“Mesmeric Revelation” — Edgar Allan Poe

“Mesmeric Revelation” by Edgar Allen Poe

WHATEVER doubt may still envelop the rationale of mesmerism, its startling facts are now almost universally admitted. Of these latter, those who doubt, are your mere doubters by profession—an unprofitable and disreputable tribe. There can be no more absolute waste of time than the attempt to prove, at the present day, that man, by mere exercise of will, can so impress his fellow, as to cast him into an abnormal condition, of which the phenomena resemble very closely those of death, or at least resemble them more nearly than they do the phenomena of any other normal condition within our cognizance; that, while in this state, the person so impressed employs only with effort, and then feebly, the external organs of sense, yet perceives, with keenly refined perception, and through channels supposed unknown, matters beyond the scope of the physical organs; that, moreover, his intellectual faculties are wonderfully exalted and invigorated; that his sympathies with the person so impressing him are profound; and, finally, that his susceptibility to the impression increases with its frequency, while, in the same proportion, the peculiar phenomena elicited are more extended and more pronounced. I say that these—which are the laws of mesmerism in its general features—it would be supererogation to demonstrate; nor shall I inflict upon my readers so needless a demonstration; to-day. My purpose at present is a very different one indeed. I am impelled, even in the teeth of a world of prejudice, to detail without comment the very remarkable substance of a colloquy, occurring between a sleep-waker and myself. I had been long in the habit of mesmerizing the person in question, (Mr. Vankirk,) and the usual acute susceptibility and exaltation of the mesmeric perception had supervened. For many months he had been laboring under confirmed phthisis, the more distressing effects of which had been relieved by my manipulations; and on the night of Wednesday, the fifteenth instant, I was summoned to his bedside. The invalid was suffering with acute pain in the region of the heart, and breathed with great difficulty, having all the ordinary symptoms of asthma. In spasms such as these he had usually found relief from the application of mustard to the nervous centres, but to-night this had been attempted in vain. As I entered his room he greeted me with a cheerful smile, and although evidently in much bodily pain, appeared to be, mentally, quite at ease. “I sent for you to-night,” he said, “not so much to administer to my bodily ailment, as to satisfy me concerning certain psychal impressions which, of late, have occasioned me much anxiety and surprise. I need not tell you how sceptical I have hitherto been on the topic of the soul’s immortality. I cannot deny that there has always existed, as if in that very soul which I have been denying, a vague half-sentiment of its own existence. But this half-sentiment at no time amounted to conviction. With it my reason had nothing to do. All attempts at logical inquiry resulted, indeed, in leaving me more sceptical than before. I had been advised to study Cousin. I studied him in his own works as well as in those of his European and American echoes. The ‘Charles Elwood’ of Mr. Brownson, for example, was placed in my hands. I read it with profound attention. Throughout I found it logical, but the portions which were not merely logical were unhappily the initial arguments of the disbelieving hero of the book. In his summing up it seemed evident to me that the reasoner had not even succeeded in convincing himself. His end had plainly forgotten his beginning, like the government of Trinculo. In short, I was not long in perceiving that if man is to be intellectually convinced of his own immortality, he will never be so convinced by the mere abstractions which have been so long the fashion of the moralists of England, of France, and of Germany. Abstractions may amuse and exercise, but take no hold on the mind. Here upon earth, at least, philosophy, I am persuaded, will always in vain call upon us to look upon qualities as things. The will may assent—the soul—the intellect, never. “I repeat, then, that I only half felt, and never intellectually believed. But latterly there has been a certain deepening of the feeling, until it has come so nearly to resemble the acquiescence of reason, that I find it difficult to distinguish between the two. I am enabled, too, plainly to trace this effect to the mesmeric influence. I cannot better explain my meaning than by the hypothesis that the mesmeric exaltation enables me to perceive a train of ratiocination which, in my abnormal existence, convinces, but which, in full accordance with the mesmeric phenomena, does not extend, except through its effect, into my normal condition. In sleep-waking, the reasoning and its conclusion—the cause and its effect—are present together. In my natural state, the cause vanishing, the effect only, and perhaps only partially, remains. “These considerations have led me to think that some good results might ensue from a series of well-directed questions propounded to me while mesmerized. You have often observed the profound self-cognizance evinced by the sleep-waker—the extensive knowledge he displays upon all points relating to the mesmeric condition itself; and from this self-cognizance may be deduced hints for the proper conduct of a catechism.” I consented of course to make this experiment. A few passes threw Mr. Vankirk into the mesmeric sleep. His breathing became immediately more easy, and he seemed to suffer no physical uneasiness. The following conversation then ensued:—V. in the dialogue representing the patient, and P. myself.

