Don DeLillo’s chicken parts and brownies

  No one wanted to cook that night. We all got in the car and went out to the commercial strip in the no man’s land beyond the town boundary. The never-ending neon. I pulled in at a place that specialized in chicken parts and brownies. We decided to eat in the car. The car was sufficient for our needs. We wanted to eat, not look around at other people. We wanted to fill our stomachs and get it over with. We didn’t need light and space. We certainly didn’t need to face each other across a table as we ate, building a subtle and complex cross-network of signals and codes. We were content to eat facing in the same direction, looking only inches past our hands. There was a kind of rigor in this. Denise brought the food out to the car and distributed paper napkins. We settled in to eat. We ate fully dressed, in hats and heavy coats, without speaking, ripping into chicken parts with our hands and teeth. There was a mood of intense concentration, minds converging on a single compelling idea. I was surprised to find I was enormously hungry. I chewed and ate, looking only inches past my hands. This is how hunger shrinks the world. This is the edge of the observable universe of food. Steffie tore off the crisp skin of a breast and gave it to Heinrich. She never ate the skin. Babette sucked a bone. Heinrich traded wings with Denise, a large for a small. He thought small wings were tastier. People gave Babette their bones to clean and suck. … We sent Denise to get more food, waiting for her in silence. Then we started in again, half stunned by the dimensions of our pleasure.

From Don DeLillo’s novel White Noise.

Nathaniel Hawthorne’s sherry cobbler cocktail

In the final third of Nathaniel Hawthorne’s 1852 novel The Blithedale Romance, the narrator, having departed the titular would-be utopian farm, enjoys some city time in a hotel. He takes a voyeuristic pleasure in watching people from his window, and elects to deepen the pleasure by ordering a drink: “Just about this time a waiter entered my room. The truth was, I had rung the bell and ordered a sherry-cobbler.” The explanatory end note for my Penguin Classics copy of Blithedale gives the following recipe: “A drink made with sherry, lemon juice, sugar, and cracked ice.” I decided to make a few.

A brief internet search resulted in dozens and dozens of recipes, all more or less the same iteration: long glass, crushed ice, sherry, simple syrup, citrus (oranges cited most frequently), fresh berries if you have ’em, and a straw. The straw is the kicker here. Here is a passage from Charles Dickens’ 1844 novel Life and Adventures of Martin Chuzzlewit that shows the titular hero’s delight with his first sherry cobbler (note Chuzzlewit’s ecstasy when he gets “the reed” to his lips):

‘I wish you would pull off my boots for me,’ said Martin, dropping into one of the chairs ‘I am quite knocked up—dead beat, Mark.’

‘You won’t say that to-morrow morning, sir,’ returned Mr Tapley; ‘nor even to-night, sir, when you’ve made a trial of this.’ With which he produced a very large tumbler, piled up to the brim with little blocks of clear transparent ice, through which one or two thin slices of lemon, and a golden liquid of delicious appearance, appealed from the still depths below, to the loving eye of the spectator.

‘What do you call this?’ said Martin.

But Mr Tapley made no answer; merely plunging a reed into the mixture—which caused a pleasant commotion among the pieces of ice—and signifying by an expressive gesture that it was to be pumped up through that agency by the enraptured drinker.

Martin took the glass with an astonished look; applied his lips to the reed; and cast up his eyes once in ecstasy. He paused no more until the goblet was drained to the last drop.

‘There, sir!’ said Mark, taking it from him with a triumphant face; ‘if ever you should happen to be dead beat again, when I ain’t in the way, all you’ve got to do is to ask the nearest man to go and fetch a cobbler.’

‘To go and fetch a cobbler?’ repeated Martin.

‘This wonderful invention, sir,’ said Mark, tenderly patting the empty glass, ‘is called a cobbler. Sherry cobbler when you name it long; cobbler, when you name it short. Now you’re equal to having your boots took off, and are, in every particular worth mentioning, another man.’

Anyway. Where was I? Oh, yeah—so I looked around for recipes. David Wondrich’s 2007 cocktail history Imbibe! gives a helpful baseline recipe by citing Jerry Thomas’s 1862 classic, How to Mix Drinks. From Thomas’s book:

cobbler-1

Thomas doesn’t mention muddling the oranges, although pretty much every online recipe I read called for muddling.

So reader, I muddled.

Here is my variation on the sherry cobbler (or Sherry Cobbler, or sherry-cobbler). In the loose spirit of the cocktail, I made ours entirely of ingredients I already had at the house. These were for each cocktail:

–4 oz of sherry

–1/2 oz of simple syrup

–1/2 oz of maraschino syrup

–1 oz of sparkling water

–1 clementine (muddled)

–sprigs of mint

–blueberries

–crushed ice

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The maraschino syrup was an afterthought after I’d mixed the cocktail and was about to pour it over ice—I wanted to get a pop of color at the bottom of the glass. The mint and blueberries were from our garden. The pic above is lousy; sorry—not sure why I didn’t move the dishcloth and maybe photograph the cocktails like, uh, not in front of my wife’s kombucha hotels.

So how was it? Pretty refreshing. My wife enjoyed it more than I did, although I’m not a huge cocktail guy. (I think it’s pretty hard, for example, to improve upon neat scotch , although I do like bourbon straight up in the hotter months).

I’ve always been fascinated by literary recipes, so I’m a bit surprised the sherry cobbler has evaded my attention until now, despite its having shown up in various novels I’ve read (including Nicholson Baker’s House of Holesas Troy Patterson pointed out in a remarkably thorough literary history of the cocktail at Slate years ago). I’m not sure I’d go out of my way to make a sherry cobbler again (not that I went out of my way to make these ones), but the basic cobbler recipe’s spirit is very close to my approach to making cocktails at home anyway—use what you have. In fact, the major difference between the sherry cobblers I made yesterday and the kind of cocktail I’d normally cobble together for my wife on a Saturday afternoon is the sherry—I’d usually use rum or maybe vodka. Anyway, the whole thing was fun, which is like, the point of cocktails.

