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’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.
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
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.
“The Shrinkage of the Planet” by Jack London
What a tremendous affair it was, the world of Homer, with its indeterminate boundaries, vast regions, and immeasurable distances. The Mediterranean and the Euxine were illimitable stretches of ocean waste over which years could be spent in endless wandering. On their mysterious shores were the improbable homes of impossible peoples. The Great Sea, the Broad Sea, the Boundless Sea; the Ethiopians, “dwelling far away, the most distant of men,” and the Cimmerians, “covered with darkness and cloud,” where “baleful night is spread over timid mortals.” Phœnicia was a sore journey, Egypt simply unattainable, while the Pillars of Hercules marked the extreme edge of the universe. Ulysses was nine days in sailing from Ismarus the city of the Ciconians, to the country of the Lotus-eaters—a period of time which to-day would breed anxiety in the hearts of the underwriters should it be occupied by the slowest tramp steamer in traversing the Mediterranean and Black Seas from Gibraltar to Sebastopol.
Homer’s world, restricted to less than a drummer’s circuit, was nevertheless immense, surrounded by a thin veneer of universe—the Stream of Ocean. But how it has shrunk! To-day, precisely charted, weighed, and measured, a thousand times larger than the world of Homer, it is become a tiny speck, gyrating to immutable law through a universe the bounds of which have been pushed incalculably back. The light of Algol shines upon it—a light which travels at one hundred and ninety thousand miles per second, yet requires forty-seven years to reach its destination. And the denizens of this puny ball have come to know that Algol possesses an invisible companion, three and a quarter millions of miles away, and that the twain move in their respective orbits at rates of fifty-five and twenty-six miles per second. They also know that beyond it are great chasms of space, innumerable worlds, and vast star systems.
While much of the shrinkage to which the planet has been subjected is due to the increased knowledge of mathematics and physics, an equal, if not greater, portion may be ascribed to the perfection of the means of locomotion and communication. The enlargement of stellar space, demonstrating with stunning force the insignificance of the earth, has been negative in its effect; but the quickening of travel and intercourse, by making the earth’s parts accessible and knitting them together, has been positive.
The advantage of the animal over the vegetable kingdom is obvious. The cabbage, should its environment tend to become worse, must live it out, or die; the rabbit may move on in quest of a better. But, after all, the swift-footed creatures are circumscribed in their wanderings. The first large river almost inevitably bars their way, and certainly the first salt sea becomes an impassable obstacle. Better locomotion may be classed as one of the prime aims of the old natural selection; for in that primordial day the race was to the swift as surely as the battle to the strong. But man, already pre-eminent in the common domain because of other faculties, was not content with the one form of locomotion afforded by his lower limbs. He swam in the sea, and, still better, becoming aware of the buoyant virtues of wood, learned to navigate its surface. Likewise, from among the land animals he chose the more likely to bear him and his burdens. The next step was the domestication of these useful aids. Here, in its organic significance, natural selection ceased to concern itself with locomotion. Man had displayed his impatience at her tedious methods and his own superiority in the hastening of affairs. Thenceforth he must depend upon himself, and faster-swimming or faster-running men ceased to be bred. The one, half-amphibian, breasting the water with muscular arms, could not hope to overtake or escape an enemy who propelled a fire-hollowed tree trunk by means of a wooden paddle; nor could the other, trusting to his own nimbleness, compete with a foe who careered wildly across the plain on the back of a half-broken stallion. Continue reading ““The Shrinkage of the Planet” — Jack London”
Lydia Davis has won the 2013 Man Booker International Prize—and the £60,000 that go with it.
Here’s Davis’s short story “Money” from Samuel Johnson Is Indignant (and also in The Collected Stories of Lydia Davis)
I don’t want any more gifts, cards, phone calls, prizes, clothes, friends, letters, books, souvenirs, pets, magazines, land, machines, houses, entertainments, honors, good news, dinners, jewels, vacations, flowers, or telegrams. I just want money.
According to the Man Booker press release,
Sir Christopher Ricks, chairman of the judges, said her “writings fling their lithe arms wide to embrace many a kind. Just how to categorise them? They have been called stories but could equally be miniatures, anecdotes, essays, jokes, parables, fables, texts, aphorisms or even apophthegms, prayers or simply observations.” Davis then is not like any other writer and she follows, and contrasts with, the previous winners of the prize -Ismail Kadaré, Chinua Achebe, Alice Munro and Philip Roth.
I love love love Davis’s work, including her essays, and am glad to see her win the money and the award. Maybe it speaks to a shift in what people are willing to accept as fiction. Or maybe not.
If you’re at all interested in Davis’s work, I highly recommend The Collected Stories, which collects her first four volumes (read my review if you need more persuasion).
Here’s Davis reading some of her stories:
You can also read some of her work here.
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
From my boyish days I had always felt a great perplexity on one point in Macbeth. It was this: the knocking at the gate, which succeeds to the murder of Duncan, produced to my feelings an effect for which I never could account. The effect was, that it reflected back upon the murder a peculiar awfulness and a depth of solemnity; yet, however obstinately I endeavored with my understanding to comprehend this, for many years I never could see why it should produce such an effect.
