You searched for raising hell | Numéro Cinq

Dec 122014
 

Opening Night 2Fides Krucker in Julie Trimingham’s Opening Night

Numéro Cinq at the Movies readers should recognize Julie Trimingham‘s name from one of our first entries when we featured her lovely, haunting triptych of films beauty crowds me, a pseudo-adaptation of the poems of Emily Dickinson.

In keeping with Numéro Cinq’s penchant for reflecting on the creative process, NC at the Movies is asking filmmakers we’ve featured to reflect on why they make movies, what compels them to tell the visual stories they tell. Presented with that question, Julie Trimingham came back to us with a triptych (she likes to work in threes) of articles that look at her relationship with film: “Rosebud,” “The Horror,” and “Raising Hell.” This month NC at the Movies features her third article, “Raising Hell.”

Reading Trimingham’s reflections on film is for me like reading someone else’s love letters. It led me to reminiscing about my own film loves, and here, specifically, the moments that have made me gasp and filled me with wonder. We’d love to hear about your favourite film moments of wonder in the comments.

— R. W. Gray

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III. Raising Hell

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The first time I saw Les Quatre Cents Coups I felt like I’d found myself. It is the film, the story, on which I stand. Awkwardly titled in English The 400 Blows (as if this were a film about hitting) the title comes from the French idiom faire les quatre cents coups which means to raise hell.

400 Coups

A boy steals a typewriter; his stepfather and others yell at him; the boy runs away from reform school to the ocean he’s always dreamed of seeing; these are scenes that define the arc of the film. These are scenes – writing, raising hell, beauty – that act as code on the double helixes that determine my self.

Truffaut was a delinquent; writing saved him. I never had to steal a typewriter; my auntie gave me a red plastic one when I was four (a proper dictionary soon followed). My thefts have been less tangible, as has the trouble; I have never had to reach beyond my own head for difficulty.

400 Coups 2

When I was a girl, I would often see myself and the situation I was in as from a surveillance camera. When I’d hear news of the classmate who’d gone down in his uncle’s small plane, or of the classmate who was riding in a car that spun out on gravel and fatally flipped, or the one who overdosed on Tylenol and even stomach-pumping couldn’t save her, or the one who cerebrally hemorrhaged after a tackle on the football field, or the one whose boyfriend pushed her out of the moving car, I’d imagine these horrific last moments, the terror of these children, as if I were there, an intrusive and unhelpful observer. It was a short step from what used to be called an overactive imagination to what is now called anxiety disorder, where the brain becomes crowded with disastrous possibilities rendered so believable that the body reacts.

Leolo

And when the anxiety, when the suffering overwhelms, imagination as escape: Jean-Claude Lauzon’s 12-year-old Léo escapes his schizophrenic home life by fantasizing another self for himself: he becomes Léolo in the eponymous film, a boy conceived when his mother falls into a heap of semen-studded tomatoes.  Imagination is Madeleine Stowe’s only refuge from torture in Closetland.  A stargazing boy muses on the life of doomed Russian space dog Laika in My Life as a Dog because he can’t countenance the recent deaths of his own dog and his mother. Too much loss: no wonder the boy barks.  A mother I know once told her young daughter that the great thing about imagination is that it’s always there when you need it. The daughter, though, pinpointed the tragedy of imagination when she  tearfully countered her mother: but it always goes away.

My Life as a Dog

It took me a while to figure out that the engine for imagining disaster is the same as that for delight; the image machine spits out images. I became a filmmaker because films are the most direct expression of how I think and perceive the world. Making films was an attempt at transcription, at shaping the content, keeping drama, whether revery or catastrophe, on the screen and out of my life.

When I was a filmmaker, I was married to my producer. When we divorced, I made a film (that he produced, good sport that he is) about divorce. Kind of. The project was structured like a matryoshka, a nesting doll, with music video that stood alone and was also part of a short fiction film, which in turn stood alone and was part of a documentary. The subject was voice, how you can lose it, how you can get it back. The subject was a woman’s relationship to a man, how she loses herself, how she gets her self back. How it can be hard to tell a suicide jump from a leap of faith, spiritually or artistically speaking. Both require the abyss. How to tell falling from flight?

Closet Land

Being in front of a camera scares me, but I forced myself into the documentary because I thought I might find clues to my life in the editing room. Likewise, the fiction was shot to mirror and provide clues to the documentary (or vice-versa). If it was filmmaking as forensics, it was also filmmaking as desperate alchemy: the same impulse that led me to give my wedding ring to a young jeweler rather than throw it into the cold Bow River compelled me to make the film. The fictional singer’s troubles imperil and enrich her performance on Opening Night, which is what I called the film. I wanted to open up night, rip the dark fabric of sky, see if the stars were glued-on sequins or tiny holes that revealed a great light behind. It is a film I never watch, but making it got me through a rough patch: film as refuge.

Opening Night 1From Opening Night

We think of causing trouble when we think of raising hell, but I also like a more literal interpretation: hauling hell up out from underground and letting light work on it, transforming it. As an anxious depressive, I’ve careened through countless therapists and quaffed various mood-changing substances (mostly caffeine and zoloft) all in a grasping search for non-suffering. It never occurred to me that equanimity might be had by diving headlong into nightmares. Literally. My analyst Sharon and I dredge up scenes from my subconscious and expose them to the sun. The dreams and anxieties, bathed in conversation, develop like a reel of film into an understandable narrative that gets projected back into my waking life.

I’ve always known that my own work cuts close to the bone, but  apparently I was sleeping during anatomy: it has taken me two decades to realize that my very first film, Gravity’s Angel, was autobiographical.  The woman’s tail, which she initially hides from the man she loves, turns out to be part of what her lover loves best, it is what makes her her. This is practical information that my younger self has sent across time to my current self; I am less neurotic now that I get, finally, that I’m not, by virtue of being, defective.  Such psychic shake-ups, though, I suppose are their own form of trouble, disturbances in the field.