[Ed. note–Biblioklept first published this post in 2018. Happy Thanksgiving!]

Roberto Bolaño’s Brussels sprouts with lemon

In Roberto Bolaño’s sprawling opus 2666 (specifically, in “The Part About Fate”), founding member of the Black Panthers/cookbook author Barry Seaman offers the following recipe during a lecture at a Detroit church–

The name of the recipe is: Brussels Sprouts with Lemon. Take note, please. Four servings calls for: two pounds of brussels sprouts, juice and zest of one lemon, one onion, one sprig of parsley, three tablespoons of butter, black pepper, and salt. You make it like so. One: Clean sprouts well and remove outer leaves. Finely chop onion and parsley. Two: In a pot of salted boiling water, cook sprouts for twenty minutes, or until tender. Then drain well and set aside. Three: Melt butter in frying pan and lightly sauté onion, add zest and juice of lemon and salt and pepper to taste. Four: Add brussels sprouts, toss with sauce, reheat for a few minutes, sprinkle with parsley, and serve with lemon wedges on the side. So good you’ll be licking your fingers, said Seaman. No cholesterol, good for the liver, good for the blood pressure, very healthy.

In the future we will have the impression of a day that is endlessly clear and endlessly cold | Thomas Bernhard

” Speech at the Award Ceremony for the Literature Prize of the Free Hanseatic City of Bremen”

by

Thomas Bernhard

from My Prizes

translated by Carol Janeway


Honored Guests,

I cannot follow the fairy tale of your town musicians; I don’t want to tell a story; I don’t want to sing; I don’t want to preach; but it’s true: fairy tales are over, the fairy tales about cities and states and all the scientific fairy tales, and all the philosophical ones; there is no more world of the spirit; Europe, the most beautiful, is dead; this is the truth and the reality. Reality, like truth, is no fairy tale and truth has never been a fairy tale.

Fifty years ago Europe was a single fairy tale, the whole world a fairy-tale world. Today there are many who live in this fairy-tale world, but they’re living in a dead world and they themselves are dead. He who isn’t dead lives, and he doesn’t live in fairy tales; it’s no fairy tale.

I myself am no fairy tale and I do not come from a world of fairy tales; I had to live through a long war and I saw hundreds of thousands die, and others who went on right over them; everyone went on, in reality; everything changed, in truth; in the five decades during which everything turned to revolt and everything changed, during which a thousand-year-old fairy tale gave way to the reality and the truth, I felt myself getting colder and colder while a new world and a new nature arose from the old.

It is harder to live without fairy tales, that is why it is so hard to live in the twentieth century; it’s more that we exist, we don’t live, no one lives anymore; but it is a fine thing to exist in the twentieth century, to move, but to where? I know I did not emerge from any fairy tale and I will not enter any fairy tale, this is already progress and thus already a difference between then and now.

We are standing on the most frightening territory in all of history. We are in fear, in fear of this enormous material that is the new humanity, and of a new knowledge of our nature and the renewal of our nature; together we have been only a single mass of pain in the last half century; this pain today is us; this pain is now our spiritual condition.

We have a wholly new system, a wholly new way of seeing the world, and a wholly new, truly most outstanding view of the world’s own surroundings, and we have a new morality and we have new sciences and new arts. We feel dizzy and we feel cold. We believed that because we are human, we would lose our balance, but we haven’t lost our balance; we’ve also done everything to avoid freezing.

Everything has changed because it is we who have changed it, our external geography has changed as much as our internal one.

We make great demands now, we cannot make enough great demands; no era has made such great demands as ours; we are already megalomaniacal; because we know we cannot fall and we cannot freeze, we trust ourselves to do what we do.

Life is only science now. The science of the sciences. Now we are suddenly taken up with nature. We have become intimate with the elements. We have put reality to the test. Reality has put us to the test. We now know the laws of nature, the infinite High Laws of nature, and we can study them in reality and in truth. We no longer have to rely on assumptions. When we look into nature, we no longer see ghosts. We have written the boldest chapter in the book of world history, every one of us has written it for himself in fright and deathly fear and none of us of our own free will, nor according to his own taste, but following the laws of nature, and we have written this chapter behind the backs of our blind fathers and our foolish teachers, behind our own backs; after so much that has been endlessly long and dull, the shortest and the most important.

We are frightened by the clarity out of which our world suddenly is born, our world of science; we freeze in this clarity; but we wanted this clarity, we evoked it, so we cannot complain now that the cold reigns and we’re freezing. The cold increases with the clarity. This clarity and this cold will now rule us. The science of nature will give us a greater clarity and will be far colder than we can imagine.

Everything will be clear, a clarity that increases and deepens unendingly, and everything will be cold, a coldness that intensifies ever more horribly. In the future we will have the impression of a day that is endlessly clear and endlessly cold.

I thank you for your attention. I thank you for the honor you have shown me today.

There is such an abyss between one story and the other, or between a story and the lack of a story, between the lived experience and the reconstruction | César Aira

Imagine a brilliant police detective summarizing his investigations for the husband of the victim, the widower. Thanks to his subtle deductions he has been able to “reconstruct” how the murder was committed; he does not know the identity of the murderer, but he has managed to work out everything else with an almost magical precision, as if he had seen it happen. And his interlocutor, the widower, who is, in fact, the murderer, has to admit that the detective is a genius, because it really did happen exactly as he says; yet at the same time, although of course he actually saw it happen and is the only living eyewitness as well as the culprit, he cannot match what happened with what the policeman is telling him, not because there are errors, large or small, in the account, or details out of place, but because the match is inconceivable, there is such an abyss between one story and the other, or between a story and the lack of a story, between the lived experience and the reconstruction (even when the reconstruction has been executed to perfection) that widower simply cannot see a relation between them; which leads him to conclude that he is innocent, that he did not kill his wife.

