Denis Johnson, one of the greatest American writers of the latter half of the 20th century, has died at the age of 67.
In books including Jesus’ Son, Angels, Tree of Smoke, and Fiskadoro, Johnson created vibrant, intense worlds, simultaneously tragic and hilarious, peopled with weirdos and druggies, criminals and soldiers, those who harm and those who cure. Describing Johnson’s prose style requires employing paradox: His prose seems spare, but it’s also incredibly rich; his narratives dwell in rough realism, but this description belies the refined magic of his writing. Johnson painted a damned and fallen world again and again in his novels, but made a space for his characters to earn redemption. His characters, in the hands of a lesser writer, might come off as cartoonish grotesques, but Johnson’s realism extended into their psyches. The man could create souls.
I cannot understate the impact Johnson’s writing made on my development as a reader. I think I first read Johnson’s story “Emergency” in a collection of stories edited by Tobias Wolff; it was on the reading list for a creative writing class I was taking my first semester of college, and I learned more from analyzing the way Johnson put sentences together than I did from anything else. I made a friend read the story; told another friend about it and he said, “Of course,” and made the mistake of loaning me his first edition hardback copy of Jesus’ Son, which had been out for maybe four or five years at the time. I never gave it back, and it remains one of the books I’ve read the most times over the past 20 years.
Johnson’s novel-in-stories Jesus’ Son is the perfect gateway drug to hook 18-year olds on a particular kind of American literature forever. Those interested in Johnson should also check out his debut 1983 novel Angels, his perfect novella Train Dreams, or his Vietnam War opus, Tree of Smoke: All make excellent starting places.
I’ll close with one of my favorite paragraphs, the last lines of “Beverly Home,” the last story in Jesus’ Son. The lines encapsulate Johnson’s vision of his world, his characters’ place in that world, and the redemptive spirit that might guide us to create a place for people like us:
All these weirdos, and me getting a little better every day right in the midst of them. I had never known, never even imagined for a heartbeat, that there might be a place for people like us.
I’ll be reposting some of the stuff I’ve written on this blog about Johnson’s books all day today, but for anyone interested, here a bunch of links:
I first saw Jean-Pierre Melville’s 1969 film Army of Shadows about a decade ago, when a friend brought over the Criterion Collection release and insisted we watch it. I watched it again with my uncle, a fan of French cinema and WWII films in general (and the guy who made me watch both Paths of Glory and Belle de Jour when I was like 14).
Originally published in Algiers in 1943, Joseph Kessel’s Army of Shadows is one of the first books to have been written about the French Resistance. Now available in paperback, Contra Mundum Press is proud to present the first new translation in over 70 years, and the first edition since Jean-Pierre Melville’s iconic 1969 film.“What, then, when it comes to recounting the story of France, an obscure, secret France, which is new to its friends, its enemies, and new especially to itself? France no longer has bread, wine, fire. But mainly it no longer has any laws. Civil disobedience, individual or organized rebellion, have become duties to the fatherland. The national hero is the clandestine man, the outlaw.
Nothing about the order imposed by the enemy and by the Marshal is valid. Nothing counts. Nothing is true any more.
One changes home, name, every day. Officials and police officers are helping insurgents. One finds accomplices even in ministries. Prisons, getaways, tortures, bombings, scuffles. One dies and kills as if it’s natural. France lives, bleeds, in all its depths. It is toward the shadow that its true and unknown face is turned.In the catacombs of revolt, people create their own light and find their own law. Never has France waged a nobler and more beautiful war than in the basements where it prints its free newspapers, in its nocturnal lands, and in its secret coves where it received its free friends and from where its children set out, in torture cells where, despite tongs, red-hot pins, and crushed bones, the French died as free men.”
Today’s Sunday Comics entry is a page from Chris Ware’s magnificent 2012 novel Building Stories (Pantheon Books).
I had occasion to look through Building Stories again this week. I had to paint a room, which required moving books from shelves, which meant unshelving Building Stories, which unwieldy beast that it is, has been covered in other books for a few years. Building Stories takes the form of 14 different sized books in a box—it’s pretty hard to shelve in any accessible way, which is a shame (but also a pleasure). Ware’s opus seems to me one of the best American novels of the past decade, but I think its greatness tends to get overlooked because a) people are still prejudiced against comics and b) it challenges all the “reading rules” we bring with us to novels—there’s not a “right way” to read the novel. You have to put it together your self, in a sense. Anyway, for me the page above, which is the last page of the chapter called “Disconnect,” is the “conclusion” of the novel, a sort of metacommentary epilogue that (somehow) ties the narrative threads together in a moving and satisfying “end.”
Cerebus #166, January, 1993 by Dave Sim and Gerhard; published by Aardvark-Vanaheim. This issue is Chapter 16 of the Mothers & Daughters storyline, Sim’s imagining of a tyrannical matriarchal state (sort of like The Handmaid’s Tale in reverse, sort of). This issue is one of my favorite chapters in the novel, a riff on Sim’s earlier “Mind Games” issues, wherein Cerebus’s dream-state shapes events in the real world. Mothers & Daughters is pretty much the last good Cerebus novel, before Sim took things completely off the rails in Reads.
Jorge Luis Borges is first mentioned in the sixth paragraph of Roberto Bolaño’s masterful short story “The Insufferable Gaucho.” In this paragraph, the narrator tells us that the story’s hero, an ex-judge named Pereda, believed “the best Argentine writers were Borges and his son; any further commentary on that subject was superfluous.”
Several paragraphs later, Bolaño’s narrator explicitly references Borges’s short story “The South,” the precursor text for “The Insufferable Gaucho.” The reference to Borges is tied again to Pereda’s son, the writer Bebe.
Leaving tumultuous Buenos Aires, basically destitute from the Argentine Great Depression, Pereda heads to the countryside to take up residence in his family’s ancient ranch. Departing the train and arriving to a rural town,
Inevitably, he remembered Borges’s story “The South,” and when he thought of the store mentioned in the final paragraphs his eyes brimmed with tears. Then he remembered the plot of Bebe’s last novel, and imagined his son writing on a computer, in an austere room at a Midwestern university. When Bebe comes back and finds out I’ve gone to the ranch . . . , he thought in enthusiastic anticipation.