Here I pause for one moment, to exhort the reader never to pay any attention to his understanding when it stands in opposition to any other faculty of his mind. The mere understanding, however useful and indispensable, is the meanest faculty in the human mind, and the most to be distrusted; and yet the great majority of people trust to nothing else; which may do for ordinary life, but not for philosophical purposes. Of this out of ten thousand instances that I might produce, I will cite one. Ask of any person whatsoever, who is not previously prepared for the demand by a knowledge of perspective, to draw in the rudest way the commonest appearance which depends upon the laws of that science; as for instance, to represent the effect of two walls standing at right angles to each other, or the appearance of the houses on each side of a street, as seen by a person looking down the street from one extremity. Now in all cases, unless the person has happened to observe in pictures how it is that artists produce these effects, he will be utterly unable to make the smallest approximation to it. Yet why? For he has actually seen the effect every day of his life. The reason is—that he allows his understanding to overrule his eyes. His understanding, which includes no intuitive knowledge of the laws of vision, can furnish him with no reason why a line which is known and can be proved to be a horizontal line, should not appear a horizontal line; a line that made any angle with the perpendicular less than a right angle, would seem to him to indicate that his houses were all tumbling down together. Accordingly he makes the line of his houses a horizontal line, and fails of course to produce the effect demanded. Here then is one instance out of many, in which not only the understanding is allowed to overrule the eyes, but where the understanding is positively allowed to obliterate the eyes as it were, for not only does the man believe the evidence of his understanding in opposition to that of his eyes, but, (what is monstrous!) the idiot is not aware that his eyes ever gave such evidence. He does not know that he has seen (and therefore quoad his consciousness has not seen) that which he has seen every day of his life. But to return from this digression, my understanding could furnish no reason why the knocking at the gate in Macbeth should produce any effect, direct or reflected. In fact, my understanding said positively that it could not produce any effect. But I knew better; I felt that it did; and I waited and clung to the problem until further knowledge should enable me to solve it. At length, in 1812, Mr. Williams made his début on the stage of Ratcliffe Highway, and executed those unparalleled murders which have procured for him such a brilliant and undying reputation. On which murders, by the way, I must observe, that in one respect they have had an ill effect, by making the connoisseur in murder very fastidious in his taste, and dissatisfied by anything that has been since done in that line. All other murders look pale by the deep crimson of his; and, as an amateur once said to me in a querulous tone, “There has been absolutely nothing doing since his time, or nothing that’s worth speaking of.” But this is wrong; for it is unreasonable to expect all men to be great artists, and born with the genius of Mr. Williams. Now it will be remembered that in the first of these murders, (that of the Marrs,) the same incident (of a knocking at the door soon after the work of extermination was complete) did actually occur, which the genius of Shakspeare has invented; and all good judges, and the most eminent dilettanti, acknowledged the felicity of Shakspeare’s suggestion as soon as it was actually realized. Here, then, was a fresh proof that I was right in relying on my own feeling in opposition to my understanding; and I again set myself to study the problem; at length I solved it to my own satisfaction; and my solution is this. Murder in ordinary cases, where the sympathy is wholly directed to the case of the murdered person, is an incident of coarse and vulgar horror; and for this reason, that it flings the interest exclusively upon the natural but ignoble instinct by which we cleave to life; an instinct, which, as being indispensable to the primal law of self-preservation, is the same in kind, (though different in degree,) amongst all living creatures; this instinct therefore, because it annihilates all distinctions, and degrades the greatest of men to the level of “the poor beetle that we tread on,” exhibits human nature in its most abject and humiliating attitude. Such an attitude would little suit the purposes of the poet. What then must he do? He must throw the interest on the murderer. Our sympathy must be with him; (of course I mean a sympathy of comprehension, a sympathy by which we enter into his feelings, and are made to understand them,—not a sympathy of pity or approbation.) In the murdered person all strife of thought, all flux and reflux of passion and of purpose, are crushed by one overwhelming panic; the fear of instant death smites him “with its petrific mace.” But in the murderer, such a murderer as a poet will condescend to, there must be raging some great storm of passion,—jealousy, ambition, vengeance, hatred,—which will create a hell within him; and into this hell we are to look. Continue reading ““On the Knocking at the Gate, in Macbeth” — Thomas De Quincey”
The following morning he came down, he very calmly told Oberlin how his mother had appeared to him in the night; she had emerged from the dark churchyard wall in a white dress and had a white and a red rose pinned to her chest; she had then sunk into a corner and the roses had slowly grown over her, she had no doubt died; he had felt quite calm about this. Oberlin then remarked that when his father died he was alone in the fields and then heard a voice so that he knew his father was dead when he came back home this was indeed so. This led them further, Oberlin spoke of the mountain people, of girls who could detect water and metal under the ground, of men who had been possessed on certain peaks and wrestled with spirits; he also told of how he had once been transported into a state of somnambulism upon looking into the empty depths of a mountain pool. Lenz told him that the spirit of water had come over him, that he had then experienced something of its special essence. He continued on: the simplest, purest creatures were closest to elemental nature, the more refined a man’s mental life and feelings, the more blunted this elemental sense became; he did not consider it to be a higher plane, it lacked the requisite self-sufficiency, but he believed it must be an endless delight to feel moved by the unique life of each and every form; to have a soul for stones, metals, water and plants; to take in every being in nature into oneself as in a dream, as flowers do with air at every waxing of the moon.
From Georg Büchner’s Lenz, in translation by Richard Sieburth. Lenz (1836) is a novella or story or fragment based on the diary of J.F. Oberlin, who briefly took care of Jakob Lenz, a playwright suffering from schizophrenia.
Biblioklept 