From César Aira’s short novel An Episode in the Life of a Landscape Painter; translation by Chris Andrews.

Steven Moore on the wild talents of Thomas Pynchon, William Gaddis, and the occultist Charles Fort

At Socrates on the Beach, there’s a nice long essay by critic Steven Moore that traces the occult influence of Charles Fort on Thomas Pynchon and William Gaddis.

From “Wild Talents: Pynchon, Gaddis, and Charles Fort“:

Pynchon and Gaddis are “wild talents” not in Fort’s original sense, but in their daring willingness to incorporate such exotic material into their novels, which previously had been confined to science fiction, fantasy, and occult novels. At any rate, it is an extraordinary coincidence that two of the greatest American novels of the 20th century evoke Charles Fort, of all people, despite what he thought of coincidences.

Oh yeah. Debridement is one of the great words, says novelist William Gaddis, one of the great survivors.

Yeah . . . stubbing out another cigarette, in a voice like warm asphalt — this was an arrangement I had in hard times. I had root canal work to be done, and this man, who was an endodontologist, which is a root canal man, was writing pieces for dental journals. But he was not awfully good with the language, so we made an agreement, a barter arrangement, of one paper, one root. So I’d come in with one tooth with two bad roots and he would do them and then I’d rewrite, really write, because these were very, and there was a battle in the endodontological world about whether debridement was desirable or even possible. Debridement is when they try to remove any source of infection so that when they do pack the root, it won’t come to life. And his side was debridement was possible and necessary and can be done. So that’s the side I was supporting.

— Nice word, isn’t it.

— Oh yeah. Debridement is one of the great words . . . says novelist William Gaddis, one of the great survivors.

The first paragraph of a 23 Aug. 1985 profile on William Gaddis in The Washington Post by Lloyd Grove.

It was the Gramarye of the Middle Ages, which some people are accustomed to think of as the Dark Ages, and Arthur had made it what it was | From T.H. White’s The Candle in the Wind

It was the Gramarye of the Middle Ages, which some people are accustomed to think of as the Dark Ages, and Arthur had made it what it was. When the old King came to his throne it had been an England of armoured barons, and of famine, and of war. It had been the country of trial by ordeal with red-hot irons, of the Law of Englishry, and of the sad, wordless song of Morfa-Rhuddlan. Then, on the sea-coast, within a foreign vessel’s reach, not an animal, not a fruit tree, had been left. Then, in the fens and the vast forests, the last of the Saxons had defended themselves against the bitter rule of Uther the Conqueror; then the words “Norman” and “Baron” had been equivalent to the modern word of “Sahib”; then Llewellyn ap Griffith’s head, in its crown of ivy, had mouldered on the clustered spikes of the Tower; then you would have met the mendicants by the roadside, mutilated men who carried their right hands in their left, and the forest dogs would have trotted beside them, also mutilated by the removal of one toe—so that they could not hunt in the woodlands of the lord. When Arthur first came, the country people had been accustomed to bar themselves in their cottages every night as if for siege, and had prayed to God for peace during darkness, the goodman of the house repeating the prayers used at sea on the approach of storm and ending with the plea “the Lord bless us and help us,” to which all present had replied “Amen.” In the baron’s castle, in the early days, you would have found the poor men being disembowelled—and their living bowels burned before them—men being slit open to see if they had swallowed their gold, men gagged with notched iron bits, men hanging upside down with their heads in smoke, others in snake pits or with leather tourniquets round their heads, or crammed into stone-filled boxes which would break their bones. You have only to turn to the literature of the period, with its stories of the mythological families such as Plantagenets, Capets and so forth, to see how the land lay. Legendary kings like John had been accustomed to hang twenty-eight hostages before dinner; or, like Philip, had been defended by “sergeants-at-mace,” a kind of storm troopers who guarded their lord with maces; or, like Louis, had decapitated their enemies on scaffolds under the blood of which the children of the enemy had been forced to stand. This, at all events, is what Ingulf of Croyland used to tell us, until he was discovered to be a forgery. Then there had been Archbishops nicknamed “Skin-villain,” and churches used as forts—with trenches in the graveyards among the bones—and price-lists for fining murderers, and bodies of the excommunicated lying unburied, and famishing peasants eating grass or tree-bark or one another. (One of them ate forty-eight.) There had been roasting heretics on the one hand—forty-five Templars had been burned in one day—and the heads of captives being thrown into besieged castles from catapults on the other. Here a leader of the Jacquerie had been writhing in his chains, as he was crowned with a red-hot tripod. There a Pope had been complaining, as he was held to ransom, or another one had been wriggling as he was poisoned. Treasure had been cemented into castle walls, in the form of gold bars, and the builders had been executed afterwards. Children playing in the streets of Paris had frolicked with the dead body of a Constable, and others, with the women and old men, had starved outside the walls of beleaguered towns, yet inside the ring of the besiegers. Hus and Jerome, with the mitres of apostasy upon their heads, had flamed and fizzled at the stake. The hamstrung imbeciles of Jumièges had floated down the Seine. Giles de Retz had been found to have no less than a ton of children’s bones, calcined, in his castle, after having murdered them at the rate of twelve score a year for nine years. The Duke of Berry had lost a kingdom through the unpopularity which he earned by feeling sorry for eight hundred foot soldiers who had been killed in a battle. The youthful count of St. Pol had been taught the arts of war by being given twenty-four living prisoners to slaughter in various ways, for practice. Louis the Eleventh, another of the fictional kings, had kept obnoxious bishops in rather expensive cages. The Duke Robert had been surnamed “the Magnificent” by his nobles—but “the Devil” by his parishioners. And all the while, before Arthur came, the common people—of whom fourteen were eaten by wolves out of one town in a single week, of whom one third were to die in the Black Death, of whom the corpses had been packed in pits “like bacon,” for whom the refuges at evening had often been forests and marshes and caves, for whom, in seventy years, there had been known to be forty-eight of famine—these people had looked up at the feudal nobility who were termed the “lords of sky and earth,” and—themselves battered by bishops who, because they were not allowed to shed blood, went for them with iron clubs—had cried aloud that Christ and his saints were sleeping.