Bolaño essentially appropriates the plot of “The South” for his tale “The Insufferable Gaucho” and inserts a version of himself into this revision. Bolaño is “Bebe” here, an author who “wrote vaguely melancholy stories with vaguely crime-related plots,” his name phonically doubling the series of mirrors and precursors that Bolaño, mystery man, leaves as clues: Bebe, B-B, Borges-Bolaño, Belano-Bolaño. (Is this too wild a conjecture, dear reader? Mea culpa).
And Pereda then? A stand-in for Borges’s Juan Dahlmann (hero of “The South,” who “considered himself profoundly Argentinian”), surely, but also, maybe also—a stand-in for (a version of) Borges.
What I mean to say:
Bolaño, displaced Chilean, writes “The Insufferable Gaucho” as an intertextual love letter to his displaced father, the Argentine Jorge Luis Borges.
Bolaño then, to steal a line from Borges’s story, locates in Dahlmann/Borges “his romantic ancestor, his ancestor of the romantic death.” (English translation of the Borges here by Anthony Kerrigan; Chris Andrews translates Bolaño).
Bolaño’s retelling of Borges’s tale is initially marked by a heightened self-consciousness on the part of its hero Pereda, who, over time, gives over to an entirely different consciousness. Let me share a passage of some length; note the hazy dream-tone:
On the way back to his ranch, he dozed off a couple of times. He woke up from his second nap on one of the streets of Capitán Jourdan. He saw a corner store that was open. He heard voices, and someone strumming a guitar, tuning it but never settling on a particular song to play, just as he had read in Borges. For a moment, he thought that his destiny, his screwed-up American destiny, would be to meet his death like Dahlmann in “The South,” and it seemed unfair, partly because he now had debts to repay and partly because he wasn’t ready to die, although Pereda knew that death is an occurrence for which one is never ready. Seized by a sudden inspiration, he entered the store on horseback. Inside, he found an old gaucho, strumming the guitar, the owner, and three younger guys sitting at a table, who started when they saw the horse come in. Pereda was inwardly satisfied by the thought that the scene was like something from a story by di Benedetto. Nevertheless, he set his face and approached the zinc-topped bar. He ordered a glass of aguardiente, which he drank with one hand, while in the other he held his riding crop discreetly out of view, since he hadn’t yet bought himself the traditional sheath knife. He asked the owner to put the drink on his account, and on his way out, as he passed the young gauchos, he told them to move aside because he was going to spit. This was meant as affirmation of his authority, but before the gauchos could grasp what was happening the gob of phlegm had flown from his lips; they barely had time to jump. May the rain fall soft on you, he said, before disappearing into the darkness of Capitán Jourdan.
Is this insufferably romantic episode real or simply imagined by our hero? Borges perhaps would simply answer, Yes.
We can find that Yes in”The South,” which turns the binary of real/imagined on its metaphorical ear. The story is larded with examples, but I’ll share one where Dahlmann dozes on a train ride to the ranch (just as decades later Pereda will doze on his train ride to a ranch, and then (then?!) doze on a horse):
Tomorrow I’ll wake up at the ranch, he thought, and it was as if he was two men at a time: the man who traveled through the autumn day and across the geography of the fatherland, and the other one, locked up in a sanitarium and subject to methodical servitude. He saw unplastered brick houses, long and angled, timelessly watching the trains go by; he saw horsemen along the dirt roads; he saw gullies and lagoons and ranches; he saw great luminous clouds that resembled marble; and all these things were accidental, casual, like dreams of the plain. He also thought he recognized trees and crop fields; but he would not have been able to name them, for his actual knowledge of the country side was quite inferior to his nostalgic and literary knowledge.
Two men at a time, Borges tells us; Bolaño will continue exploring that bifurcation decades later with Dahlmann’s doppelgänger Pereda. Do either of the men actually ever wake up? Are their journeys merely their own fictions—or, more Borgesian, the fictions they cobble from the fragments of precursor fictions, shot through the lens of “nostalgic and literary knowledge?”
The extent of Dahlmann’s literary knowledge is never quite clear, although Borges (of course) names a precursor text for “The South”: Weil’s The Thousand and One Nights, a book so intertextually fraught and metatextually overdetermined that I feel little need to remark on its Borgesian significance other than to point out that the tales in that volume are Scheherazade’s way of saving her own life. In “The South,” we are told that Dahlmann uses The Thousand and One Nights as a tool for “suppressing reality” and that during his intense illness it “served to illustrate nightmares.”
Does Dahlmann actually die then, or does he, through literature, imagination, and story-telling, like Scheherazade, stave off death for one more night? Again, I think that the Borgesian answer here is, Yes.
Although I’ve been citing Anthony Kerrigan’s early translation of “The South” here, I think Andrew Hurley’s more recent one makes a marvelous emendation that resonates with the spirit of the tale (and actually fits the original Spanish): He translates the last line into the present tense: “Dahlmann firmly grips the knife, which he may have no idea how to manage, and steps out into the plains.” Dahlmann is still alive at the end of “The South.” Like the enormous sleeping cat that dozes in his memory, Dahlmann “lives in the present, in the eternity of the instant.”
Tellingly, Pereda doesn’t share my interpretation—for him, Dahlmann dies. Recall that “he thought that his destiny, his screwed-up American destiny, would be to meet his death like Dahlmann in ‘The South.’” Bolaño’s tale (typically Bolañoesque) radiates a cryptic, sinister morbidity, one saturated in dark humor. In a moment that seems both ironic and wholly earnest, Pereda fantasizes a death coded through “nostalgic and literary knowledge,” one modeled after “his romantic ancestor, his ancestor of the romantic death.”