P. Are you asleep?

V. Yes—no I would rather sleep more soundly.

P. [After a few more passes.] Do you sleep now?

V. Yes. Continue reading ““Mesmeric Revelation” — Edgar Allan Poe”

The Big Daily Read — Jean Helion

Poeta y Vago — Roberto Bolaño’s Business Card (And Drafts, Maps, and Diagrams)

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Lovely passel of images of Roberto Bolaño documents at Las obras de Roberto Bolaño by Maria Serrano, who attended BOLAÑO ARCHIVE. 1977-2003, an exhibition of Bolaño’s personal effects. Along with Bolaño’s card, Maria photographed pages of Bolaño’s journals, showing several drafts of Tinajero’s poem in The Savage Detectives and other diagrams. There’s also what appears to be a map of Santa Teresa Bolaño sketched. Very cool stuff. Thanks to Matt Bucher for sharing.

Memories of Breece D’J Pancake

Read “Complicated Manners: Memories of Breece D’J Pancake” by Marion Field (in Oxford American). Excerpt:

The night before he died, Breece went to the movies with his girlfriend, Emily. They saw The Deer Hunter.

The next morning was Palm Sunday, and Emily went to church while Breece stayed home with a cold. He went later, to a 3 p.m. Mass, and stopped by Emily’s place to let her know he’d pick her up Monday morning so she could ride with him to an out-of-town job interview.

After Mass, he went home and drank a few beers.

Around 6 p.m., a neighbor’s girlfriend was startled by the dark shadow of a man she did not expect or recognize when she walked into her boyfriend’s home with a sack of groceries. She screamed and dropped the bag and Breece rose from a chair in the unlit kitchen. According to the complainant’s report to the sheriff’s office, “Mr. Pancake cornered her and explained that he had a drinking problem and had a tendency to wander around.”

In the half-hour between the moments the woman dropped her groceries and the police arrived, Breece’s landlady, Mrs. Meade, knocked on his door and told him that police were on their way to question him.

He called out from his room that he was sorry, and as the sirens neared, he walked outside with the only gun he hadn’t gifted off, a Savage Arms over/under shotgun, serial number B366615, sat down in a plastic folding chair beneath an apple tree, propped the gun on the ground with the muzzle in his mouth, and pulled the trigger.

 

John Barth on Italo Calvino and Jorge Luis Borges

The paralleli of the achievements of Borges and Calvino are mostly obvious, the relevant anti-parallelino doubt likewise. To begin with, both writers, for all their great sophistication of mind, wrote in a clear, straightforward, unmannered, nonbaroque, but rigorously scrupulous style. ”. . . crystalline, sober, and airy . . . without the least congestion” is how Calvino himself describes Borges’s style (in the second of his Six Memos for the Next Millennium, the Norton lectures that Calvino died before he could deliver), and of course those adjectives describe his own as well, as do the titles of all six of his Norton lectures: “Lightness” (Leggerezza) and deftness of touch; “Quickness” (Rapidita) in the senses both of economy of means and of velocity in narrative profluence; “Exactitude” (Esatezza) both of formal design and of verbal expression; “Visibility” (Visibilita) in the senses both of striking detail and of vivid imagery, even (perhaps especially) in the mode of fantasy; “Multiplicity” (Molteplicita) in the senses both of an ars combinatoria and of addressing the infinite interconnectedness of things, whether in expansive, incompletable works such as Gadda’s Via Merulana and Robert Musil’s Man Without Qualities or in vertiginous short stories like Borges’s “Garden of Forking Paths”—all cited in Calvino’s lecture on multiplicity; and “Consistency” in the sense that in their style, their formal concerns, and their other preoccupations we readily recognize the Borgesian and the Calvinoesque. So appealing a case does Calvino make for these particular half-dozen literary values, it’s important to remember that they aren’t the only ones; indeed, that their contraries have also something to be said for them. Calvino acknowledges as much in the “Quickness” lecture: ”. . . each value or virtue I chose as the subject for my lectures,” he writes, “does not exclude its opposite. Implicit in my tribute to lightness was my respect for weight, and so this apology for quickness does not presume to deny the pleasures of lingering,” etc. We literary lingerers—some might say malingerers—breathe a protracted sigh of relief.

Read the rest of John Barth’s essay The Parallels!”.

 

“Two Friends” — Guy de Maupassant

“Two Friends” — Guy de Maupassant

Besieged Paris was in the throes of famine. Even the sparrows on the roofs and the rats in the sewers were growing scarce. People were eating anything they could get.

As Monsieur Morissot, watchmaker by profession and idler for the nonce, was strolling along the boulevard one bright January morning, his hands in his trousers pockets and stomach empty, he suddenly came face to face with an acquaintance—Monsieur Sauvage, a fishing chum.

