From The Minus Times #29, as republished in The Minus Times Collected.
From The Minus Times #29, as republished in The Minus Times Collected.
Since the last time I’ve done one of these stupid “books acquired” posts, I’ve had at least six review copies show up at Biblioklept World Headquarters, Joy Williams’ 1988 Florida Keys novel Breaking and Entering, and a signed first-edition hardback copy of Ishmael Reed’s 1976 neo-hoodoo novel Flight to Canada—which I finished yesterday morning—and I’ve yet to do one of these stupid “books acquired posts” on any of them.
I had intended to do write about Flight to Canada today—a very Reedesque romp, overstuffed with characters and capers and motifs and themes, a zany satire of not just the Civil War, but also the American 1970s. Anyway, I’d intended to write about it today (or maybe riff on Greta Gerwig’s Little Women, which I saw last night and adored), but I ended up having to do a bunch of post-Xmas chores. The last few weeks have been busy.
In between post-Xmas chores, I dropped my daughter off at my in-law’s, which necessitates driving past my favorite used bookstore. I couldn’t resist stopping by, even though I need another book like I need another hole in my head. I mean, I had intended to start Charles Portis’s latest (and hopefully not last!) novel Gringos today. Instead, I started Shirley Jackson’s We Have Always Lived in the Castle.
Jackson’s novel The Haunting of Hill House was an unexpected highlight for me in 2019—I’ll admit I’d never really thought to read anything of hers after filing her under Eighth grade lit after reading “The Lottery” (I made a similar stupid mistake with William Golding (filed under Tenth grade lit), corrected by good people who told me to read The Inheritors). I didn’t really know anything about We Have Always Lived in the Castle until today, but I love the title and really dig this Penguin edition’s cover (by comix artist Thomas Ott). Like Hill House, Castle also has a fantastic opening paragraph:
My name is Mary Katherine Blackwood. I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but I have had to be content with what I had. I dislike washing myself, and dogs, and noise. I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cup mushroom. Everyone else in my family is dead.
The first sentence is a bit banal, a little bit of exposition, right? And then by the time you get to the “I could have been a werewolf,” well, what the hell? And then there’s a because, lovely, before a nice lists of dislikes (first!) and then likes (including a deadly mushroom, which Jackson’s narrator Mary (purposefully?) misnames as the “death-cup” instead of the death cap. The last line is a hell of a zinger.
I skipped Jonathan Lethem’s introduction of course, but I did have to go figure out if he also wrote the introduction to the edition of Hill House I read last year. (He didn’t Jonny Lethe wrote the intro to the copy of Anna Kavan’s Ice that I read last year. I’ll read J-Lethz intro after I finish.)
I also picked up a 1973 Penguin edition of a collection of Flann O’Brien’s stories and plays. (Neil Stuart’s cover was worth the two bucks.) The bulk of the collection is devoted to an unfinished novel called Slattery’s Sogo Saga and a play called Faustus Kelly, attributed to O’Brien’s pseudonym Myles na gCopaleen (rendered in this edition as Myles Na Gopaleen—Flann O’Brien was actually a pseudonym too, for Brian O’Nolan).
Like the O’Brien collection, picking up a clearly-unread pristine massmarket paperback edition of J.G. Ballard’s 1965 novel The Drought was more an I have to type situation than anything else, although I’m sure I’ll read it this year (I’m always looking to scarf down a Philip K. Dick or Ballard I haven’t read, and I haven’t read The Drought). Initially, I was perplexed—I thought I knew all Ballard titles, even the ones I haven’t read—but it turns out that The Drought was initially published in 1964 as The Burning World (which I was aware of). In any case, The Drought is probably horrifyingly prescient novel as we enter the New Twenties. Happy New Year!
I went to my favorite local bookstore today to pick up my daughter’s sixth-grade required reading list and to offload some books I’ll never read again. I have far too many tasteful trade paperbacks that I don’t need. I try to bring three or four in on each trip and only come out with one for me (books for the kids don’t count). I picked up a copy of Stanley Elkin’s Criers and Kibitzers, Kibitzers and Criers (1966) entirely accidentally. The book was misshelved, stacked somehow on a pile of “Miscellaneous MU-” titles (I was looking for any book by Gerald Murnane, knowing that there were none there). I couldn’t pass it up—the cover, I guess, the cheap Pop appeal of its massmarketishness, and also the fact that I’m imbibing short stories like wine lately. (Murnane, Coover, Volodine).
I also came across this lovely edition of Flann O’Brien’s At Swim-Two-Birds, but did not buy it, because I already own it. I love the book. The copy I have has an ugly-assed cover, unlike this beauty, which I hope some kid picks up and loses her mind over—-
Here’s the short review: Flann O’Brien’s The Third Policeman is a dark, comic masterpiece—witty, bizarre, and buzzing with surreal transformations that push the limits of language. I am ashamed that I came so late to its cult (how the novel escaped my formative teens and twenties escapes me), but also thankful that I trusted the readers of this blog who kindly suggested I read it.
I’m also thankful that I knew pretty much nothing about the book going in; I’m thankful that I skipped over Denis Donoghue’s introduction (which has the gall to spoil the novel’s end); I’m thankful that I resisted looking up information on de Selby, a philosopher I had never heard the name of before The Third Policeman. I read the novel in an ideal state, a kind of Platonic purity of appropriate bewilderment, at turns gaping and guffawing at O’Brien’s sublime impositions on plot, imagery, thought, language.
To be plain, I think that you should read the book too, gentlest reader, and if you are fortunate enough to possess innocence of its strange virtues, all the better. The less you know about The Third Policeman, the more enjoyable your first time will be. But if such conditions are too much to ask, here are a few fragments of plot:
We have an unnamed narrator, a one-legged orphan and would-be de Selby scholar (don’t ask) who enters into a nefarious plot with a man named Divney. Okay, they plan and execute a murder for treasure. Shades of Crime and Punishment creep into the novel by way of Poe’s nervous narrators; the plot even anticipates in some ways The Stranger, though not as moody and far funnier and honestly just way better. (I’m riffing on books here because, again, it seems to me a disservice to the interested reader to overshare the plot of The Third Policeman).