Raising hell also implies its opposite: bringing heaven down. After you have stolen the typewriter and been sent away to prison, after you break free and run, how much more lovely is the ocean, how heavenly? Film stock is graded for sensitivity, for how well it can hold shadows and brights without losing clarity or detail. Empathy opens us up to beauty. We choose how much to see: to be willfully blind to either darkness or light is to be a one-eyed king.

Smoke Signals

If there’s a sound that can crash the divide between heaven and hell, it’s a roar. Laughter is a convulsion, a disruption of the body, an eruption of sound, air, mirth, relief. It’s rebellion against constraint: when we die laughing, we surrender to something outside our selves. I know that when I am laughing, truly, I am not afraid: hell is here, likewise heaven, and I can take it all. I give part of my heart to anybody, or any film, that makes me laugh, but rarely can I remember a joke or gesture or situation that gets me in stitches.  I give part of my heart to anybody, or any film, that makes me laugh, but rarely can I remember a joke or gesture or situation that gets me in stitches. Aristotle’s treatise on Tragedy has survived the millennia, but the one on Comedy was lost. My movie mash-up, the shifting montage that flickers amongst my synapses, is short on funny scenes not because I haven’t laughed and loved, but because I can’t find the scenes once I start looking. Wise humor can fling off the yoke of comedy and tragedy, free us from time’s straightjacket, and let us hold all our absurd contradictions at once.  It’s a wide-angle lens, the long shot: the cosmic Ha! Give me Lester Fallsapart in Smoke Signals, Katherine Hepburn’s Eleanor in The Lion in Winter for such perspective. I never feel closer to the God I don’t believe in than when I am cracking up.

Lion in Winter

The apocalypse is coming –it always is –endings unfold in myriad ways around us. The people we love most are bound to suffer. Increasingly, I feel a need to write in a way that both acknowledges the end of the world and trumps it.  I have introduced my little boy to the notion of soul, because I want him to learn to tolerate despair; however, he is an empiricist, and dismisses the idea of soul as imagination. I understand: ever since I can remember, I have been agnostic, neither believing nor unbelieving.  And yet, I find comfort in acknowledging the limits of cognition; I like the idea that our lives are projections of something beyond our collective grasp. All the world’s a multiplex.

God speaks chiefly through dreams and visions, Jung wrote. Might films, our collective dreams, nudge us towards awakening? Might these images allow us to see the wonder and brutality that are  always with us, not as individuals but as a species?  We are made bigger than our single selves when we bear witness to the truths of others.

Movies may be conceived of and executed by a specialized team, but they are set loose upon us all. Our subtle minds splice scenes we’ve watched into those we’ve lived into those we’ve imagined; the montage, the film, of our shining selves. We may dream alone, but who can say we’re not stealing scenes from the dreams of others? We’re all together, watching the same unspooling frames, seeing light in the darkness.

—Julie Trimingham

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DSC_0053 - Version 3Julie Trimingham was born in Montreal and raised semi-nomadically. She trained as a painter at Yale University and as a director at the Canadian Film Centre in Toronto. Her film work has screened at festivals and been broadcast internationally, and has won or been nominated for a number of awards. Julie taught screenwriting at the Vancouver Film School for several years; she has since focused exclusively on writing fiction. Her online journal, Notes from Elsewhere, features reportage from places real and imagined. Her first novel, Mockingbird, was published in 2013.

Julie Trimingham’s films mentioned in this essay (Parts 1, 2 & 3)
Gravity’s Angel: not available online
The Former Mrs. Butterfly: http://vimeo.com/90229603
From an Opera about Divorce: https://www.youtube.com/watch?v=5OQsx94W-3g

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The Julie Trimingham NC Archive Page

 

Trimingham_Julie

Julie Trimingham was born in Montreal and raised semi-nomadically. She trained as a painter at Yale University and as a director at the Canadian Film Centre in Toronto. Her film work has screened at festivals and been broadcast internationally, and has won or been nominated for a number of awards. Julie taught screenwriting at the Vancouver Film School for several years; she has since focused exclusively on writing fiction. Her online journal, Notes from Elsewhere, features reportage from places real and imagined. Her first novel, Mockingbird, was published in 2013.

 

 

What I Make of Movies I, and What They Make of Me: Rosebud

What I Make of Movies II, and What They Make of Me: The Horror

What I Make of Movies III, and What They Make of Me: Raising Hell

Sing! O Bone

The Mermaid: A Conversation with Fides Krucker

A Little Something about Nothing: Interview & Essay with Physicist Lawrence Krauss

a Bee I do Become

Killer Whale: in Black and White

Dystopian Utopias: Case Studies

 

 Comments Off on The Julie Trimingham NC Archive Page
Nov 162014
 

Un_Chien_Andalou2

Numéro Cinq at the Movies readers should recognize Julie Trimingham’s name from one of our first entries when we featured her lovely, haunting triptych of films beauty crowds me, a pseudo-adaptation of the poems of Emily Dickinson.

In keeping with Numéro Cinq‘s penchant for reflecting on the creative process, NC at the Movies is asking filmmakers we’ve featured to reflect on why they make movies, what compels them to tell the visual stories they tell. Presented with that question, Julie Trimingham came back to us with a triptych (she likes to work in threes) of articles that look at her relationship with film: “Rosebud,” “The Horror,” and “Raising Hell.” This month NC at the Movies features her second article, “The Horror.”

— R. W. Gray

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Part 2: The Horror

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The horror. He says it twice. Marlon Brando’s hulking Kurtz in Apocalypse Now has witnessed and done things a person should never. I wish I could unsee the scalpeling of an eye in Un Chien Andalou. The severing of an ear in Reservoir Dogs. The rape in A Clockwork Orange. The flaying of a man in Red Sorghum.  A thug in The Cook, the Thief, His Wife & Her Lover tortures a young boy by stuffing him with buttons torn from his apprentice cook’s white coat, and then finally the most awful button, the excised one from his own belly. Paul Newman swallowing too many hard boiled eggs in Cool Hand Luke leads to him digging his own grave at the end. Nicolas Roeg’s Walkabout begins with a man trying to kill his children. A diligent boyfriend’s investigation into the disappearance of his girlfriend in the Dutch film The Vanishing ends with him, and us, finding out what happened by sharing her fate: buried alive with no hope of escape. Celluloid images of brutality –nightmares – are belched up from our species’ shadow side.

