The Tsar of Love and Techno (Book acquired, 9.29.2015)

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Anthony Marra’s collection The Tsar of Love and Techno is new in hardback from Hogarth next week. Here is the first part of Hogarth’s blurb (it’s the longest damn blurb I’ve ever seen I think):

Brilliantly constructed and beautifully inhabited, Anthony Marra’s new book, THE TSAR OF LOVE AND TECHNO (Hogarth; on sale October 6, 2015), is an exquisite collection of nine interconnected stories set in Russia that move across a century and introduce us to a cast of unforgettable characters whose lives intersect in ways both life-affirming and heartbreaking. Marra is a writer driven by a deep and authentic curiosity, and it was that curiosity that led him to write about Chechnya and to return there in THE TSAR OF LOVE AND TECHNO. With the recent insurgent attacks in Grozny, the Islamic State’s announcement that Chechnya will be their next zone of expansion, and 2015 marking the twentieth anniversary of the first Chechen War, Marra’s book couldn’t be timelier.

Reading — Lilla Cabot Perry

Vertigo/The Weight of Things (Books acquired, 9.28.2015)

Two new books from The Dorothy Project: Joanna Walsh’s collection Vertigo and Austrian writer Marianne Fritz’s 1978 novel The Weight of Things (in English translation by Adrian Nathan West)

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You can read Walsh’s story “Online” online at Electric Literature.

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Dorothy’s blurb for Fritz’s novel:

The Weight of Things is the first book, and the first translated book, and possibly the only translatable book by Austrian writer Marianne Fritz (1948–2007). For after winning acclaim with this novel—awarded the Robert Walser Prize in 1978—she embarked on a 10,000-page literary project called “The Fortress,” creating over her lifetime elaborate colorful diagrams and typescripts so complicated that her publisher had to print them straight from her original documents. A project as brilliant as it is ambitious and as bizarre as it is brilliant, it earned her cult status, comparisons to James Joyce no less than Henry Darger, and admirers including Elfriede Jelinek and W. G. Sebald.

Yet in this, her first novel, we discover not an eccentric fluke of literary nature but rather a brilliant and masterful satirist, philosophically minded yet raging with anger and wit, who under the guise of a domestic horror story manages to expose the hypocrisy and deep abiding cruelties running parallel, over time, through the society and the individual minds of a century.

Of this is the judge judge and the night does not end (Blood Meridian)

In that sleep and in sleeps to follow the judge did visit. Who would come other? A great shambling mutant, silent and serene. Whatever his antecedents he was something wholly other than their sum, nor was there system by which to divide him back into his origins for he would not go. Whoever would seek out his history through what unraveling of loins and ledgerbooks must stand at last darkened and dumb at the shore of a void without terminus or origin and whatever science he might bring to bear upon the dusty primal matter blowing down out of the millennia will discover no trace of any ultimate atavistic egg by which to reckon his commencing. In the white and empty room he stood in his bespoken suit with his hat in his hand and he peered down with his small and lashless pig’s eyes wherein this child just sixteen years on earth could read whole bodies of decisions not accountable to the courts of men and he saw his own name which nowhere else could he have ciphered out at all logged into the records as a thing already accomplished, a traveler known in jurisdictions existing only in the claims of certain pensioners or on old dated maps.

In his delirium he ransacked the linens of his pallet for arms but there were none. The judge smiled. The fool was no longer there but another man and this other man he could never see in his entirety but he seemed an artisan and a worker in metal. The judge enshadowed him where he crouched at his trade but he was a coldforger who worked with hammer and die, perhaps under some indictment and an exile from men’s fires, hammering out like his own conjectural destiny all through the night of his becoming some coinage for a dawn that would not be. It is this false moneyer with his gravers and burins who seeks favor with the judge and he is at contriving from cold slag brute in the crucible a face that will pass, an image that will render this residual specie current in the markets where men barter. Of this is the judge judge and the night does not end.

From Cormac McCarthy’s novel Blood Meridian. 

Selections from One-Star Amazon Reviews of Cormac McCarthy’s Blood Meridian

[Editorial note: The following citations come from one-star Amazon reviews Cormac McCarthy’s novel Blood Meridian. I’ve preserved the reviewers’ original punctuation and spelling. More one-star Amazon reviews.].


It may be art.

Damn McCarthy.

