“Easter Eve” — Anton Chekhov

“Easter Eve”

by

Anton Chekhov

I was standing on the bank of the River Goltva, waiting for the ferry-boat from the other side. At ordinary times the Goltva is a humble stream of moderate size, silent and pensive, gently glimmering from behind thick reeds; but now a regular lake lay stretched out before me. The waters of spring, running riot, had overflowed both banks and flooded both sides of the river for a long distance, submerging vegetable gardens, hayfields and marshes, so that it was no unusual thing to meet poplars and bushes sticking out above the surface of the water and looking in the darkness like grim solitary crags.

The weather seemed to me magnificent. It was dark, yet I could see the trees, the water and the people. . . . The world was lighted by the stars, which were scattered thickly all over the sky. I don’t remember ever seeing so many stars. Literally one could not have put a finger in between them. There were some as big as a goose’s egg, others tiny as hempseed. . . . They had come out for the festival procession, every one of them, little and big, washed, renewed and joyful, and everyone of them was softly twinkling its beams. The sky was reflected in the water; the stars were bathing in its dark depths and trembling with the quivering eddies. The air was warm and still. . . . Here and there, far away on the further bank in the impenetrable darkness, several bright red lights were gleaming. . . .

A couple of paces from me I saw the dark silhouette of a peasant in a high hat, with a thick knotted stick in his hand.

“How long the ferry-boat is in coming!” I said.

“It is time it was here,” the silhouette answered.

“You are waiting for the ferry-boat, too?”

“No I am not,” yawned the peasant—”I am waiting for the illumination. I should have gone, but to tell you the truth, I haven’t the five kopecks for the ferry.”

“I’ll give you the five kopecks.”

“No; I humbly thank you. . . . With that five kopecks put up a candle for me over there in the monastery. . . . That will be more interesting, and I will stand here. What can it mean, no ferry-boat, as though it had sunk in the water!”

The peasant went up to the water’s edge, took the rope in his hands, and shouted; “Ieronim! Ieron—im!” Continue reading ““Easter Eve” — Anton Chekhov”

“Thus do authors beget authors” — Washington Irving on Plagiarism and Creation

0126m

Now and then one of these personages would write something on a small slip of paper, and ring a bell, whereupon a familiar would appear, take the paper in profound silence, glide out of the room, and return shortly loaded with ponderous tomes, upon which the other would fall, tooth and nail, with famished voracity. I had no longer a doubt that I had happened upon a body of magi, deeply engaged in the study of occult sciences. The scene reminded me of an old Arabian tale, of a philosopher shut up in an enchanted library, in the bosom of a mountain, which opened only once a year; where he made the spirits of the place bring him books of all kinds of dark knowledge, so that at the end of the year, when the magic portal once more swung open on its hinges, he issued forth so versed in forbidden lore, as to be able to soar above the heads of the multitude, and to control the powers of Nature.

My curiosity being now fully aroused, I whispered to one of the familiars, as he was about to leave the room, and begged an interpretation of the strange scene before me. A few words were sufficient for the purpose. I found that these mysterious personages, whom I had mistaken for magi, were principally authors, and were in the very act of manufacturing books. I was, in fact, in the reading-room of the great British Library, an immense collection of volumes of all ages and languages, many of which are now forgotten, and most of which are seldom read: one of these sequestered pools of obsolete literature to which modern authors repair, and draw buckets full of classic lore, or “pure English, undefiled,” wherewith to swell their own scanty rills of thought.

Being now in possession of the secret, I sat down in a corner, and watched the process of this book manufactory. I noticed one lean, bilious-looking wight, who sought none but the most worm-eaten volumes, printed in black letter. He was evidently constructing some work of profound erudition, that would be purchased by every man who wished to be thought learned, placed upon a conspicuous shelf of his library, or laid open upon his table—but never read. I observed him, now and then, draw a large fragment of biscuit out of his pocket, and gnaw; whether it was his dinner, or whether he was endeavoring to keep off that exhaustion of the stomach, produced by much pondering over dry works, I leave to harder students than myself to determine.

There was one dapper little gentleman in bright-colored clothes, with a chirping gossiping expression of countenance, who had all the appearance of an author on good terms with his bookseller. After considering him attentively, I recognized in him a diligent getter-up of miscellaneous works, which bustled off well with the trade. I was curious to see how he manufactured his wares. He made more stir and show of business than any of the others; dipping into various books, fluttering over the leaves of manuscripts, taking a morsel out of one, a morsel out of another, “line upon line, precept upon precept, here a little and there a little.” The contents of his book seemed to be as heterogeneous as those of the witches’ cauldron in Macbeth. It was here a finger and there a thumb, toe of frog and blind worm’s sting, with his own gossip poured in like “baboon’s blood,” to make the medley “slab and good.”