“Pourquoi,” the poor wretches had sung in their misery:

Pourquoi nous laisser faire dommage?
Nous sommes hommes comme ils sont.

From The Candle in the Wind by T.H. White.

HELP! A Stereophonic Narrative for Authorial Voice — John Barth

 

“HELP! A Stereophonic Narrative for Authorial Voice” by John Barth.

The World had been expected to end in the year one thousand | From T.H. White’s The Ill-Made Knight

The World had been expected to end in the year one thousand, and, in the reaction which followed its reprieve, there had been a burst of lawlessness and brutality which had sickened Europe for centuries. It had been responsible for the doctrine of Might which was the Table’s enemy. The fierce lords of the Strong Arm had hunted the wild woodlands—only, of course, there had always been exceptions like the good Sir Ector of Forest Sauvage—till John of Salisbury had been forced to advise his readers: “If one of these great and merciless hunters shall pass by your habitation, bring forth hastily all the refreshment you have in your house, or that you can readily buy, or borrow from your neighbour: that you may not be involved in ruin, or even accused of treason.” Children, Duruy tells us, had been seen hanging in trees, by the sinews of their thighs. It had been no uncommon sight to see a man-at-arms whistling like a lobster, and looking like porridge, because they had emptied a bucket of boiling bran over his armour during a siege. Other spectacles even more dramatic have been mentioned by Chaucer: the smyler with the knyf under the cloke, the careyne in the bush with throte y-corve, or the colde deeth with mouth gaping upright. Everywhere it had been blood on steel, and smoke on sky, and power unbridled—and, in the general confusion of the times, Gawaine had at last contrived to murder our dear old friend King Pellinore, in revenge for the death of his own father, King Lot.

Such had been the England which Arthur had inherited, such the birthpangs of the civilization which he had sought to invent. Now, after twenty-one years of patient success, the land presented a different picture.

Where the black knights had hoved, all brim and furious by some ford, to take toll of anybody rash enough to pass that way, now any virgin could circumambulate the whole country, even with gold and ornaments upon her person, without the least fear of harm. Where once the horrible lepers—they called them Measles—had been accustomed to ramble through the woods in white cowls, ringing their doleful clappers if they wanted to give warning, or just pouncing on you without ringing them if they did not, now there were proper hospitals, governed by religious orders of knighthood, to look after those who had come back sick with leprosy from the Crusades. All the tyrannous giants were dead, all the dangerous dragons—some of which used to come down with a burrr like the peregrine’s stoop—had been put out of action. Where the raiding parties had once streamed along the highways with fluttering pennoncels, now there were merry bands of pilgrims telling each other dirty stories on the way to Canterbury. Demure clerics, taking a day’s outing to Our Lady of Walsingham, were singing Alleluia Dulce Carmen, while the less demure ones were warbling the great medieval drinking-song of their own composition: Meum est propositum in taberna mori. There were urbane abbots, titupping along on ambling palfreys, in furred hoods which were against the rules of their orders, and yeomen in smart tackle with hawks on their fists, and sturdy peasants quarrelling with their wives about new cloaks, and jolly parties going out to hunt without armour of any sort. Some were riding to fairs as great as that of Troyes, others to universities which rivalled Paris, where there were twenty thousand scholars whose ranks eventually provided seven popes. In the abbeys all the monks were illuminating the initial letters of their manuscripts with such a riot of invention that it was impossible to read the first page at all. Those who were not doing the chi-ro page were carefully copying out the Historia Francorum of Gregory of Tours, or the Legenda Aurea, or the Jeu d’Echecs Moralisé, or a Treatise of Hawkynge—that is, if they were not engaged upon the Ars Magna of the magician Lully, or the Speculum Majus by the greatest of all magicians. In the kitchens the famous cooks were preparing menus which included, for one course alone: ballock broth, caudle ferry, lampreys en galentine, oysters in civey, eels in sorré, baked trout, brawn in mustard, numbles of a hart, pigs farsed, cockintryce, goose in hoggepotte, venison in frumenty, hens in brewet, roast squirrels, haggis, capon-neck pudding, garbage, tripe, blaundesorye, caboges, buttered worts, apple mousse, gingerbread, fruit tart, blancmange, quinces in comfit, stilton cheese, and causs boby. In the dining halls the older gentlemen, who had spoiled their palates with drinking, were relishing those strange delicacies of the Middle Ages—the strong flavours of whale and porpoise. Their dainty ladies were putting roses and violets in their dishes—baked marigolds still make an excellent flavouring for bread-and-butter puddings—while the squires were showing their weakness for sheep’s-milk cheese. In the nurseries all the little boys were moving heaven and earth to persuade their mothers to have hard pears for dinner, which were stewed in honey-syrup and vinegar, and eaten with whipped cream. The manners of the table, too, had reached a pitch of civilization far beyond our own. Now, instead of the plates made of bread, there were covered dishes, scented finger bowls, sumptuous table cloths, a plethora of napkins. The diners themselves were wearing chaplets of flowers and graceful draperies. The pages were serving the food with the formal movements of a ballet. Wine bottles were being placed on the tables, but ale, being less respectable, was being put beneath. The musicians, with strange orchestras of bells, large horns, harps, viols, zithers and organs, were playing as the people ate. Where once, before King Arthur had made his chivalry, the Knight of the Tower Landry had been compelled to warn his daughter against entering her own dining hall in the evening unaccompanied—for fear of what might happen in the dark corners—now there was music and light. In the smoky vaults, where once the grubby barons had gnawed their bones with bloody fingers, now there were people eating with clean fingers, which they had washed with herb-scented toilet soap out of wooden bowls. In the cellars of the monasteries the butlers were tapping new and old ale, mead, port, claree, dry sherry, hock, beer, metheglyn, perry, hippocras, and the best white whisky. In the law courts the judges were dispensing the King’s new law, instead of the fierce law of Fort Mayne. In the cottages the good wives were making hot griddle bread enough to make your mouth water, and putting fine turf on their fires regardless of expense, and herding fat geese on the commons enough to support twenty families for twenty years. The Saxons and Normans of Arthur’s accession had begun to think of themselves as Englishmen.