I find him boring.

unrelenting nihilism

The story is thin at best.

Are we supposed to enjoy it?

I felt abused by Blood Meridian

not a traditionally enjoyable book

this book is simply just not “all that”

wordy, over the top speechy dialogue

endless streams of dependent clauses

I am a devout fan of Cormac McCarthy.

The characters are not really sympathetic

He is obviously a sick man psychologically.

all about violence and no plot what so ever.

if I was a trained geologist I might like it better.

too many words that are not in standard dictionary

I guess people think he is cool because he writes so violent.

This one guy peed on some clay stuff to create a bomb like thing

murder, slaughter, killing, massacre, beating, stabbing, shooting, scalping

It consists of a series of almost unconnected scenes of unspeakable violence.

Esoteric words, eccentric expressions, pedantic philosophizing, arcane symbolism

I have to believe that he must be embarrassed to have this book back on the market.

A bunch of guys ride around Mexico killing everyone they come across for no particular reason

If you’re a fan of babies, quotation marks, and native americans, then avoid this book like the plague.

The reception he has had shows how tone deaf America has become to moral values, any moral values.

This book was written long before McCarthy had mastered the style that has brought him so much fame and credit.

the unrelenting amount of violence and cruelty in Blood Meridian strikes me as having crossed the line to pornography

It seemed like Cormac McCarthy wrote this with a dictionary in his lap trying to find words that he had never used before

Many of the words have to have been made up or are contractions of words and/or non-words, including much Spanish dialogue

Eliminate five words from the English language (“They rode on” and “He spat”)and this book would have been about 25 pages long

In this book, one sees him trying hard to hone his now-extraordinary powers of observation and description, and failing badly.

The standards for writing have clearly fallen far if all the praise heaped upon this inchoate, pompous mess of a novel is to be taken seriously.

Everything died: mules, horses, chickens, plants, rivers, snakes, babies, toddlers, boys, girls, women, men, ranchhands, bartenders, cowboys, good guys, bad guys…

I dont think the writer knows very much about AMERICAN history, the way he makes all the scalping get done by the AMERICANS and never by the indians, nor do I think he a PATRIOT

Wherein a company of men wander northern Mexico and the West killing, maiming, raping, and/or torturing everyone they meet, all described in gory, endless detail, led by the symbolic characters Glanton and his advisor, ‘the judge’, and supposedly illustrating that war and bloodletting are the only things that count, and the rest of life is just a meaningless dance.

Some kid with a few guys and a spattering of mans rambling through some part of the US or Mexico or a post-apocalyptic Australian desert seeing scores of gruesome, pointless scenes of violence, inhumanity, and death.

Holden is the sort of overt child defiling character who in real life wouldn’t last a month in a state penitentiary, because someone would rightly dispatch him as soon as possible.

Self-consciously faux-baroque linguistic stylings make this fetus-hurtin’ Treatise a feast for weakest link readers fascinated by the mark of the beast.

This book has some wonderful flowery language, and some beautiful descriptions of the southwest countryside.

They say that this book contains BIBLICAL themes, but I’ve read it and I don’t see how that could be so.

The author seems as if he is somehow trying to make some kind of “statement” about AMERICA

In a well ordered society McCarthy would be serving a life term or he would not exist at all.

there are times when it even seems as though English were not McCarthy’s first language

this book cannot be called a novel because it does not have character development

Would you let Cormac McCarthy look after your child for the night?

McCarthy is the most evil person because he is a talented writer

the author likes to use pronouns without establishing a subject

Who are the good guys and the bad guys, everyone is bad.

read Lonesome Dove instead, it’s a hundred times better

rampant nonstop mindless violence and depravity

I can’t dislike a book more than I dislike this one

This is a great writer being lazy and skating

good if you enjoy violence and nonsense

Theres lots of scalping of indians

Was there a quota on similes?

this booked scarred me

sociopath killers

It’s pure bunk.

a moral blight

utter trash

Ugh

Three Books

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The House at Pooh Corner by A.A. Milne. A 1961 hardback by E.P. Dutton & Co. “Decorations” by Ernest H. Shepard; design credited to Warren Chappell. All three books this week come from a box my mother-in-law dropped off, containing maybe two dozen of her old books.