After all, thought I, may not this pilfering disposition be implanted in authors for wise purposes? may it not be the way in which Providence has taken care that the seeds of knowledge and wisdom shall be preserved from age to age, in spite of the inevitable decay of the works in which they were first produced? We see that Nature has wisely, though whimsically provided for the conveyance of seeds from clime to clime, in the maws of certain birds; so that animals, which, in themselves, are little better than carrion, and apparently the lawless plunderers of the orchard and the corn-field, are, in fact, Nature’s carriers to disperse and perpetuate her blessings. In like manner, the beauties and fine thoughts of ancient and obsolete authors are caught up by these flights of predatory writers, and cast forth, again to flourish and bear fruit in a remote and distant tract of time. Many of their works, also, undergo a kind of metempsychosis, and spring up under new forms. What was formerly a ponderous history, revives in the shape of a romance—an old legend changes into a modern play—and a sober philosophical treatise furnishes the body for a whole series of bouncing and sparkling essays. Thus it is in the clearing of our American woodlands; where we burn down a forest of stately pines, a progeny of dwarf oaks start up in their place; and we never see the prostrate trunk of a tree mouldering into soil, but it gives birth to a whole tribe of fungi.

Let us not then, lament over the decay and oblivion into which ancient writers descend; they do but submit to the great law of Nature, which declares that all sublunary shapes of matter shall be limited in their duration, but which decrees, also, that their element shall never perish. Generation after generation, both in animal and vegetable life, passes away, but the vital principle is transmitted to posterity, and the species continue to flourish. Thus, also, do authors beget authors, and having produced a numerous progeny, in a good old age they sleep with their fathers, that is to say, with the authors who preceded them—and from whom they had stolen.

 

From Washington Irving’s story-essay “The Art of Book-Making.”

There is a theory going around that the U.S.A. was and still is a gigantic Masonic plot under the ultimate control of the group known as the Illuminati (Gravity’s Rainbow)

There is a theory going around that the U.S.A. was and still is a gigantic Masonic plot under the ultimate control of the group known as the Illuminati. It is difficult to look for long at the strange single eye crowning the pyramid which is found on every dollar bill and not begin to believe the story, a little. Too many anarchists in 19th-century Europe—Bakunin, Proudhon, Salverio Friscia—were Masons for it to be pure chance. Lovers of global conspiracy, not all of them Catholic, can count on the Masons for a few good shivers and voids when all else fails. One of the best of the classic Weird Mason Stories has Doctor Livingstone (living stone? oh, yes) come wandering into a native village in, not even the heart, but the subconscious of Darkest Africa, a place, a tribe he’s never seen before: fires in the silence, unfathomable stares, Livingstone ambles up to the village chief and flashes him a Masonic high sign—the chief recognizes it, returns it, all smiles, and orders every fraternal hospitality laid on for the white stranger. But recall that Dr. Livingstone, like Wernher von Braun, was born close to the Spring Equinox, and so had to confront the world from that most singular of the Zodiac’s singular points… . Well, and keep in mind where those Masonic Mysteries came from in the first place. (Check out Ishmael Reed. He knows more about it than you’ll ever find here.)

We must also never forget famous Missouri Mason Harry Truman: sitting by virtue of death in office, this very August 1945, with his control-finger poised right on Miss Enola Gay’s atomic clit, making ready to tickle 100,000 little yellow folks into what will come down as a fine vapor-deposit of fat-cracklings wrinkled into the fused rubble of their city on the Inland Sea… .

 

From Thomas Pynchon’s Gravity’s Rainbow.

The Last Pilot (Book acquired 3.27.2015)

IMG_5683

Benjamin Johncock’s novel The Last Pilot is forthcoming this summer from Picador. Their blurb:

Jim Harrison is a test pilot in the United States Air Force, one of the exalted few. He spends his days in a precarious dance with death above the Mojave Desert and his nights at his friend Pancho’s bar, often with his wife, Grace. Both are secretly desperate for a child-and are delighted when, against all odds, Grace learns that she is pregnant.