Let’s just say there’s a two-dimensional house. Let’s just say there’s an absurd picaresque quest to recover a missing black box. Let’s just say there are two policemen (okay, there are three), alternately terrifying, edifying, assuaging, bewildering. Let’s just say there’s an army of one-legged men. Let’s just say there’s a soul. Let’s call him “Joe.”
Let’s just say there are bicycles. Lots and lots of bicycles.
And the wisdom (?!) of de Selby, of course, “the savant,” who, via our unnamed narrator’s erudite footnotes (including the notes of de Selby’s esteemed commentators, of course) offers up opinions and maxims on matters of natural science and philosophy alike. Here’s a taste of de Selby, from the epigraph:
Human existence being an hallucination containing in itself the secondary hallucinations of day and night (the latter an insanitary condition of the atmosphere due to accretions of black air) it ill becomes any man of sense to be concerned at the illusory approach of the supreme hallucination known as death.
It’s also a good taste of the bizarre thrust of The Third Policeman; the first five words might work as a dandy summary, or at least summary enough.
But maybe I should share some of O’Brien’s language (and not just some philosopher that if you’re being honest you’ll admit you’ve never heard of before, although it seems like maybe you ought to have heard of him, hmmm?).
Just the first paragraph, gentle soul. It was enough to hook this fish:
Not everybody knows how I killed old Phillip Mathers, smashing his jaw in with my spade; but first it is better to speak of my friendship with John Divney because it was he who first knocked old Mathers down by giving him a great blow in the neck with a special bicycle-pump which he manufactured himself out of a hollow iron bar. Divney was a strong civil man but he was lazy and idle-minded. He was personally responsible for the whole idea in the first place. It was he who told me to bring my spade. He was the one who gave the orders on the occasion and also the explanations when they were called for.
Okay. Hopefully I’ve convinced you a) to read The Third Policeman and b) to quit reading this review (let’s be honest, this isn’t so much a review as it is a riff, a recommendation, and it’s going to get even ramblier in a moment). You can get The Third Policeman from The Dalkey Archive, so you know it’s good, but oh-my-God-guess-what-can-you-believe-it? The Dalkey Archive is actually named after one of O’Brien’s novels, The Dalkey Archive.
So, yes, very highly recommended, read it, etc.
The rest of this riff I devote to puzzling out (without resolution) some of the marvels and conundrums of The Third Policeman; if you haven’t read the book, I suggest skipping all that follows.
I imagine that there’s a ton of criticism out there that might try to explain or elucidate the meaning of The Third Policeman, and while I’d love to hear or read some opinions on the book, I think it ultimately defies heavily symbolic readings. I suppose we might argue that the bicycle motif points toward the slow mechanization of humanity in the post-industrial landscape (or some such nonsense), or we might try to find some codex for the plot of the novel in the work of the fictional philosopher de Selby (and his critics), or we might try to plumb the novel’s mystical and religious underpinnings. It seems to me though that the absurd, nightmarish fever-joy of The Third Policeman lies in its precise indeterminacy. Here’s an example, at some length, of our narrator’s marvelous powers to describe what cannot be described:
This cabinet had an opening resembling a chute and another large opening resembling a black hole about a yard below the chute. He pressed two red articles like typewriter keys and turned a large knob away from him. At once there was a rumbling noise as if thousands of full biscuit-boxes were falling down a stairs. I felt that these falling things would come out of the chute at any moment. And so they did, appearing for a few seconds in the air and then disappearing down the black hole below. But what can I say about them? In colour they were not white or black and certainly bore no intermediate colour; they were far from dark and anything but bright. But strange to say it was not their unprecedented hue that took most of my attention. They had another quality that made me watch them wild-eyed, dry-throated and with no breathing. I can make no attempt to describe this quality. It took me hours of thought long afterwards to realize why these articles were astonishing. They lacked an essential property of all known objects. I cannot call it shape or configuration since shapelessness is not what I refer to at all. I can only say that these objects, not one of which resembled the other, were of no known dimensions. They were not square or rectangular or circular or simply irregularly shaped nor could it be said that their endless variety was due to dimensional dissimilarities. Simply their appearance, if even that word is not inadmissible, was not understood by the eye and was in any event indescribable. That is enough to say.
O’Brien’s unnamed narrator repeatedly runs up against the problem of the ineffable, of the inability of language to center meaning.
The policemen—Sergeant Pluck and Policeman MacCruiskeen—are handier at navigating the absurd pratfalls of language. When the Sergeant asks the narrator if he’d like “a velvet-coloured colour,” we see the tautological, self-referential scope to description, and hence the underlying trouble of approaching pure communication. Much of the humor of The Third Policeman comes from such language. The Sergeant tells of an angry mob that “held a private meeting that was attended by every member of the general public except the man in question,” and we see the mutability of oppositions like “private/public” played to absurd comic effect.
When the policemen describe machines that break sensation into opposing and contradictory parts, we get here an anticipation of deconstruction, of the idea that difference and instability governs sensation and meaning. There is no purity:
‘We have a machine down there,’ the Sergeant continued, ‘that splits up any smell into its sub – and inter-smells the way you can split up a beam of light with a glass instrument. It is very interesting and edifying, you would not believe the dirty smells that are inside the perfume of a lovely lily-of-the mountain.’
‘And there is a machine for tastes,’ MacCruiskeen put in, ‘the taste of a fried chop, although you might not think it, is forty per cent the taste of…’ He grimaced and spat and looked delicately reticent.
