J.R.R. Tolkien Links

Conversation with Smaug, Illustration by Tolkien

The Hobbit Is a Picaresque Novel

I Compare the First Three Books of George R. R. Martin’s A Song of Ice and Fire Series to Tolkien’s work

Smaug Flies Round the Mountain, illustration by Tolkien

“I Have a Very Vivid Child’s View” — A 1967 Interview with J.R.R. Tolkien

Illustrated Manuscript Page from Tolkien’s Lord of the Rings

J.R.R. Tolkien, In His Own Words (1968 BBC Documentary)

Tolkien Cover Gallery

“I Rarely Remember a Book About Which I Have Had Such Violent Arguments” — W.H. Auden Reviews .R.R. Tolkien

Champion — Charlie White

charlie-white-champion-2005

More Charlie White.

“I have found little that is ‘good’ about human beings on the whole. In my experience most of them are trash, no matter whether they publicly subscribe to this or that ethical doctrine or to none at all. That is something that you cannot say aloud, or perhaps even think” — Letter from Sigmund Freud to Oskar Pfister, October 9, 1918

Something on Georges Perec’s La Boutique Obscure

georges-perec-la-boutique-obscure-124-dreams

1. Listening to someone’s dreams is usually pretty boring. Reading about someone’s dreams is even worse.

Except when it’s not, of course.

2. Perec, describing his dream journal La Boutique Obscure:

I thought I was recording the dreams
I was having; I have realized that it was
not long before I began having dreams
only in order to write them.

These dreams—overdreamed, overworked,
overwritten—what could I then
expect of them, if not to make them into
texts, a bundle of texts left as an o)ering
at the gates of that “royal road” I still
must travel with my eyes open?

3. La Boutique Obscure is new in English translation by Daniel Levin Becker, published by the good people at Melville House.

4. The dreams in La Boutique Obscure, rendered in fairly concrete prose (Perec avoids analysis), were recorded between 1968-1972.

5. I’ve been slowly reading the essays and riffs and lists collected in Perec’s Species of Spaces and Other Pieces over the past few years. There’s something wonderful about picking the book up at random and finding some little quip or note (or entire essay) that illuminates some fascinating aspect of what we might initially take to be a dull topic.

La Boutique Obscure works the same way.

6. Sample:

Capture

7. Many of the elements that we see in Dream No. 24 / “Cats” run throughout the collection: Friends, doors, streets, houses, apartments, disasters, performances, lists, etc. etc. Note also Perec’s refusal to analyze or contextualize or otherwise attempt to make meaning out of the dream.

8. My favorite pieces in the collection are the ones that convey more plot—adventures, chases, fragments of films and plays—but there’s also pleasure in Perec’s shortest pieces, which often resemble imagist poems—like “The stone bridge”:

Capture

9. A good review, a responsible review, might try to situate Perec’s dream journal against his role as Oulipo gamesmaster, or set the entries against Perec’s biography, or maybe compare it to other dream journals. Or maybe even try to tackle it as a novel, or a novelish book.

10. But I’m more interested in the aesthetic experience of reading La Boutique Obscure. The book is fun, distracting, and divergent. Perec’s refusal to interpret his dreams leaves plenty of space for the reader to make his own connection—and if need be, interpretations—but to be clear, the same banal anxieties that inform our own dreams are what Perec traces the contours of in La Boutique Obscure. The book’s greatest strength is its imagery, its evocation of place, space, movement. To fault it for lacking depth would be to entirely miss the point.

11. Reading La Boutique Obscure provides another nagging reminder that I have yet to read Life A User’s Manual.

12. Finally: Roman Muradov’s response to the book is better than any review:

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“There are in English often long trains of words allied by their meaning and derivation” (Samuel Johnson)

There are in English often long trains of words allied by their meaning and derivation; as, to beata batbatoona battlea beetlea battledoreto batterbatter, a kind of glutinous composition for food, made by beating different bodies into one mass. All these are of similar signification, and perhaps derived from the Latin batuo. Thus taketouchtickletacktackle; all imply a local conjunction from the Latin tangotetigitactum.

From two are formed twaintwicetwentytwelvetwinstwinetwisttwirltwigtwitchtwingebetweenbetwixttwilighttwibil.

