“However,” the Officer said, interrupting himself, “I’m chattering, and his apparatus stands here in front of us. As you see, it consists of three parts. With the passage of time certain popular names have been developed for each of these parts. The one underneath is called the Bed, the upper one is called the Inscriber, and here in the middle, this moving part is called the Harrow.” “The Harrow?” the Traveller asked. He had not been listening with full attention.
Their slave-sister Guthrún, marriage-chained to Huns on the other side of the dark wood, sent Gunnar and Hogni a ring wound around with wolf’s hair to warn them not to come; but such devices cannot be guaranteed even in dreams. As the two brothers gazed across the hall-fire at the emissary who sat expectantly or ironically silent in the high-seat, Hogni murmured: Our way’d be fairly fanged, if we rode to claim the gifts he promises us! . . .—And then, raising golden mead-horns in the toasts which kingship requires, they accepted the Hunnish invitation. They could do nothing else, being trapped, as I said, in a fatal dream. While their vassals wept, they sleepwalked down the wooden hall, helmed themselves, mounted horses, and galloped through Myrkvith Forest to their foemen’s castle where Guthrún likewise wept to see them, crying: Betrayed!—Gunnar replied: Too late, sister . . .—for when dreams become nightmares it is ever too late.
When on Z-Day 1936 the Chancellor of Germany, a certain Adolf Hitler, orders twenty-five thousand soldiers across six bridges into the Rhineland Zone, he too fears the future. Unlike Gunnar, he appears pale. Frowning, he grips his left wrist in his right. He’s forsworn mead. He eats only fruits, vegetables and little Viennese cakes. Clenching his teeth, he strides anxiously to and fro. But slowly his voice deepens, becomes a snarling shout. He swallows. His voice sinks. In a monotone he announces: At this moment, German troops are on the march.
What will the English answer? Nothing, for it’s Saturday, when every lord sits on his country estate, counting money, drinking champagne with Jews. The French are more inclined than they to prove his banesmen . . .
Here comes an ultimatum! His head twitches like a gun recoiling on its carriage. He grips the limp forelock which perpetually falls across his face. But then the English tell the French: The Germans, after all, are only going into their own back garden.—By then it’s too late, too late.
I know what I should have done, if I’d been the French, laughs Hitler. I should have struck! And I should not have allowed a single German soldier to cross the Rhine!
To his vassals and henchmen in Munich he chants: I go the way that Providence dictates, with the assurance of a sleepwalker.—They applaud him. The white-armed Hunnish maidens scream with joy.
From William Vollmann’s Europe Central.
For the past 100 pages or so, Vollmann has referred to Hitler as the sleepwalker (I’m almost positive that the word Hitler hasn’t been used in the text up until now), and while context has made it clear that this sleepwalker is Hitler, the source of the moniker is only clarified at this point.
I promise you that from the first time she took his hand—the very first time!—he actually believed; she was ready, lonely, beautiful; she wanted someone to love with all her heart and he was the man; she longed to take care of him, knowing even better than he how much he needed to be taken care of—he still couldn’t knot his necktie by himself, and, well, you know. He believed, because an artist must believe as easily and deeply as a child cries. What’s creation but self-enacted belief? —Now for a cautionary note from E. Mravinsky: Shostakovich’s music is self-ironic, which to me implies insincerity. This masquerade imparts the spurious impression that Shostakovich is being emotional. In reality, his music conceals extremely deep lyric feelings which are carefully protected from the outside world. In other words, is Shostakovich emotional or not? Feelings conceal—feelings! Could it be that this languishing longing I hear in Opus 40 actually masks something else? But didn’t he promise Elena that she was the one for him? And how can love be self-ironic? All right, I do remember the rocking-horse sequence, but isn’t that self-mockery simply self-abnegation, the old lover’s trick? Elena believes in me, I know she does! How ticklishly wonderful! Even Glikman can see it, although perhaps I shouldn’t have told Glikman, because . . . What can love be if not faith? We look into