IMG_8504Heidi by Johanna Spyri. A 1945 Grosset & Dunlap Illustrated Junior Library hardback edition. Illustrations are by William Sharp, but no designer is credited for the hardback cover. My guess is that there was a dust jacket for this book at one point.

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Spelling Goals (Three) by May Lambader, William Kottmeyer, and Rose Wickey. 1951, hardback, Webster. Illustrations by Edward Miller and cover by Christine Chisolm.

Portrait of a Girl Reading — Thomas Sully

Two by Anne Carson (Books acquired, 9.14.2015)

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Still recovering from Anne Carson’s Autobiography of Red. Haven’t felt so zapped by a book in a long time. Amazing. Try to write something about it on here soon. Million thanks again to BLCKDGRD for sending it my way.

Three Books

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Victor Halfwit: A Winter’s Tale by Thomas Bernhard. English translation by Martin Chalmers. Illustration and design by Sunandini Banerjee. First edition oversized hardback from Seagull Books. On thick, heavy paper, Banerjee’s rich full-color digital collages illustrate what is essentially a microfiction by Thomas Bernhard. I bought this a few years ago at Faulkner House, a tiny bookstore in New Orleans.

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Go Down, Moses by William Faulkner. 1973 Vintage mass-market paperback edition. Cover photo by Robert Wenkham; no designer credited. My favorite Faulkner, although I’ve not read them all. I bought this for grad school, which explains the cheap used mass-market edition, but I love the cover. IMG_8402 Fractured Karma by Tom Clark. First edition trade paperback from Black Sparrow Press. Design by Barbara Martin. The cover painting, Waiting Room for the Beyond, is by John Register. This is the first Tom Clark book I read. Amazing.

Does Suttree die? | A riff on Cormac McCarthy’s novel Suttree

Does Suttree die?

At the end of Cormac McCarthy’s novel Suttree, I mean?

Look, before we go any farther, let’s be clear—this little riff is intended for those who’ve read the book. Anyone’s welcome to read this riff of course, but I’m not going to be, y’know, summarizing the plot or providing an argument that you should read Suttree (you should; it’s great)—and there will be what I suppose you’d call spoilers.

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Oarsman is a sculpture by David Phelps, located at the northwest corner of Gay and Church Streets in Knoxville, TN. This photo is by Wes Morgan, part of his Searching for Suttree series.

So anyway—Does Suttree die at the end of Cormac McCarthy’s novel Suttree?

This question percolated in the background of my brain as I revisited Suttree this month via Michael Kramer’s amazing audiobook version (I also reread key sections—especially the last), in large part because of comments made on my 2010 review of the novel.

The first comment suggesting that Suttree dies at the end of the novel came in 2012 from poster “Jack foy,” who suggested that Suttree “has died in the boat and that it is his corpse cariied [sic] from there and his spirit and not his body hitching a ride at the finale.”

Earlier this year, a commenter named Julie Seeley responded to Jack foy’s idea; her response is worth posting in full:

I kind of agree that Suttree dies at the end also–or at least there are a lot of indications that the ending is meant to be ambiguous. Suttree reflects on his life, saying something to the effect of “I was not unhappy.” He visits his own houseboat and finds the door off and a corpse in his bed. A driver picks him up and says, “Come on,” even though Suttree had never even stuck out his thumb to hitch-hike It feels oddly similar to Dickinson’s “Because I could not stop for Death, He kindly stopped for me.” All of the scenery whizzing by faster and faster does feel like (sorry for the cliche) his life sort of flashing before him. This was a thought-provoking novel that I am looking forward to reading again soon.

Julie Seeley’s analysis is persuasive and her connection to Dickinson is especially convincing upon rereading the book’s final paragraphs. In my Suttree review, I argued that the book is a synthesis of American literature, tracing the overt connections to Faulkner and Frost, Poe and Cummings, Ellison and Steinbeck, before laundry listing:

…we find Mark Twain, Herman Melville, Ernest Hemingway, Walt Whitman, Emerson and Thoreau, Emily Dickinson, and William Carlos Williams, to name just a few writers whose blood courses through this novel (even elegant F. Scott Fitzgerald is here, in an unexpected Gatsbyish episode late in the novel).