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Part of me wants to cling to Anne Frank’s belief that we are all good at heart; another part wants to figure how it is that all these good hearts are involved with genocide, murder, torture, stupid wars, as well as more intimate and prosaic barbarities. It is a question against which I bang my head. My son, now in kindergarten, has suggested that the good people should kill all the bad people in the world. I am become death, destroyer of worlds.

Oppenheimer atomic bomb lecture

Australian security recently reported that they had broken up a plot in which zealots would randomly seize people of the streets of Sydney, cut off their heads, and videotape the killings so all the world could see. The White Rose, an intellectual, non-violent resistance movement, bloomed in Munich in the early 1940s. Comprised of university friends, the group anonymously wrote and distributed leaflets that decried Nazi policies. Sophie Scholl, a girl of 20 who loved hiking and books, children and God, was one of these activists. I clap my hand over my eyes as she is beheaded by Nazis in the film that bears her name.

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Nor can I bear to watch the beheading of Thomas More in A Man for all Seasons, the beheading of King Henry’s smart, proud queen in Anne of the Thousand Days, the beheadings of Daniel Pearl, of James Foley, of Steven Sotloff, of Hervé Gourdel in virally distributed jihadist propaganda film clips.

Even when unseen, these scenes have made their way into me as if I have swallowed dark pills.  Does it matter that some are fiction,  some historical dramas, some news, some threats? Yes, but the images are all queasily spliced together in my mind; they describe the same arc of an unjust blade.

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Aristotle would have us feel cleansed by tragedy, scrubbed by pity and fear. Screaming, crying, gasping at something that happens on screen allows our bodies to release some of the horror we feel simply because we’re human, because suffering exists, because the world is as cruel as it is beautiful. Too, the dramatic form is a container for collective emotional experience, a means by which we can feel connected, if briefly, to one another.  We can mourn together. We can vicariously survive the tragedy, and come out the other side. We can empathize with the protagonist who, by dint of pride or error, has come to a sorry end. If Anne had held her tongue, if More had signed the oath, if Sophie had discreetly distributed the tracts rather than flinging them into the air, they all would’ve kept their heads. We all screw up and behave foolishly, and we are reminded and relieved that we get away with it when we watch the heroes of these stories fall.

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But what of the character who snuffs out, who desecrates the hero? What of the executioner? The eye-slicer, the ear-cutter, the flayer, the flogger, the imperious king, the dictator, the jihadist, the torture artist? What of Laurence Olivier’s dentist in Marathon Man, the Nazi sadist? Ben Kingsley and Sigourney Weaver, taking turns inflicting pain in Roman Polanski’s Death and the Maiden? I do not feel purified by watching them; I feel stained.

death

Brutality is suffering inflicted for selfish gain, cruelty of a particularly human strain. Witnessing it in movies seems not catharsis but admonition: the veneer of civilization is thin.

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I should know: I have hacked a man’s throat with a small, blunt knife and watched as his life gushed out. I have allowed the police to cart off my innocent young daughter, and then I have denounced her as she is tortured, her face pressed against a white hot iron. And often, sometimes nightly, I’ve had to run through the narrow streets of Montreal and Jerusalem, climbing up walls, out of windows, hiding behind dumpsters, I’ve had to run for my life from the oppressive state, from the minotaur, from my university painting instructor.

Carl Jung’s description of dream structure is not so different from Aristotelian dramatic principles or North American film script conventions: what Jung calls Exposition is our Act I, setting the stage with theme, character and place; Development is classic Act II, the playing out of conflict and action; Crisis is the Climax; Lysis is the resolution or conclusion, Act III.  Filmmakers structure films in order to create emotional momentum, to keep us from getting bored. Jung structures dreams in order to read us.

Some neurobiologists think that dreams are rehearsals for survival, if we run from disaster in our sleep, we’re more likely to do it when awake. Freud stripped dreams down to a single, telling essence, be it conflict, neurosis or wish-fulfillment. Various cultures have seen dreams as prophecy, healing, or divine intervention. As all human bodies are variants of the same basic genome, so our psychologies simply play off a fundamental human psychology: Jungians read dreams as messages from this unconscious, collectively held and personally expressed.

Sharon is a tiny, blonde woman who dresses in pale silk and pearls. She speaks softly and is, as far as I can tell, fearless. I suspect that if she weren’t an analyst she would tame lions.  Her talent and work, whether with adult neurotics or troubled kids, is to behold a psyche – that messy, alive, invisible thing – and to accept it, understand it, reflect it. To give it back to itself, nudge it toward wholeness. Her take on dreams is informed by Jung and also by decades of experience, of witnessing people thrash out meaning in their lives. She takes the internal narrative –dreams– as reflection both of the dreamer’s own psyche and the human consciousness we all share. Sharon translates, and transforms, nightmares: killing is repression; I am the killer, I am the innocent, my self is refracted in the violence of my dreams. The images are all clues.

Seeing our selves more clearly is a kind of spiritual proprioception. As these selves of ours are always caught in the sticky web of culture and history, seeing the web more clearly allows for more nimble navigation of it. If we can intelligently read our dreams, our own moving pictures, we are not bound to act blindly according to buried fears and desires.

Ditto, perhaps, for films. If we peer into the collective darkness, if we peel the text from the subtext of our cultures, might we be better off?

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I am a filmmaker who no longer makes films: after a series of short films, my first feature was, despite a flurry of meetings with producers and a lovely actress in Montreal, never produced; it became a novel instead. While not explicitly violent, the work does explore how decent people (namely, a drifting actress) come to take morally questionable action, how our most altruistic motives can be twined with the most selfish. My husband has asked me why my characters aren’t better people; he doesn’t understand, and doesn’t like my need to traffic in what he sees as tawdry, what I see as human. He doesn’t like that my brain even comes up with this stuff. I don’t think I’m coming up with anything; I’m just watching, and trying to describe.

If we can see the ways in which we are wounded and the ways in which we wound, aren’t we more likely to be kind? If we can see the ways in which we are blind, isn’t our vision at least partially restored?