I’ve plugged Borges’s lines into a different context here, but they work, and really the context isn’t so different. In “The South,” the specific ancestor alluded to is Dahlmann’s “maternal grandfather…Francisco Flores, of the Second Line Infantry Division, who had died on the frontier of Buenos Aires, run through with a lance by Indians from Catriel.” Dahlmann figuratively or literally (Yes) repeats his ancestor’s romantic death.
And then Bolaño repeats his ancestor’s romantic death, reconfiguring the climax at the end of “The South,” in which Dahlmann faces off against the muchachones. I consulted three different translations of “The South”; each one does something a bit different with the youths who threaten Dahlmann: country louts, ruffians, young thugs.
How does Bolaño translate these young men? At the end of “The Insufferable Gaucho,” our quixotic hero, dirty, haggard, “attired like a cross between a gaucho and a rabbit trapper,” perhaps dreaming, perhaps insane, peers into a cafe, where he sees
. . . a group of writers who looked as if they worked in advertising. One of them, who had an adolescent air, although he was over fifty and maybe even over sixty, kept putting a white powder up his nose and holding forth on world literature. Suddenly, the eyes of the fake adolescent met Pereda’s. For a moment, their gazes locked, as if, for each of them, the presence of the other were a gash in the ambient reality. Resolutely and with surprising agility, the writer with the adolescent air sprang to his feet and rushed out into the street. Before Pereda knew what was going on, the writer was upon him.
Of course Bolaño, list-maker, canon-maker, curator, always registering the competitive anxieties of poets and authors, of course Bolaño will turn the threatening youth into a fucking writer!
Significantly, Pereda sees (or more likely believes he sees, although Bolaño doesn’t tip his hand here) “Bebe and an old man (An old man like me! Pereda thought)…presiding over one of the most animated tables.” The image betokens a fantastic displacement in Pereda’s warped mind, yes, but also perhaps signals Bolaño’s fantasy to hash out literary matters in a buzzing cafe with his father, Borges. In any case, this is the last we hear of Bebe, a detail that undercuts the reality of what happens next, as the coked-up writer advances on the insufferable gaucho:
Pereda realized that he had grasped his knife, then let himself go. He took a step forward and, without anyone noticing that he was armed, planted the point of the blade, though not deeply, in his opponent’s groin. Later, he would remember the look of surprise on the man’s face, in which terror blended with something like reproof, and the writer’s words as he groped for an explanation (Hey, what did you do, asshole?), as if there could be an explanation for fever and nausea.
Bolaño’s gaucho—the fantastic reconfiguration of Borges’s gaucho, son of Borges’s gaucho, but also doppelgänger to Borges’s gaucho—Bolaño’s gaucho performs a symbolic castration, an Oedipally-charged act of violence that seems to tip into visceral reality in the story’s last moments.
Bolaño turns the country louts into cosmopolitan poseurs, writers that look like yuppie admen, and then he has his hero cut one—right in the crotch.The gesture revises the ambiguous ending of “The South,” following through with the once-suspended knife fight.
Whether or not this final episode actually happens or happens only in the protagonist’s mind may or may not matter to you, reader. “The Insufferable Gaucho” is stocked with surreal Lynchian moments, from Pereda riding his horse into the country store, to a publisher being attacked by a feral rabbit (after which Pereda cauterizes the man’s neck wound with his knife!).
As the story progresses, Pereda shakes off nostalgia and literary reference. Like a bedraggled Quixote, he lives his romance. His consciousness, once informed by Borges and Antonio di Benedetto, becomes freer, asserts its own fantasy as self-generative and self-sufficient. When Pereda first entered the country store, “He heard voices, and someone strumming a guitar, tuning it but never settling on a particular song to play, just as he had read in Borges”; later in the tale, holding a party for his son, Pereda “sent for the foremost of Capitán Jourdan’s guitar-strumming gauchos, warning him beforehand that he was to do strictly that: strum, without playing any song in particular, in accordance with the country way.” Pereda omits Borges as the source of style here: Borges becomes the country way.
The fantasy Bolaño constructs allows him to simultaneously posit Borges as his literary progenitor and then erase the evidence of that progenitor, even as his contours and essence remain. Bolaño-as-Bebe remains a marginal figure—Bolaño’s own stable consciousness, perhaps?—while knife-weilding Pereda enacts Borges’s revenge on all the poseurs and hacks. And if Pereda is too passionate, too romantic, too violent, too unstable—so be it. At least he thought enough of his son to class him with Borges the Great.
And it’s through this gesture—this literary trick—that Bolaño asserts and defends the literary lineage he lays his claims to: His romantic ancestor, Borges.
[Ed. note–Biblioklept published aversion of this essay in May of 2014].
Atticus is, a, you know, a writer by Christ—is a novelist, by Christ, is indeed, if I, by Keerist, may say so myself, ever so proudly so, ever so rivalrously so, a novelist of nothing less than of rank.
Lish the Elder has impeccable taste, but, you know, c’mon. We all tend to think our kids are great at everything.
Anyway, I picked up a copy of Preparation for the Next Life a few days ago. I wasn’t looking for it; I was looking for another “L” novelist, but the spine popped out. I took it home and read the first few paragraphs. Then I just kept reading, consuming the first third in hungry gulps.
Lish’s prose is amazingly concrete. He renders New York City (and the other settings) with seemingly effortless thoroughness; the evocation of place is vivid and refined in its attention to detail, but reads raw somehow. There’s a flavor of prime Denis Johnson or Don DeLillo here, but these comparisons aren’t fair: Lish is original—the prose reads thoroughly real, real to and from the author. The novel so far strikes me as one of the most authentic “post-9/11” novels I’ve read. There’s almost something sci-fi to Preparation—Lish shows us our world through alien eyes that suck in every detail. I wish I’d read it sooner.
Skinner hitchhikes to New York, newly returned from Iraq, hoping to exorcise his demons. Zou Lei, an undocumented immigrant from Central Asia, catches a bus into the city, searching for a way to get by—or at least stay out of jail. Their unlikely love story becomes the heart of one of the most compelling and widely acclaimed novels in years.