Before the war broke out Morissot had been in the habit, every Sunday morning, of setting forth with a bamboo rod in his hand and a tin box on his back. He took the Argenteuil train, got out at Colombes, and walked thence to the Ile Marante. The moment he arrived at this place of his dreams he began fishing, and fished till nightfall.

Every Sunday he met in this very spot Monsieur Sauvage, a stout, jolly, little man, a draper in the Rue Notre Dame de Lorette, and also an ardent fisherman. They often spent half the day side by side, rod in hand and feet dangling over the water, and a warm friendship had sprung up between the two.

Some days they did not speak; at other times they chatted; but they understood each other perfectly without the aid of words, having similar tastes and feelings.

In the spring, about ten o’clock in the morning, when the early sun caused a light mist to float on the water and gently warmed the backs of the two enthusiastic anglers, Morissot would occasionally remark to his neighbor:

“My, but it’s pleasant here.”

To which the other would reply:

“I can’t imagine anything better!”

And these few words sufficed to make them understand and appreciate each other.

In the autumn, toward the close of day, when the setting sun shed a blood-red glow over the western sky, and the reflection of the crimson clouds tinged the whole river with red, brought a glow to the faces of the two friends, and gilded the trees, whose leaves were already turning at the first chill touch of winter, Monsieur Sauvage would sometimes smile at Morissot, and say:

“What a glorious spectacle!”

And Morissot would answer, without taking his eyes from his float:

“This is much better than the boulevard, isn’t it?”

As soon as they recognized each other they shook hands cordially, affected at the thought of meeting under such changed circumstances.

Monsieur Sauvage, with a sigh, murmured:

“These are sad times!”

Morissot shook his head mournfully.

“And such weather! This is the first fine day of the year.”

The sky was, in fact, of a bright, cloudless blue.

They walked along, side by side, reflective and sad.

“And to think of the fishing!” said Morissot. “What good times we used to have!”

“When shall we be able to fish again?” asked Monsieur Sauvage.

They entered a small cafe and took an absinthe together, then resumed their walk along the pavement.

Morissot stopped suddenly.

“Shall we have another absinthe?” he said.

“If you like,” agreed Monsieur Sauvage.

And they entered another wine shop. Continue reading ““Two Friends” — Guy de Maupassant”

The Child’s Brain — Giorgio de Chirico

“1852” — Ben Marcus

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Chris Eaton, a Biography: A Novel by Chris Eaton (Book Acquired, 4.18.2013)

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Chris Eaton’s novel Chris Eaton, A Biography showed up last week.  I haven’t made time to get into it yet—even though it looks pretty cool—mostly because I’m reading too many books right now and it’s the end of the term and all that nonsense. Anyway, this looks like a weird one. Publisher Book Thug’s blurb:

Chris Eaton, A Biography is a novel that arises from the idea that we have all been driven, at some point, to Google ourselves. And if you did, what did you find? That there are people out there who seem to have something in common with you? Dates, places, interests? How coincidental are these connections? And what are the factors that define a human life? We are the sum of our stories: Anecdotal constructs. We remember moments in our pasts the way we remember television episodes. In pieces. And we realize that our own memories are no more valid in the construction of our identities than stories we’ve heard from others. Chris Eaton, A Biography constructs a life by using, as building blocks, the lives of dozens of other people who share nothing more than a name, identities that blur into each other with the idea that, in the end, we all live the same life, deal with the same hopes and fears, experience the same joys and tragedies. Only the specifics are different. From birth to death and everything in between, the narratives we share bring us closer to a truth about what it means to be alive. To be you.

 

“The Princess with the Lily-white Feet” — Ludmila Petrushevskaya

“The Princess with the Lily-white Feet” by Ludmila Petrushevskaya

Once upon a time there lived a Youngest Princess, and everybody loved her. She had tiny little hands like rose petals, and her tiny white feet were like lily petals. On the one hand, this was pretty, but on the other hand, the Youngest Princess was almost too delicate and sensitive – she’d cry at the slightest provocation. She wasn’t exactly reprimanded for it, but the family certainly didn’t condone such behaviour, either. “You can’t let yourself fall apart like that!” her Mama, Papa, Grandma, and King-granddaddy used to say. “You have to keep yourself in hand. You’re a big girl now.”

This would only hurt her feelings even more, and the Youngest Princess would take to crying again.

Nevertheless, there came a time when a Prince came to woo the Princess, which is the way it’s meant to be.

The Prince was tall, handsome, and gentle. “A fine pair!” everybody in the kingdom agreed.

The Prince and the Princess went on lots of walks, they danced together, and the Princess – and for her this was totally unheard of – wove flower garlands on the meadow for the Prince and for herself, garlands of cornflowers every bit as blue as the Prince’s eyes.