The following remarks, extracted from Wallis, are ingenious but of more subtlety than solidity, and such as perhaps might in every language be enlarged without end.

Sn usually imply the nose, and what relates to it. From the Latin nasus are derived the French nez and the English nose; and nesse, a promontory, as projecting like a nose. But as if from the consonants ns taken from nasus, and transposed that they may the better correspond, sn denote nasus; and thence are derived many words that relate to the nose, as snoutsneezesnoresnort,snearsnickersnotsnivelsnitesnuffsnufflesnafflesnarlsnudge.

There is another sn which may perhaps be derived from the Latin sinuo, as snakesneaksnailsnare; so likewise snap and snatchsnibsnubBl imply a blast; as blowblastto blastto blight, and, metaphorically, to blast one’s reputation;bleatbleak, a bleak place, to look bleak, or weather-beaten, blackblaybleachblusterblurtblisterblabbladderblewblabber lip’tblubber-cheek’tblotedblote-herringsblastblazeto blow, that is, blossombloom; and perhapsblood and blush.

In the native words of our tongue is to be found a great agreement between the letters and the thing signified; and therefore the sounds of the letters smaller, sharper, louder, closer, softer, stronger, clearer, more obscure, and more stridulous, do very often intimate the like effects in the things signified.

Thus words that begin with str intimate the force and effect of the thing signified, as if probably derived from στρωννυμι, or strenuous; as strongstrengthstrewstrikestreakstrokestripestrivestrifestrugglestroutstrutstretchstrait,strictstreight, that is, narrow, distrainstressdistressstringstrapstreamstreamerstrandstripstraystrugglestrangestridestradale.

St in like manner imply strength, but in a less degree, so much only as is sufficient to preserve what has been already communicated, rather than acquire any new degree; as if it were derived from the Latin sto; for example, standstay, that is, to remain, or to prop; staffstay, that is, to oppose; stopto stuffstifleto stay, that is, to stop; a stay, that is, an obstacle; stickstutstutterstammerstaggersticklestickstake, a sharp, pale, and any thing deposited at play; stockstem,stingto stingstinkstitchstudstuncheonstubstubble, to stub up, stump, whence stumblestalkto stalkstepto stamp with the feet, whence to stamp, that is, to make an impression and a stamp; stowto stowto bestowsteward, orstowardsteadsteadystedfaststablea stablea stallto stallstoolstallstillstallstallagestagestill, adjective, and still, adverb: stalestoutsturdysteadstoatstallionstiffstark-deadto starve with hunger or cold; stonesteel,sternstanchto stanch blood, to staresteepsteeplestairstandard, a stated measure, stately. In all these, and perhaps some others, st denote something firm and fixed.

Thr imply a more violent degree of motion, as throwthrustthrongthrobthroughthreatthreatenthrallthrows.

Wr imply some sort of obliquity or distortion, as wryto wreathewrestwrestlewringwrongwrinchwrenchwranglewrinklewrathwreakwrackwretchwristwrap.

Sw imply a silent agitation, or a softer kind of lateral motion; as swayswagto swayswaggerswervesweatsweepswillswimswingswiftsweetswitchswinge.

Nor is there much difference of sm in smoothsmugsmilesmirksmite; which signifies the same as to strike, but is a softer word; smallsmellsmacksmothersmart, a smart blow properly signifies such a kind of stroke as with an originally silent motion, implied in sm, proceeds to a quick violence, denoted by ar suddenly ended, as is shown by t.

Cl denote a kind of adhesion or tenacity, as in cleaveclayclingclimbclamberclammyclaspto claspto clipto clinchcloakclogcloseto closea cloda clot, as a clot of blood, clouted cream, a cluttera cluster.

Sp imply a kind of dissipation or expansion, especially a quick one, particularly if there be an r, as if it were from spargo or separo: for example, spreadspringsprigsproutsprinklesplitsplinterspillspitsputterspatter.

Sl denote a kind of silent fall, or a less observable motion; as in slimeslideslipslipperslysleightslitslowslackslightslingslap.

And so likewise ash, in crashrashgashflashclashlashslashplashtrash, indicate something acting more nimbly and sharply. But ush, in crushrushgushflushblushbrushhushpush, imply something as acting more obtusely and dully. Yet in both there is indicated a swift and sudden motion not instantaneous, but gradual, by the continued sound, sh.