A clear-eyed illustration of life in New York City’s margins, Preparation For the Next Life evokes the unsettling realities of the American Dream for U.S. immigrants and unsupported veterans in stark, vivid detail. At once a nightmare and a love letter to New York City (a place one loves partly for its host of nightmares), Lish’s prose is disciplined yet always alive and taut with danger, rendered with the voice of a new and natural talent.
I got lost in Brian Catling’s expansive 2012 novel The Vorrh, a phantasmagorical critique of colonialism set in and around a massive, possibly infinite jungle called the Vorrh. Apparently God likes to stroll this primeval forest while he meditates, the original Adam (gray and shrunken) skulks about like Gollum, and anthropophagi lurk in the hopes of capturing a human or two to snack on.
These are just minor moments though in this shaggy opus. The Vorrh is larded with myth, religion, science, history, art, and literature. Catling, a sculptor by trade, synthesizes the nascent 20th-century’s ideas about all the centuries that came before it into what Alan Moore calls “Easily the current century’s first landmark work of fantasy.” Moore goes on to describe The Vorrh as
….a sprawling immaterial organism which leaves the reader filthy with its seeds and spores, encouraging new growth and threatening a great reforesting of the imagination.
Moore is enthusiastic (perhaps overly so), and his introduction to the novel serves as a far better review than anything I can muster here—like I said at the outset, I got lost in The Vorrh. It’s an overstuffed beast of a book, its storylines sprouting strangely (often from nowhere), tangling into other storylines, colliding in a kaleidoscope of blooms that often fall from their vine before bearing fruit.
There are a several main strands to The Vorrh’s plot though, and they do bear strange fruit. There’s a Cyclops named Ishmael, raised by robots underneath a haunted house in the colonial capital of Essenwald. He has sex with a blind woman named Cyrena during Carnival and she becomes sighted, an event that sparks a healing epidemic which in time turns into a plague. There’s Peter Williams, veteran of the Great War, who makes a bow out of his wife’s corpse in the novel’s opening section. (Don’t worry, she was a shaman who wanted him to do that). He treks into the Vorrh. Tsungali, a warrior of the True People, tracks the trekker. Another warrior tracks him. There’s a shady doctor and a Scottish taskmaster who conspire to keep a hive-mind slave army happy (?) cutting down trees at the periphery of the Vorrh. There’s a knot of historical characters, including the photographer Eadweard Muybridge (the dude who photographed a horse in motion), Queen Victoria’s personal physician Sir William Withey Gull (whom Alan Moore posited as Jack the Ripper in From Hell), and a version of surrealist writer Raymond Roussel. I realize I began this paragraph with the phrase “several main strands” and then listed more than several without even getting to all of the plot points, let alone an articulation of how they come together—or don’t come together.
The Vorrh has the feel and texture of grand great shaggy comic book, one rendered in my mind’s eye in the fabulous, expansive style of Moebius. Characters—so many characters!—come and go, and if someone dies, don’t worry—there’s every possibility of resurrection in The Vorrh. Catling delights in giving us the backstory on a pair of twin assassins even after he’s killed them off; he allows his free indirect style to enter the consciousness of a sleeping dog’s sex dream; he spends a few sentences on a charming cannibal’s dinner plans. The Vorrh’s in the details.
In its loose erudition and striking visuals, The Vorrh reminded me of the fiction of China Mieville or Neal Stephenson. In its shaggy weirdness it also reminded me of Chris Claremont’s run on The Uncanny X-Men. Its Victorian Gothicism and syntheses of adventure, horror, and Western tropes also recalls the late Showtime television series, Penny Dreadful. And The Vorrh’s prose style often harnesses some of the bombast we find in classic Weird Fiction of Lovecraft or Lord Dunsany.
If it’s lazy to simply trot out comparisons (and there are so many more I can make), mea culpa. The novel is big, and I’d have to read it again to figure out how its baroque features fit together to do any real proper decent analysis—and I’d rather read its sequel, The Erstwhile. I will say that I liked it despite (and maybe to an extent because of) its faults. I think you can suss out from my weak summary in the fourth paragraph if The Vorrh holds any interest for you.
[Ed. note–the image at the top of this review is a scan of a strange press booklet that publisher Vintage sent with original review copies of The Vorrh. In addition to Alan Moore’s introduction, the slim, string-bound booklet contains an interview with Catling, and a portrait by Catling of Alan Moore as a cyclops. The cover of the booklet is a painting by Catling].
When an eager American moves to Moscow to teach Russians the difference between the and a, he begins what will ultimately become a six-and-a-half-year descent into the murky entrails of language, culture, and the world’s greatest metro system. Part surrealistic travelogue, part historical serendipity, Twelve Stories is at its most enduring as a fanciful rumination on the elusiveness of words.
Twelve Stories of Russia was originally published in Moscow by the independent publisher GLAS, where it quietly gained a following among expats and locals alike. Unique in its appeal to both sides of the linguistic and cultural divide, the work has remained largely unknown beyond Russia. Now, almost a generation after its narrator’s lively quest for the word that changes and is changed, this emphatic “novel, I guess” is being released to a wider audience for the first time, its subject matter as universal and its themes as timely as ever.
A few years ago I posted a brief excerpt from Jules Siegel’s March 1977 Playboy profile “Who is Thomas Pynchon… And Why Did He Take Off With My Wife?” The excerpt came from an excerpt posted on the Pynchon-L forum, but most of the article had been removed at the (apparent) request by Siegel. A few people sent me the whole article though (thanks!) and I read it.
Jules Siegel was briefly a Cornell classmate of Pynchon’s in 1954, and they remained friends (in Siegel’s recollection) for at least two decades after. During this time, Siegel claims that Pynchon wrote him dozens of letters, which were ultimately sold at auction (along with much of Siegel’s property) to help pay for a hip replacement. Material from the letters soak into Siegel’s sketch of Pynchon’s progress, along with several stoned/drunken adventures that would not be out of place in V. or Mason & Dixon or Gravity’s Rainbow, or really, any person’s young life.
