calls himself! There’s no one in the world like him. You can’t tell what he is. “Nigger man”?–he looks more Asiatic, monkey, Jewish, Babylonian, Peruvian, fanatic, devil. He has pale gray eyes, heavy lids, maybe horny like a lizard’s, but big glowing eyes when they’re open. He has African feet of the greatest size, stomping, both together, on each side of the pedals. He’s not coal black– beverage colored–looks like a preacher when his mouth is shut, but then it opens–vast and obscene. And his mouth is going every minute: like a monkey’s when it looks for something. Improvising, coming on a light and childish melody–smooch–he loves it with his mouth.

Is it possible that he could be this! When you have him there performing for you, that’s what you feel. You know people on a stage–and people of a darker race–so likely to be marvelous, frightening.

This is a white dance. Powerhouse is not a show-off like the Harlem boys, not drunk, not crazy–he’s in a trance; he’s a person of joy, a fanatic. He listens as much as he performs, a look of hideous, powerful rapture on his face. Big arched eyebrows that never stop traveling, like a Jew’s–wandering-Jew eyebrows. When he plays he beats down piano and seat and wears them away. He is in motion every moment–what could be more obscene? There he is with his great head, fat stomach, and little round piston legs, and long yellow-sectioned strong big fingers, at rest about the size of bananas. Of course you know how he sounds–you’ve heard him on records–but still you need to see him. He’s going all the time, like skating around the skating rink or rowing a boat. It makes everybody crowd around, here in this shadowless steel-trussed hall with the rose-like posters of Nelson Eddy and the testimonial for the mind-reading horse in handwriting magnified five hundred times. Then all quietly he lays his finger on a key with the promise and serenity of a sibyl touching the book.

Powerhouse is so monstrous he sends everybody into oblivion. When any group, any performers, come to town, don’t people always come out and hover near, leaning inward about them, to learn what it is? What is it? Listen. Remember how it was with the acrobats. Watch them carefully, hear the least word, especially what they say to one another, in another language–don’t let them escape you; it’s the only time for hallucination, the last time. They can’t stay. They’ll be somewhere else this time tomorrow.

Powerhouse has as much as possible done by signals. Everybody, laughing as if to hide a weakness, will sooner or later hand him up a written request. Powerhouse reads each one, studying with a secret face: that is the face which looks like a mask–anybody’s; there is a moment when he makes a decision. Then a light slides under his eyelids, and he says, “92!” or some combination of figures–never a name. Before a number the band is all frantic, misbehaving, pushing, like children in a schoolroom, and he is the teacher getting silence. His hands over the keys, he says sternly, “You-all ready? You-all ready to do some serious walking?”–waits–then, STAMP. Quiet. STAMP, for the second time This is absolute. Then a set of rhythmic kicks against the floor to communicate the tempo. Then, O Lord! say the distended eyes from beyond the boundary of the trumpets, Hello and good-bye, and they are all down the first note like a waterfall. Continue reading ““Powerhouse” — Eudora Welty”

Required Reading — Carl Larsson

“What past consecutive causes, before rising preapprehended, of accumulated fatigue did Bloom, before rising, silently recapitulate?” (Ulysses)

What past consecutive causes, before rising preapprehended, of accumulated fatigue did Bloom, before rising, silently recapitulate?

The preparation of breakfast (burnt offering): intestinal congestion and premeditative defecation (holy of holies): the bath (rite of John): the funeral (rite of Samuel): the advertisement of Alexander Keyes (Urim and Thummim): the unsubstantial lunch (rite of Melchisedek): the visit to museum and national library (holy place): the bookhunt along Bedford row, Merchants’ Arch, Wellington Quay (Simchath Torah): the music in the Ormond Hotel (Shira Shirim): the altercation with a truculent troglodyte in Bernard Kiernan’s premises (holocaust): a blank period of time including a cardrive, a visit to a house of mourning, a leavetaking (wilderness): the eroticism produced by feminine exhibitionism (rite of Onan): the prolonged delivery of Mrs Mina Purefoy (heave offering): the visit to the disorderly house of Mrs Bella Cohen, 82 Tyrone street, lower and subsequent brawl and chance medley in Beaver street (Armageddon)—nocturnal perambulation to and from the cabman’s shelter, Butt Bridge (atonement).

