A schoolboy treats a lady to dinner in a restaurant. He has only one rouble, twenty kopecks. The bill comes to four roubles thirty kopecks. He has no money and begins to cry. The proprietor boxes his ears. He was talking to the lady about Abyssinia.
* * * * *
A man, who, to judge from his appearance, loves nothing but sausages and sauerkraut.
* * * * *
Terrible poverty, desperate situation. The mother a widow, her daughter a very ugly girl. At last the mother takes courage and advises the daughter to go on the streets. She herself when young went on the streets without her husband’s knowledge in order to get money for her dresses; she has some experience. She instructs her daughter. The latter goes out, walks all night; not a single man takes her; she is ugly. A couple of days later, three young rascals on the boulevard take her. She brought home a note which turned out to be a lottery ticket no longer valid.
* * * * *
Two wives: one in Petersburg, the other in Kertch. Constant rows, threats, telegrams. They nearly reduce him to suicide. At last he finds a way: he settles them both in the same house. They are perplexed, petrified; they grow silent and quiet down.
* * * * *
An officer and his wife went to the baths together, and both were bathed by the orderly, whom they evidently did not consider a man.
* * * * *
A government clerk gave his son a thrashing because he had only obtained five marks in all his subjects at school. It seemed to him not good enough. When he was told that he was in the wrong, that five is the highest mark obtainable, he thrashed his son again—out of vexation with himself.
* * * * *
A very good man has such a face that people take him for a detective; he is suspected of having stolen shirt-studs.
* * * * *
A serious phlegmatic doctor fell in love with a girl who danced very well, and, to please her, he started to learn a mazurka.
* * * * *
—From Anton Chekhov’s Note-Books.
W. G. Sebald reading from his novel Austerlitz at 92nd Street Y. October 15, 2001, just two months before his death.
He later takes questions (beginning at the 28 minute mark), including a discussion of how he uses photography in his work. Susan Sontag then takes a question in which she addresses “cowboy rhetoric” after 9/11. They then discuss which of their books might be their “favorite.”
(Via prefer-not-to on Twitter).
(From “Natural History” by Donald Barthelme, published in the August 1971 issue of Harper’s).
We never know what an artist is going to do. Of course not. The artist is not a specialist. All such divisions as animal painters, landscape painters, painters of Scotch cattle in an English mist, painters of English cattle in a Scotch mist, racehorse painters, bull-terrier painters, all are shallow. If a man is an artist he can paint everything.
The object of art is to stir the most divine and remote of the chords which make music in our soul; and colour is indeed, of itself a mystical presence on things, and tone a kind of sentinel.
Am I pleading, then, for mere technique? No. As long as there are any signs of technique at all, the picture is unfinished. What is finish? A picture is finished when all traces of work, and of the means employed to bring about the result, have disappeared.
In the case of handicraftsmen—the weaver, the potter, the smith—on their work are the traces of their hand. But it is not so with the painter; it is not so with the artist.
Art should have no sentiment about it but its beauty, no technique except what you cannot observe. One should be able to say of a picture not that it is ‘well painted,’ but that it is ‘not painted.’
What is the difference between absolutely decorative art and a painting? Decorative art emphasises its material: imaginative art annihilates it. Tapestry shows its threads as part of its beauty: a picture annihilates its canvas: it shows nothing of it. Porcelain emphasises its glaze: water-colours reject the paper.
A picture has no meaning but its beauty, no message but its joy. That is the first truth about art that you must never lose sight of. A picture is a purely decorative thing.
From Oscar Wilde’s “Lecture to Art Students,” 1883.
I was lucky enough this past Friday the 13th to pick up two Borges volumes, lovely twins with tactile covers, running over 500 pages each—they swallow a lot of Borges books I already own (although curiously leave out entire collections). I found a heartfelt note from mother to son in one the nonfiction collection, where she explains the difficulty she had with the book. I have my own Borges anxieties. Two from the collections: first, from the fiction and then the start of a list from the nonfiction.