But Sputnik has put the country in a panic, and NASA, newly formed, has been tasked with manning space before the Russians. Harrison turns down the chance to participate in Project Mercury and becomes a father to Florence, his baby girl. Yet his life, as a father and as a pilot, grinds to a halt when she becomes seriously ill and dies at the age of two. Devastated, Harrison loses himself in his work-and, sometimes, in distressing thoughts of Florence-and this time, when he gets a ticket to the moon, he takes it, but without consulting Grace.

As Harrison trains to become an astronaut, the toll that his daughter’s death has taken upon his marriage becomes more palpable, even as his ability to reckon with the reality of it diminishes. Set against the backdrop of one of the most emotionally charged periods in American history, Benjamin Johncock’s The Last Pilot is a mesmerizing story of loss and finding courage in the face of it, from an extraordinary new talent.

The Figaro Murders (Book acquired some time in February, 2015)

IMG_5571

Laura Lebow’s mystery The Figaro Murders is new in hardback from Macmillan’s Minotaur imprint. Their blurb:

In 1786 Vienna, Lorenzo Da Ponte is the court librettist for the Italian Theatre during the height of the enlightened reign of Emperor Joseph II. This exalted position doesn’t mean he’s particularly well paid, or even out of reach of the endless intrigues of the opera world. In fact, far from it.

One morning, Da Ponte stops off at his barber, only to find the man being taken away to debtor’s prison. Da Ponte impetuously agrees to carry a message to his barber’s fiancée and try to help her set him free, even though he’s facing pressures of his own. He’s got one week to finish the libretto for The Marriage of Figaro for Mozart before the opera is premiered for the Emperor himself.
Da Ponte visits the house where the barber’s fiancée works–the home of a nobleman, high in the Vienna’s diplomatic circles–and then returns to his own apartments, only to be dragged from his rooms in the middle of the night. It seems the young protégé of the diplomat was killed right about the time Da Ponte was visiting, and he happens to be their main suspect. Now he’s given a choice–go undercover into the household and uncover the murderer, or be hanged for the crime himself.
Brilliantly recreating the cultural world of late 18th century Vienna, the epicenter of the Enlightenment, Lebow brings to life some of the most famous figures of music, theatre, and politics.

“Our April Letter” — F. Scott Fitzgerald

This is April again. Roller skates rain slowly down the street
Your voice far away on the phone
Once I would have jumped like a clown through a hoop—
but
“Then the area of infection has increased? …oh …What can I expect after all—I’ve had worse shocks.
Anyhow, I know and that’s something.” (Like hell it is, but it’s what you say to an X-ray doctor.)
Then the past whispering faint now on another phone:
“Is there any change?”
“Little or no change”
“I see”
The roller skates rain down the streets,
The black cars shine between the leaves,
Your voice far away:
“I am going with my daughter to the country. My husband left today. . . No he knows nothing.”
“Good”.
I have asked a lot of my emotions—one hundred and twenty stories, The price was high, right up with Kipling, because there was one little drop of something not blood, not a tear, not my seed, but me more intimately than these, in every story, it was the extra I had. Now it has gone and I am just like you now.
Once the phial was full—here is the bottle it came in.
Hold on there’s a drop left there. . . No, it was just the way the light fell
But your voice on the telephone. If I hadn’t abused words so what you said might have meant something.
But one hundred and twenty stories
April evening spreads over everything, the purple blur left by a child who has used the whole paint-box.

“Our April Letter” is from F. Scott Fitzgerald’s Notebooks.

 

A universal sense of guilt or an attitude of universal accusation (Italo Calvino)

…if it is impossible today for anyone to feel innocent, if in whatever we do or say we can discover a hidden motive – that of a white man,or a male, or the possessor of a certain income, or a member of a given economic system, or a suffer from a certain neurosis – this should not induce in us either a universal sense of guilt or an attitude of universal accusation.

When we become aware of our disease or of our hidden motives, we have already begun to get the better of them. What matters is the way in which we accept our motives and live through the ensuing crisis. This is the only chance we have of becoming different from the way we are – that is, the only way of starting to invent a new way of being.

From Italo Calvino’s essay “Right and Wrong Uses of Political Uses of Literature.” The essay was delivered as a lecture–in English–in 1976. (Translation credit for the volume the essay is collected in, The Uses of Literature, goes to Patrick Creagh).