Too: the light in chiaroscuro works so well because the darkness is so thick. We are barbarians with moments of grace. Cruelty sometimes inspires resistance, transcendence.

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I once wanted to make a movie based on Etty Hillesum’s An Interrupted Life, which is a compilation of letters and journals of her time during World War II. Photographs show a young woman with short, dark hair, bright eyes. She lived in Amsterdam, was a secular Jew, and wrote as a way to figure out her path in life. Living in a non-Jewish household, and consorting with the bohemian class, her writings limn the city in which she lives and her coming into her self, sex and her physical desires, the world of ideas opening to her. Politics and religion stayed in the margins until the Nazis invaded her life and her pages. She was recruited to the Jewish Council, where she performed administrative duties, but she hated this work and requested a transfer to Westerbork, a camp where she worked in the department for Social Welfare for People in Transit. These people were in transit to death camps. In time, and despite chances to escape, she became one of those sent. She accepted this fate. I came across, and was stunned, by her journals when I was 29, the same age as she was when she was gassed at Auschwitz.

Although unmade, scenes from this hypothetical film are cut into the montage that slow-burns at the back of my brain:

INT. WESTERBORK TRANSIT CAMP: She nurses the sick and comforts the anxious in the barracks. They all know what they’re waiting for. Etty tries to get a smile out of a fraught new mother. She can’t. The nursing infant unlatches from his mother’s breast. He gurgles, milk-drunk. The mother can’t stand it, she tries to contain herself. She hands the baby to Etty while she goes off to scream.  Etty gentles the baby, coaxing him to sleep. Kisses the top of his little bald head.

INT. CATTLE CAR CROWDED WITH FAMILIES – DAY:  Etty scrawls on a postcard. From outside, we see her fingers reaching through the slat, letting loose the card which flutters down and settles on the gravel ballast of the railroad,

INSERT POSTCARD:  her last written words: We left the camp singing.

A common interpretation of this act is that Etty had achieved great spiritual maturity, going Christ-like to her death. I prefer to see it as a beautiful fuck you to brutality.

—Julie Trimingham

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DSC_0053 - Version 3Julie Trimingham was born in Montreal and raised semi-nomadically. She trained as a painter at Yale University and as a director at the Canadian Film Centre in Toronto. Her film work has screened at festivals and been broadcast internationally, and has won or been nominated for a number of awards. Julie taught screenwriting at the Vancouver Film School for several years; she has since focused exclusively on writing fiction. Her online journal, Notes from Elsewhere, features reportage from places real and imagined. Her first novel, Mockingbird, was published in 2013.

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Oct 162014
 

goldwing[1]

Numéro Cinq at the Movies readers should recognize Julie Trimingham‘s name from one of our first entries when we featured her lovely, haunting triptych of films beauty crowds me, a pseudo-adaptation of the poems of Emily Dickinson.

In keeping with Numéro Cinq’s penchant for reflecting on the creative process, NC at the Movies is asking filmmakers we’ve featured to reflect on why they make movies, what compels them to tell the visual stories they tell. Presented with that question, Julie Trimingham came back to us with a triptych (she likes to work in threes) of articles that look at her relationship with film: “Rosebud,” “The Horror,” and “Raising Hell.” This month NC at the Movies features her first article, “Rosebud.”

Reading Trimingham’s reflections on film is for me like reading someone else’s love letters. It led me to reminiscing about my own film loves, and here, specifically, the moments that have made me gasp and filled me with wonder. We’d love to hear about your favourite film moments of wonder in the comments.

— R. W. Gray

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Part 1: Rosebud

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As a new mother, I used to dream of the apocalypse. B-movie stuff, but real enough to my sleeping self. The world on fire, thugs on the loose and armed to the hilt, bony-backed dogs on the prowl. I was always running with my infant son in my arms, trying to save him from whatever disaster impended. Waking life seemed much the same, with similar failure. The knowledge that despite my best efforts, the oceans are acidifying, the soil is dying, the aquifers are drying, all hell is breaking, and human idiocy and barbarism continue apace, that I cannot save the world for my son, almost crushed me. My fear of collapse zeroed in on my own body. Legs going numb. Tongue heavy. Short of breath. Heart too quick. When my palms turned itchy and bright red in a hysterical gesture of  stigmata, I called a counselor; although she specializes in troubled children, she was the only such person I knew in town and I thought she might provide direction. Turns out, she sidelines in Jungian analysis for adults,  and she was willing to take me on.

And it turns out that Jung is all about dreams, about decoding images projected from the subconscious. Dreams are films unspooled at the back of the mind; anxiety is a harshly lit breaking news broadcast in my frontal lobe: both are communications sent by far-flung outposts of my self. My analyst Sharon acts as translator with Jung’s Dreams Memories Reflections (which lies as yet unread on my nightstand), as an app for the subconscious.

The more I think about dreams, the more I think about the films I’ve watched and the films I’ve made, and how they have, in turn and in part, made me. Although my first film, about a young woman born with a tail, likely sprang full-formed from my twisty subconscious, later films have hints of external influence. I can draw a smudged line between Peter Greenaway’s The Falls, a strange pseudo-documentary about people who turn into birds after the apocalypse, and my own ficto-documentary about a singer who spreads her copper wings.

Falls,-The

It’s been pointed out to me that I must like Bergman (I do) because one of my black and white films features a couple fighting as they drive home in the night rain. I’m the product of a mother who loves American Technicolor musicals, so how could I not want to shoot an imaginary plane-ful of synchronized stewardesses?  But these are image-to-image, film-to-film correspondences, and I keep being drawn back to the idea that film might inspire or inform a psyche, a self.

As I suspect we all do, I carry inside myself a mash-up of images and scenes culled from movies I’ve watched. The clips that stick, the films that I am likely misremembering now as I work through these thoughts, tend to bend in the direction of wonder. And of brutality. Metabolized over years, these images have worked their way into my blood, bones and brain. They are spliced into an internally projected, constantly revised reel of my own dreams, memories and reflections, all of which then make their way into my own work, which in turn can be read as a waking dream.

