“The Gardener and the Guinea” — G.K. Chesterton

“The Gardener and the Guinea”

by

G.K. Chesterton

Strictly speaking, there is no such thing as an English Peasant. Indeed, the type can only exist in community, so much does it depend on cooperation and common laws. One must not think primarily of a French Peasant; any more than of a German Measle. The plural of the word is its proper form; you cannot have a Peasant till you have a peasantry. The essence of the Peasant ideal is equality; and you cannot be equal all by yourself.

Nevertheless, because human nature always craves and half creates the things necessary to its happiness, there are approximations and suggestions of the possibility of such a race even here. The nearest approach I know to the temper of a Peasant in England is that of the country gardener; not, of course, the great scientific gardener attached to the great houses; he is a rich man’s servant like any other. I mean the small jobbing gardener who works for two or three moderate-sized gardens; who works on his own; who sometimes even owns his house; and who frequently owns his tools. This kind of man has really some of the characteristics of the true Peasant—especially the characteristics that people don’t like. He has none of that irresponsible mirth which is the consolation of most poor men in England. The gardener is even disliked sometimes by the owners of the shrubs and flowers; because (like Micaiah) he prophesies not good concerning them, but evil. The English gardener is grim, critical, self-respecting; sometimes even economical. Nor is this (as the reader’s lightning wit will flash back at me) merely because the English gardener is always a Scotch gardener. The type does exist in pure South England blood and speech; I have spoken to the type. I was speaking to the type only the other evening, when a rather odd little incident occurred.

It was one of those wonderful evenings in which the sky was warm and radiant while the earth was still comparatively cold and wet. But it is of the essence of Spring to be unexpected; as in that heroic and hackneyed line about coming “before the swallow dares.” Spring never is Spring unless it comes too soon. And on a day like that one might pray, without any profanity, that Spring might come on earth as it was in heaven. The gardener was gardening. I was not gardening. It is needless to explain the causes of this difference; it would be to tell the tremendous history of two souls. It is needless because there is a more immediate explanation of the case: the gardener and I, if not equal in agreement, were at least equal in difference. It is quite certain that he would not have allowed me to touch the garden if I had gone down on my knees to him. And it is by no means certain that I should have consented to touch the garden if he had gone down on his knees to me. His activity and my idleness, therefore, went on steadily side by side through the long sunset hours.

And all the time I was thinking what a shame it was that he was not sticking his spade into his own garden, instead of mine: he knew about the earth and the underworld of seeds, the resurrection of Spring and the flowers that appear in order like a procession marshalled by a herald. He possessed the garden intellectually and spiritually, while I only possessed it politically. I know more about flowers than coal-owners know about coal; for at least I pay them honour when they are brought above the surface of the earth. I know more about gardens than railway shareholders seem to know about railways: for at least I know that it needs a man to make a garden; a man whose name is Adam. But as I walked on that grass my ignorance overwhelmed me—and yet that phrase is false, because it suggests something like a storm from the sky above. It is truer to say that my ignorance exploded underneath me, like a mine dug long before; and indeed it was dug before the beginning of the ages. Green bombs of bulbs and seeds were bursting underneath me everywhere; and, so far as my knowledge went, they had been laid by a conspirator. I trod quite uneasily on this uprush of the earth; the Spring is always only a fruitful earthquake. With the land all alive under me I began to wonder more and more why this man, who had made the garden, did not own the garden. If I stuck a spade into the ground, I should be astonished at what I found there…and just as I thought this I saw that the gardener was astonished too.

Just as I was wondering why the man who used the spade did not profit by the spade, he brought me something he had found actually in my soil. It was a thin worn gold piece of the Georges, of the sort which are called, I believe, Spade Guineas. Anyhow, a piece of gold.

If you do not see the parable as I saw it just then, I doubt if I can explain it just now. He could make a hundred other round yellow fruits: and this flat yellow one is the only sort that I can make. How it came there I have not a notion—unless Edmund Burke dropped it in his hurry to get back to Butler’s Court. But there it was: this is a cold recital of facts. There may be a whole pirate’s treasure lying under the earth there, for all I know or care; for there is no interest in a treasure without a Treasure Island to sail to. If there is a treasure it will never be found, for I am not interested in wealth beyond the dreams of avarice since I know that avarice has no dreams, but only insomnia. And, for the other party, my gardener would never consent to dig up the garden.