Revisiting Suttree this month I found myself again impressed with McCarthy’s command of allusion and reference. Its transcendentalist streak stood out in particular. (Or perhaps more accurately, I sensed the generative material of the American Renaissance writers filtered through the writers that came before Suttree). But one American Renaissance writer I failed to name in my original review was Dickinson’s (near) contemporary Nathaniel Hawthorne, whose work of course filters through all serious American novels. There are plenty of echoes of Hawthorne in Suttree—Hawthorne’s tales in particular—but it’s the way that Hawthorne ends his tales that interests me here. Like the dashes that conclude many of Dickinson’s poems (including “Because I could not stop for Death”), Hawthorne’s conclusions are frequently ambiguous. Like the conclusion of Suttree.

So: Does Suttree die at the end of Cormac McCarthy’s novel Suttree?

Well, wait. Let’s go back to the beginning. Of the novel, I mean. Like I said, I’d had this question buzzing around in the back of my head as I revisited the book.

So, the beginning. Well, I’d forgotten that Suttree had a twin brother who had died at birth. The twin resurfaces a few times in the text, and there’s even a scene in the musseling section featuring a set of twins. Does Suttree’s twin brother’s death in infancy prefigure Suttree’s own death? How could it not? But—at the same time—hey, it’s ambiguous if Suttree dies; should I have stated my answer to my own damn question earlier?—hey, at the same time, the twin brother’s death is not Suttree’s death sentence, right? It simply introduces a motif—the dead body. Continue reading “Does Suttree die? | A riff on Cormac McCarthy’s novel Suttree” →

Milton When a Boy Instructed by His Mother — Henry Fuseli

The novel is the first large-scale example of “mass art”

As practical men, the new middle classes found literature frivolous; as pious ones, they found it idolatrous; as class-conscious citizens, they felt it too committed to court and salon. Yet they could not live without it; a lust for images of their own lives, projections of their own dreams and nightmares moved them obscurely. They demanded a form that would be really their own, a mass-produced commodity to be bought or rented in the marketplace like other goods, a thick and substantial item to be placed on the table with other evidence of their wealth and taste. The novel is the first large-scale example of “mass art.” It is quite different from “folk art,” with its handmade appearance and its air of knowing its place, for folk art is rooted in the country and in agriculture; it changes slowly and almost imperceptibly, its chief appeal being its resemblance to what has come before. “Mass art,” on the other hand, is urban art, changing with the rapid changes of fashion, and seeming as much the product of new advances and technique as in any profound shift in the imagination. Like the wood-block engravings of 18th-century Japan, or the movies later on, or jazz on records, its triumphs depend chiefly on developments in manufacturing, packaging, and distribution. Like other mass-produced products, it tends to drive out of existence craft objects, which cannot survive the class structures which demand them and the class-consciousness which defines their consumers. Just as the spectacular rise of the novel is inconceivable without the perfection of printing, its final victory is inconceivable without the invention of the circulating library; mass-produced, it is also mass-circulated like any commodity in an expanding mercantile economy.

From Leslie Fiedler’s Love and Death in the American Novel (1960).

