Only the girl has woven a ruse in which she is seen beside her beloved

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Under the orders of the Great Master, they’re embroidering the earth’s mantle, seas, mountains, and living things. Only the girl has woven a ruse in which she is seen beside her beloved.

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Remedios Varo’s description of her painting The Embroidering of the Earth’s Mantle (1961). From the collection Letters, Dreams & Other Writings. Translated by Margaret Carson. From Wakefield Press.

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Blog about some recent reading

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I finished Angela Carter’s surreal fantasia The Infernal Desire Machines of Doctor Hoffman a week or so ago, in a bit of a fever at its depraved horniness. Hoffman sprints along with an out-of-the-frying-pan-into-the-fire energy. The story is essentially a picaresque adventure—our narrator Desiderio sets out on a mission to assassinate Dr. Hoffman, a not-really-mad scientist who’s waging war on reality. Desiderio falls in love with Hoffman’s daughter Albertina though, complicating matters. All kinds of wild shit happens in each episode of the book—indeed, each chapter feels like it could stand on its own as a short story. I loved it, and it deserves a proper review, but for now I’ll lazily compare it to a bunch of other books I loved: Voltaire’s Candide, Réage’s Story of O, Le Guin’s The Farthest Shore, Kafka’s The Castle, Acker’s Don Quixote, any of Robert Coover’s fables, Kristeva’s Powers of Horror, and Swift’s Gulliver’s Travels. Oh, and video games. Someone could make a fantastic video game out of The Infernal Desire Machines of Doctor Hoffman.

I read the first half of João Gilberto Noll’s novel Lord (new in English translation by Edgar Garbeletto) on Sunday. The book is seriously weird. The narrator is “a Brazilian who wrote books that were mostly well received by critics but not the public.” The Brazilian novelist (a strange cipher of Noll himself) arrives in London in the winter on a “mission.” What that mission is is completely unclear, but it seems to involve an English university. Like the other Noll books I’ve read, Quiet Creature on the Corner and Atlantic Hotel,  Lord moves on its own dream logic. The narrator seems unstuck in both time and space. He’s an abject voice trying to reinvent himself from the outside in—but his disintegration seems fatally imminent.

I’ve also started in on the latest Lucia Berlin collection, Evening in Paradise, reading the first three stories. The first two, “The Musical Vanity Boxes” (which I’d read before in Homesick) and “Sometimes in Summer” are memoir pieces set in Berlin’s childhood home of El Paso (or, more properly I suppose, El Paso–Juárez). There’s a frankness to these tales that’s remarkable, an artistry of storytelling that never announces itself as such. The stories read like vivid recollections, and center on a very young Lucia and her best friend Hope, a Syrian immigrant. There’s an underlying menace here, too, a sense that these two friends might fall into disaster at any given moment. (In this way, these stories recalled the young female friends at the center of Elena Ferrante’s My Brilliant Friend who slowly come into consciousness of the real world around them). The third story in the collection “Andado: A Gothic Romance” is written in the third-person, although its hero “Laura” is clearly a stand-in for a teenage Lucia. Laura, like Lucia was, is an ex-pat teenager living in Chile. “Andado” too offers a slow swelling malice, as we perceive the dangers that Laura cannot. The story culminates in an impressionistic dreamlike sequence that matches Laura’s shaken psyche. I’m trying to restrain myself from reading all of these stories too fast.

I’ve poked about in Leslie Fiedler’s collection No! In Thunder, reading first his essay on Walt Whitman, and then his essay on Faulkner (it trapped me with its title: “William Faulkner, Highbrows’ Lowbrow”).

Finally, I’ve been reading Letters, Dreams & Other Writings by Remedios Varo (translated by Margaret Carson) in bits and pieces. I really dig the book and am happy Carson translated it and Wakefield Press published it. There’s a neat section where Varo describes her paintings—like this, for example:

Phenomenon of Weightlessness, 1963

The Earth escapes from its axis and its center of gravity to the great surprise of the astronomer, who tries to keep his balance with his left foot standing in one dimension and his right foot standing in another.

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What is happening here is obvious: that lady who is knitting fisherman’s rib is making animated characters who leave through the window.

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What is happening here is obvious: that lady who is knitting fisherman’s rib is making animated characters who leave through the window.

Remedios Varo’s description of her painting The Knitting Woman of Verona (1956). From the collection Letters, Dreams & Other Writings. Translated by Margaret Carson. From Wakefield Press.

The Lovers — Remedios Varo

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The Lovers, 1963 by Remedios Varo (1908-1963)

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The Street of Hidden Presences — Remedios Varo

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The Street of Hidden Presences, 1956 by Remedios Varo (1908-1963)

The Escape — Remedios Varo

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The Escape, 1961 by Remedios Varo (1908-1963)

Capillary Locomotion — Remedios Varo

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Capillary Locomotion, 1959 by Remedios Varo (1908-1963)

Mimesis — Remedios Varo

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Mimesis, 1960 by Remedios Varo (1908-1963)

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Landscape, Tower, Centaur — Remedios Varo

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Landscape, Tower, Centaur, 1943 by Remedios Varo (1908-1963)

Personaje — Remedios Varo

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Personaje (Character), 1958 by Remedios Varo (1908-1963)

The Flight — Remedios Varo

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La Huida (The Flight) by Remedios Varo (1908-1963)

The Rich — Remedios Varo

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El Rico (The Rich), 1958 by Remedios Varo (1908-1963)

Born Again — Remedios Varo

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Unexpected View — Remedios Varo

The Call — Remedios Varo

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The Juggler — Remedios Varo

Harmony — Remedios Varo