Nevertheless, I was overwhelmed with intellectual emotions when I saw that answer to my question; the question of why the garden did not belong to the gardener. No better epigram could be put in reply than simply putting the Spade Guinea beside the Spade. This was the only underground seed that I could understand. Only by having a little more of that dull, battered yellow substance could I manage to be idle while he was active. I am not altogether idle myself; but the fact remains that the power is in the thin slip of metal we call the Spade Guinea, not in the strong square and curve of metal which we call the Spade. And then I suddenly remembered that as I had found gold on my ground by accident, so richer men in the north and west counties had found coal in their ground, also by accident.

I told the gardener that as he had found the thing he ought to keep it, but that if he cared to sell it to me it could be valued properly, and then sold. He said at first, with characteristic independence, that he would like to keep it. He said it would make a brooch for his wife. But a little later he brought it back to me without explanation. I could not get a ray of light on the reason of his refusal; but he looked lowering and unhappy. Had he some mystical instinct that it is just such accidental and irrational wealth that is the doom of all peasantries? Perhaps he dimly felt that the boy’s pirate tales are true; and that buried treasure is a thing for robbers and not for producers. Perhaps he thought there was a curse on such capital: on the coal of the coal-owners, on the gold of the gold-seekers. Perhaps there is.

J.G. Ballard’s High Rise (Film Poster by Jay Shaw)

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Jon McNaught’s Birchfield Close Is a Tranquil Visual Poem

A few weekends ago, I spent several days primitive camping on a tiny, rocky island off Cape Canaveral. The weather was miserable and the fishing was poor, but the company and bourbon offered cheer. Still, by the time I got home I was terribly sore, thoroughly damp, and inhabited by one of those hangovers that sets up shop inside one’s soul as a kind of second-consciousness, coloring the world a dreadful surreal blue. I wanted to see my family, but they were out playing tennis. There was a small stack of packages waiting for me though—review copies for this blog—with Jon McNaught’s Birchfield Close neatly nestled atop. After showering, I lay on my soft soft bed in the afternoon, read through the brief poem-novel-comic, and drifted into a gentle warm hazy nap. It was the most marvelous medicine. Sublime.

I read Birchfield Close again later that night and then every night for a week. McNaught’s work—see his longer novel Dockwood—is its own aesthetic experience: Minimal, gentle, tranquil, but also evocative and complex. Birchfield Close is (maybe) the (non-)story of two lads who climb upon a roof and spend the day observing (or not observing) their neighborhood.

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They see birds and people, dogs and snails, balloons and bikes (etc.), all rendered in gentle gradations of orange-pink and grey-blue and black-black.

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In one of my favorite little episodes, one boy reaches for a branch. His imagination transmutes the branch into a rifle, and a play-shooting spree ensues.

Birchfield Close is comprised entirely of such moments, yet none of its episodes feel discrete. Rather, each panel pushes (pushesThat’s not the right verb!) into the next, a miniature gesture that creates—that somehow is—the entire work. The effect is soothing.

I’ve read Birchfield Close a dozen times now (read? Is that the right verb?), and I’m still (happily) unsure what commentary McNaught might be making on media. The story is full of images of “entertainments” that may or may not be at odds with the neighborhood’s ambiance: a handheld video game, a banal soap opera, a pop song on the radio. In another favorite episode, we move from rooftop to an airplane flying through the sky to the actual inside of the airplane, where a passenger watches Nemo’s reunion with his overprotective father. On the next page, we are treated to the imaginative forms that the clouds might take—formations that the airplane passenger, wrapped up in viewing Finding Nemo on a tiny headrest screen, perhaps misses. But if there’s a judgment here, McNaught seems to leave it to the viewer to suss out. As we pan back down to the boys on the roof, we see that one remains watching the clouds, shaping them in his imagination (or perhaps he’s sharing an imaginative vision with the airplane passenger), while the other boy has returned to his own tiny screen to play a fighting game. He misses the sunset.

Or does he miss the sunset? Maybe it’s simply part of his own aesthetic experience with the game, a peripheral, environmental occurrence, one he enjoys as transitory and ambient, an event promised to repeat again and again. I like this second reading more, as it fits neatly with my own reading experience of Birchfield Close—the book is an ambient aesthetic experience, calming but quizzical, deeply enjoyable—physical: light, color, the touch of the fine thick paper. I’ve tried to capture some of that reading experience here but have undoubtedly failed. Better you read see think feel for yourself.

Birchfield Close and other books by Jon McNaught are available from the good people at Nobrow Press.