Wonder, brutality. Is it as simple as the beauty and truth formulation? Wonder as beauty ratcheted up, as an experience so big and so deep that it becomes mysterious, miraculous? And brutality as the hardest kind of truth, the ugliest and most naked: of man stripped bare of humanity. Are these the things that take our breath away?

Rosebud is the word made with Citizen Kane’s last breath; it is also the word that begins, that causes, that animates the film. That word is Kane’s alpha and omega, and the entire film is about wondering what that one word means. We are suspended for almost two hours in a state of unknowing, of being led by Orson Welles’ tracking shots in a spiral that leads to the center of Kane.

Citizen Kane poster

A bud, like a self, unfolds from the center. To be struck with Stendahl’s syndrome is to experience dizziness, to faint, to be overcome by beauty. That syndrome is the namesake for the man who wrote that beauty was la promesse du bonheur, he didn’t say it was happiness itself. A bud is a rose that has not yet bloomed: its beauty is the promise of a rose. The cook who lives next door to me makes a dessert of wild roses that grow by the sea: a candy glass made from rosewater syrup, a sweet foam whipped from the hips, all of it then scattered with petals. 13 Ways of Eating a Rose. And then the flower is gone, swallowed. All you’re left with is memory. Orson Welles, Rosebud on his lips, dies trying to name, to call up the memory and metaphor of his childhood, his happiness, his time of wonder.

Rosebud still

I saw my first movie when I was six and was amazed to see versions of my self – the children in Small Change – writ large upon the screen. In François Truffaut‘s film, a toddler climbs onto the sill of an open window several stories up, entranced by a cat just out of reach. The toddler slips, plummets. The neighborhood gasps. The camera pans down, an agonizing moment of anticipating a smashed skull, blood on the sidewalk. But there the baby is, sitting up, laughing. A moment of astonishment, resilience and delight that I have held onto, now for decades. Escape to Witch Mountain was undoubtedly mediocre, but it was the first movie I watched from the back seat of the family station wagon at the drive in, and it has given me forever the image of a child levitating, saint-like, in a tree.

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Frogs fall from the sky in P.T. Anderson‘s Magnolia. The artless photographer frames overlooked beauty in Patricia Rozema‘s I’ve Heard the Mermaids Singing.  A woman wandering through Tivoli’s spectacular water gardens disappears into a fountain in Kenneth Anger’s Eaux d’Artifice. All of Maya Deren’s Meshes of the Afternoon. (A year-long stint as a volunteer at Anthology Film Archives on the Lower East Side of Manhattan imprinted me with classic experimental films). The loveliness of the wintered Ontario forest stops Julie Christie in her snowshoeing tracks in Sarah Polley‘s Away from Her. The heart-rending music in Krzysztof Kieslowski’s Double Life of Veronique and in Bleu is not so much soundtrack as character or catalyst.

DLV singing

The Ice Storm has a young teen so dreamy and astonished by life that he doesn’t even notice when the football is thrown to him during a game.

When I was in film school, we learned to edit on an old Steenbeck, a hulking machine operated with foot pedals and manually loaded reels. Film clips, the actual, physical strips of frames that constituted takes of each scene, hung from clothes pins in a bin. You’d work in a cramped room with the overhead fluorescents off, squinting at the crude backlit screen, cutting and taping frames together.  Each bin was organized by act or scene.  As I write this, I notice that I’m hanging these clips of childhood and mystery, of incomprehensible beauty, all together. The bin fairly glows.

But how quickly the sublime flips into something darker: Julie Christie’s character is lost in the forest because she’s losing her mind.  As Weronika, the Polish double, solos and hits an impossibly high note, she collapses and dies, pang-ing the French Veronique with an ineffable sense of loss. The boy in Ang Lee‘s film will be electrocuted by a line felled in the ice storm at whose loveliness he has stopped to marvel.

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I have become a believer in the notion that filmmaking is an act of orchestrating chance, of listening and serving, as much as it is a deliberate construction, and that something more than light and sound are imprinted on film stock.

I remember shooting “beauty crowds me” in the shower room of an old army barracks; the set was closed: it was just me, my (now ex-)husband/producer, a steadi-cam operator, and women in various states of nakedness. One woman drags another across the floor; one washes another’s back; the bathers move as if underwater. Occasionally they look straight into the camera. The viewer is complicit, implicated, acknowledged. Listening to Sarah MacLaughlin on a boombox, Carey, the camera op, pas-de-deuxed with Denise, the protagonist, as she made her way towards the shower, slowly shedding her clothes.  Emily Dickinson’s short poem has absolutely nothing to do with bathing:

Beauty crowds me til I die
Beauty mercy have on me
If I should expire today
Let it be in sight of thee.

The words have always struck me as a prayer, a plea for wonder. My aim was to have Denise catch sight of some beauty that hovered out of frame, next to where you, the audience, might be. (Naked because it seems like that is the state of a soul when, like Whitman,  it stands cool and composed before a million universes.) Between takes, the women would slip into  jewel-toned bathrobes and hang out in the barracks common room with the crew. It was an enchantment: we all surrendered en masse to the music, to each other, to the poet speaking across time. When wrap was called, we emerged into a changed world: snow had been falling, and was now thick and softly blue in the twilight.

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Somebody once said to me after watching the film, I don’t know where I just was, but I was there. There is something alive in the air, in the collective energy of cast and crew and story and moment, that is captured,  then shared with the audience. I’ve often thought that film’s trick of transport is reason enough to call a crew together, to paint walls, to shop for props, to dress up and choreograph, to run lines, to fire up the lights and roll camera. The cumbersome apparatus of filmmaking – machinery, logistics, personnel, budget, schedule – finds its end in a beam of light. A beam of light through which you can pass your hand yet one that moves us. Sometimes we even fall in love with the world anew.

Experiences of wonder can open us up, make us bloom. Don’t ask me to explain, but I believe that it keeps the apocalypse at bay.