In early drafts for the first Babar book, Jean de Brunhoff opened the story with this episode showing the death of Babar’s mother. In the published book, he began instead with the reassuring image of Babar’s mother rocking him to sleep in a hammock. At this stage in his composition process, Jean had not yet given his protagonist the name “Babar” — he was called simply “Baby Elephant.”
Bliss: A condition of extreme happiness, euphoria. The nakedness of young women, especially in pairs (that is to say, a plenitude), often produces bliss in the eye of the beholder, male or female. A delight, let us confess the fact, and that is why we are considering all of the different ways in which this delight maybe conceptualized, in the privacy of our studies, or in airport bars where the dry, thin drinks cost too much. There is not enough delight. Doubtless naked young women think the same sort of thoughts, in the privacy of their studies,or other sorts of thoughts obscure to us. Maybe they just sit there, in their studies studying their own beauty, the beauty of a naked thumb, a passionate, interestingly historied wrist …
So this Friday, I bought two enormous fat thick Penguin volumes of Jorge Luis Borges in utterly pristine condition (fictions and non-). I own other books that cover some of the material here, but 1100+ pages of JLB is hard to pass up (especially used, especially when I have store credit).
And then today, I was made privy to this lovely Flickr set, “Things found in books,” and thought I’d play along.
So back to Borges: I was somewhat touched by this note (above) I found in the nonfiction collection: Mom sends the book to her son so he “may understand it,” “this most difficult book”; mom also reports it “very hard to read” and appends a frowny face.
Maybe a week or two before, I found this lovely little wisp of paper:
In Vlad Nabokov’s Lectures on Don Quixote:
Which reminded me of this James Joyce clipping—not so recent, I’ll admit, but still carefully placed as a bookmark in a Finnegans Wake guide:
Okay, annotations, more properly:
Do most people leave stuff in books? I think most bibliophiles do. (Forgive the snobbish italics there. I’m sure there are bibliophiles who don’t, of course). I have a habit of never reusing a bookmark, so that when I pull out a volume there’s some little tag there that acts as a third point (along with the text and my addled brain) to help triangulate the reading experience (the concrete circumstances of the reading process, the where, the when, the how much, etc.).
And so, after finishing Pynchon’s Against the Day a few weeks ago, I resolved to return to Mason & Dixon. Pulling out my copy, where I found an entry ticket to Wat Phra Ram in Ayutthaya. I’m pretty sure I bought the book in Chiang Mai (after buying V. in Bangkok; books were the only thing I ever thought were expensive in Thailand).
A few weeks ago my grandmother let me take one of my grandfather’s favorite books with me when I left her house, a Walt Kelly collection.
I was thrilled to find inside the Pogo volume the syllabus of my grandfather’s college chemistry class from the Fall of 1947:
And some of his notes (cryptic to me, but endearing):
I think the best part about finding my grandfather’s old syllabus tucked away into a book he loved is knowing that we shared a habit.