The Prince and the Princess were betrothed, which is the way it was meant to be – that is, they were declared fiancé and fiancée. Then the Prince rode back to his own kingdom.

The Youngest Princess stayed home and started crying. Everyone disapproved of such behaviour; they even called the doctor. The doctor talked a bit with the Princess and unexpectedly prescribed not sedatives, which is the way it’s meant to be, but pain pills. Because it turned out that the Youngest Princess had overexerted herself with all that dancing and walking and chafed her tender little hands and feet till they were sore and bleeding.

Time passed, the wedding grew near, but the bride kept crying, sitting in bed and favouring her bandaged hands and feet. She couldn’t walk or hold a cup of tea in her hands: she was fed by her old nurse, who held her cup for her, too.

The doctor, however, optimistically predicted that everything would heal up before the wedding, and said the Youngest Princess was simply too delicate and too sensitive, a crybaby with no self-discipline, and that was the fruit of her improper upbringing in the family, but as soon as the Prince returned she would get up and dance and move her hands just the way she used to. “It’s all psychological,” said the doctor, and kept feeding the Princess pain pills.

Then the old nurse gathered together some photos of the Youngest Princess and set off to see a sorcerer. She brought back an enigmatic answer: “He who loves, carries in his arms.”

This phrase soon became legendary with absolutely everybody who had loved the Princess so much since she was a baby, when she used to smile blissfully, showing her first four tiny teeth and the two little dimples in her cheeks, when her little ringlets were like golden silk, and her little eyes like forget-me-nots. Continue reading ““The Princess with the Lily-white Feet” — Ludmila Petrushevskaya”

Embroidering the Earth’s Mantle — Remedios Varo

“Just mix up a mixture of theolologicophilolological” — Stephen Dedalus on Shakespeare

From Stephen Dedalus’s strange thesis on Shakespeare in episode 9 of James Joyce’s Ulysses–

— And the sense of property, Stephen said. He drew Shylock out of his own long pocket. The son of a maltjobber and moneylender he was himself a cornjobber and moneylender, with ten tods of corn hoarded in the famine riots. His borrowers are no doubt those divers of worship mentioned by Chettle Falstaff who reported his uprightness of dealing. He sued a fellowplayer for the price of a few bags of malt and exacted his pound of flesh in interest for every money lent. How else could Aubrey’s ostler and callboy get rich quick? All events brought grist to his mill. Shylock chimes with the jewbaiting that followed the hanging and quartering of the queen’s leech Lopez, his jew’s heart being plucked forth while the sheeny was yet alive: Hamlet and Macbeth with the coming to the throne of a Scotch philosophaster with a turn for witchroasting. The lost armada is his jeer in Love’s Labour Lost. His pageants, the histories, sail fullbellied on a tide of Mafeking enthusiasm. Warwickshire jesuits are tried and we have a porter’s theory of equivocation. The Sea Venture comes home from Bermudas and the play Renan admired is written with Patsy Caliban, our American cousin. The sugared sonnets follow Sidney’s. As for fay Elizabeth, otherwise carrotty Bess, the gross virgin who inspired The Merry Wives of Windsor, let some meinherr from Almany grope his life long for deephid meanings in the depths of the buckbasket.

I think you’re getting on very nicely. Just mix up a mixture of theolologicophilolological. Mingo, minxi, mictum, mingere.

April 23, 1616 (David Markson)

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Spectrum Appearance of Banquo — Gustave Doré

Cordelia’s Portion — Ford Madox Brown

Novels That Will Be Considered the Most Important Literary Works of the Twentieth Century in the Year 2100 (According to Dalkey Archive)

Novels That Will Be Considered the Most Important Literary Works of the Twentieth Century in the Year 2100

Nightwood, Djuna Barnes
Malone Dies, Samuel Beckett
Molloy, Samuel Beckett
The Unnamable, Samuel Beckett
The Lime Works, Thomas Bernhard
Nostromo, Joseph Conrad
JR, William Gaddis
The Recognitions, William Gaddis
Ulysses, James Joyce
One Hundred Years of Solitude, Gabriel Garcia Marquez
At Swim-Two-Birds, Flann O’Brien
The Inquisitory, Robert Pinget
Remembrance of Things Past, Marcel Proust
Gravity’s Rainbow, Thomas Pynchon
Mulligan Stew, Gilbert Sorrentino

Speculative list from the Dalkey Archive (from an issue of their journal Context; compiled from responses  of “advisors at universities and bookstores”). I’m sure the fact that they publish several of these titles has nothing to do with these books’ inclusion. I’ve read all of seven of these, some of five of these, and none of three of these.

Ideal Portrait of Shakespeare — Angelica Kauffman