From The Ill-Made Knight by T.H. White.

Steven Moore on William Gaddis and Russian Literature

Photograph of William Gaddis by William H. Gass

The good folks at indie publisher Sublunary have shared on their site the text of Gaddis scholar Steven Moore’s essay “William Gaddis and Russian Literature.” The essay serves as the preface for a forthcoming Russian translation of Moore’s Gaddis study, William Gaddis: Expanded Edition.

From the essay:

By the age of twenty Gaddis had already read Dostoevsky’s Crime and Punishment—he later called it “the first ‘great’ novel I experienced”—and over the next decade he devoured much more Russian literature, as is evident from the letters he wrote while writing his first novel, The Recognitions. He tells his mother about reading Chekhov’s plays and Dostoevsky’s House of the Dead, praises Crime and Punishment and The Idiot to short-story writer Katherine Anne Porter, and informs an ex-girlfriend that he is re-reading Goncharov’s Oblomov, which he continued to praise all his life. When his first novel was published in 1955, many critics mistakenly assumed that it was influenced by James Joyce’s Ulysses; but an informed reader would have noticed the numerous references to books by Dostoevsky (Brothers Karamazov, Crime and Punishment, Demons, The Idiot) and Tolstoy (Kingdom of God, Power of Darkness, Redemption), and would have correctly concluded that Gaddis had adapted the 19th-century Russian novel for 20th-century Americans, one closer to The Idiot than to Ulysses.

Read the essay at Sublunary.

“Slow Grounder,” a short story by Hob Broun

“Slow Grounder”

by

Hob Broun

from

Cardinal Numbers

img_9613


Up or down, in motion or asleep and half asleep, Speed has the same musical questions that slosh in his head. How could you play twelve years in the majors and end up like this? Did you go stupid on purpose? Where is the curly wife birdfeeding you popcorn tinged with lipstick? And the little girls begging to stand on your big feet to be danced in circles? The Barca-lounger? The riding mower? The tropical aquarium? Going, going, all long gone.

So now Speed has transistor radios in his place, on sills and ledges, hanging by wrist straps from bedpost and cabinet knob, on top of the fridge and the toilet tank. They have silver aerials that always point up. They have leather casings that snap over the top like overalls; or go naked in turquoise Jap plastic. Below, their countable speaker dots and on top a grid of numbers make super dominoes. Very advanced. Dominoes from Outer Space.

But even playing all together so Lurtsema downstairs spears his ceiling with a mop handle, they can’t drown out Speed’s musical questions. What happened to the four-bedroom house with skylight and sundeck? To the Chrysler New Yorker with gray velour upholstery Kimmie called mouseskin, chanting it at her sister and bouncing?

Back in Dakota, when he was still Russell and a boy, there’d been Gramp in his chair. Gramp clicking his plates on the stem of a cold pipe. Gramp in full expectation, bird gun across his knees, and sooner or later the door would suck open on a winter-crazed redskin come to take, and let him reach for one potato or lump of coal, Gramp would blast him back across the frozen porch.

You were supposed to be on guard, block the plate. But Speed had his chest protector on backwards, or something. Now he’s getting the razz. The hotfoot and the horselaugh. “This bum,” and he can see his picture coming down in delis and barbershops. Bumhood like something he could pass over wire so the guys duck out when he calls. “Going south for the tarpon, Speed. Keep in touch.” Even his roomie four years with the Sox saying, “I’m kind of extended now, Speed. Maybe you could put it in a letter,” then hanging up before he can get the address. And what had him extended was a thing called Bob’s Bag-O-Salad, three of them opened around Philadelphia there, the shaved lettuce and carrots, so on, in a special plastic bag you could eat out of, then throw away, and the dressing faucets, your choice of ten. People were flocking to the greens, trying to ward off cancer.

Back in Dakota one year when he was visiting for Christmas, the wind had come down off the Canadian plains to swirl snow and dirt into what they called a “snirt” storm. It clattered against the house. Mom said, “Hardly recognize you in those clothes.” Pop said, warily lifting his present, “Is it something to eat?” Pop had been three years at the Colorado School of Mines. As a cook. It was still snirting the next day and the day after that. “That dog can’t but hardly see,” Pop said. Perry Como sang about mistletoe and Mom sniffled. Speed went to the cellar. He put his hands in the bin of seed potatoes. Things can live in the dark, he thought, and didn’t feel any better.

Speed gets out his fourteen gum cards, still shiny. Twelve full seasons, plus the one in front when they sent him down to Asheville for seasoning, and the one in back when they said you’re not in our plans for this year. But we could let you be a batting coach in the Bean Dip League. He remembers the Fargo girl who sent pictures of herself on a horse, or in her band uniform. “Carry me up there and hit the big one.” And the one night he puts her in his pocket Fuentes throws a no-hitter. Sandi, with a heart over the i. He thinks about pictures as a residue of time. “Adams led the club last year in RBIs.”

Back in tenth grade in Dakota, geometry had calmed him down. Nothing he knew was so pure as those angles and arcs. Not even the hiss of a fastball inside the four points of a diamond. He made figures with compass and ruler and colored them in. Numbers might be a trick, but he could understand the laws of shape.

It’s almost dark outside, so Speed turns some radios on. The sound is tight, a pressure leak, but Speed hears his questions the same. And what they want is the clacking logic of one domino tipping the next one as it falls and the next and the next and the next. But all he can remember is what the things were, not why or where they went. From the couch to the John to the bed is the only geometry left. The lines don’t really meet, okay.