The policemen’s analytic machinery correlates strongly with the narrator’s interest in philosophy and science. Through de Selby and his various critics, O’Brien simultaneously mocks and reveres the atomizing pursuits of knowledge. Delivered mostly in footnotes that would give David Foster Wallace a run for his money, the absurd philosophy of de Selby underpins the physical and metaphysical conundrums of The Third Policeman (this is, after all, the story of a man traversing a world where the laws of physics do not adhere). Here’s an early footnote:
. . . de Selby . . . suggests (Garcia, p. 12) that night, far from being caused by the commonly accepted theory of planetary movements, was due to accumulations of ‘black air’ produced by certain volcanic activities of which he does not treat in detail. See also p. 79 and 945, Country Album. Le Fournier’s comment (in Homme ou Dieu) is interesting. ‘On ne saura jamais jusqu’à quel point de Selby fut cause de la Grande Guerre, mais, sans aucun doute, ses théories excentriques – spécialement celle que nuit n’est pas un phénomène de nature, mais dans l’atmosphère un état malsain amené par un industrialisme cupide et sans pitié – auraient l’effet de produire un trouble profond dans les masses.’
This is wonderful mockery of academicese, a ridiculous idea presented with some commentary in French. At this point in the novel, I started to doubt the existence of de Selby; as the narrator’s notations of de Selby’s ideas grew increasingly bizarre, I soon realized the joke O’Brien had played on me.
And yet these jokes do not deflate the essential metaphysical seriousness of The Third Policeman: This is a novel about punishment, about crime, about damnation; this is a novel about not knowing but trying to know and describe what can’t be known or described.
This not knowing extends strongly to the reader of The Third Policeman. I was never sure if the narrator was dreaming or hallucinating or wandering through a strange afterlife—and in a way, it didn’t matter. There’s no allegorical match-up or metaphysical scorecard from which to parse The Third Policeman’s final meaning because there is no final meaning. Here’s O’Brien—or really Brian O’Nolan, I suppose; O’Brien was a pseudonym—summarizing the novel in a 1940 letter to William Saroyan:
I’ve just finished another book. The only thing good about it is the plot and I’ve been wondering whether I could make a crazy…play out of it. When you get to the end of this book you realize that my hero or main character (he’s a heel and a killer) has been dead throughout the book and that all the queer ghastly things which have been happening to him are happening in a sort of hell which he earned for the killing. Towards the end of the book (before you know he’s dead) he manages to get back to his own house where he used to live with another man who helped in the original murder. Although he’s been away three days, this other fellow is twenty years older and dies of fright when he sees the other lad standing in the door.
Then the two of them walk back along the road to the hell place and start thro’ all the same terrible adventures again, the first fellow being surprised and frightened at everything just as he was the first time and as if he’d never been through it before. It is made clear that this sort of thing goes on for ever – and there you are. It is supposed to be very funny but I don’t know about that either…I think the idea of a man being dead all the time is pretty new. When you are writing about the world of the dead – and the damned – where none of the rules and laws (not even the law of gravity) holds good, there is any amount of scope for back-chat and funny cracks.
Happily, as I mentioned earlier, I skipped the introduction and thus missed this letter, which I think deflates the novel in some ways, including the authorial spoiler. Also, O’Brien’s just plain wrong when he contends that the “only good thing about it is the plot” — there’s also the language, the ideas, the rhythm, the structure . . .
But 1940 was not ready for such a strange novel, and The Third Policeman wasn’t published until 1967, a year after its author’s death. By 1967 Thomas Pynchon had published V. and The Crying of Lot 49, John Barth has published The Sot-Weed Factor and Giles Goat-Boy, Don DeLillo had quit advertising to start writing novels, Donald Barthelme had published Snow-White, Kurt Vonnegut had gained a large audience—in short, the world of letters had caught up to O’Brien (or O’Nolan, if you prefer). Here was a post-modern novel delivered while Modernism was still in full swing.
But literary labels are no fun. You know what’s fun? The Third Policeman is fun. And unnerving. And energetic. And surreal. And really, really great. Very highly recommended.
[Ed. note—Biblioklept originally published a version of this review in May of 2012].
I was looking for something else when I found Everyman’s edition of The Complete Novels of Flann O’Brien. I gave away The Third Policeman to a friend who has yet to read it; I can also now give away At Swim-Two Birds. (I won’t give away my copy of The Poor Mouth though, which is illustrated by Ralph Steadman).
I read Simone de Beauvoir’s The Blood of Others years ago in an undergraduate class called existential literature or something like that.
Had to have this Penguin edition. Here’s the back:
Flann O’Brien’s The Best of Myles collects material from his column Cruiskeen Lawn:
Title of Book referred to: The Athenian Oracle, being an Entire COLLECTION of all the Valuable QUESTIONS and ANSWERS in the old Athenian Mercuries intermixed with many CASES in Divinity, Hiftory, Philofophy, Mathematicks, Love, Poetry, never before publifhed.
Extract from Book referred to:
1. Whether it be poffible for a woman fo carnally to know a Man in her fleep as to conceive, for I am fure that this and no way other was I got with Child.
2. Whether it be lawful to ufe Means to put a ftop to this growing mifchief, and kill it in the Embryo; this being the only way to avert the Thunderclap of my Father’s Indignation.
To the firft Question, Madam, we are very pofitive, that you are luckily miftaken, for the thing is abfolutely impoffible if you know nothing of it; indeed, we had an account of a Widow that made fuch a pretence, and fhe might have better credit than a maid, who can have no plea but dead drunk, or in fome fwooning fit, and our Phyficians will hardly allow a poffibility of the thing then. So that you may fet your heart at reft, and think no more of the matter, unlefs for your diverfion.
As for the fecond Queftion, fuch practices are murder, and thofe that are fo unhappy as to come under fuch Circumftances if they ufe the forementioned means, will certainly one day find the remedy worfe than the Difeafe. There are wifer methods to be taken in fuch Cafes, as a fmall journey and a Confident. And afterwards, fuch a pious and good life as may redreff fuch an heavy miffortune.