Geoff Dyer’s Another Great Day at Sea (Book acquired, 3.26.2015)

IMG_5682

Another Great Day at Sea, Geoff Dyer’s account of life (okay, two weeks of life) on board a U.S. aircraft carrier, is new in trade paperback next week from Random House. Their blurb:

As a child Geoff Dyer spent long hours making and blotchily painting model fighter planes. So as an adult, naturally he jumped at the chance to spend a week onboard the aircraft carrier the USS George H.W. Bush. Part deft travelogue, part unerring social observation, and part finely honed comedy, Another Great Day at Sea is the inimitable Dyer’s account of his time spent wandering the ship’s maze of walkways, hatches, and stairs, and talking with the crew—from the Captain to the ship’s dentists. A lanky Englishman in a deeply American world, Dyer brilliantly records daily life aboard this floating fortress, revealing it to be a prism for understanding a society where discipline and conformity become forms of self-expression. At the same time we are reminded why Dyer is celebrated as one of the most original voices in contemporary literature.

Read an excerpt here.

Always eat grapes downwards (Samuel Butler)

Always eat grapes downwards—that is, always eat the best grape first; in this way there will be none better left on the bunch, and each grape will seem good down to the last.  If you eat the other way, you will not have a good grape in the lot.  Besides, you will be tempting Providence to kill you before you come to the best.  This is why autumn seems better than spring: in the autumn we are eating our days downwards, in the spring each day still seems “Very bad.”  People should live on this principle more than they do, but they do live on it a good deal; from the age of, say, fifty we eat our days downwards.

In New Zealand for a long time I had to do the washing-up after each meal.  I used to do the knives first, for it might please God to take me before I came to the forks, and then what a sell it would have been to have done the forks rather than the knives!

From Samuel Butler’s Note-Books

The Forever Watch (Book acquired some time in February, 2015)

IMG_5281Can’t seem to keep up with the review copies lately.

David Ramirez’s The Forever Watch is new from St. Martin’s Griffin imprint. Their blurb:

An exciting new novel from a bold up-and-coming sci fi talent, The Forever Watchis so full of twists and surprises it’s impossible to put down.
All that is left of humanity is on a thousand-year journey to a new planet aboard one ship, The Noah, which is also carrying a dangerous serial killer…
As a City Planner on the Noah, Hana Dempsey is a gifted psychic, economist, hacker and bureaucrat and is considered “mission critical.” She is non-replaceable, important, essential, but after serving her mandatory Breeding Duty, the impregnation and birthing that all women are obligated to undergo, her life loses purpose as she privately mourns the child she will never be permitted to know.
When Policeman Leonard Barrens enlists her and her hacking skills in the unofficial investigation of his mentor’s violent death, Dempsey finds herself increasingly captivated by both the case and Barrens himself. According to Information Security, the missing man has simply “Retired,” nothing unusual. Together they follow the trail left by the mutilated remains. Their investigation takes them through lost dataspaces and deep into the uninhabited regions of the ship, where they discover that the answer may not be as simple as a serial killer after all.

What they do with that answer will determine the fate of all humanity in David Ramirez’s thrilling page turner.

The Mother Conspiracy (Gravity’s Rainbow)

Otto is earnestly explaining his views on the Mother Conspiracy. It’s not often a sympathetic girl will listen. The Mothers get together once a year, in secret, at these giant conventions, and exchange information. Recipes, games, key phrases to use on their children. “What did yours use to say when she wanted to make you feel guilty?”

“‘I’ve worked my fingers to the bone!’” sez the girl.

“Right! And she used to cook those horrible casseroles, w-with the potatoes, and onions—”

“And ham! Little pieces of ham—”

“You see, you see? That can’t be accidental! They have a contest, for Mother of the Year, breast-feeding, diaper-changing, they time them, casserole competitions, ja—then, toward the end, they actually begin to use the children. The State Prosecutor comes out on stage. ‘In a moment, Albrecht, we are going to bring your mother on. Here is a Luger, fully loaded. The State will guarantee you absolute immunity from prosecution. Do whatever you wish to do—anything at all. Good luck, my boy.’ The pistols are loaded with blanks, natürlich, but the unfortunate child does not know this. Only the mothers who get shot at qualify for the finals.

Here they bring in psychiatrists, and judges sit with stopwatches to see how quickly the children will crack. ‘Now then, Olga, wasn’t it nice of Mutti to break up your affair with that long-haired poet?’ ‘We understand your mother and you are, ah, quite close, Hermann. Remember the time she caught you masturbating into her glove? Eh?’ Hospital attendants stand by to drag the children off, drooling, screaming, having clonic convulsions. Finally there is only one Mother left on stage. They put the traditional flowered hat on her head, and hand her the orb and scepter, which in this case are a gilded pot roast and a whip, and the orchestra plays Tristan und Isolde.

