Scenes and characters | Nathaniel Hawthorne’s journal entry for August 11th, 1838

August 11th.–This morning, it being cloudy and boding of rain, the clouds had settled upon the mountains, both on the summits and ridges, all round the town, so that there seemed to be no way of gaining access to the rest of the world, unless by climbing above the clouds. By and by they partially dispersed, giving glimpses of the mountain ramparts through their obscurity, the separate clouds lying heavily upon the mountain’s breast. In warm mornings, after rain, the mist breaks forth from the forests on the ascent of the mountains, like smoke,–the smoke of a volcano; then it soars up, and becomes a cloud in heaven. But these clouds to-day were real rain-clouds. Sometimes, it is said, while laboring up the mountain-side, they suddenly burst, and pour down their moisture in a cataract, sweeping all before it.

Every new aspect of the mountains, or view from a different position, creates a surprise in the mind.

Scenes and characters–A young country fellow, twenty or thereabouts, decently dressed, pained with the toothache. A doctor, passing on horseback, with his black leather saddle-bags behind him, a thin, frosty-haired man. Being asked to operate, he looks at the tooth, lances the gum, and the fellow being content to be dealt with on the spot, he seats himself in a chair on the stoop with great heroism. The doctor produces a rusty pair of iron forceps; a man holds the patient’s head; the doctor perceives that, it being a difficult tooth to get at, wedged between the two largest in his jaws, he must pull very hard; and the instrument is introduced. A turn of the doctor’s hand; the patient begins to utter a cry, but the tooth comes out first, with four prongs . The patient gets up, half amazed, pays the doctor ninepence, pockets the tooth, and the spectators are in glee and admiration.

There was a fat woman, a stage-passenger to-day,–a wonder how she could possibly get through the door, which seemed not so wide as she. When she put her foot on the step, the stage gave a great lurch, she joking all the while. A great, coarse, red-faced dame. Other passengers,–three or four slender Williamstown students, a young girl, and a man with one leg and two crutches.

One of the most sensible men in this village is a plain, tall, elderly person, who is overseeing the mending of a road,–humorous, intelligent, with much thought about matters and things; and while at work he has a sort of dignity in handling the hoe or crowbar, which shows him to be the chief. In the evening he sits under the stoop, silent and observant from under the brim of his hat; but, occasion calling, he holds an argument about the benefit or otherwise of manufactories or other things. A simplicity characterizes him more than appertains to most Yankees.

A man in a pea-green frock-coat, with velvet collar. Another in a flowered chintz frock-coat. There is a great diversity of hues in garments. A doctor, a stout, tall, round-paunched, red-faced, brutal-looking old fellow, who gets drunk daily. He sat down on the step of our stoop, looking surly, and speaking to nobody; then got up and walked homeward, with a morose swagger and a slight unevenness of gait, attended by a fine Newfoundland dog.

A barouche with driver returned from beyond Greenfield or Troy empty, the passengers being left at the former place. The driver stops here for the night, and, while washing, enters into talk with an old man about the different roads over the mountain.

People washing themselves at a common basin in the bar-room! and using the common hair-brushes! perhaps with a consciousness of praiseworthy neatness!

A man with a cradle on his shoulder, having been cradling oats. I attended a child’s funeral yesterday afternoon. There was an assemblage of people in a plain, homely apartment. Most of the men were dressed in their ordinary clothes, and one or two were in shirtsleeves. The coffin was placed in the midst of us, covered with a velvet pall. A bepaid clergyman prayed (the audience remaining seated, while he stood up at the head of the coffin), read a passage of Scripture and commented upon it. While he read and prayed and expounded there was a heavy thunderstorm rumbling among the surrounding hills, and the lightning flashed fiercely through the gloomy room; and the preacher alluded to GOD’S voice of thunder.

It is the custom in this part of the country–and perhaps extensively in the interior of New England–to bury the dead first in a charnel-house, or common tomb, where they remain till decay has so far progressed as to secure them from the resurrectionists. They are then reburied, with certain ceremonies, in their own peculiar graves.

O. E. S—-, a widower of forty or upwards, with a son of twelve and a pair of infant twins. He is a sharp, shrewd Yankee, with a Yankee’s license of honesty. He drinks sometimes more than enough, and is guilty of peccadilloes with the fair sex; yet speaks most affectionately of his wife, and is a fond and careful father. He is a tall, thin, hard-featured man, with a sly expression of almost hidden grave humor, as if there were some deviltry pretty constantly in his mind,–which is probably the case. His brother tells me that he was driven almost crazy by the loss of his wife. It appears to me that men are more affected by the deaths of their wives than wives by the deaths of their husbands. Orrin S—- smokes a pipe, as do many of the guests.