Noticing the buzzer, he can tell its been going some time behind his radios. Getting up, he feels light, light as paper, when the door sucks open on a man with silver eyes, skin with a rubbery shine, and where the ears ought to be, holes in a circle like the mouthpart of a telephone.

He says, “Bless my stars.”

Speed says come on in, but the shape of the doorframe seems to make him nervous. He tries to smile and it’s like something he had to learn in a hurry.

Nodding to the radios: “You’re a listener.”

Speed shrugs a little. Those eyes are really terrible.

“So you’re ready to go, then?”

Speed doesn’t say, “I don’t care if I never come back.” He sings it.

“Really very nice there.” The man gestures vaguely, impatiently. “All the lines meet. It’s very forgiving.”

Speed really wants him to come in now, but the man says he needs to run a couple or errands first.

“My vehicle’s parked on the roof. Wait here.”

Okay. In the kitchen Speed empties a can of Hormel chili into a pan. Hearing the traffic report is nice. He breaks two eggs into the pot, stirs. It doesn’t require a look to know there are bits of shell in there. But so why take them out?

“Space” — Mark Strand

“Space”

by

Mark Strand


A beautiful woman stood at the roof-edge of one of New York’s tall midtown apartment houses. She was on the verge of jumping when a man, coming out on the roof to sunbathe, saw her. Surprised, the woman stepped back from the ledge. The man was about thirty or thirty-five and blond. He was lean, with a long upper body and short, thin legs. His black bathing suit shone like satin in the sun. He was no more than ten steps from the woman. She stared at him. The wind blew strands of her long dark hair across her face. She pulled them back and held them in place with one hand. Her white blouse and pale blue skirt kept billowing, but she paid no attention. He saw that she was barefoot and that two high-heeled shoes were placed side by side on the gravel near where she stood. She had turned away from him. The wind flattened her skirt against the front of her long thighs. He wished he could reach out and pull her toward him. The air shifted and drew her skirt tightly across her small, round buttocks; the lines of her bikini underpants showed. “I’ll take you to dinner,” he yelled. The woman turned to look at him again. Her gaze was point-blank. Her teeth were clenched. The man looked at her hands which were now crossed in front of her, holding her skirt in place. She wore no wedding band. “Let’s go someplace and talk,” he said. She took a deep breath and turned away. She lifted her arms as if she were preparing to dive. “Look,” he said, “if it’s me you’re worried about, you have nothing to fear.” He took the towel he was carrying over his shoulders and made it into a sarong. “I know it’s depressing,” he said. He was not sure what he had meant. He wondered if the woman felt anything. He liked the way her back curved into her buttocks. It struck him as simple and expressive; it suggested an appetite or potential for sex. He wished he could touch her. As if to give him some hope, the woman lowered her arms to her sides and shifted her weight. “I’ll tell you what,” the man said, “I’ll marry you.” The wind once again pulled the woman’s skirt tightly across her buttocks. “We’ll do it immediately,” he said, “and then go to Italy. We’ll go to Bologna, we’ll eat great food. We’ll walk around all day and drink grappa at night. We’ll observe the world and we’ll read the books we never had time for.” The woman had not turned around or backed off from the ledge. Beyond her lay the industrial buildings of Long Island City, the endless row houses of Queens. A few clouds moved in the distance. The man shut his eyes and tried to think of how else to change her mind. When he opened them, he saw that between her feet and the ledge was a space, a space that would always exist now between herself and the world. In the long moment when she existed before him for the last time, he thought, How lovely. Then she was gone.

Kafka diary entry, 19 July 1910

Sunday, 19 July, slept, awoke, slept, awoke, miserable life.

From Diaries, Franz Kafka; trans. by Joseph Kresh.

“Chairs” — Stanley Elkin

Compared to many forms that lend themselves to art or craft—drama, the novel, painting, the composition of music, even the interpretation of music, like, oh, say, singing the national anthem before the game, infinite other forms that seem to thrive, almost to wallow, in permutation, assuming new content, a mother lode of fresh ideas and differentiated styles as they’re taken up by one artist after another—it’s extraordinary how furniture is like most other furniture, as if furniture, alone among crafts, not only lived along the perimeters of some platonic ideal but had somehow actually managed to colonize it: an imperialism of the conventional. Except for a detail here, a detail there, inlay, marquetry, the pile-on of money, of pharaohs’ or aristocracy’s royal dispensations, a couch is a couch, an escritoire an escritoire. Beds resemble beds, tables and chairs are like tables and chairs. In domestic arrangements, form, bound to the custom cloth of human shape, really does follow function. The height of a table has to do with average lap tolerances. Chairs and beds are the hard aura of a strictly skeletal repose. Even so, something’s busted, I think, in the imagination of the furniture designers—I except the art directors of certain major motion pictures set in Manhattan apartments; talkin’ environment, the ecology of “life-style,” of plot and character, what the principals look like against the bookcase, propped among the furnishings; one must learn the script of one’s life and be able to afford it; because only in movies does furniture play well—all lamps and appointments, all cunning, edge-of-the-field doodad and inspired house-dower; one has at least the illusion one could live with this stuff, that it won’t vanish in a season like a Nehru shirt—something stuck in the vision, some sorcerer’s-apprentice effect, which permits to keep on coming and keep on coming with minimal variation, if any, what has come before. It isn’t anything elegant as highest math happening here, just lump-sum arrangement, ball-park figure, bottom line. It’s the fallacy of the assembly line, the notion that only costs get cut in such a wide sweep of swath. No, but really. Isn’t it astonishing that personality, surely as real as the width of one’s shoulders or the breadth of one’s beam, should be so infinite but attention to body so meager and hand-to-mouth that—chairs, say chairs, I know about chairs—there’s been less progress in the design of chairs than in the design of luggage. (I speak as a cripple full-fledged—chairs are a hangup with me—but set that aside.) It’s as if clothing came in a single size, pants like tube socks, every dress like a muumuu. And a rule of the chair seems to be that if it’s beautiful it’s rarely comfortable, if comfortable it rarely makes the cut to beauty.