A summary of sort of Bloom’s day. From the penultimate chapter of James Joyce’s Ulysses.

Alan Furst Novel (Book Acquired, 5.22.2013)

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Alan Furst’s Mission to Paris is new in trade paperback this month. Publisher Random House’s blurb:

Late summer, 1938. Hollywood film star Fredric Stahl is on his way to Paris to make a movie. The Nazis know he’s coming—a secret bureau within the Reich has been waging political warfare against France, and for their purposes, Fredric Stahl is a perfect agent of influence. What they don’t know is that Stahl, horrified by the Nazi war on Jews and intellectuals, has become part of an informal spy service run out of the American embassy. Mission to Paris is filled with heart-stopping tension, beautifully drawn scenes of romance, and extraordinarily alive characters: foreign assassins; a glamorous Russian actress-turned-spy; and the women in Stahl’s life. At the center of the novel is the city of Paris—its bistros, hotels grand and anonymous, and the Parisians, living every night as though it were their last. Alan Furst brings to life both a dark time in history and the passion of the human hearts that fought to survive it.

 

“On the Art of Fiction” — Willa Cather

“On the Art of Fiction” by Willa Cather

One is sometimes asked about the “obstacles” that confront young writers who are trying to do good work. I should say the greatest obstacles that writers today have to get over, are the dazzling journalistic successes of twenty years ago, stories that surprised and delighted by their sharp photographic detail and that were really nothing more than lively pieces of reporting. The whole aim of that school of writing was novelty—never a very important thing in art. They gave us, altogether, poor standards—taught us to multiply our ideas instead of to condense them. They tried to make a story out of every theme that occurred to them and to get returns on every situation that suggested itself. They got returns, of a kind. But their work, when one looks back on it, now that the novelty upon which they counted so much is gone, is journalistic and thin. The especial merit of a good reportorial story is that it shall be intensely interesting and pertinent today and shall have lost its point by tomorrow.

Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole—so that all that one has suppressed and cut away is there to the reader’s consciousness as much as if it were in type on the page. Millet had done hundreds of sketches of peasants sowing grain, some of them very complicated and interesting, but when he came to paint the spirit of them all into one picture, “The Sower,” the composition is so simple that it seems inevitable. All the discarded sketches that went before made the picture what it finally became, and the process was all the time one of simplifying, of sacrificing many conceptions good in themselves for one that was better and more universal.

Any first rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it. A good workman can’t be a cheap workman; he can’t be stingy about wasting material, and he cannot compromise. Writing ought either to be the manufacture of stories for which there  is a market demand—a business as safe and commendable as making soap or breakfast foods—or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values. The courage to go on without compromise does not come to a writer all at once—nor, for that matter, does the ability. Both are phases of natural development. In the beginning the artist, like his public, is wedded to old forms, old ideals, and his vision is blurred by the memory of old delights he would like to recapture.

The Borzoi, 1920

 

Reading the Part — Pierre-Auguste Renoir

F. Scott Fitzgerald’s Handwritten Manuscript for the First Page of Gatsby

gatsby manuscript

(Via/more).

Molly’s Suitors (Ulysses)

If he had smiled why would he have smiled?

To reflect that each one who enters imagines himself to be the first to enter whereas he is always the last term of a preceding series even if the first term of a succeeding one, each imagining himself to be first, last, only and alone whereas he is neither first nor last nor only nor alone in a series originating in and repeated to infinity.

What preceding series?

Assuming Mulvey to be the first term of his series, Penrose, Bartell d’Arcy, professor Goodwin, Julius Mastiansky, John Henry Menton, Father Bernard Corrigan, a farmer at the Royal Dublin Society’s Horse Show, Maggot O’Reilly, Matthew Dillon, Valentine Blake Dillon (Lord Mayor of Dublin), Christopher Callinan, Lenehan, an Italian organgrinder, an unknown gentleman in the Gaiety Theatre, Benjamin Dollard, Simon Dedalus, Andrew (Pisser) Burke, Joseph Cuffe, Wisdom Hely, Alderman John Hooper, Dr Francis Brady, Father Sebastian of Mount Argus, a bootblack at the General Post Office, Hugh E. (Blazes) Boylan and so each and so on to no last term.

A passage from the penultimate episode of James Joyce’s Ulysses.