each other’s faces and believe : Here’s the one for me! Lyalya, never forget this, no matter how long you live and whatever happens between us: You will always be the one for me. And in my life I’ll prove it. You’ll see. Sollertinsky claims that Elena’s simply lonely. What if Elena’s simply twenty? Well, I’m lonely, too. Oh, this Moscow-Baku train is so boring. I can’t forgive myself for not kidnapping my golden Elenochka and bringing her to Baku with me. Or does she, how shall I put this, want too much from destiny? My God, destiny is such a ridiculous word. I’ll try not to be too, I mean, why not? It’s still early in my life. That nightmare of the whirling red spot won’t stop me! I could start over with Elena and . . . She loves me. Ninusha loves me, but Elena, oh, my God, she stares at me with hope and longing; her love remains unimpaired, like a child’s. I love children. I want to be a father. I’ll tell Nina it’s because she can’t have children. That won’t hurt her as much as, you know. Actually, it’s true, because Nina . . . Maybe I can inform her by letter, so I don’t have to . . . Ashkenazi will do that for me if I beg him. He’s very kind, very kind. Then it will be over! As soon as I’m back in my Lyalka’s arms I’ll have the strength to resolve everything. If I could only protect that love of hers from ever falling down and skinning its knee, much less from growing up, growing wise and bitter! Then when she’s old she’ll still look at me like that; I’ll still be the one for her.
From William T. Vollmann’s big fat historical novel Europe Central, which is so big and fat that I think a comprehensive review of it will be just maybe beyond me by the time I get to the end of it, so maybe some citation, a bit of riffing, yes?
The novel recounts (a version) of the Eastern front of WWII. Polyglossic, discontinuous, musical, mythic, often discordant, Vollmann shifts through a series of narrators, his turns oblique, jarring. And while Vollmann includes political and military leaders, his analsyis/diagnosis focuses on artists, musicians, and writers. The above passage—which struck me especially for its discussion of the feeling of feeling, the aesthetics of feeling—this passage offers a neat encapsulation of Vollmann’s narrative digressions.
The “I” at the beginning of the citation is one of the “Shostakovich” sections narrators. Although unnamed (as of yet), he seems to be a high-ranking officer in Stalin’s secret police. At times though, this narrator—all of the narrators!—seem to merge consciousness with Vollmann, the novel’s architect, who interposes his own research and readings (or are they the narrators?). We see this in the dash introducing some lines from the conductor Evegny Mravinsky—key lines that I find fascinating—which Vollmann (or Vollmann’s narrator) uses to critique/question the relationship between art, emotion, intention, and authenticity (current subjects of deep fascination for me). Then—then!—without warning, Vollmann enters the consciousness of another “I,” Shostakovich himself, whose elliptical thoughts, muddied and warbling, illustrate, illuminate, and complicate Mravinsky’s critique.
Feelings conceal—feelings!—yes, yes, yes I think so: Here Vollmann (through several layers of complicating narrators, which lets just set aside for a second, or perhaps altogether, at least for now)—here Vollmann offers a fascinating description followed by its problem: If earnest expression can be couched in irony—if we use feelings to hide other feelings in art (etc.)—then what does that mean for love, which I think Vollmann (here, elsewhere) believes to be A Big Important Thing? Is a self-ironic love possible? Likely even?
I’m tempted here to deflect, move to another piece of art, like say, It’s A Wonderful Life, a film that I understand anew every year, a film I found baffling, frightening as a child; a film that bored me as teen; a film that I resented as a young man; a film that I appreciated with a winking ironic cheer a few years later—and then, now, or nowish, as an adult, a film I feel I understand, that its sentiment, raw, affects me more deeply than ever. (I was right as a child to be baffled and frightened). (What if anything self-ironic love?).
So I deflected. And am ranting, trying to set out a few thoughts for Something Bigger—something on Authenticity and Inauthenticity, The Con-Artist vs. The Poseur, the Aesthetics of Feeling the Feeling, of Anesthetizing the Feeling (of Feeling the Feeling). Look at me, I capitalized some of my words. Sorry.
Biblioklept 