Questions, a Selection of Further: Almond, why fo bitter being taken in the mouth, and yet the Oyl fo very fweet? Apprentice, reduced to want, how may he relieve himself? Blood, is the eating of it lawful? Baptifm, adminiftered by a Mid-wife or Lay Hand, is it lawful? Devil, why called Lucifer; and elfewhere the Prince of Darknefs? Eftate, gotten by felling lewd Books, can it profper? Eyes, what Method muft I take with ’em when weak? Horfe, with a round fundament, why does he emit a fquare Excrement? Happinefs, what is it? Lady, difturbed in her Bed, your thoughts of it? Light, is it a Body? Myftae or Cabalifts, what d’ye think of them? Marriage, is not the End of it, in a great Meafure, loft nowadays? Poem, by Mr. Tate? Virginity, is it a Vertue? Wind, what is it? Wife, is it lawful for a Man to beat her? Wife, if an ill one, may I pray that God wou’d take her to himfelf?
Conclusion of the foregoing.
From Flann O’Brien’s novel At Swim-Two-Birds.
The vibrant force of storytelling in Flann O’Brien’s excellent first novel At Swim-Two-Birds threatens to overwhelm reader and narrator alike—and what a strange joy it is to be overwhelmed. This novel overflows with stories; its plot threads twist into each other, break out of each other, erupt into new ideas, characters, riffs, sketches. First published in 1939—the same year as James Joyce’s Finnegans Wake—At Swim-Two-Birds seems light years ahead of its time—indeed, this is a book that is still ahead of its time.
Summarizing At Swim-Two-Birds is difficult but worth attempting. We have an unnamed narrator, a student living with his uncle who doesn’t think much of how his nephew spends his time. Our narrator likes to imbibe large quantities of porter and wax philosophical with his friends about his literary projects. These projects, our narrator’s riffs and scribblings, begin to take on lives of their own: they intersect, overlap, intermarry, degenerate and regenerate.
The book’s opening paragraph announces the novel’s intention to disregard the classical unities of action, place, and time:
Having placed in my mouth sufficient bread for three minutes’ chewing, I withdrew my powers of sensual perception and retired into the privacy of my mind, my eyes and face assuming a vacant and preoccupied expression. I reflected on the subject of my spare-time literary activities. One beginning and one ending for a book was a thing I did not agree with. A good book may have three openings entirely dissimilar and inter-related only in the prescience of the author, or for that matter one hundred times as many endings.
First, we meet “Pooka MacPhellimey, a member of the devil class,” a hobgoblin of Irish folklore (he turns out to be a thoughtful and polite fellow). Then, there’s John Furriskey, who “was born at the age of twenty-five and entered the world with a memory but without a personal experience to account for it.” Furriskey is the literary creation of another of the narrator’s literary creations, one Dermot Trellis, a grumpy old man who writes Westerns; Trellis (an author, it’s worth reiterating) is the eventual antagonist of the novel, the target for all of the other characters’ vengeance. The third opening offers up Finn Mac Cool, “a legendary hero of old Ireland.”
Much of the early part of At Swim-Two-Birds features Finn Mac Cool holding forth on all matters Irish in wonderfully baroque and hyperbolic passages. Here’s a snippet (a long one!), featuring Finn on the ideal man:
When pursued by a host, he must stick a spear in the world and hide behind it and vanish in its narrow shelter or he is not taken for want of sorcery. Likewise he must hide beneath a twig, or behind a dried leaf, or under a red stone, or vanish at full speed into the seat of his hempen drawers without changing his course or abating his pace or angering the men of Erin. Two young fosterlings he must carry under the armpits to his jacket through the whole of Erin, and six arm-bearing warriors in his seat together. If he be delivered of a warrior or a blue spear, he is not taken. One hundred head of cattle he must accommodate with wisdom about his person when walking all Erin, the half about his armpits and the half about his trews, his mouth never halting from the discoursing of sweet poetry. One thousand rams he must sequester about his trunks with no offence to the men of Erin, or he is unknown to Finn. He must swiftly milk a fat cow and carry milk-pail and cow for twenty years in the seat of his drawers. When pursued in a chariot by the men of Erin he must dismount, place horse and chariot in the slack of his seat and hide behind his spear, the same being stuck upright in Erin. Unless he accomplishes these feats, he is not wanted of Finn. But if he do them all and be skillful, he is of Finn’s people.
It’s hard not to feel something of Joyce in the passage (I’m particularly reminded of the Cyclops episode of Ulysses), and O’Brien’s narrator name-checks Joyce (along with Aldous Huxley) in the first few pages of the book. The narrator’s comically mechanical and precise descriptions also recall Joyce. Joyce and O’Brien drew from the same well of mythology, but O’Brien more keenly attunes his focus on Irish legend and folklore in At Swim-Two-Birds, while Joyce’s project skews to archetypes. Similarities and divergences aside, there’s something strangely fitting about O’Brien’s Finn Mac Cool dreaming his way into other characters’ lives in At Swim-Two-Birds, as if this Finn is the psychic twin of Joyce’s Finn.
Indeed, such a reading would fit neatly into our young narrator’s ideas about the function of character in literature:
Characters should be interchangeable as between one book and another. The entire corpus of existing literature should be regarded as a limbo from which discerning authors could draw their characters as required, creating only when they failed to find a suitable existing puppet. The modern novel should be largely a work of reference. Most authors spend their time saying what has been said before – usually said much better. A wealth of references to existing works would acquaint the reader instantaneously with the nature of each character, would obviate tiresome explanations and would effectively preclude mountebanks, upstarts, thimble-riggers and persons of inferior education from an understanding of contemporary literature.
This decree strikes me as wonderfully post-postmodernist. That the “modern novel should be largely a work of reference” finds its suitable echo over half a century later in the note-card novels of David Markson (and other reality smugglers). The citation above serves as a metatextual description of At Swim-Two-Birds itself: O’Brien’s narrator framing the various tales that erupt in the novel, but also undoing the frames, allowing his characters to converge, to tell their own stories (and within those stories characters tell other stories…).