 

—Julie Trimingham

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DSC_0053 - Version 3Julie Trimingham was born in Montreal and raised semi-nomadically.  She trained as a painter at Yale University and as a director at the Canadian Film Centre in Toronto. Her film work has screened at festivals and been broadcast internationally, and has won or been nominated for a number of awards.  Julie taught screenwriting at the Vancouver Film School for several years; she has since focused exclusively on writing fiction. Her online journal, Notes from Elsewhere, features reportage from places real and imagined. Her first novel, Mockingbird, was published in 2013.

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2014

 

Vol. V, No. 12, December 2014

Vol. V, No. 11, November 2014

Vol. V, No. 10, October 2014

Vol. V, No. 9. September 2014

Vol. V, No. 8, August 2014

Vol. V, No, 7, July 2014

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Vol. V, No. 6, June 2014

Vol. V, No. 5, May 2014

Vol. V, No. 4, April 2014

Vol. V, No. 3, March 2014

Vol. V, No. 2, February 2014

Vol. V, No. 1, January 2014

Jul 152013
 

Noah Gataveckas

Style, Freud, Nietzsche, the uncanny, Poe, Trotsky and Lacan (not to mention a quiver of ressentiment in the direction of existentialism and the modern university system) — Noah Gataveckas is our Dante in a journey through an inferno of intellectual repression, suppression and return (like the corpse of Usher’s sister in the premonitory short story). Nietzsche will not stay dead, it seems, despite our best efforts.

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I continue to hope that a philosopher-doctor…will some day dare to fully develop the idea that I can only suspect or risk.

— Nietzsche[1]

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STYLE ISN’T EVERYTHING, but it’s not nothing either. It intrudes upon the message that one tries to communicate – from voice to ear, from one ‘soul’ to another – that comes from within the message itself. In this way, it is like that horror movie staple, the phone call that comes from somewhere inside the house. But since style operates as an automaton of figuration, it is more like an ethereal voice that only exists on the line, beaming into the receiver from the network taken as a whole, that is, the circuit-self. Style is an alien element burrowed in the voice of the other, whose words and mannerisms preflect your own by a quiver-second; you feel yourself return to them for the first time, since they originate from a place “in you more than you,”[2] a closet garden in bloom whiff perennial déjà vus. Style is the way that the Signifier stuffs,[3] clutters, before intentionality arrives on the scene to appropriate and set up an ordering of things and a connection between use-values and exchange rates.

A current understanding, which disperses the ‘soul’ into a huff of gaseous matter and takes the ‘otherness’ of the self for granted,[4] sees in style a material trace of the unconscious (individual) and evidence of subjective spirit (particular): not as a “life-style” to be purchased by mastering a pattern of consumer behaviour, but an insistent tendency which finds itself at home in its repetitive unoriginality; whose belatedness and unfashionability, lagging at the back of the pack, allows it to ease into first place in a rat-race without limits or lapcount. Style comes to the fore in an era of fascionistas and apoliticos, when the Name-of-the-Father has been effaced from the writ on the wall, marking the start of the reign of impotence-in-power. The only authority in such prevailing conditions of “ontological anarchism”[5] is what grows from the ground, like how a diamond is formed by centuries of pressure accumulating, through the labours of pain and torture, and leads up to the sublated materials as a result.

Hyper-condensation and double-displacement distinguish the style of Lacan, only once removed from Nietzsche; he does not need to “return to Freud”[6] in order to appropriate the influence of the former for his own purposes. Lacan’s distance, as we shall see, lets him get far closer to Nietzsche than Freud could ever bear. Vulgar dialectics pose the following formulation: Lacan ‘synthesizes’ (in the sense of ‘reconciles’) Freud’s logos with Nietzsche’s mythos. And yet by keeping alive the polemic tendency embodied in Nietzsche – who aims at a total critique, starting with a critique of totality – Lacan can shed new light on the scope of the Freudian discovery – “a revolution in knowledge worthy of the name of Copernicus”[7] – in order to push it to the endpoint of its radical trajectory; to overcome the undertaker who, since he could not deflect heaven, initiated the patient and tedious work of raising hell. We owe him our thanks for this. It is Lacan’s point.

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Lacan rode around in a Jaguar and partied with surrealists, not afraid to flirt a bit with the threesome of Dionysius, Aphrodite, and Hermes. But like Freud, he also hailed from the weird streets men and women walk in their dreams, the strange and twisted alleyways that spiral Escher-like into the abyss of restless desire and primordial repression. A style developed on a basis of Freudian truth deploys dialectics to devolve how, with the murder of the Anti-Christ by the scientists,[8] extremes meet in a post-modern moment: Lacan opens the season of life’s grand festival, to seat Freud at the head of the table, then proceeds to host the Old Man’s roasting; meanwhile Nietzsche remains close, with a good view of the show and, more importantly, the pit. The rest of the guest list is meticulously picked, placed, and orchestrated to compliment each other in syncopation, in tune, in rhythm. But as a result of the grossness of this reconciliation, proceedings cannot help but teeter a little towards calamity, spilling-over-the-side, upheaving, and into the shit.

Lacan’s style explodes the previous standards of evaluating and enjoying prose, of reading and writing in general, with wit and spirit that is upbuilding, uplifting to the heavens of synoptic literacy and absolute knowing, which is to say, a knowledge of the Absolute.[9] So when, in an overture to his own extra-critical tome, Lacan claims that “the style is the man…one addresses,”[10] we can be confident that Nietzsche is not to be forgotten. Rather he is to be counted in a short list of cherished others, the priority recipients of Lacan’s career-long in love-letters (to himself, to others…), and one of the still semi-secret ingredients of a rhetorical witches’ brew which, amidst a feast of stale crackers, tastes as remarkably fresh today as when it was first bottled – and really only now, for the first time, after l’âge ingrat, can be said to have begun to mature as a vintage.

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Nietzsche is a scandal. Contemporary thought finds it difficult to determine where he fits in the scheme of things. Yet his popularity endures. People keep reading his works. We do not want to forget him, to allow his name to fade into the obscurity of the past, at least not yet. This is what makes a problem for those who do not know what to do with his continued relevance.