Thus in flingslingdingswingclingsingwringsting, the tingling of the termination ng, and the sharpness of the vowel i, imply the continuation of a very slender motion or tremor, at length indeed vanishing, but not suddenly interrupted. [31]But in tinkwinksinkclinkchinkthink, that end in a mute consonant, there is also indicated a sudden ending.

If there be an l, as in jingletingletinkleminglesprinkletwinkle, there is implied a frequency, or iteration of small acts. And the same frequency of acts, but less subtile by reason of the clearer vowel a, is indicated in jangletangle,spanglemanglewranglebrangledangle; as also in mumblegrumblejumble. But at the same time the close u implies something obscure or obtunded; and a congeries of consonants mbl, denotes a confused kind of rolling or tumbling, as in ramblescamblescramblewambleamble; but in these there is something acute.

In nimble, the acuteness of the vowel denotes celerity. In sparklesp denotes dissipation, ar an acute crackling, k a sudden interruption, l a frequent iteration; and in like manner in sprinkle, unless in may imply the subtilty of the dissipated guttules. Thick and thin differ in that the former ends with an obtuse consonant, and the latter with an acute.

In like manner, in squeeksqueaksquealsquallbrawlwraulyaulspaulscreekshriekshrillsharpshrivelwrinklecrackcrashclashgnashplashcrushhushhisse,  fisse,  whistsoft,  jar,  hurl,  curl,  whirl,  buz,  bustlespindledwindletwinetwist, and in many more, we may observe the agreement of such sort of sounds with the things signified; and this so frequently happens, that scarce any language which I know can be compared with ours. So that one monosyllable word, of which kind are almost all ours, emphatically expresses what in other languages can scarce be explained but by compounds, or decompounds, or sometimes a tedious circumlocution.

(From Samuel Johnson’s A Grammar of the English Tongue).

J.R.R. Tolkien Links

Smaug Flies Round the Mountain — An Illustration by J.R.R. Tolkien

“I Have a Very Vivid Child’s View” — A 1967 Interview with J.R.R. Tolkien

J.R.R. Tolkien, In His Own Words (1968 BBC Documentary)

Tolkien Cover Gallery

“I Rarely Remember a Book About Which I Have Had Such Violent Arguments” — W.H. Auden Reviews J.R.R. Tolkien

The Hobbit Reconsidered as a Picaresque Novel

I Compare the First Three Books of George R. R. Martin’s A Song of Ice and Fire Series to Tolkien’s work

 

H.P. Lovecraft’s Advice to Young Writers

“Literary Composition” by H.P. Lovecraft

(First published in the January, 1920 issue of The United Amateur)

In a former article our readers have been shewn the fundamental sources of literary inspiration, and the leading prerequisites to expression. It remains to furnish hints concerning expression itself; its forms, customs, and technicalities, in order that the young writer may lose nothing of force or charm in presenting his ideas to the public.

Grammar

A review of the elements of English grammar would be foreign to the purpose of this department. The subject is one taught in all common schools, and may be presumed to be understood by every aspirant to authorship. It is necessary, however, to caution the beginner to keep a reliable grammar and dictionary always beside him, that he may avoid in his compositions the frequent errors which imperceptibly corrupt even the purest ordinary speech. As a general rule, it is well to give close critical scrutiny to all colloquial phrases and expressions of doubtful parsing, as well as to all words and usages which have a strained or unfamiliar sound. The human memory is not to be trusted too far, and most minds harbour a considerable number of slight linguistic faults and inelegancies picked up from random discourse or from the pages of newspapers, magazines, and popular modern books.

Types of Mistakes

Most of the mistakes of young authors, aside from those gross violations of syntax which ordinary education corrects, may perhaps be enumerated as follows.