Indeed, there are so few contemporary “museum-quality” chairs one can almost list them—Marcel Breuer’s side chairs, his “Wassily” chair like a leather-and-steel cat’s cradle; Jacobsen’s “Egg” chair; Thonet’s bentwood rockers; Mies Van Der Rohe’s “Barcelona”; Saarinen’s molded plastic chairs on their round bases and tapered stems like cross sections of parfaits; all Eames’s ubiquitous plastic like stackable poker chips or the pounded, hollowed-out centers of catchers’ mitts, and as locked into a vision of the fifties as pole lamps, his famous lounge chair and ottoman that, like the Nehru shirt, have become a cliché. A spectrum of vernacular chairs—soda-fountain chairs, directors’ chairs, black canvas camp chairs, those crushed—almost imploded—white or charcoal leather pillow chairs like soft fortresses or marshmallow thrones; some of the new ergonomic chairs that sit on you as much as you ever manage to sit on them.

So I know about chairs and still have my eye out, never mind I’m sixty if I’m a day, for that evasive, lost-chord masterpiece of the genre, which, like love, I’ll know when I see like a sort of fate.

Though maybe not. Not because I haven’t the imagination to cut my losses, or even the courage to finesse my life and choose to sit out the close of my days in desuetudinous splendor, but because it may not exist. The chair, my gorgeous prosthetic of choice, may not have been fashioned yet. Because oddly, strangely, ultimately, chairs are all attitude, molds of the supine or up on pointe, aggressive or submissive as sexual position. Occupied or unoccupied either, they are shadows, ghosts, signs of the been-and-gone, some pipe-and-slippers choreography of spiritual disposition, how one chooses to acquit oneself, highly personalized as an arrangement of flowers, and oh, oh, if one but had the body for it one would live out one’s days in Van Gogh’s room at Arles, eating up comfort and beauty and having it, too, there in one last fell binge of boyhood in the cane and wood along those powder-blue walls of the utile, of basin and pitcher, of military brush and drinking glass, of apothecary bottles clear as gin on a crowded corner of the nightstand, to be there on the feather bed, on the oilcloth-looking floor amid one’s things. All, as I say, you have to know is the script of your life.

From Stanley Elkin’s 1991 essay “Some Overrated Masterpieces.” Collected in Pieces of Soap.

“It was a lone tree burning on the desert” | Blood Meridian’s Moral Core

Cormac McCarthy’s Blood Meridian begins as a strange, violent picaresque bildungsroman, detailing the adventures of a teenage runaway known only as “the kid.” When the Kid falls in with John Glanton’s marauders, the narrative lens expands and pulls back; Glanton’s gang essentially envelopes the Kid’s personality. The pronoun “they” dominates the Kid’s own agency, for the most part, and the massive figure of Judge Holden usurps the narrative’s voice. The effect is that the Glanton gang’s killing, raping, and scalping spree becomes essentially de-personalized, and, to a certain extent, amoralized.

The Kid, and perhaps the ex-priest Tobin and the Kid’s erstwhile partner Toadvine, are the only major characters who bear any semblance of conventional morality in the narrative. The Kid exhibits a willingness to help others early on when he agrees to stitch one of Tobin’s wounds; later, he removes an arrowhead from a wounded man when no other member of the company will (Tobin chides him for caring, declaring that the wounded man would have killed the Kid had the Kid’s efforts been unsuccessful). For most of the central narrative though, the Kid’s individual actions are consumed into the gang’s “they.” However, at the beginning of chapter 15 the narrative focuses again on the Kid, who is charged with killing a wounded man named Shelby to “spare” him from the approaching Mexican army (this is a bizarre version of mercy in Blood Meridian). Shelby pleads to live and the Kid allows it, even giving the man some water from his own canteen. After he leaves he catches up with a man named Tate whose horse is wounded. Tate remarks on the boy’s foolishness for helping him, but the Kid does so nonetheless, sharing Tate’s burden as they try to make their way back to the rest of their party. Tate is soon killed by Mexican scouts. In both cases, the outcome of the Kid’s moral actions–the will to help, to save, to preserve life–are negated by the book’s narrative outcomes, but I would argue that his intentions in the face of violence somehow secure his humanity.

His journey alone to rejoin the Glanton gang is figured as a kind of vision quest, a strange echo of Christ in the desert, perhaps. At its core–and perhaps the moral core of the book–is the following strange passage–

It was a lone tree burning on the desert. A herladic tree that the passing storm had left afire. The solitary pilgrim drawn up before it had traveled far to be here and he knelt in the hot sand and held his numbed hands out while all about in that circle attended companies of lesser auxiliaries routed forth into the inordinate day, small owls that crouched silently and stood from foot to foot and tarantulas and solpugas and vinegarroons and the vicious mygale spiders and beaded lizards with mouths black as a chowdog’s, deadly to man, and the little desert basilisks that jet blood from their eyes and the small sandvipers like seemly gods, silent and the same, in Jedda, in Babylon. A constellation of ignited eyes that edged the ring of light all bound in a precarious truce before the torch whose brightness had set back the stars in their sockets.