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It manifests most markedly in the environs of academia. Specifically, the academic industrial-complex has been utilized to promote a vague category called “existentialism”[11] a defensive manoeuver to contain the spread and influence of his still-untimely meditations. This countermeasure aims at preventing the unification of the various hyper-professionalized, atomized disciplines — a state of affairs which investors and rectors have had to work hard over the years to engineer — within Nietzsche’s gaping abyss of negativity and radical commitment to critique.[12]

After all, what if Nietzsche’s right? Isn’t the message that he delivers – one is tempted to say preaches – the active negation of what passes for an “education” today, humanities or otherwise? How can one trust his enemies to explain and teach him?

Nietzsche’s discourse resists spinful interpretating toward liberalism. His work upends the ridiculous idea that philosophy and critical thought are “subjects” one must go to school to get a degree in before being able to speak a word to them. Professional philosophy is an analytic contradiction, like a married bachelor. Thanks to Nietzsche (but also Marx, whose critique of capitalism dealt a theoretical deathblow to the university ideology first,[13] decades before Nietzsche ever got the opportunity to pick the fight), we now know that university institutions are a reaction to the real potential of social critique that unfolds as an immanent process within society itself. Nietzsche’s de(con)struction of “knowledge” and “truth” reflects the self-inflicted implosion of his professional career (that is, as a professor of Classics at the university of Basel in Switzerland), a development which at the same time precipitated his maturation as a thinker and writer into the Super-Nietzsche we have come to recollect today: a singular figure in the history of thought and philosophy who provokes awe and anxiety alike as a stand-in for Zarathustra himself — in spite of his all-too-humanities, foibles, flaws, and quixoddities.[14]

The school-machine generates legions of ‘experts’ in order to convince regular people not to think on the supposed ground that ‘professional,’ much more impressive people (with diplomas!) are already doing this vital ‘job’ for them, for us. We should trust them and try not to get in their way, goes the moral of our times. The control of knowledge becomes the knowledge of control. This is something Nietzsche opposed, as one who was driven out of the academy for challenging its pretensions. Its religious and market prejudices had become too outlandish, already in the second half of the nineteenth century, for him — as a self-respecting philosopher, understood in the Socratic sense, employing the methods of ironic negativity[15]– to be able to stay in school and at the same time remain a free thinker. Those who come into contact with Nietzsche’s writings over the course of an arts degree are driven to wonder what the point of it is — why higher education? — when the content they are being asked to make reports on (and get graded on!) negates the very notions of “reports,” “grades,” and “higher education” altogether, revealing these as hairshirts worn only to appease the masochism of those conformists-in-training; or as fetish-gifts, used to promote and instill the cult of “success”[16] amongst the next generation of Eichmanns.

Under a bourgeois education system, it is to be expected that Nietzsche’s message would come to be sterilized, anesthetized, fractured, and segmented into pellets, for casual consumption, like popcorn in a snack mix.[17] The unity of his thought gets dissolved into tidbits and catchphrases to be sprinkled throughout the humanities as a whole, dissipated into a mystic fog of pseudo-Zoroastrianism and neo-Thrasymichusism.[18] But the initiative of youth, hungry for answers and eager to learn the ways in which they have been betrayed by their progenitors,[19] follow one signifier after another in pursuit of elucidation. When they are not bogged down by the drills and tests designed to distract them from actually learning anything of any merit or interest to their immediate lives (as living bodies forced to engage with (political) economies in order to reproduce themselves over time), students read Nietzsche in spare hours in preparation for dropping out. Once turned on, tuning into Nietzsche’s frequency is a fast track to hitting the pavement.

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Nietzsche’s open attack on the institutionalized knowledge of the churches and universities — reminiscent of Socrates’ blistering campaign waged against the knowledge-for-profit services sold by the Sophists to aspiring tyrants — proceeds on the basis of a ruthless critique of everything (re)currently existing.[20] This means that his critique — or, as he dresses it up, his “revaluation of all values”[21]  — goes far beyond the sins and failings of the churchaversities. Even Marxists are made to feel a bit put off, if not outright uncomfortable[22] when exposed to Nietzsche’s thought: at best, adopting an aggravated ambivalence, a pat dismissal of his petit-bourgeois background and individualism; at worst, repeating some tenuous claims in an attempt to dismiss him without so much as a consideration, by insinuating the link with Hitlerism that bourgeois commentators are just as quick to point out when faced with the prospect of radicalized Nietzschean will-to-nihil.[23] After all, Nietzsche was no Marxist — but then the problem reappears once again, where to fit him? Why would Marxists appeal to the philosophy of someone whose ideas were formed, essentially, as a middle-class reaction to Marxism? Whose literary style is, although admittedly stunning, nonetheless derivative of some of the best works of Marx and Engels?[24]

Of the orthodox Marxists,[25] Leon Trotsky is probably the most confident in this arena. In a document from 1900 titled “On the Philosophy of the Superman,” he calls Nietzsche the prophet of a “proud individualism” which, Trotsky assures us, it is even possible to practice unconsciously: “being Nietzschean [does not] mean being an adventurer of finance or a vulture of the stock market. In fact, the bourgeoisie has spread its individualism beyond the borders of its own class… [Many people] probably are even unaware of Nietzsche’s existence insofar as they concentrate their intellectual activity on an entirely different sphere; on the other hand, each of them is a Nietzschean despite himself.”[26] Presumably, this means that Nietzsche’s “will to power” has spread and melded with the bourgeois ideology of present-day society. The conclusion of the article, though, rejects the philosophy of the Übermensch: “we find sterile such a literary and textual attitude towards the writing rich in paradoxes…whose aphorisms are often contradictory and in general allow for dozens of interpretations.”