A competitive anxiety reverberates under the piece. “We were friends, maybe at some points best friends, very much alike in some important ways,” Siegel writes. “We were both writers,” he boldly writes. Siegel reminds us that “In Mortality and Mercy in Vienna, Pynchon’s first published short story, the protagonist is one Cleanth Siegel,” but protests he doesn’t see himself in that hero.
The competitive anxieties culminate in the big reveal that (spoiler!) Thomas Pynchon had an affair with Siegel’s second wife Chrissie. There’s probably a Freudian reading we can append to the details that Siegel offers about Pynchon’s sexual prowess: “He was a wonderful lover, sensitive and quick, with the ability to project a mood that turned the most ordinary surroundings into a scene out of a masterful film—the reeking industrial slum of Manhattan Beach would become as seen through the eye of Antonioni, for example.”
Or maybe these unsexy details are just a sign of Playboy’s editorial hand. Wedged gracelessly between ads for vibrators and nude greeting cards, Siegel’s lines often reek of 1970’s Playboy’s rhetorical house style, a kind of frank-but-(attempted)-sensual glossiness that contrasts heavily with Pynchon’s own sex writing. At times I found myself reading Siegel’s prose in one of Will Ferrell’s more pompous accents.
Even worse is the casual sexism of the piece—which again, may be attributable to Playboy’s editors. Siegel, on his first wife (sixteen when he married her): “She was so wonderful a lover, generous and easily aroused, but I was too callow then to appreciate her.” Of his second wife: “It is easy to underestimate her intelligence, but it is a mistake. She is obviously too pretty to be serious, conventional wisdom would have you believe.” Of one of Pynchon’s girlfriends: “Susan has red hair and is breathtakingly beautiful, with the voluptuous body of a showgirl. Like Chrissie, she is much brighter than she looks.”
More interesting, obviously, are the (supposedly) real-life details that inform Pynchon’s fiction. Siegel notes some of the contents of Pynchon’s Manhattan Beach apartment: “A built-in bookcase had rows of piggy banks on each shelf and there was a collection of books and magazines about pigs.” Pigs, of course, are a major motif of Gravity’s Rainbow. Another detail that seems to connect to GR: “On the desk, there was a rudimentary rocket made from one of those pencil-like erasers with coiled paper wrappers that you unzip to expose the rubber. It stood on a base twisted out of a paper clip.” Siegel lets us know that he knocked the rocket down. Pynchon puts it back together; Siegel knocks it down again.
(Parenthetically: Siegel’s evocation of Pynchon’s Manhattan Beach days fits neatly into my picture of Inherent Vice).
In accounting details of Pynchon’s alleged affair with his wife, Chrissie, Siegel shares the following:
Once, out on the freeway, she told him that we had all gone naked at the commune, he professed to find that incredible and dared her to take off her blouse right there. She did. A passing truck hooted its horn in lewd applause. He loved her Shirley Temple impersonations—On the Good Ship Lollipop sung and danced like a kid at a birthday party. They talked about running away together.
It is hardly possible here not to recall the episode early in Gravity’s Rainbow wherein Jessica Swanlake removes her blouse in the car on a dare from Roger Mexico. Is Siegel daring the reader to extrapolate further? Extrapolation, paranoid connections—isn’t this part of Pynchonian fun?
In that spirit, I’ll close with my favorite moment from the article.
“You know the W.A.S.T.E. horn in The Crying of Lot 49? The symbol of the secret message service? Every weirdo in the world is on my wave length. You cannot understand the kind of letters I get. Someone wrote to tell me that the very same horn was the symbol of a private mail system in medieval times. I checked it out at the library. It’s true. But I made it up myself before the book was ever published, before I ever got that letter.”
The lines are supposedly from Pynchon himself. Siegel even puts them in quotation marks—so they must be real, right?
[Ed. note: Biblioklept ran a version of this post in 2015].
Today is Pynchon in Public Day, so here are three books that I think may make good entry points for those interested in, but perhaps unnecessarily daunted by, Thomas Pynchon. My intuition is that many readers’ first experiences reading Pynchon may have been like mine: I read The Crying of Lot 49 as a college assignment, found it bewildering and baffling, and despite understanding almost none of it, I then attempted Gravity’s Rainbow (the key word is attempted (failed will also do in a pinch)).
Many readers start with The Crying of Lot 49 because it’s short. While I like the novel (I wrote about it here), it’s also extraordinarily dense, a box so crammed with jokes and japes that some fail to spring out at full force. Lot 49 is a much better reading experience after you’ve read more of Pynchon.
Lots of readers new to Pynchon plunge into Gravity’s Rainbow, probably because it’s famous. I love love love Gravity’s Rainbow, but along with Mason & Dixon(which may be my favorite Pynchon novel), I do not think it is a good starting place for Pynchon. Gravity’s Rainbow is a rich, ringing vortex, a seven-hundred-and-something pager that almost necessitates that its reader immediately reread it. Gravity’s Rainbow is a very funny and very tragic book, and I think it is the work of genius that its reputation suggests—but it’s also one of the few books I can think of that get put on lists of Big Difficult Novels that is, actually, Difficult.
So here are my suggestions for starting places for Pynchon.
V. is Thomas Pynchon’s first novel. It’s also the first Pynchon novel I read and loved and (possibly) understood. Like Against the Day, V. lays out many of the themes and styles (and even a character or two) that appear elsewhere Pynchon’s oeuvre. In a loose sense, V. feels like a dress rehearsal for Gravity’s Rainbow. Oh, it’s also pretty discursive—in fact, you can read chunks of it almost as short stories. In fact, here’s a good way to break into Pynchon: Get V., and read Ch. 9–it stands on its own as a long short story, the tale of Kurt Mondaugen—and colonialism, siege paranoia, dark dread, etc.
Inherent Vice, 2009.