A walk this forenoon up the mountain ridge that walls in the town towards the east. The road is cut zigzag, the mountain being generally as steep as the roof of a house; yet the stage to Greenfield passes over this road two or three times a week. Graylock rose up behind me, appearing, with its two summits and a long ridge between, like a huge monster crouching down slumbering, with its head slightly elevated. Graylock is properly the name for the highest elevation. It appeared to better advantage the higher the point from which I viewed it. There were houses scattered here and there up the mountain-side, growing poorer as I ascended; the last that I passed was a mean log-hut, rough, rude, and dilapidated, with the smoke issuing from a chimney of small stones, plastered with clay; around it a garden of beans, with some attempt at flowers, and a green creeper running over the side of the cottage. Above this point there were various excellent views of mountain scenery, far off and near, and one village lying below in the hollow vale.

Having climbed so far that the road seemed now to go downward, I retraced my steps. There was a wagon descending behind me; and as it followed the zigzag of the road I could hear the voices of the men high over my head, and sometimes I caught a glimpse of the wagon almost perpendicularly above me, while I was looking almost perpendicularly down to the log-hut aforementioned. Trees were thick on either hand,–oaks, pines, and others; and marble occasionally peeped up in the road; and there was a lime-kiln by the wayside, ready for burning.

Graylock had a cloud on his head this morning, the base of a heavy white cloud. The distribution of the sunshine amid mountain scenery is very striking; one does not see exactly why one spot should be in deep obscurity while others are all bright. The clouds throw their shadows upon the hill-sides as they move slowly along,–a transitory blackness. 

I passed a doctor high up the road in a sulky, with his black leather saddle-bags.

Hudson’s Cave is formed by Hudson’s Brook. There is a natural arch of marble still in one part of it. The cliffs are partly made verdant with green moss, chiefly gray with oxidation; on some parts the white of the marble is seen; in interstices grow brake and other shrubs, so that there is naked sublimity seen through a good deal of clustering beauty. Above, the birch, poplars, and pines grow on the utmost verge of the cliffs, which jut far over, so that they are suspended in air; and whenever the sunshine finds its way into the depths of the chasm, the branches wave across it. There is a lightness, however, about their foliage, which greatly relieves what would otherwise be a gloomy scene. After the passage of the stream through the cliffs of marble, the cliffs separate on either side, and leave it to flow onward; intercepting its passage, however, by fragments of marble, some of them huge ones, which the cliffs have flung down, thundering into the bed of the stream through numberless ages. Doubtless some of these immense fragments had trees growing on them, which have now mouldered away. Decaying trunks are heaped in various parts of the gorge. The pieces of marble that are washed by the water are of a snow-white, and partially covered with a bright green water-moss, making a beautiful contrast.

Among the cliffs, strips of earth-beach extend downward, and trees and large shrubs root themselves in that earth, thus further contrasting the nakedness of the stone with their green foliage. But the immediate part where the stream forces its winding passage through the rock is stern, dark, and mysterious. 

Along the road, where it runs beneath a steep, there are high ridges, covered with trees,–the dew of midnight damping the earth, far towards midnoon. I observed the shadows of water-insects, as they swam in the pools of a stream. Looking down a streamlet, I saw a trunk of a tree, which has been overthrown by the wind, so as to form a bridge, yet sticking up all its branches, as if it were unwilling to assist anybody over.

Green leaves, following the eddies of the rivulet, were now borne deep under water, and now emerged. Great uprooted trees, adhering midway down a precipice of earth, hung with their tops downward.