The thingness of books, especially of many books kept in a small space, stacked high without rhyme or reason, can become impressive. I worry about being oppressed by the books I own––quite different from being oppressed by the ownership of books. There are days when I am certainly very oppressed by the presence of so many books in such a small space. There is really no more room for me with them around, just as there is no room for more books with me around. Yet I keep introducing new books, and reintroducing books that have either fallen or been misplaced and have now been picked up or found, or those I have lent (both with relief at the extra space and with apprehension at never seen them again) and that have just been returned to me. So now: loads and loads of books everywhere, and the fear that they will all come falling down one moment as I am passing through (or edging through) or sitting or (worse) dozing in my armchair, and that I or (more so) that they might be injured in the fall. The idea of all those books tipping over or (even) a shelf detaching itself from the wall and crashing to the floor, is positively nerve-wracking. Every time a book is taken off the shelf, transposed or put back I feel I am pushing my luck. I have so far been unusually lucky in avoiding an avalanche of book matter. I do believe a little order goes a long way, and that the ordering of books and maintaining always some semblance of order are possibly the best way of obviating the clutter typical of book-laden apartments. One really cannot speak of a book collection without having taken stock and organized and subjected one’s books to a more or less logical and consistent access-and-retrieval system. And apartments where the number of books impedes one’s access to them and exceeds a sustainable human-to-book ratio, books attract a frightful degree of clutter in a category unto itself. If it were merely dust and cobwebs everything would still be manageable; but a book heaven that has not been whipped into shape invites its owner to let go of themselves, is an invitation to physical sloth, if not intellectual sloth and downright mental confusion (too many books in too much chaos too often proves deadly for a thinking brain). The typical flat where books predominate, hence a space dominated by books, sooner or later adapts to the physical dimensions of books and reconfigures itself to accommodate even more of them––that is, ceases to be a flat and becomes a library. The sole occupant of such a space is, properly speaking, sharing accommodation. Without realizing it, this inhabitant has already given up many of the advantages of living alone. For starters, there is the uncontrollable, self-begetting clutter. You can deceive yourself that you could straighten up any day, but the mess that comes with the preponderance of books is addictive and ineradicable. It takes considerable exertion of the will to alter this reality. Similarly you may claim to be free to move out any day, to leave the mass and cramped conditions behind, but the truth is only too material: you are not going anywhere as long as you hold on to this many books. There is finally, the sheer lack of space for independent thought. These towers of intellect are known for their diminishing effects. You feel dwarfed both physically and mentally, and when this inequality in stature becomes too great you are done for as an independent thinker. Intellectual inferiority won’t let you scale the shoulders of giants to see further than them.
K at His Desk
He is neither abrupt with nor excessively kind to associates. Or he is both abrupt and kind. The telephone is, for him, a whip, a lash, but also a conduit for soothing words, a sink into which he can hurl gallons of syrup if it comes to that. He reads quickly, scratching brief comments (“Yes,” “No”) in corners of the paper. He slouches in the leather chair, looking about him with a slightly irritated air for new visitors, new difficulties. He spends his time sending and receiving messengers. “I spend my time sending and receiving messengers,” he says. “Some of these messages are important. Others are not.”
Described by Secretaries
A: “Quite frankly I think he forgets a lot of things. But the things he forgets are those which are inessential. I even think he might forget deliberately, to leave his mind free. He has the ability to get rid of unimportant details. And he does.” B: “Once when I was sick, I hadn’t heard from him, and I thought he had forgotten me. You know usually your boss will send flowers or something like that. I was in the hospital, and I was mighty blue. I was in a room with another girl, and her boss hadn’t sent her anything either. Then suddenly the door opened and there he was with the biggest bunch of yellow tulips I’d ever seen in my life. And the other girl’s boss was with him, and he had tulips too. They were standing there with all those tulips, smiling. ”
Behind the Bar
At a crowded party, he wanders behind the bar to make himself a Scotch and water. His hand is on the bottle of Scotch, his glass is waiting. The bartender, a small man in a beige uniform with gilt buttons, politely asks K. to return to the other side, the guests’ side, of the bar. “You let one behind here, they all be behind here,” the bartender says.
Read the rest of Donald Barthelme’s short story “Robert Kennedy Saved from Drowning.”
Here are the table of contents for the 2013 O. Henry Prize Stories:
Your Duck Is My Duck, by DEBORAH EISENBERG
Sugarcane, by DEREK PALACIO
The Summer People, by KELLY LINK
Leaving Maverley, by ALICE MUNRO
White Carnations, by POLLY ROSENWAIKE
Sail, by TASH AW
Anecdotes, by ANN BEATTIE
Lay My Head, by L. ANNETTE BINDER
He Knew, by DONALD ANTRIM
The Visitor, by ASAKO SERIZAWA
Where Do You Go? by SAMAR FARAH FITZGERALD
Aphrodisiac, by RUTH PRAWER JHABVALA
Two Opinions, by JOAN SILBER
They Find the Drowned, by MELINDA MOUSTAKIS
The Mexican, by GEORGE MCCORMICK
Tiger, by NALINI JONES
Pérou, by LILY TUCK
Sinkhole, by JAMIE QUATRO
The History of Girls, by AYŞE PAPATYA BUCAK
The Particles, by ANDREA BARRETT
My favorite thing about the list is that I’ve only heard of a handful of the writers here. Read the introduction here.