In its finest moments (of which there are many), At Swim-Two-Birds operates on an ad hoc logic that it creates and describes in motion, a kind of improvised dream response pattern. Most books, particularly postmodern books, teach the reader how to read them—that is, most novels provide keys, hints, and reading rules early enough in the text to allow perceptive readers to interpret (subjectively, of course) what the novel is doing. O’Brien’s novel in toto, with its discontinuities, gaps, eruptions, and juxtapositions, paradoxically is its own discrete, unified key.
But I seem to be getting bogged down in a bit of literary theory, which is not my intent at all.
Instead, let me draw attention to a wonderful extended jaunt in the middle of At Swim-Two-Birds where the Pooka MacPhellimey enters into an ersatz quest with the Good Fairy, two cowboyish thugs (or thuggish cowboys) named Slug and Shorty, the poet Jem Casey, and the mad King Sweeny. This ragtag band sets out to bequeath gifts to the forthcoming child of Miss Lamont (the creation of a creation of a creation). These episodes unfold in comic bravado, their slapstick rhythms recalling the manic but precise energy of Buster Keaton and Charlie Chaplin and the linguistic brio of the Marx brothers. This miniature picaresque is tempered in sweet pathos for poor crazy Sweeny who must be plied forward with the promise of a feast. The poor man, broken, starving, and living solely on watercress, falls into despair. What eventually moves him? The force of language:
And getting around the invalid in a jabbering ring, they rubbed him and cajoled and coaxed, and plied him with honey-talk and long sweet-lilted sentences full of fine words, and promised him metheglin and mugs of viscous tarblack mead thickened with white yeast and the spoils from hives of mountain-bees, and corn-coarse nourishing farls of wheaten bread dipped in musk-scented liquors and sodden with Belgian sherry, an orchard and a swarm of furry honey-glutted bees and a bin of sun-bronzed grain from the granaries of the Orient in every drop as it dripped at the lifting of the hand to the mouth, and inky quids of strong-smoked tabacca with cherrywood pipes, hubble-bubbles, duidins, meerschaums, clays, hickory hookahs and steel-stemmed pipes with enamel bowls, the lot of them laid side by side in a cradle of lustrous blue plush, a huge pipe-case and pipe-rack ingeniously combined and circumscribed with a durable quality of black imitation leather over a framework of stout cedarwood dovetailed and intricately worked and made to last, the whole being handsomely finished and untouched by hand and packed in good-quality transparent cellophane, a present calculated to warm the cockles of the heart of any smoker. They also did not hesitate to promise him sides of hairy bacon, the mainstay and the staff of life of the country classes, and lamb-chops still succulent with young blood, autumn-heavy yarns from venerable stooping trees, bracelets and garlands of browned sausages and two baskets of peerless eggs fresh-collected, a waiting hand under the hen’s bottom. They beguiled him with the mention of salads and crome custards and the grainy disorder of pulpy boiled rhubarb, matchless as a physic for the bowels, olives and acorns and rabbit-pie, and venison roasted on a smoky spit, and mulatto thick-tipped delphy cups of black-strong tea. They foreshadowed the felicity of billowy beds of swansdown carefully laid crosswise on springy rushes and sequestered with a canopy of bearskins and generous goatspelts, a couch for a king with fleshly delectations and fifteen hundred olive-mellow concubines in constant attendance against the hour of desire. Chariots they talked about and duncrusted pies exuberant with a sweat of crimson juice, and tall crocks full of eddying foam-washed stout, and wailing prisoners in chains on their knees for mercy, humbled enemies crouching in sackcloth with their upturned eye-whites suppliant. They mentioned the leap of a fire on a cold night, long sleeps in the shadows and leaden-eyed forgetfulness hour on hour – princely oblivion. And as they talked, they threaded through the twilight and the sudden sun-pools of the wild country.
I’ve perhaps overshared here, let our characters babble on too long—but the verbal dexterity of the passage above illustrates O’Brien’s rhetorical force, the force he lends his characters in order that they should move their insane and desperate friend forward. There’s a sublime alchemy at work here, where imagination turns into words and words turn into food and drink.
I also fear these big chunks of text I’ve pulled from At Swim-Two-Birds don’t highlight O’Brien’s extraordinary talent at rendering speech. The dialogue in this novel is hilarious but nuanced, its ironies rarely if ever remarked upon by intrusive attributions. That O’Brien’s narrator’s characters (and their characters…) speak through the layers of texts adds to the book’s juxtapositions.
These juxtapositions will perhaps confuse or even alienate many readers. At Swim-Two-Birds can be read as an attack on the classical unities of action, place, and time. O’Brien’s novel is a send-up of stability, order, and tradition. Some of the novel’s best moments are its strangest indulgences, as when O’Brien (or his narrator) gives the novel over to citations from imaginary antique texts, or allows his characters to indulge in a seemingly endless recitation of obscure facts, or satirizes the moral dangers of tea-tasting. These moments seem to erupt from nowhere, bizarre, wonderful, joyous.
At Swim-Two-Birds lacks the cohesion of theme and voice that characterizes O’Brien’s other masterpiece, The Third Policeman, but this is hardly a deficiency. At Swim-Two-Birds is one of those rare books that actually deserves to be called dazzling, a critic’s crutch-word that mars too many blurbs. Its dazzle derives from its rhetorical force, its humor, and its openness to experiment with not just the novelistic form, but the form of storytelling itself. And it’s here that O’Brien’s novel is most real—he captures the strangeness of storytelling, its mutability, its crazy rhythms. Ultimately, this is a novel unconcerned with providing pat answers and clear solutions. I loved this book, loved reading it—and then immediately rereading it. I’ll let O’Brien get the last word:
Answers do not matter so much as questions, said the Good Fairy. A good question is very hard to answer. The better the question the harder the answer. There is no answer at all to a very good question.
Selection from Flann O’Brien’s novel At Swim-Two-Birds:
The following, imperfect resume or summary as it is, may be taken as a general indication of the scholarly trend of the conversation sustained without apparent effort by the three of them.