There is an old man, selling the meats of butternuts under the stoop of the hotel. He makes that his station during a part of the season. He was dressed in a dark thin coat, ribbed velvet pantaloons, and a sort of moccasons, or shoes, appended to the legs of woollen stockings. He had on a straw hat, and his hair was gray, with a long, thin visage. His nuts were contained in a square tin box, having two compartments, one for the nuts, and another for maple sugar, which he sells in small cakes. He had three small tin measures for nuts,–one at one cent, others at two, four, and six cents; and as fast as they were emptied, he filled them again, and put them on the top of his box. He smoked a pipe, and talked with one man about whether it would be worth while to grow young again, and the duty of being contented with old age; about predestination and freewill and other metaphysics. I asked him what his sales amounted to in the course of a day. He said that butternuts did not sell so well as walnuts, which are not yet in season; that he might to-day have sold fifty cents’ worth; of walnuts, never less than a dollar’s worth, often more; and when he went round with a caravan, he had sold fifteen dollars’ worth per day, and once as much as twenty dollars’ worth. This promises to be an excellent year for walnuts. Chestnuts have been scarce for two or three years. He had one hundred chestnut-trees on his own land, and last year he offered a man twenty-five cents if he would find him a quart of good chestnuts on them. A bushel of walnuts would cost about ten dollars. He wears a pair of silver-rimmed spectacles.

A drunken fellow sat down by him, and bought a cent’s worth of his butternuts, and inquired what he would sell out to him for. The old man made an estimate, though evidently in jest, and then reckoned his box, measures, meats, and what little maple sugar he had, at four dollars. He had a very quiet manner, and expressed an intention of going to the Commencement at Williamstown to-morrow; His name, I believe, is Captain Gavett.

From Nathaniel Hawthorne’s journal entry for August 11th, 1838. From Passages from the American Note-Books.

A Prize Fighter and His Manager — James Chapin

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A Prize Fighter and His Manager, 1930 by James Chapin (1887–1975)

Novels by Acker, Orlovitz, and Murnane (Books acquired 1 and 6 Aug. 2018)

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I went by my favorite used bookshop to purge a bunch of books I’ll never read again and order Gerald Murane’s 1982 novel The Plains. I had finished most of Murnane’s collection Stream System, leaving only the longest story in the collection (“Velvet Waters”) unread.

I browsed the store a bit too, of course, and found a used copy of Kathy Acker’s Great Expectations, which I’ve never read. Years ago, this particular book store had almost every Acker book used and I didn’t pick any up, which I’ve regretted for awhile. So.

I also picked up Gil Orlovitz’s 1967 novel Milkbottle H, which I’d never heard of until I saw @PierreMenard tweet about it last month—

The book is 500+ pages. I found the first 10 utterly bewildering. You can read more about Milkbottle H here.

My copy of The Plains came in a few days later so my son and I went and picked it up (he got an Asterix comic). I read Part I this week and really got a strange thrill out of it. The Plains is a kind of speculative fiction with mythological touches. The slim novel reimagines an Australia the plainsmen of the interior define themselves (aesthetically, above all else) against the coastal areas of “Outer Australia.” The narrator is a (would-be) film director who wants to a make a movie called The Interior that will capture the essence of the plains (a task that is plainly impossible). The Plains is a very strange and I’m really digging it so far.

The Reader — Eglon van der Neer

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The Reader, c. 1660s by Eglon van der Neer (1635/36-1703)

A Library by the Tyrrhenian Sea — Ilya Milstein

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A Library by the Tyrrhenian Sea, 2018 by Ilya Milstein

Reader with a Lamp — Jozsef Rippl-Ronai

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Reader with a Lamp, 1895 by Jozsef Rippl-Ronai (1861-1927)

Shell (Surrealist Landscape) — John Atherton

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Shell (Surrealist Landscape), c. 1942 by John Atherton (1900-1952)

Susanna and the Elders — Van Arno

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Susanna and the Elders, 2016 by Van Arno

Seven (Long) Books I’ll Read Again

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Life is too short not to reread. Chosen somewhat randomly but also sincerely, seven books I’d love to read again sometime soon:

Mason & Dixon by Thomas Pynchon

I read Mason & Dixon a few years back and then started to immediately reread it before getting sidetracked with something else. Unlike Gravity’s Rainbow, I think that M&D coheres on a first read, but it’s so rich and full and crammed with life that it deserves another go through. In my completely subjective and thoroughly unnecessary ranking of Pynchon’s novels, I wrote,

Pynchon’s zany/sinister tonal axis, comic bravado, and genre-shifting modes rarely result in what folks narrowly think of as literary realism. His characters can be elastic, cartoonish even—allegorical sometimes (and even grotesque). Mason & Dixon takes two historically real (and historically famous) characters as its subject, and, in a wonderfully hyperbolic 18th-century style, takes the duo on a fantastic journey to measure the world. How does one measure the world though? Pynchon takes on seemingly every subject under the sun in Mason & Dixon, and the novel is very much about the problems and limitations of measuring (and describing, and knowing) itself. But what comes through most strongly in all of Pynchon’s fantasia is the weight of Mason and Dixon’s friendship. It’s the most real thing in a wonderfully unreal novel.