From Thomas Pynchon’s novel Gravity’s Rainbow.

A Conversation about Evan Dara’s Novel Flee (Part 2)

IMG_5657

[Context/editorial note: I’d been meaning to read Evan Dara’s latest novel Flee for a while, and when Biblioklept contributor Ryan Chang told me he’d be reading it as part of a contemporary literature class I decided to join him. This is the second part of a two-part discussion which took place over a few weeks of emails. We discuss the book’s conclusion, including what some people might think of as “spoilers.”

Read part one of our discussion of  Flee.

The tl;dr version of all of this: Both Ryan and I loved Flee, a 2013 novel about the citizens of a New England town who, uh, flee, for reasons never made entirely clear I claim that “Flee is maybe the best novel (so far, anyway) to aesthetically and philosophically address the economic collapse of ’08.” Ryan called it a book “for people who like books to fuck with them and then be their friend.” And I agree with him. — ET]

Ryan Chang: Right–Flee doesn’t prescribe a future, or at least an alternative future. “841” testifies to this. The A-burgian upstakers are no different from the new settlers, rejoicing in the bargains to be had in the town. Carol and Marcus quietly disappear (Spoiler alert). Flee is overall hesitant to prescribe, I think. In my previous e-mail, I was thinking out loud a bit, trying to see if something in the book was pointing to these spaces of the “nonidentical” as Adorno calls it; that Flee as an aesthetic object figures, in exactly what isn’t said, the suffocating presence that squeezes the life out of A-burg, could figure a moment of possibility in absence. Some kind of fracture that, even if it is a failure (as A-burg is, I think), is a temporary moment of reprieve from the administered life.

I’m not sure what the forms of Kimball’s “radical forgiveness” and “hospitality” would be, if he points to them — especially of the former. And is it only that the literary artists get to have all the fun of democracy? Exactly where does democratic critique happen off the page? I’m wondering because it seems that the form of popular critique — save from public protest and other distortions of space — are infected with exploitative capital, with ideology, unwittingly going along with the system that saves the banks before humanity. Additionally: to whom–or what–is forgiveness granted? Hospitality seems more tangible to me, but the phrases Yes? Who’s There? imply exclusion rather than inclusion to me. As if at the door of democracy, the speaker hesitates. Should not a radical affirmation continually say yes rather than no at the door? The questioning yes is skeptical. I wonder if a self-consciousness and -becoming out of administration is required. The molectular make-up of the present absence that suffocates A-Burg and, implicitly, whatever other small town, would have to be transposed, if you like, into another key. To mention Lerner again (briefly) — do you remember that scene in the book, with the first hurricane, the (eventually fictional) threat of Irene destroying the infrastructure as a moment when disparate communities — who would otherwise keep to themselves, much like the voices in Flee — begin convening? That was just a way of getting to the epigraph of the book: “Everything will be as it is now, just a little different.” Continue reading “A Conversation about Evan Dara’s Novel Flee (Part 2)”

Jonathan Littell’s Syrian Notebooks (Book acquired, 3.23.2015)

Jonathan Littell’s Syrian Notebooks is new in English translation (by Charlotte Mandell) from indie Verso. This one seems like a big departure from The Kindly Ones (which, uh, it should be), which I loved hating that I loved. Verso’s blurb:

A blistering firsthand account of the conflict in Homs by the internationally acclaimed author of The Kindly Ones
“We fight for our religion, for our women, for our land, and lastly to save our skin. As for them, they’re only fighting to save their skin.”

In 2012, Jonathan Littell traveled to the heart of the Syrian uprising, smuggled in by the Free Syrian Army to the historic city of Homs. For three weeks, he watched as neighborhoods were bombed and innocent civilians murdered. His notes on what he saw on the ground speak directly of horrors that continue today in the ongoing civil war.

Amid the chaos, Littell bears witness to the lives and the hopes of freedom fighters, of families caught within the conflict, as well as of the doctors who attempt to save both innocents and combatants who come under fire. As government forces encircle the city, Littell charts the first stirrings of the fundamentalist movement that would soon hijack the revolution.

Littell’s notebooks were originally the raw material for the articles he wrote upon his return for the French daily Le Monde. Published nearly immediately afterward in France, Syrian Notebooks has come to form an incomparable close-up account of a war that still grips the Middle East—a classic of war reportage.