It is not generally known, observed Mr. Furriskey, that the coefficient of expansion of all gases is the same. A gas expands to the extent of a hundred and seventy-third part of its own volume in respect of each degree of increased temperature centrigrade. The specific gravity of ice is 0.92, marble 2.70, iron (cast) 7.20 and iron (wrought) 7.79. One mile is equal to 1.6093 kilometres reckoned to the nearest ten-thousandth part of a whole number.
True, Mr. Furriskey, remarked Mr. Paul Shanahan with a quiet smile that revealed a whiteness of the teeth, but a man who confines knowledge to formulae necessary for the resolution of an algebraic or other similar perplexity, the same deserves to be shot with a fusil, or old-fashioned light musket. True knowledge is unpractised or abstract usefulness. Consider this, that salt in solution is an excellent emetic and may be administered with safety to persons who are accustomed to eat poisonous berries or consume cacodyl, an evil-smelling compound of arsenic and methyl. A cold watch-key applied to the neck will relieve nose-bleeding. Banana-skins are invaluable for imparting a gloss to brown shoes.
To say that salt in solution, Lamont objected finely, is a pleasing emetic is a triviality related to inconsequent ephemera – the ever-perishing plasms of the human body. The body is too transient a vessel to warrant other than perfunctory investigation. Only in this regard is it important, that it affords the mind a basis for speculation and conjecture. Let me recommend to you, Mr. Shanahan, the truer spiritual prophylaxis contained in the mathematics of Mr. Furriskey. Ratiocination on the ordered basis of arithmetic is man’s passport to the infinite. God is the root of minus one. He is too great a profundity to be compassed by human cerebration. But Evil is finite and comprehensible and admits of calculation. Minus One, Zero and Plus One are the three insoluble riddles of the Creation.
Mr. Shanahan laughed in a cultured manner.
The riddle of the universe I might solve if I had a mind to, he said, but I prefer the question to the answer. It serves men like us as a bottomless pretext for scholarly dialectic.
Other points not unworthy of mention, mentioned Mr. Furriskey in an absent-minded though refined manner, are the following: the great pyramid at Gizeh is 450 feet high and ranks as one of the seven wonders of the world, the others being the hanging gardens of Babylon, the tomb of Mausolus in Asia Minor, the colossus of Rhodes, the temple of Diana, the statue of Jupiter at Olympia and the Pharos Lighthouse built by Ptolemy the First about three hundred and fifty years B.C. Hydrogen freezes at minus 253 degrees centigrade, equivalent to minus 423 on the Fahrenheit computation.
Everyday or colloquial names for chemical substances, observed Mr. Shanahan, cream of tartar – bitartate of potassium, plaster of Paris – sulphate of calcium, water – oxide of hydrogen. Bells and watches on board ship: first dog – 4 p.m. to 6 p.m., second dog – 6 p.m. to 8 p.m., afternoon-noon to 4 p.m. Paris, son of Priam, King of Troy, carried off the wife of Menelaus, King of Sparta and thus caused the Trojan War.
The name of the wife, said Lamont, was Helen. A camel is unable to swim owing to the curious anatomical distribution of its weight, which would cause its head to be immersed if the animal were placed in deep water. Capacity in electricity is measured by the farad; one microfarad is equal to one millionth of a farad. A carbuncle is a fleshy excrescence resembling the wattles of a turkey-cock. Sphragistics is the study of engraved seals.
Excellent, remarked Mr. Furriskey with that quiet smile which endeared him to everyone who happened to come his way, but do not overlook this, that the velocity of light in vacuo is 186,325 miles per second. The velocity of sound in air is 1,120 feet per second, in tin 8,150 feet per second, in walnut mahogany and heavy timbers 11,000 feet per second approximately; in firwood, 20,000 feet per second. Sine 15 degrees is equal to the root of six minus the root of two, the whole divided by four. Percentages of £1: 1-1/4 per cent, threepence; 5 per cent, one shilling; 12-1/2 percent, a half a crown. Some metric equivalents: one mile equals 1.6093 kilometres; one inch equals 2.54 centimetres; one ounce equals 28.352 grams. The chemical symbol of Calcium is Ca and of Cadmium, Cd. A Trapezoid may be defined as a four-sided figure capable of being transformed into two triangles by the means of a diagonal line.
Some curious facts about the Bible, Mr. Lamont mentioned politely, the longest chapter is Psalm 119 and the briefest, Psalm 117. The Apocrypha contains 14 Books. The first English translation was published in A.D. 1535.
Some notable dates in the history of the world, observed Mr. Shanahan, B.C. 753, foundation of Rome by Romulus, 490 B.C., Battle of Marathon, A.D. 1498, Vasco da Gama sailed around South Africa and reached India, 23 April 1564 Shakespeare was born.
It was then that Mr. Furriskey surprised and indeed, delighted his companions, not to mention our two friends, by a little act which at once demonstrated his resource and his generous urge to spread enlightenment. With the end of his costly malacca cane, he cleared away the dead leaves at his feet and drew the outline of three dials or clock-faces on the fertile soil in this fashion:
0 0 0 9 \ 1 1 9 9 1 8 \ 2 2 8 8 2 o o. o-,._ 7 3 3 \ 7 7 3 6 4 4 `6 6 4 5 5 5
How to read the gas-meter, he announced. Similar dials to these somewhat crudely depicted at my feet may be observed on any gas-meter. To ascertain the consumption of gas, one should procure pencil and paper and write down the figures nearest to the indicator on each dial – thus in the present hypothetical case 963. To this one should add two zeros or noughts, making the number 96,300. This is the answer and represents the consumption of gas in cubic feet. The reading of the electric-meter for the discovery of consumption in Kilowatt-hours is more intricate than the above and would require the help of six dials fox demonstration purposes – more indeed than I have room for in the space I have cleared of withered leaves, even assuming the existing dials could be adapted for the purpose.