The Complete Stories by Flannery O’Connor

A bit of a cheat maybe to put short stories on this list, but I’d love to set aside time to go through all of them at once.

Middlemarch by George Eliot

I finished Middlemarch last month. Eliot’s novel captures consciousness in action in a remarkably deft, often ironic, but also very sweet way—particularly the consciousness of her hero Dorothea Brooke, who is one of my favorite characters in literature. I wrote about Dorothea in a post earlier this year:

So far, my favorite character in Middlemarch is Dorothea Brooke. In part my allegiance to her is simply a matter of the fact that she initially appears to be the novel’s central character—until Eliot swerves into new narratives near the end of Book I (Book I of VIII, by the way). But beyond traditional formal sympathies, it’s the way that Eliot harnesses Dorothea’s consciousness that I find so appealing. Eliot gives us in Dorothea an incredibly intelligent yet palpably naive young woman who feels the world around her a smidge too intensely. Dorothea is brilliant but a bit blind, and so far Middlemarch most interests me in the way that Eliot evokes this heroine’s life as a series of intellectual, emotional, and aesthetic revelations. We see Dorothea seeing—and then, most remarkably, we see Dorothea seeing what she could not previously see.

The Lost Scrapbook by Evan Dara

I read Dara’s cult debut in a dizzy rush about five years ago, and have meant to reread it again since then. Like Middlemarch, Dara’s novel is very much about consciousness and how consciousness operates. From a blog post a few years back:

I am really loving this book so far, this novel that moves through consciousnesses in a (yes, I’ll use that cliché that book reviewers so often grab for) dazzling performance, shifting through minds, monologues, dialogues, always a few steps (or more) ahead of its reader, beckoning though, inviting, calling its reader to participate in discussions (or performances) of art, science, politics, psychology, education, loneliness, ecology, family, fireflies, radio plays, alienation, voting trends, Chomskyian linguistics, Eisensteinian montage, theft, Walkman Personal Stereos, semiotics, one-man shows, drum sets, being ventriloquized—a novel that takes ventriloquism as not just a theme (as we can see in the citation above) but also as a rhetorical device, a novel that ventriloquizes its reader, throws its reader into a metaphorical deep end and then dramatically shifts the currents as soon as the reader has learned to swim, a novel of othernesses, a novel that offers content through conduits, patterns that coalesce through waves, a novel composed in transfer points, each transfer point announcing the limitations of first-person perspective, the perspective that the reader is logically and spiritually and psychologically beholden to—and then, perhaps, transcending (or at least producing the affective illusion of transcendence of) first-person perspective, and this (illusion of) transcendence, oh my, what a gift, what a gift . . .

The Recognitions by William Gaddis

I had a false start with The Recognitions maybe 10 years ago, and then made it through a few years after that. I’ve since read Gaddis’s novel J R twice, and I think it’s the superior novel—but I’d like to revisit The Recognitions to see how accurate that assessment is. In my review I wrote:

The Recognitions is the work of a young man (“I think first it was that towering kind of confidence of being quite young, that one can do anything,” Gaddis says in his Paris Review interview), and often the novel reveals a cockiness, a self-assurance that tips over into didactic essaying or a sharpness toward its subjects that neglects to account for any kind of humanity behind what Gaddis attacks. The Recognitions likes to remind you that its erudition is likely beyond yours, that it’s smarter than you, even as it scathingly satirizes this position.

I think that JR, a more mature work, does a finer job in its critique of contemporary America, or at least in its characterization of contemporary Americans (I find more spirit or authentic humanity in Bast and Gibbs and JR than in Otto or Wyatt or Stanley). This is not meant to be a knock on The Recognitions; I just found JR more balanced and less showy; it seems to me to be the work of an author at the height of his powers, if you’ll forgive the cliché.

2666 by Roberto Bolaño

Bolaño’s opus is the kind of literary masterpiece that survives they hype that surrounds it. I’ve read it straight through three times and will read it through three more given the chance. I’ve written at least seven “reviews” of 2666 on this site, but this one on the novel’s intertextual structure is probably my best effort.

Moby-Dick by Herman Melville

Moby-Dick forever!