Look at Borges (Pynchon’s Gravity’s Rainbow)

In the days of the gauchos, my country was a blank piece of paper. The pampas stretched as far as men could imagine, inexhaustible, fenceless. Wherever the gaucho could ride, that place belonged to him. But Buenos Aires sought hegemony over the provinces. All the neuroses about property gathered strength, and began to infect the countryside. Fences went up, and the gaucho became less free. It is our national tragedy. We are obsessed with building labyrinths, where before there was open plain and sky. To draw ever more complex patterns on the blank sheet. We cannot abide that openness: it is terror to us. Look at Borges. Look at the suburbs of Buenos Aires. The tyrant Rosas has been dead a century, but his cult flourishes. Beneath the city streets, the warrens of rooms and corridors, the fences and the networks of steel track, the Argentine heart, in its perversity and guilt, longs for a return to that first unscribbled serenity… that anarchic oneness of pampas and sky…

From Thomas Pynchon’s novel Gravity’s Rainbow.

Osprey — John James Audubon

“For each ecstatic instant” — Emily Dickinson

anguish

“A Dream of Death” — W.B. Yeats

Capture

A List of Irish Heroes from James Joyce’s Ulysses

One of my favorite passages in Ulysses (it’s from the “Cyclops” chapter, episode 12)—

He wore a long unsleeved garment of recently flayed oxhide reaching to the knees in a loose kilt and this was bound about his middle by a girdle of plaited straw and rushes. Beneath this he wore trews of deerskin, roughly stitched with gut. His nether extremities were encased in high Balbriggan buskins dyed in lichen purple, the feet being shod with brogues of salted cowhide laced with the windpipe of the same beast. From his girdle hung a row of seastones which dangled at every movement of his portentous frame and on these were graven with rude yet striking art the tribal images of many Irish heroes and heroines of antiquity, Cuchulin, Conn of hundred battles, Niall of nine hostages, Brian of Kincora, the Ardri Malachi, Art MacMurragh, Shane O’Neill, Father John Murphy, Owen Roe, Patrick Sarsfield, Red Hugh O’Donnell, Red Jim MacDermott, Soggarth Eoghan O’Growney, Michael Dwyer, Francy Higgins, Henry Joy M’Cracken, Goliath, Horace Wheatley, Thomas Conneff, Peg Woffington, the Village Blacksmith, Captain Moonlight, Captain Boycott, Dante Alighieri, Christopher Columbus, S. Fursa, S. Brendan, Marshal Mac-Mahon, Charlemagne, Theobald Wolfe Tone, the Mother of the Maccabees, the Last of the Mohicans, the Rose of Castille, the Man for Galway, The Man that Broke the Bank at Monte Carlo, The Man in the Gap, The Woman Who Didn’t, Benjamin Franklin, Napoleon Bonaparte, John L. Sullivan, Cleopatra, Savourneen Deelish, Julius Caesar, Paracelsus, sir Thomas Lipton, William Tell, Michelangelo, Hayes, Muhammad, the Bride of Lammermoor, Peter the Hermit, Peter the Packer, Dark Rosaleen, Patrick W. Shakespeare, Brian Confucius, Murtagh Gutenberg, Patricio Velasquez, Captain Nemo, Tristan and Isolde, the first Prince of Wales, Thomas Cook and Son, the Bold Soldier Boy, Arrah na Pogue, Dick Turpin, Ludwig Beethoven, the Colleen Bawn, Waddler Healy, Angus the Culdee, Dolly Mount, Sidney Parade, Ben Howth, Valentine Greatrakes, Adam and Eve, Arthur Wellesley, Boss Croker, Herodotus, Jack the Giantkiller, Gautama Buddha, Lady Godiva, The Lily of Killarney, Balor of the Evil Eye, the Queen of Sheba, Acky Nagle, Joe Nagle, Alessandro Volta, Jeremiah O’Donovan Rossa, Don Philip O’Sullivan Beare. A couched spear of acuminated granite rested by him while at his feet reposed a savage animal of the canine tribe whose stertorous gasps announced that he was sunk in uneasy slumber, a supposition confirmed by hoarse growls and spasmodic movements which his master repressed from time to time by tranquillising blows of a mighty cudgel rudely fashioned out of paleolithic stone.

 

Speaking of dancers (Kafka)

The necessity of speaking of dancers with exclamation marks. Because in that way one imitates their motion, because one remains in the rhythm and the thought does not then interfere with the enjoyment, because then the action always comes at the end of the sentence and prolongs its effect better.

From Franz Kafka’s diary entry, 16 March 1912.

“Marriage à la Mode” — Katherine Mansfield

“Marriage à la Mode”

by

Katherine Mansfield

On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Poor little chaps! It was hard lines on them. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing. He would have to buy them some sweets at the station. But that was what he had done for the past four Saturdays; their faces had fallen last time when they saw the same old boxes produced again.

And Paddy had said, “I had red ribbing on mine bee-fore!”