I’ve heardInherent Vicedismissed as “Pynchon lite,” which may be true—I’ve read the book twice now and if its shaggy threads connect, I can’t see it (unlike, say, Gravity’s Rainbow, which resolves like a complicated math problem). Still, Inherent Vice makes a nice gateway drug to Pynchon—it’s funny and loose, and even though it rambles through an enormous cast of characters and settings, it’s ultimately far, far more contained than sprawling novels like Mason & Dixon and Gravity’s Rainbow. Paul Thomas Anderson’s film adaptation also makes an interesting visual counterpart to the novel—which it somehow simultaneously condenses and expands. Inherent Vice—the novel—also seems to me a kind of bookend or sequel to The Crying of Lot 49. (I wrote a bit about that here).
Last thought: Ignore my suggestions. Pick any novel that interests you by Pynchon and dive in. Don’t get too frustrated if you’re not sure what’s going on. A lot of the time, that’s the point of it all. Enjoy it.
[Ed. note–Biblioklept ran a version of this post on 8 May 2016].
I am in a mood that gets more and more familiar: words lose their meaning suddenly. I find myself listening to a sentence, a phrase, a group of words, as if they are in a foreign language—the gap between what they are supposed to mean, and what in fact they say seems unbridgeable. I have been thinking of the novels about the breakdown of language, like Finnegans Wake. And the preoccupation with semantics. The fact that Stalin bothers to write a pamphlet on this subject at all is just a sign of a general uneasiness about language. But what right have I to criticize anything when sentences from the most beautiful novel can seem idiotic to me?
… I made tea, and then I remembered a story that was sent to me last week. By a comrade living somewhere near Leeds. When I first read it, I thought it was an exercise in irony. Then a very skilful parody of a certain attitude. Then I realized it was serious—it was at the moment I searched my memory and rooted out certain fantasies of my own. But what seemed to me important was that it could be read as parody, irony or seriously. It seems to me this fact is another expression of the fragmentation of everything, the painful disintegration of something that is linked with what I feel to be true about language, the thinning of language against the density of our experience.
Rainer J. Hanshe is the translator of My Heart Laid Bare & Other Texts, a collection of writings by Charles Baudelaire, new from Contra Mundum Press. Over a series of emails, Hanshe was kind enough to talk to me about My Heart Laid Bare, Baudelaire, dandyism, translation, art, stealing books, and all other manner of topics.
Biblioklept: What is My Heart Laid Bare? Did Baudelaire envision its publication in his lifetime?
Rainer J. Hanshe: The title My Heart Laid Bare is Edgar Allan Poe’s, and it’s he who conceives of a book that, if daring enough, if ‘bare’ enough, could revolutionize human thought, opinion, and sentiment. This could be achieved, Poe said, “by writing and publishing a very little book. Its title should be simple — a few plain words — ‘My Heart Laid Bare.’ But this little book must be true to its title.” Baudelaire took up Poe’s provocation and his Mon cœur mis à nu is one of a number of different books that he dreamt up and hoped to write “without lassitude — in a word to be in good heart day after day.” Others Baudelaire mentioned along with it in an 1864 letter included Histoires grotesques et sérieuses, Les fleurs du Mal, Le spleen de Paris, Les paradis artificiels, Contemporaines, and Pauvre Belgium! The first notes for Mon cœur mis à nu begin in 1859, two years after the initial publication of The flowers of Evil, if not possibly somewhat earlier, and continue until 1865, ceasing only due to Baudelaire’s severe health condition (he would die in 1867 at just 46 years of age), hence they comprise the final decade of his writing life.
Aside from the more direct root of Poe, Rousseau was another of Baudelaire’s models, albeit a negative one to surpass. Baudelaire said that “all the targets of [his] rage” would be collected in Mon cœur mis à nu. “Ah! if ever that sees the light of day, J-J’s Confessions will seem pale.” As I describe in the synopsis, it is an apodictic work of aphorism, maxim, note, and extended reflection. It is not however some memoir-like spewing of Baudelaire’s bios; rather, it is the baring of his l’esprit, and as a crystallization of such, it isn’t some kind of ‘tell-all exposé’ (Rousseau’s notion of absolute transparency, an indulgence we could well do without, especially considering its pernicious ramifications), but to me a much higher form of ‘confession,’ for it is the arc of thought, the play of the mind in its every breadth that is bared. It contains Baudelaire’s exhortations on work, faith, religion, and politics, excoriating sociological analyses, diatribes on literature, the arts (George Sand receives some choice malicious arrows), and love (women, prostitution, sadomasochism, erotics en générale), and outlines of his conception of the dandy and the Poet.
The Poet for Baudelaire is I would say a figure similar in kind to Nietzsche’s untimely personage, the posthumous human, a kind of philosophical anthropologist who hovers over the earth, examining the human species both from within and externally, from a sub species aeternitatis perspective, diagnosing it like a physician (much of the book’s terminology is medical taxonomy).
In 1861, two years after beginning Mon cœur mis à nu, sieged by resignation, calumny, and ill health (nervous disorders, vomiting, insomnia, fainting fits, recurrent syphilitic outbreaks), Baudelaire expresses doubt that he will ever complete his various projects. “My situation as regards my honor, frightful — and that’s the greatest evil. Never any rest. Insults, outrages, affronts you can’t imagine, which corrupt the imagination and paralyze it.” Three years later, it was against the continuing extremities of an exacerbated solitude, frayed nerves, self-described terrors, and constant hounding by creditors that Baudelaire implored himself to remain stalwart (“I must pull myself together, take heart! This may well bring rewards.”) and write.
Clearly, he did envision publishing the book in his lifetime, and he diligently worked at it, steeling himself against his trials to the degree within his power, but it was never completed. The obstructions he faced were abundant; the somatic afflictions inordinately taxing. The threat of his impending decline or decay is sharply articulated in one passage wherein he speaks of “feeling the wind of the wing of imbecility” passing over him. Various translators have rendered that as “the wing of madness,” but Baudelaire says “imbécillité,” not folie or démence. The notion of “the wing of madness” has greater Gothico-Romantic cache, but it’s not what Baudelaire says, and in this case, there’s a relatively exact equivalence of terms. It was more physical weakness and feebleness that he feared, and experienced, and believed would finally incapacitate him, as it did, not madness. His aphasia and heart attacks led to his losing his ability to speak and thereafter, his ability to read and write — the death of the writer.