(1) Erroneous plurals of nouns, as vallies or echos.
(2) Barbarous compound nouns, as viewpoint or upkeep.
(3) Want of correspondence in number between noun and verb where the two are widely separated or the construction involved.
(4) Ambiguous use of pronouns.
(5) Erroneous case of pronouns, as whom for who, and vice versa, or phrases like “between you and I,” or “Let we who are loyal, act promptly.”
(6) Erroneous use of shall and will, and of other auxiliary verbs.
(7) Use of intransitive for transitive verbs, as “he was graduated from college,” or vice versa, as “he ingratiated with the tyrant.”
(8) Use of nouns for verbs, as “he motored to Boston,” or “he voiced a protest.”
(9) Errors in moods and tenses of verbs, as “If I was he, I should do otherwise,” or “He said the earth was round.”
(10) The split infinitive, as “to calmly glide.”
(11) The erroneous perfect infinitive, as “Last week I expected to have met you.”
(12) False verb-forms, as “I pled with him.”
(13) Use of like for as, as “I strive to write like Pope wrote.”
(14) Misuse of prepositions, as “The gift was bestowed to an unworthy object,” or “The gold was divided between the five men.”
(15) The superfluous conjunction, as “I wish for you to do this.”
(16) Use of words in wrong senses, as “The book greatly intrigued me,” “Leave me take this,” “He was obsessed with the idea,” or “He is a meticulous writer.”
(17) Erroneous use of non-Anglicised foreign forms, as “a strange phenomena,” or “two stratas of clouds.”
(18) Use of false or unauthorized words, as burglarize or supremest.
(19) Errors of taste, including vulgarisms, pompousness, repetition, vagueness, ambiguousness, colloquialism, bathos, bombast, pleonasm, tautology, harshness, mixed metaphor, and every sort of rhetorical awkwardness.
(20) Errors of spelling and punctuation, and confusion of forms such as that which leads many to place an apostrophe in the possessive pronoun its.

Of all blunders, there is hardly one which might not be avoided through diligent study of simple textbooks on grammar and rhetoric, intelligent perusal of the best authors, and care and forethought in composition. Almost no excuse exists for their persistent occurrence, since the sources of correction are so numerous and so available. Many of the popular manuals of good English are extremely useful, especially to persons whose reading is not as yet extensive; but such works sometimes err in being too pedantically precise and formal. For correct writing, the cultivation of patience and mental accuracy is essential. Throughout the young author’s period of apprenticeship, he must keep reliable dictionaries and textbooks at his elbow; eschewing as far as possible that hasty extemporaneous manner of writing which is the privilege of more advanced students. He must take no popular usage for granted, nor must he ever hesitate, in case of doubt, to fall back on the authority of his books. Continue reading “H.P. Lovecraft’s Advice to Young Writers”

“A Well-Meaning, Sincere Hypocrite” — William Gaddis on His Title Character, JR (And Capitalism)

More from William Gaddis’s 1986 Paris Review interview:

INTERVIEWER

Is JR’s story something you extrapolated from life only, or did you rely on sociologies devoted to how the corporate world works upon social values, human qualities, and relationships in American culture?

GADDIS

The boy himself is a total invention, completely sui generis. The reason he is eleven is because he is in this prepubescent age where he is amoral, with a clear conscience, dealing with people who are immoral, unscrupulous; they realize what scruples are, but push them aside, whereas his good cheer and greed he considers perfectly normal. He thinks this is what you’re supposed to do; he is not going to wait around; he is in a hurry, as you should be in America—get on with it, get going. He is very scrupulous about obeying the letter of the law and then (never making the distinction) evading the spirit of the law at every possible turn. He is in these ways an innocent and is well-meaning, a sincere hypocrite. With Bast, he does think he’s helping him out. As for the corporate world, I do read the newspapers, clip things, ideas, articles, and just use them as fodder. But all that hardly requires a text in sociology. And this may be the place to make a further point. I’m frequently seen in the conservative press as being out there on the barricades shouting: Down with capitalism! I do see it in the end as really the most workable system we’ve produced. So what we’re talking about is not the system itself, but its abuses, I don’t mean criminal but the abundant abuses just within the letter of the law. The essential question is whether it can survive these abuses given free rein and whether these abuses are inherent in the system itself. I should think it is perfectly clear in my work—calling attention, satirizing these abuses—that our best hope lies in bringing things under better and more equitable control, cutting back the temptations to unmitigated greed and bemused dishonesty . . . in other words that these abuses the system has fostered are not essential, but running out of moral or ethical control can certainly threaten its survival.