And Johnny had said, “It’s always pink on mine. I hate pink.”

But what was William to do? The affair wasn’t so easily settled. In the old days, of course, he would have taken a taxi off to a decent toyshop and chosen them something in five minutes. But nowadays they had Russian toys, French toys, Serbian toys—toys from God knows where. It was over a year since Isabel had scrapped the old donkeys and engines and so on because they were so “dreadfully sentimental” and “so appallingly bad for the babies’ sense of form.”

“It’s so important,” the new Isabel had explained, “that they should like the right things from the very beginning. It saves so much time later on. Really, if the poor pets have to spend their infant years staring at these horrors, one can imagine them growing up and asking to be taken to the Royal Academy.” Continue reading ““Marriage à la Mode” — Katherine Mansfield”

Beware

beware

“The Gentle Boy” — Nathaniel Hawthorne

“The Gentle Boy”

by

Nathaniel Hawthorne

In the course of the year 1656 several of the people called Quakers—led, as they professed, by the inward movement of the spirit—made their appearance in New England. Their reputation as holders of mystic and pernicious principles having spread before them, the Puritans early endeavored to banish and to prevent the further intrusion of the rising sect. But the measures by which it was intended to purge the land of heresy, though more than sufficiently vigorous, were entirely unsuccessful. The Quakers, esteeming persecution as a divine call to the post of danger, laid claim to a holy courage unknown to the Puritans themselves, who had shunned the cross by providing for the peaceable exercise of their religion in a distant wilderness. Though it was the singular fact that every nation of the earth rejected the wandering enthusiasts who practised peace toward all men, the place of greatest uneasiness and peril, and therefore in their eyes the most eligible, was the province of Massachusetts Bay.

The fines, imprisonments and stripes liberally distributed by our pious forefathers, the popular antipathy, so strong that it endured nearly a hundred years after actual persecution had ceased, were attractions as powerful for the Quakers as peace, honor and reward would have been for the worldly-minded. Every European vessel brought new cargoes of the sect, eager to testify against the oppression which they hoped to share; and when shipmasters were restrained by heavy fines from affording them passage, they made long and circuitous journeys through the Indian country, and appeared in the province as if conveyed by a supernatural power. Their enthusiasm, heightened almost to madness by the treatment which they received, produced actions contrary to the rules of decency as well as of rational religion, and presented a singular contrast to the calm and staid deportment of their sectarian successors of the present day. The command of the Spirit, inaudible except to the soul and not to be controverted on grounds of human wisdom, was made a plea for most indecorous exhibitions which, abstractedly considered, well deserved the moderate chastisement of the rod. These extravagances, and the persecution which was at once their cause and consequence, continued to increase, till in the year 1659 the government of Massachusetts Bay indulged two members of the Quaker sect with the crown of martyrdom.

An indelible stain of blood is upon the hands of all who consented to this act, but a large share of the awful responsibility must rest upon the person then at the head of the government. He was a man of narrow mind and imperfect education, and his uncompromising bigotry was made hot and mischievous by violent and hasty passions; he exerted his influence indecorously and unjustifiably to compass the death of the enthusiasts, and his whole conduct in respect to them was marked by brutal cruelty. The Quakers, whose revengeful feelings were not less deep because they were inactive, remembered this man and his associates in after-times. The historian of the sect affirms that by the wrath of Heaven a blight fell upon the land in the vicinity of the “bloody town” of Boston, so that no wheat would grow there; and he takes his stand, as it were, among the graves of the ancient persecutors, and triumphantly recounts the judgments that overtook them in old age or at the parting-hour. He tells us that they died suddenly and violently and in madness, but nothing can exceed the bitter mockery with which he records the loathsome disease and “death by rottenness” of the fierce and cruel governor. Continue reading ““The Gentle Boy” — Nathaniel Hawthorne”

Boring (John Berryman)

The official lie (Gravity’s Rainbow)

What did Caesar really whisper to his protégé as he fell? Et tu, Brute, the official lie, is about what you’d expect to get from them—it says exactly nothing. The moment of assassination is the moment when power and the ignorance of power come together, with Death as validator. When one speaks to the other then it is not to pass the time of day with et-tu-Brutes. What passes is a truth so terrible that history—at best a conspiracy, not always among gentlemen, to defraud—will never admit it. The truth will be repressed or in ages of particular elegance be disguised as something else. What will Rathenau, past the moment, years into a new otherside existence, have to say about the old dispensation? Probably nothing as incredible as what he might have said just as the shock flashed his mortal nerves, as the Angel swooped in…

From Thomas Pynchon’s novel Gravity’s Rainbow.