The burning tree alludes to YHWH’s appearance to Moses as a burning bush, and also the tree of smoke that led the Israelites through the desert. Significantly, all the strange, terrible creatures of the desert come to meet around it in a “precarious truce.” The burning tree inverts the natural, inescapable violence that dominates the novel and turns it into a solitary, singular moment of peace. When the Kid awakes–alone–the tree is merely a “smoldering skeleton of a blackened scrog.” God is not in the permanence of the object but rather in the witnessing of the event–Blood Meridian locates (a version of a) god in the natural violence of burning and consumption. There is a strong contrast here, I believe, with the book’s other version of god, the Judge’s proclamation that “War is god.” The Judge, a cunning, devilish trickster, wants to reduce (or enlarge) war to all contest of wills, to pure violence–to divorce it from any ideological structure. Yet the burning tree episode reveals natural violence divorced from ideology. The animals (and the man, the Kid) suspend their Darwinian animosities in order to witness the sublime. The episode is silent, outside of language, order, ideology. This silence is echoed in the novel’s final confrontation between the Judge and the Kid, who retorts simply “You ain’t nothin'” to the Judge’s barrage of grandiose language. While the rejoinder may not save the Kid, its rejection perhaps saves his soul (if such a thing exists in the novel, which I believe it does). So, while larger-than-life Judge Holden may dominate the novel, Cormac McCarthy has nonetheless given us another moral road to follow, should we choose.

[Ed. note—Biblioklept first published a version of this post in October, 2010.]

“Books are made out of books” | Blood Meridian and Samuel Chamberlain

In his 1992 interview with The New York Times, Cormac McCarthy said, “The ugly fact is books are made out of books. The novel depends for its life on the novels that have been written.” McCarthy’s masterpiece Blood Meridian, as many critics have noted, is made of some of the finest literature out there–the King James Bible, Moby-Dick, Dante’s Inferno, Paradise Lost, Faulkner, and Shakespeare. While Blood Meridian echoes and alludes to these authors and books thematically, structurally, and linguistically, it also owes much of its materiality to Samuel Chamberlain’s My Confession: The Recollections of a Rogue.

Chamberlain, much like the Kid, Blood Meridian’s erstwhile protagonist, ran away from home as a teenager. He joined the Illinois Second Volunteer Regiment and later fought in the Mexican-American War. Confession details Chamberlain’s involvement with John Glanton’s gang of scalp-hunters. The following summary comes from the University of Virginia’s American Studies webpage

According to Chamberlain, John Glanton was born in South Carolina and migrated to Stephen Austin’s settlement in Texas. There he fell in love with an orphan girl and was prepared to marry her. One day while he was gone, Lipan warriors raided the area scalping the elderly and the children and kidnapping the women- including Glanton’s fiancee. Glanton and the other settlers pursued and slaughtered the natives, but during the battle the women were tomahawked and scalped. Legend has it, Glanton began a series of retaliatory raids which always yielded “fresh scalps.” When Texas fought for its independence from Mexico, Glanton fought with Col. Fannin, and was one of the few to escape the slaughter of that regiment at the hands of the Mexican Gen. Urrea- the man who would eventually employ Glanton as a scalp hunter. During the Range Wars, Glanton took no side but simply assassinated individuals who had crossed him. He was banished, to no avail, by Gen. Sam Houston and fought as a “free Ranger” in the war against Mexico. Following the war he took up the Urrea’s offer of $50 per Apache scalp (with a bonus of $1000 for the scalp of the Chief Santana). Local rumor had it that Glanton always “raised the hair” of the Indians he killed and that he had a “mule load of these barbarous trophies, smoke-dried” in his hut even before he turned professional.

Chamberlain’s Confession also describes a  figure named Judge Holden. Again, from U of V’s summary–

Glanton’s gang consisted of “Sonorans, Cherokee and Delaware Indians, French Canadians, Texans, Irishmen, a Negro and a full-blooded Comanche,” and when Chamberlain joined them they had gathered thirty-seven scalps and considerable losses from two recent raids (Chamberlain implies that they had just begun their careers as scalp hunters but other sources suggest that they had been engaged in the trade for sometime- regardless there is little specific documentation of their prior activities). Second in command to Glanton was a Texan- Judge Holden. In describing him, Chamberlain claimed, “a cooler blooded villain never went unhung;” Holden was well over six feet, “had a fleshy frame, [and] a dull tallow colored face destitute of hair and all expression” and was well educated in geology and mineralogy, fluent in native dialects, a good musician, and “plum centre” with a firearm. Chamberlain saw him also as a coward who would avoid equal combat if possible but would not hesitate to kill Indians or Mexicans if he had the advantage. Rumors also abounded about atrocities committed in Texas and the Cherokee nation by him under a different name. Before the gang left Frontreras, Chamberlain claims that a ten year old girl was found “foully violated and murdered” with “the mark of a large hand on her throat,” but no one ever directly accused Holden.

It’s fascinating to note how much of the Judge is already there–the pedophilia, the marksmanship, the scholarship, and, most interesting of all, the lack of hair. Confession goes on to detail the killing, scalping, raping, and raiding spree that comprises the center of Blood Meridian. Chamberlain even describes the final battle with the Yumas, an event that signals the dissolution of the Glanton gang in McCarthy’s novel.

Content aside, Chamberlain’s prose also seems to presage McCarthy’s prose. In his book Different Travelers, Different Eyes, James H. Maguire notes that, “Both venereal and martial, the gore of [Chamberlain’s] prose evokes Gothic revulsion, while his unschooled art, with its stark architectural angles and leaden, keen-edged shadows, can chill with the surreal horrors of the later Greco-Italian painter Giorgio de Chirico.” Yes, Chamberlain was an amateur painter (find his paintings throughout this post), and undoubtedly some of this imagery crept into Blood Meridian.

You can view many of Chamberlain’s paintings and read an edit of his Confession in three editions of Life magazine from 1956, digitally preserved thanks to Google Books–here’s Part I, Part II, and Part III. Many critics have pointed out that Chamberlain’s narrative, beyond its casual racism and sexism, is rife with factual and historical errors. He also apparently indulges in the habit of describing battles and other events in vivid detail, even when there was no way he could have been there. No matter. The ugly fact is that books are made out of books, after all, and if Chamberlain’s Confession traffics in re-appropriating the adventure stories of the day, at least we have Blood Meridian to show for his efforts.

[Ed. note–Biblioklept first ran this post in September of 2010.]