Thereafter these three savant or wise men of the East began to talk together in a rapid manner and showered forth pearls of knowledge and erudition, gems without price, invaluable carbuncles of sophistry and scholastic science, thomistic maxims, intricate theorems in plane geometry and lengthy extracts from Kant’s Kritik der reinischen Vernunst. Frequent use was made of words unheard of by illiterates and persons of inferior education exempli gratia saburra or foul granular deposit in the pit of the stomach, tachylyte, a vitreous form of basalt, tapir, a hoofed mammal with the appearance of a swine, capon, castrated cock, triacontahedral, having thirty sides or surfaces and botargo, relish of mullet or tunny roe. The following terms relating to the science of medicine were used with surprising frequency videlicet thyme, exophthalmus, scirrhus, and mycetoma meaning respectively food when acted upon by gastric juices and converted into acid pulp, protrusion of the eye-ball, hard malignant tumour and fungoid disease of hand or foot. Aestho-therapy was touched upon and reference made to the duodenum, that is, the primary part of the small intestine, and the caecum or blind gut. Flowers and plants rarely mentioned in ordinary conversation were accorded their technical or quasi-botanical titles without difficulty or hesitation for instance now fraxinella species of garden dittany, canna plant with decorative blossoms, bifoliate of two leaves (also bifurcate forked), cardamom spice from the germinal capsules of certain East India plants, granadilla passion flower, knapweed hard-stemmed worthless plant, campanulla plant with bell-shaped blossoms, and dittany see fraxinella above. Unusual animals mentioned were the pangolin, chipmuck, echidna, babiroussa and bandicoot, of which a brief descriptive account would be (respectively), scabrous-spined scaly ant-eater, American squirrel aliter wood-rat, Australian toothless animal resembling the hedgehog, Asiatic wild-hog, large Indian insectivorous marsupial resembling the rat.
Moral Effects of Tea-Tasting.
The long-continued use of tea has a distinct effect upon the character. This has been too often noticed and remarked to be questioned. There are tea-sots in every great charitable institution – particularly those for the maintenance of the aged. Their symptoms are generally mental irritability, muscular tremors, and sleeplessness. The following is an account of one of the cases observed. The immediate effects upon him are as follows: In about ten minutes the face becomes flushed, the whole body feels warm and heated and a sort of intellectual intoxication comes on, much the same in character, it would seem, as that which occurs in the rarefied air of a mountain. He feels elated, exhilarated, troubles and cares vanish, everything seems bright and cheerful, his body feels light and elastic, his mind clear, his ideas abundant, vivid, and flowing fluently into words. At the end of an hour’s tasting a slight reaction begins to set in; some headache comes on, the face feels wrinkled and shrivelled, particularly about the eyes, which also get dark under the lids. At the end of two hours this reaction becomes firmly established, the flushed warm feeling has passed off, the hands and feet are cold, a nervous tremor comes on, accompanied with great mental depression. And he is now so excitable that every noise startles him; he is in a state of complete unrest; he can neither walk nor sit down, owing to his mental condition, and he settles into complete gloom. Copious and frequent urinations are always present, as also certain dyspeptic symptoms, such as eructations of wind, sour taste, and others. His mental condition is peculiar. He lives in a state of dread that some accident may happen to him; in the omnibus fears a collision; crossing the street, fears that he will be crushed by passing teams; walking on the sidewalks, fears that a sign may fall, or watches the eaves of houses, thinking that a brick may fall down and kill him; under the apprehension that every dog he meets is going to bite the calves of his legs, he carries an umbrella in all weathers as a defence against such an attack.
Conclusion of the foregoing.
From Flann O’Brien’s novel At Swim-Two-Birds.
I didn’t really read that many new books—by which I mean books published in 2012—this year.
The highlight of the new books I did read was Chris Ware’s Building Stories, the moving story of the lives of several people (and a bee!) who live in the titular building (and other places. And other buildings. Look, it’s difficult to describe). Building Stories is a strange loop, a collection of 14+ elements (the big box it comes in is part of the puzzle) that allows the reader to reconstruct the narratives in different layers.
I also really dug the second installment of Charles Burns’s trilogy, The Hive; Burns and Ware are two of the most talented American writers working right now, suggesting that some of the most exciting stuff happening in American literature is happening in comic books.
Speaking of second installments in ongoing trilogies, I also listened to Hilary Mantel’s Bring Up the Bodies, which I liked, and read Lars Iyer’s Dogma and liked it as well—sort of like Beavis & Butthead Do America by way of Samuel Beckett.
I read Dogma at the beach the same week I read Michel Houellebecq’s The Map & The Territory, an uneven but engaging novel about art; the novel eventuually shifts into a strange murder procedural before exploring a fascinating vision of what a post-consumer future might look like. I dig Houellebecq and look forward to whatever he’ll spring on us next.
Another strange book I liked very much was Phi by Giulio Tononi, an exploration of consciousness written as a kind of Dante’s Inferno of the brain. A beautiful and perhaps overlooked book of 2012.
Indie presses in general tend to get overlooked—not in the sense that their books don’t have a community of readers, but in that their books don’t always reach the wider audience they deserve. I liked new books this year by Matt Bell (Cataclysm Baby), Matt Mullins (Three Ways of the Saw), and Jared Yates Sexton (An End to All Things). These books are all very different in style and content, but all marked by precise, unpretentious writing. Good stuff.
Like I said though, I didn’t read that many books published in 2012—even when I intended to. Like George Szirtes’s English translation of László Krasznahorkai’s novel Satantango, for instance. I was right in the middle of something when I got my review copy, and by the time I started it the hype surrounding it was almost unbearable—the sort of palate-clouding noise (to mix and misuse metaphors) that deafens a fair reading. (To be clear: I blame myself. I could easily refrain from Twitter and quit following lit news online). By the time Hari Kunzru documented the hype in a mean-spirited (but hilarious) article forThe Guardian, I knew I’d have to set Satantango aside for a bit. It’s worth noting here that Hari Kunzru’s own novel Gods without Men had been lingering in my to read stack for some time at that point, but his Satantango article managed to get it shelved. Still, I’m interested in reading it—maybe sometime late next year.