Nathaniel Hawthorne’s journal entry of September 18th, 1842

September 18th.–How the summer-time flits away, even while it seems to be loitering onward, arm in arm with autumn! Of late I have walked but little over the hills and through the woods, my leisure being chiefly occupied with my boat, which I have now learned to manage with tolerable skill. Yesterday afternoon I made a voyage alone up the North Branch of Concord River. There was a strong west-wind blowing dead against me, which, together with the current, increased by the height of the water, made the first part of the passage pretty toilsome. The black river was all dimpled over with little eddies and whirlpools; and the breeze, moreover, caused the billows to beat against the bow of the boat, with a sound like the flapping of a bird’s wing. The water-weeds,where they were discernible through the tawny water, were straight outstretched by the force of the current, looking as if they were forced to hold on to their roots with all their might. If for a moment I desisted from paddling, the head of the boat was swept round by the combined might of wind and tide. However, I toiled onward stoutly, and, entering the North Branch, soon found myself floating quietly along a tranquil stream, sheltered from the breeze by the woods and a lofty hill. The current, likewise, lingered along so gently that it was merely a pleasure to propel the boat against it. I never could have conceived that there was so beautiful a river-scene in Concord as this of the North Branch. The stream flows through the midmost privacy and deepest heart of a wood, which, as if but half satisfied with its presence, calm, gentle, and unobtrusive as it is, seems to crowd upon it, and barely to allow it passage; for the trees are rooted on the very verge of the water, and dip their pendent branches into it. On one side there is a high bank, forming the side of a hill, the Indian name of which I have forgotten, though Mr. Thoreau told it to me; and here, in some instances, the trees stand leaning over the river, stretching out their arms as if about to plunge in headlong. On the other side, the bank is almost on a level with the water; and there the quiet congregation of trees stood with feet in the flood, and fringed with foliage down to its very surface. Vines here and there twine themselves about bushes or aspens or alder-trees, and hang their clusters (though scanty and infrequent this season) so that I can reach them from my boat. I scarcely remember a scene of more complete and lovely seclusion than the passage of the river through this wood. Even an Indian canoe, in oldentimes, could not have floated onward in deeper solitude than my boat. I have never elsewhere had such an opportunity to observe how much more beautiful reflection is than what we call reality. The sky, and the clustering foliage on either hand, and the effect of sunlight as it found its way through the shade, giving lightsome hues in contrast with the quiet depth of the prevailing tints,–all these seemed unsurpassably beautiful when beheld in upper air. But on gazing downward, there they were, the same even to the minutest particular, yet arrayed in ideal beauty, which satisfied the spirit incomparably more than the actual scene. I am half convinced that the reflection is indeed the reality, the real thing which Nature imperfectly images to our grosser sense. At any rate, the disembodied shadow is nearest to the soul.

There were many tokens of autumn in this beautiful picture. Two or three of the trees were actually dressed in their coats of many colors,–the real scarlet and gold which they wear before they put on mourning. These stood on low, marshy spots, where a frost has probably touched them already. Others were of a light, fresh green, resembling the hues of spring, though this, likewise, is a token of decay. The great mass of the foliage, however, appears unchanged; but ever and anon down came a yellow leaf, half flitting upon the air, half falling through it, and finally settling upon the water. A multitude of these were floating here and there along the river, many of them curling upward, so as to form little boats, fit for fairies to voyage in. They looked strangely pretty, with yet a melancholy prettiness, as they floated along. The general aspect of the river, however, differed but little from that of summer,–at least the differencedefies expression. It is more in the character of the rich yellow sunlight than in aught else. The water of the stream has now a thrill of autumnal coolness; yet whenever a broad gleam fell across it, through an interstice of the foliage, multitudes of insects were darting to and fro upon its surface. The sunshine, thus falling across the dark river, has a most beautiful effect. It burnishes it, as it were, and yet leaves it as dark as ever.

On my return, I suffered the boat to float almost of its own will down the stream, and caught fish enough for this morning’s breakfast. But, partly from a qualm of conscience, I finally put them all into the water again, and saw them swim away as if nothing had happened.

Nathaniel Hawthorne’s journal entry of September 18th, 1842

Portrait of Sarah Prince Gill — John Singleton Copley

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Geryon — Gustave Dore

“The reticent volcano keeps” — Emily Dickinson

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This Dickinson poem is a sort of epigraph to Anne Carson’s novel-poem-poem-novel Autobiography of Red. I had never read either, before today, somehow, but oh my electric!

Three Books

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Love and Death in the American Novel by Leslie A. Fiedler. First edition hardback published by Criterion in 1960. Cover design by Sidney Feinberg. I was dismayed when I first found Fiedler—he’d arrived at his thesis—and supported it with a big fat book—decades before me. I was hipped to this by a kindly professor in graduate school, who suggested I read and then credit Fiedler. I pulled this book out to help me in an American lit course I’m teaching this fall.

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Suttree by Cormac McCarthy. First edition trade paperback published by Vintage Contemporaries. Cover design by Lorraine Louie; cover photo illustration by Marc Tauss. I’ve already written about my love of Vintage Contemporaries covers, and finding this copy of Suttree a few years ago was glorious. I’ve been rereading the novel—auditing it, really, through a superb reading by Michael Kramer. I’ve had this edition out as I go. Suttree, by the way, fits nicely neatly perfectly into Fielder’s thesis about American lit.
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Grooks by Piet Hein. Cute little pocket-sized paperback. Second-edition published by the M.I.T. Press. Cover illustration is by Hein; I can’t find a credit for the designer. I found this in the bookstore the other day when I was looking for something else in the poetry section. Hein’s grooks can be clever, but also occasionally a bit too pithy, if that makes sense. Still.