We have only the existing fragments then, which have been translated in full, but they were published posthumously. Despite no such title existing in the text, or any related material, French editors originally published the work as “Journaux intime” (Intimate Journals), which included two other sections, “Fusées” and “Hygiène.” Translations into English followed suite, and they adopted the false title, which must at last be discarded. If Baudelaire hadn’t been besieged by illnesses as he was, he would have imaginably given us a definitive version of Mon cœur mis à nu considering that he did complete other books he began around the same period (Le spleen de Paris, Les paradis artificiels, et cetera). It remains a fragmentary work then, in both senses, yet one that is substantive enough to merit our continued attention.
Biblioklept: For me, the fragmentary nature of My Heart Laid Bare is in some ways more appealing than the cohesion of a more polished philosophical or poetic text. It’s a discursive read, and there’s joy in tying (or failing to tie) the fragments together. This reading experience is perhaps as close as we can get to seeing Baudelaire thinking (and feeling). At the same time, there’s perhaps a risk of the average reader’s misreading or misinterpreting some of Baudelaire’s riffs, quips, and jabs here. How tempting was it to footnote the hell out of My Heart Laid Bare?
Hanshe: In his poet’s notebook, Paul Valéry said that “a work is never necessarily finished, for he who has made it is never complete, and the power and agility he has drawn from it confer on him just the power to improve it […]. He draws from it what is needed to efface and remake it. This is how a free artist, at least, should regard things.” Similarly, he says elsewhere that, “in the eyes of lovers of anxiety and perfection, a work is never finished but abandoned.” Since Baudelaire never prepared a definitive version of the book, we cannot know what he would have changed, or not, yet as a work closely aligned with his self, it’s something that could never have been completed, only abandoned. Hence, it would always remain fragmentary. Think of Schlegel’s poetics of the fragment where even ‘incompleteness’ is exceptionally refined, an architecturally precise aesthetic form (sculpturally, this calls to mind Giacometti). In his essay on German Romanticism, Walter Benjamin pointed out that aphoristic writing is not proof against systematic intentions (an accurate insight made about Nietzsche’s work in fact, albeit one lost on many of his later readers…), that one can write aphoristically and still think through one’s philosophy or writing “in a comprehensive and unitary manner in keeping with one’s guiding ideas.” In this way, it’s not that Baudelaire’s book lacks cohesiveness; it’s deliberately fragmentary to eschew finality, and because the self, the ‘heart’ being laid bare, is never complete. That Baudelaire worked on it for nearly ten years though makes it probable that its character was quite well defined before illness permanently disrupted his voluntarily abandoning it.
There are certainly unities, or thoughts that overlap and intertwine within the book, as there are with other books of Baudelaire’s, and when I began translating it, I kept track of those I was aware of while also benefitting from the extensive and exemplary notes that the French editors amassed. The critical addendum was therefore unfurling like an infinite papyrus, threatening to end in it being as long, if not longer, than the book itself. In a way, that kind of critical gesture is an act of usurpation and domination, just as overly lengthy introductions can be (consider the grand effrontery of Foucault’s introduction to Binswanger’s Dream & Existence, which is twice the length of the book). At a certain point, I felt that continuing to amass notes would have made the book extremely cumbersome, one unpleasant to read, merely due to sheer volume. There’s also something about a massive critical addendum that’s imposing, if not intrusive, to many readers. Additionally, it was a question of elegance: I didn’t want to litter the book with footnote numbers; alternative methods to that could have easily been devised but, ultimately, I opted against including extensive notes. While as readers we can disavow them altogether, not having them makes for a more comfortable book to wield. Finally, encountering it would be more like coming upon Baudelaire’s own notebook, free of editorial invasiveness, thereby leaving the reader to his or her own rapturous encounter with it, however intractable it may be. As for misreading or misinterpreting, I don’t think such can ever be definitively foreclosed. While errant and contentious readings exist, to fear risking them is to argue that we can fathom authorial intention, or that there are definitive and absolute interpretations. Reading should be dangerous, risky, volatile, something that threatens to undermine, overwhelm, and mutate us, if not put the world into metamorphosis, as books can and have done, though hardly as much in our depleted and toothless epoch. Otherwise, reading is just entertainment, a diversionary narcotic, and we have to be willing to be shattered by books, to undergo both subtle and emphatic shocks.
Biblioklept: What is Flares?
Hanshe: Quite simply, it’s a writer’s notebook; as such, it doesn’t have a single focus but is more motley, something of a hybrid entity. To paraphrase, we could call it The Poet Laid Bare (of poetic form). Nonetheless, I believe it has two principal nerve centers: critique and meditation.
The critique is many-tendrilled, with its points of observation being the craft of the writer, art and aesthetics, love, pleasure, and intoxication (numerous types), religion and theology, politics, etc. The writer’s smelting room and sometimes place of furious venting. As with Mon cœur mis à nu, there is a root in Poe, who in his Marginalia spoke of “a peculiar type of criticism” that “can only be designated by the ‘German ‘Schwarmerei’ — not exactly ‘humbug’ but ‘sky-rocketing’…” Baudelaire took up this idea, naming his work fusées, which is an expansive translation of the English skyrockets. A fusée is a pyrotechnical device (rocket, flare, or firework), musket, or heraldic emblem, hence the title corresponds well with the work’s variegated character. It is something incendiary, combative, and elegant. The manifold subtitles peppered throughout “Flares” offer us a provisional overview of its character, too: Plans, Projects, Suggestions, Notes, Hygiene, Morality, Conduct, Method. Here we see the writer’s notebook, the critique, and the meditation.