There were plenty of top listed writers who put out books this year that I probably would’ve been excited to read six or seven years ago or at least feel obligated to read and write about two or three years ago. But by 2012 I just don’t care anymore. At the risk of sounding overly dismissive (not my intention), I just can’t make time for another middling Michael Chabon novel, or another bloated tome from Zadie Smith, or another empty exercise in style from Junot Diaz, or another whatever from Dave Eggers.
Most of the great new stuff I read in 2012 was really just playing catch up to 2011—I loved Teju Cole’s Open City, found Nicholson Baker’s House of Holes to be an amusing diversion, and declared Denis Johnson’s Train Dreams a perfect novella. I also read Adam Johnson’s The Orphan Master’s Son, and used it, along with Jeffrey Eugenides’s The Marriage Plot as a kind of springboard to discuss lit criticism (which everyone in my particular echo chamber wanted to spar about this year) and what I want from books these days.
Two books I pretty much hated: Joshua Cody’s clever but empty memoir [sic] and Alain de Botton’s facile self-help book Religion for Atheists.
On the whole though, most of what I read in 2012 was fantastic and most of what I read in 2012 was published before 2012.
The major highlight of the year was finally reading William Gaddis’s novels The Recognitions and J R. I also read Gaddis’s posthumous novella AgapēAgape, an erudite rant that purposefully echoes the work of Thomas Bernhard, another cult writer I finally got to in 2012. His novels Correction and The Loser challenged me, made me laugh, and occasionally disturbed me.
And while I’m on Bernhard, perhaps I should squeeze in the collection I read by one of his predecessors, Robert Walser, and the poetry collection (After Nature) I read by one of his followers, W.G. Sebald. Both were excellent. And while I’m squeezing stuff in—or perhaps showing how writers lead me to read other writers—I’ll admit that I hadn’t read Thomas Browne’s Urn Burial (referenced heavily in Sebald’s The Rings of Saturn) until this year.
Another book that I finally got to this year that blew me away was John Williams’s lucid and sad novel Stoner. Reading Stoner, produced one of those can’t-believe-I-haven’t-read-it-before moments, which I experienced again even more intensely with Flann O’Brien’s The Third Policeman, a surreal comic masterpiece which may be the best book I read in 2012. I also finally read—and was blown away by—Fyodor Dostoevsky’s Crime and Punishment (why had I not read it yet? Maybe I read it before. Not sure. In any case, if I did read it before it’s clear to me that I didn’t really read it). I took another shot at Marcel Proust but it didn’t take. Again.
Clarice Lispector received some much-deserved attention from the English-speaking world this year when New Directions released four new translations of her work. I found her novella The Hour of the Star sad, funny, and captivating. Also on the novellas-by-South-Americans: I’m working my ways through Alvaro Mutis’s Maqroll novellas and they are fantastic.
I also finally got to David Markson’s so-called “note card novels,” devouring them in a quick stretch. I reviewed the last one, The Last Novel.Markson’s novels are often called “experimental,” a term I kind of hate, but perhaps serves as easy tag for many of the novels I enjoyed best this year, including Ben Marcus’s The Age of Wire and String and Barry Hannah’s hilarious tragedy Hey Jack!
Hey, did you know David Foster Wallace wrote an essay on David Markson? The previous sentence is an extremely weak attempt to transition to Both Flesh and Not, a spotty collection from the late great writer; it showcases some brilliant moments along with undercooked material and a few throwaways probably better left uncollected. I fretted about the book on Election Night.
The posthumous book mill also kept pumping out stuff from Roberto Bolaño, including an unfinished novel called The Woes of the True Policeman that seems like a practice sketch for 2666 (I haven’t read Woes and don’t feel particularly compelled to). I did read and enjoy The Secret of Evil, a book that might not be exactly essential but nevertheless contains some pieces that further expand (and darken and complicate) the Bolañoverse. Going back to that Bolañoverse was a highlight of the year for me—rereading 2666proved to be tremendously rewarding, yielding all kinds of new grotesque insights. I also reread The Savage Detectives, and while it’s hardly my favorite by RB, I got more out of it this time.
I also revisited The Hobbit this year and somehow decided it’s a picaresque novel. Definitely a picaresque: Blood Meridian, which I reread as well. In fact, I’ve reread it at least once a year since the first time I read it, and it gets funnier and richer and more devastating with each turn. I also reread Herman Melville’s “Bartleby” and tried to make sense out of it. I will reread Moby-Dick next year, although it’s not “Bartleby” that sparked the desire—chalk it up to Charles Olson’s amazing study Call Me Ishmael.
Olson’s study reminds me to bring up some of the nonfiction I enjoyed this year: Stephen Bronner’s Modernism at the Barricades, Robert Hughes’s Goya biography, the parts of William T. Vollmann’s Imperial that I read, Patti Smith’s memoir Just Kids,and big chunks of William Gass’s collection Finding a Form.
Perhaps the most significant change in my reading habits this year was embracing an e-reader. I got a Kindle Fire for Christmas last year and wound up reading from it—a lot. About half the books I read this year I read on the Kindle. I also read lots of comics on it with my daughter, including all of Jeff Smith’s Bone, much of Tintin, and all of Carl Barks’s Donald Duck stuff. (I also read several hard to find volumes from Moebius via the Kindle).
And while I love my Kindle and it’s become my go-to for night reading (it’s lightweight and self-illuminating), I can’t see it replacing physical books. To return to where I started: Chris Ware’s Building Stories, an innovative, sprawling delight simply would not be reproducible in electronic form. Ware’s book (if it is a book (which it is)) reminds us that the aesthetics of reading—of the actual physical process of reading—can be tremendously rewarding as a tactile, messy, sprawling experience.
Perhaps because I’ve freed myself from the anxiety of trying to write on this blog about everything that I read, and perhaps because I’ve freed myself from trying to write traditional reviews on this blog, and perhaps because I’ve freed myself from trying to cover contemporary literary fiction on this blog—perhaps because of all of this, I’ve enjoyed reading more this year than I can remember ever having enjoyed it before.