Seven Books I’ll Never Read

  1. A General History of Labyrinths by Silas Haslam
  2. Things That Can Happen In European Politics by Ernest Pudding
  3. The Leather Mask by Benno von Archimboldi
  4. The Grasshopper Lies Heavy by Hawthorne Abendsen
  5. Old Custer by Eli Cash
  6. Outside the Town of Malbork by Tazio Bazakbal
  7. Encounter with the Infanta by Bogdan Tarassiev

Under the Overpass — Henry Koerner

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Under the Overpass, 1949 by Henry Koerner (1915-1991)

Nude Reading — Robert Delaunay

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Nude Reading, 1915 by Robert Delaunay (1885-1941)

Among the productions of the river’s margin | Nathaniel Hawthorne’s journal entry for August 6th, 1842

After breakfast I took my fishing-rod, and went down through our orchard to the river-side; but as three or four boys were already in possession of the best spots along the shore, I did not fish. This river of ours is the most sluggish stream that I ever was acquainted with. I had spent three weeks by its side, and swam across it every day, before I could determine which way its current ran; and then I was compelled to decide the question by the testimony of others, and not by my own observation. Owing to this torpor of the stream, it has nowhere a bright, pebbly shore, nor is there so much as a narrow strip of glistening sand in any part of its course; but it slumbers along between broad meadows, or kisses the tangled grass of mowing-fields and pastures, or bathes the overhanging boughs of elder-bushes and other water-loving plants. Flags and rushes grow along its shallow margin. The yellow water-lily spreads its broad flat leaves upon its surface; and the fragrant white pond-lily occurs in many favored spots,–generally selecting a situation just so far from the river’s brink that it cannot be grasped except at the hazardof plunging in. But thanks be to the beautiful flower for growing at any rate. It is a marvel whence it derives its loveliness and perfume, sprouting as it does from the black mud over which the river sleeps, and from which the yellow lily likewise draws its unclean life and noisome odor. So it is with many people in this world; the same soil and circumstances may produce the good and beautiful, and the wicked and ugly. Some have the faculty of assimilating to themselves only what is evil, and so they become as noisome as the yellow water-lily. Some assimilate none but good influences, and their emblem is the fragrant and spotless pond-lily, whose very breath is a blessing to all the region round about. . . . Among the productions of the river’s margin, I must not forget the pickerel-weed, which grows just on the edge of the water, and shoots up a long stalk crowned with a blue spire, from among large green leaves. Both the flower and the leaves look well in a vase with pond-lilies, and relieve the unvaried whiteness of the latter; and, being all alike children of the waters, they are perfectly in keeping with one another. . . .

From Nathaniel Hawthorne’s journal entry for August 6th, 1842. From Passages from the American Note-Books.

Girl Reading — Edmund Charles Tarbell

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Girl Reading, 1909 by Edmund Charles Tarbell (1862-1938)

Moby — Mu Pan

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Moby, 2018 by Mu Pan (b. 1976)

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Helen DeWitt’s Some Trick (Book acquired 27 July 2018)

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I spent a week in Charleston, SC at the end of July. The city’s veneer of “historical charm” doesn’t quite cover over a past that it recognizes but seems not wholly reconciled to, but the grits were very good.

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I visited Blue Bicycle Books while I was there, where I was allowed to fondle a signed Faulkner with my unwashed hands. I picked up Helen DeWitt’s Some Trick in hardback there, despite not really liking Lightning Rods. I would’ve picked up her cult novel The Last Samurai instead, but they didn’t have it—and anyway, I’ve been reading mostly short stories and short novels (Murnane, Volodine, Melville) since getting through Eliot’s big fat novel Middlemarch last month.

Here’s publisher New Direction’s blurb—

For sheer unpredictable brilliance, Gogol may come to mind, but no author alive today takes a reader as far as Helen DeWitt into the funniest, most yonder dimensions of possibility. Her jumping-off points might be statistics, romance, the art world’s piranha tank, games of chance and games of skill, the travails of publishing, or success. “Look,” a character begins to explain, laying out some gambit reasonably enough, even if facing a world of boomeranging counterfactuals, situations spinning out to their utmost logical extremes, and Rube Goldberg-like moving parts, where things prove “more complicated than they had first appeared” and “at 3 a.m. the circumstances seem to attenuate.” In various ways, each tale carries DeWitt’s signature poker-face lament regarding the near-impossibility of the life of the mind when one is made to pay to have the time for it, in a world so sadly “taken up with all sorts of paraphernalia superfluous, not to say impedimental, to ratiocination.”

The Tenant — Paul Fenniak

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The Tenant, 2004 by Paul Fenniak (b. 1965)