In speaking of intellectual gymnastics, the altar of the will, moral dynamics, the great deed, perfect health, the hygiene of the soul, political harmony of character, eurhythmy of character and faculties, self-purification, mastery of time, and accomplishing one’s duties, Baudelaire enumerates a concentration of terms and concepts related to self-cultivation. The book thus contains a kind of technology of the self, the outline of Baudelaire’s martial praxis for the artist — intellectual gymnastics and the sanctification of the will both bespeak an agonistic sensibility, as does his paean to greatness and his call to achieve it in contradistinction to the tremendous oppositional force of nothing less than an entire nation. What is this but Baudelaire’s Miltonic-Satanic typology. “The man of letters rends foundations…” (Flares §6) Such terminology, and the repeated invocations to himself to master his will and to work diligently to become who he is, are part of a regimen of poetic self-shaping. “Want every day to be the greatest of men!!!” (My Heart… §70) The references to Emerson and his Conduct of Life further reinforce that, which is but one reason why in the book’s synopsis I made a parallel to Marcus Aurelius, characterizing the book as Baudelaire’s meditations, which I see as its second nerve center. The poet is clearly concerned with self-government, and this shaping or cultivation of the self is meant to strengthen him, thereby aiding his accomplishing his artistic tasks, of which the book is in part a record.
These notions can be woven together with other parts of the work, i.e. §16 of “Flares,” where Baudelaire speaks of the most perfect type of virile Beauty (the Miltonic Satan), or the Emersonian hero (he who is immovably centered), giving us the supreme artistic model of Satan, that is, Satan as the light-bringer, the visionary, he who is anti-human (“Let us defy the people, common sense, the heart, inspiration, and evidence.” §47; “The man of letters is the enemy of the world.” §53). In §21 of ”Flares” Baudelaire asks, “To give oneself to Satan, what is it?” The book provides us with some answers, as does his poetry (the “Litanies of Satan” et alia), and his Dandy (a superior figure) is another type with similarly sublime aspirations. It is the onset of the anti-Christian hyperanthropos. “The poet, the priest, and the soldier are the only great men among men: … the rest are made for the whip” (§47). Continue reading ““Translation is an act of risk” | An interview with Rainer J. Hanshe on translating Baudelaire’s My Heart Laid Bare”→
April 30th.–. . . I arose this morning feeling more elastic than I have throughout the winter; for the breathing of the ocean air has wrought a very beneficial effect, . . . What a beautiful, most beautiful afternoon this has been! It was a real happiness to live. If I had been merely a vegetable,–a hawthorn-bush, for instance,–I must have been happy in such an air and sunshine; but, having a mind and a soul, . . . I enjoyed somewhat more than merevegetable happiness. . . . The footsteps of May can be traced upon the islands in the harbor, and I have been watching the tints of green upon them gradually deepening, till now they are almost as beautiful as they ever can be.
I picked up Brazilian author Joaquim Maria Machado de Assis’s 1881 novel ThePosthumous Memoirs of Brás Cubas today. I picked it up because of an oblique recommendation via Twitter a few weeks ago when I was raving about Antonio di Benedetto’s novel Zama.
Brás Cubas reminds me a lot of Tristram Shandy so far—short sharp funny chapters that bop forward and backward. The 1881 novel anticipates anticipates a style and form that we now describe as “postmodern.” I’ll share a few excerpts in the future, but for now, here’s the Wikipedia summary (lazy, I know, but I think it’s a bit better than this Oxford UP edition’s blurb):
The novel is narrated by the dead protagonist Brás Cubas, who tells his own life story from beyond the grave, noting his mistakes and failed romances.
The fact of being already deceased allows Brás Cubas to sharply criticize the Brazilian society and reflect on his own disillusionment, with no sign of remorse or fear of retaliation. Brás Cubas dedicates his book to the first worm that gnawed his cold body: “To the worm who first gnawed on the cold flesh of my corpse, I dedicate with fond remembrance these Posthumous Memoirs” (Portuguese: Ao verme que primeiro roeu as frias carnes do meu cadáver dedico com saudosa lembrança estas Memórias Póstumas). Cubas decides to tell his story starting from the end (the passage of his death, caused by pneumonia), then taking “the greatest leap in this story”, proceeding to tell the story of his life since his childhood.
The novel is also connected to another Machado de Assis work, Quincas Borba, which features a character from the Memoirs (as a secondary character, despite the novel’s name), but other works of the author are hinted in chapter titles. It is a novel recalled as a major influence by many post-modern writers, such as John Barth or Donald Barthelme, as well as Brazilian writers in the 20th century
In this series I have a small cameo. The scene is the one in which the newly conscripted Handmaids are being brainwashed in a sort of Red Guard re-education facility known as the Red Center. They must learn to renounce their previous identities, to know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.
The Handmaids sit in a circle, with the Taser-equipped Aunts forcing them to join in what is now called (but was not, in 1984) the “slut-shaming” of one of their number, Jeanine, who is being made to recount how she was gang-raped as a teenager. Her fault, she led them on — that is the chant of the other Handmaids.
Although it was “only a television show” and these were actresses who would be giggling at coffee break, and I myself was “just pretending,” I found this scene horribly upsetting. It was way too much like way too much history. Yes, women will gang up on other women. Yes, they will accuse others to keep themselves off the hook: We see that very publicly in the age of social media, which enables group swarmings. Yes, they will gladly take positions of power over other women, even — and, possibly, especially — in systems in which women as a whole have scant power: All power is relative, and in tough times any amount is seen as better than none. Some of the controlling Aunts are true believers, and think they are doing the Handmaids a favor: At least they haven’t been sent to clean up toxic waste, and at least in this brave new world they won’t get raped, not as such, not by strangers. Some of the Aunts are sadists. Some are opportunists. And they are adept at taking some of the stated aims of 1984 feminism — like the anti-porn campaign and greater safety from sexual assault — and turning them to their own advantage. As I say: real life.
Which brings me to three questions I am often asked.
First, is “The Handmaid’s Tale” a “feminist” novel? If you mean an ideological tract in which all women are angels and/or so victimized they are incapable of moral choice, no. If you mean a novel in which women are human beings — with all the variety of character and behavior that implies — and are also interesting and important, and what happens to them is crucial to the theme, structure and plot of the book, then yes. In that sense, many books are “feminist.”