I know Leopold Bloom better than I know my own father (Umberto Eco)

It has been said that fictional characters are underdetermined that is, we know only a few of their properties while real individuals are completely determined, and we should be able to predicate of them each of their known attributes. But although this is true from an ontological point of view, from an epistemological one it is exactly the opposite: nobody can assert all the properties of a given individual or of a given species, which are potentially infinite, while the properties of fictional characters are severely limited by the narrative text and only those attributes mentioned by the text count for the identification of the character.

In fact, I know Leopold Bloom better than I know my own father. Who can say how many episodes of my father’s life are unknown to me, how many thoughts my father never disclosed, how many times he concealed his sorrows, his quandaries, his weaknesses? Now that he is gone, I shall probably never discover those secret and perhaps fundamental aspects of his being. Like the historians described by Dumas, I muse and muse in vain about that dear ghost, lost to me forever. In contrast, I know everything about Leopold Bloom that I need to know—and each time I reread Ulysses I discover something more about him.

From Umberto Eco’s essay “Some Remarks on Fictional Characters,” collected in Confessions of a Young Novelist.

“Aunt Zézé’s Tears,” a short story by Carmen Dolores

“Aunt Zézé’s Tears”

by

Carmen Dolores

Translated from the Portuguese by Isaac Goldberg

From Brazilian Tales

Pale and thin, for eighteen years she had lived with her youngest sister, who had married very early and now possessed five children: two young ladies of marriageable age, a third still in short dresses, and two little boys.

Maria-José, whose nickname was Zézé, had never been beautiful or winning. Upon her father’s death it was thought best that she should go to live with her sister Engracigna’s family. Here she led a monotonous existence, helping to bring up her nephews and nieces, who were born in that young and happy household with a regularity that brooked small intervals between the births.

A long, pointed nose disfigured her face, and her lips, extremely thin, looked like a pale crack. Her thoughtful gaze alone possessed a certain melancholy attractiveness. But even here, her eyes, protruding too far for the harmony of the lines upon her face seemed always to be red, and her brows narrow and sparse.

Of late, an intricate network of wrinkles as fine as hairs, had formed at the corner of her eyes. From her nose, likewise, two furrows ran along the transparent delicacy of her skin and reached either side of her mouth. When she smiled, these wrinkles would cover her countenance with a mask of premature age, and threatened soon to disfigure her entirely. And yet, from habit, and through passive obedience to routine, Maria-José continued to dress like a young girl of eighteen, in brightly colored gowns, thin waists and white hats that ill became her frail and oldish face. Continue reading ““Aunt Zézé’s Tears,” a short story by Carmen Dolores”

The extinction of the dodo (Pynchon’s Gravity’s Rainbow)

He left the dodoes to rot, he couldn’t endure to eat their flesh. Usually, he hunted alone. But often, after months of it, the isolation would begin to change him, change his very perceptions—the jagged mountains in full daylight flaring as he watched into freak saffrons, streaming indigos, the sky his glass house, all the island his tulipomania. The voices—he insomniac, southern stars too thick for constellations teeming in faces and creatures of fable less likely than the dodo—spoke the words of sleepers, singly, coupled, in chorus. The rhythms and timbres were Dutch, but made no waking sense. Except that he thought they were warning him… scolding, angry that he couldn’t understand. Once he sat all day staring at a single white dodo’s egg in a grass hummock. The place was too remote for any foraging pig to’ve found. He waited for scratching, a first crack reaching to net the chalk surface: an emergence. Hemp gripped in the teeth of the steel snake, ready to be lit, ready to descend, sun to black-powder sea, and destroy the infant, egg of light into egg of darkness, within its first minute of amazed vision, of wet downstirred cool by these south-east trades… . Each hour he sighted down the barrel. It was then, if ever, he might have seen how the weapon made an axis potent as Earth’s own between himself and this victim, still one, inside the egg, with the ancestral chain, not to be broken out for more than its blink of world’s light. There they were, the silent egg and the crazy Dutchman, and the hookgun that linked them forever, framed, brilliantly motionless as any Vermeer. Only the sun moved: from zenith down at last behind the snaggleteeth of mountains to Indian ocean, to tarry night. The egg, without a quiver, still unhatched. He should have blasted it then where it lay: he understood that the bird would hatch before dawn. But a cycle was finished. He got to his feet, knee and hip joints in agony, head gonging with instructions from his sleeptalkers droning by, overlapping, urgent, and only limped away, piece at right shoulder arms.

Continue reading “The extinction of the dodo (Pynchon’s Gravity’s Rainbow)”