AFFECTIVE FALLACY
Avoid reading with emotions. Ignore any feelings you feel during reading—that’s not the point of literature.
BYRONIC HERO
Super-cool cool guy.
CANON
All the literature that’s fit to print. Declare it dead or meaningless or obsolete every few years. Revise as necessary.
DIARY
The private thoughts of an author, never intended for publication. Publish and disseminate widely after death.
ENLIGHTENMENT
A brief, optimistic mistake.
FRANKENSTEIN
Always point out that Frankenstein is the doctor’s name, not the monster’s. Argue that Percy Shelley’s edits were intrusive.
GOTHIC NOVEL
Wears black; smokes cloves.
HAIKU
A form of poetry grade school children are forced to write. Count the syllables.
INKHORN TERM
Linguistic aureation proliferated to adnichilate reader apperception.
JOUISSANCE
A nebulous, sticky French pun.
KITSCH
The sad process by which the consumerist trash capitalism necessitates colonizes an aesthetic perspective via defensive irony.
LIMERICK
The acme of excellence in poetry. Nantucket is a popular setting.
MEMOIR
A genre of literature often mistaken for truth by its audience.
NOVELLA
A novelist’s chance at perfection.
ORWELLIAN
A useful adjective. Misuse freely—especially if you only dimly recall the two or three things you ever read by George Orwell.
PHALLOGOCENTRISM
In the beginning there was the Word, and the Word was Phallus.
QUARTO
Bring up in any discussion of Shakespeare; watch the students’ eyes glaze over.
ROMAN A CLEF
A genre of literature often mistaken for fiction by its audience.
SOCRATIC IRONY
The tedious, drawn out process of questioning that Plato submits his characters to in order to get to his thesis.
THEME
A misunderstanding of the text in which all its words are distilled into a single cliché, guaranteeing that the text will not have to be reread.
UNCANNY
Pair with valley or X-Men.
VARIORUM
An annotated edition of a text with scholarly commentary intended to ruin any possible enjoyment on the reader’s part.
WELTANSCHAUUNG
A German word that students should use in term papers instead of “viewpoint” or “perspective.”
XANADU
Poorly received 1980 musical film about roller skating. Also the setting of a Coleridge poem.
YA
Abbreviation for “Young Adult,” a genre of books that people of all ages read and which serve as the basis for Hollywood film franchises.
ZARATHUSTRA
Dude who spake.
There was a time when I could travel England for weeks on end and remain at my sharpest—when, if anything, the travelling gave me an edge. But now that I am older I become disoriented more easily. So it was that on arriving at the village just after dark I failed to find my bearings at all. I could hardly believe I was in the same village in which not so long ago I had lived and come to exercise such influence.
There was nothing I recognized, and I found myself walking forever around twisting, badly lit streets hemmed in on both sides by the little stone cottages characteristic of the area. The streets often became so narrow I could make no progress without my bag or my elbow scraping one rough wall or another. I persevered nevertheless, stumbling around in the darkness in the hope of coming upon the village square—where I could at least orient myself—or else of encountering one of the villagers. When after a while I had done neither, a weariness came over me, and I decided my best course was just to choose a cottage at random, knock on the door, and hope it would be opened by someone who remembered me.
I stopped by a particularly rickety-looking door, whose upper beam was so low that I could see I would have to crouch right down to enter. A dim light was leaking out around the door’s edges, and I could hear voices and laughter. I knocked loudly to insure that the occupants would hear me over their talk. But just then someone behind me said, “Hello.”
Read the rest of Kazuo Ishiguro’s story “A Village After Dark” at The New Yorker; you can also hear Ben Marcus read and discuss the story on The New Yorker’s fiction podcast.
Biblioklept 