Then why does Trotsky, years afterwards, continue to read and write about Nietzsche, even after the tumultuous, transformative events of 1905?[27] Credit is due to the archiphile Ross Wolfe for unearthing and translating an article from 1908 called “Starved for ‘Culture'” in which Trotsky continues to expound upon the influence of Nietzsche. It is worth quoting here at length: “In the West, he appeared as the final, most extreme word in philosophical individualism because he was also the negation and overcoming of petit-bourgeois individualism. But for us Nietzsche was forced to perform a quite different task: we smashed his lyrical philosophy into fragments of paradoxes and threw them into circulation as the hard cash of a petty, pretentious egoism… Nietzscheanism [was] the muddled, romantic, chaotic outburst of a new intellectual health… Nietzsche was the genuine negation and overcoming of Kant and the Kantians… Whereas our Kantian appeared for the sake of overcoming Nietzscheianism, he in turn was mastered — legitimized, and was legitimated… A narrow line traces out a new fissure in our social life, calling for a new ideology, such as the one Europe now casts down upon us, corresponding to the riches of its philosophy, its literature, its art: Nietzsche…Kant…the Marquis de Sade…Schopenhauer…Oscar Wilde…Renan… That which exists in the West was born in spasms and convulsions, or else was composed by imperceptible degrees, as the product of a complex cultural epoch…”[28] 

Trotsky, despite his previous reservations, kept reading Nietzsche, did not throw him out along with the rest of the dreck.[29] Indeed, Trotsky counted Nietzsche alongside the “riches” of Europe’s “philosophy, its literature, its art” (along with de Sade!!). Which returns us to the problem at hand: Whether the schools are bourgeois or proletarian, it seems, the figure of Nietzsche threatens to upset the ‘official’ curriculum, as an oddity, a leftover, outside what otherwise fits together like a completed puzzle. In a way Nietzsche is like Trotsky himself, insofar as the latter’s reputation was never resuscitated in the Soviet Union after Stalin had him smeared and assassinated (this is unlike Zinoviev and Bukharin and others, whose images were rehabilitated posthumously under the Khrushchev regime). Trotsky’s ghost still haunts the political Left[30] due to an improper burial service; in a similar way, Nietzsche’s presence is still with us, threatening to burst forth from the tomb, like a vampire, or the corpse of the sister in “The Fall of the House of Usher.”

What is more: in the way that Poe’s macabre short stories are lauded by psychoanalysts for being “powerful in the mathematical sense of the term”[31]due to their eerie precognition of psychoanalytic theory, the science of psychoanalysis is also unable to escape from the gravitational pull of Nietzsche’s dark star. Here it behooves us to consider an exceptional confession that was made by Freud in 1914,[32] a confession that establishes the kind of relationship that the father of psychoanalysis had with the murderer of God: “I have denied myself the very great pleasure of reading the works of Nietzsche…with the deliberate object of not being hampered in working out the impressions received in psychoanalysis by any sort of anticipatory ideas. I had therefore to be prepared — and I am so, gladly — to forego all claims to priority in the many instances in which laborious psychoanalytic investigation can merely confirm the truths which the philosopher recognized by intuition.”[33]

In his “Autobiographical Study” from 1925, Freud is even more explicit in tracing his theoretical genealogy to Nietzsche and beyond: “I read Schopenhauer very late in my life. Nietzsche, another philosopher whose guesses and intuitions often agree in the most astonishing way with the laborious findings of psycho-analysis, was for a long time avoided by me on that very account; I was less concerned with the question of priority than with keeping my mind unembarrassed.”[34]

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There is much of interest in these statements. First, Freud’s self-avowal of his “anxiety of influence”[35] in relation to Nietzsche, who he accuses of inventing “anticipatory ideas.” Second, the way that this connects to Lacan’s argument on behalf of a structuralist Freud — insofar as Freud is credited with “anticipating” Saussure.[36] Third, the flagrant openness of Freud’s avowal: what does it mean to say that Freud repressed Nietzsche’s influence on the development of his psychoanalytic thought, when Freud is the first one to admit this, as it were, “gladly”? Fourth, the attribution of the genius of Nietzsche to his “intuition,” a claim which is basically repeated by Žižek when he says: “Nietzsche possessed an unerring instinct that enabled him to discern, behind the sage who preaches the denial of the Will to Life, the ressentiment of the thwarted will…”[37] But what is this “unerring instinct,” this perfect “intuition”? Fifth and finally, it poses the question of science and its practice: what was Freud’s method, his style of empirical analysis, such that, through independent verification of the “impressions received in psychoanalysis,” he could produce a different kind of symbolic authority than that which stems from historical transmission and, ultimately, hermeneutics?

Freud appears to be aware that psychoanalysis corresponds (in the sense of coincides) with the most uncanny and insightful formations (one might call them deductions) of Nietzsche, shrouded as they are in mythical prose and slippery “paradoxes.” However, he also suggests that he must protect himself from Nietzsche’s influence, in the same way that a lab technician will prevent an experiment from being tampered with, or a judge will sequester a jury, to block them from being spoiled by outside opinions. All of this involves a construction of a deliberate ignorance, a purposeful silence, which can allow itself to be corrected, not by peers but by a qualitative in-gathering of experience that gets carried out in accordance with the best phenomenological traditions that emerged in the wake of the Germanic philosophical revolution of the 19th century, which was inaugurated by the dialectish thought of Kant and his compatriots.[38]

So Nietzsche appears, from this perspective, as a proto-Freudian, or rather as the Ur-Freud. On the totem, Nietzsche’s raw soil undergirds Freud’s establishment of the symbolic order of psychoanalytic knowledge, which is in the rational and scientific language of his day, free from the Goya-scenes that haunt the more feverish pages of Nietzsche. Playing the role of the primordial father in relation to Freud, he is the taboo dad whose death becomes the condition of freedom, which Freud is able to attain through employing the scientific terms of his time to develop a new mode of discourse. Nietzsche’s dream of the gay science, the joyful science (so close, the German Freund means boyfriend, lover), comes true for the first time with the founding of psychoanalysis. Before this point, it was merely a ‘scene,’ as goth and emo as the 1882 photo of Nietzsche with Lou Salomé and Paul Reé suggests.

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And the science of desire and jouissance, despite its frills, should be admitted to possess a much higher degree of clarity and operational value, in a medical sense, than Nietzsche’s mere appeals and parables, insofar as only one stakes itself on a concrete method which, other than Marxism, has the power to act simultaneously on the subjects and objects of historical development. We should be able to see the necessary difference between Nietzsche and Freud, and how the latter should be seen to ‘sublate’ and ‘overcome’ the former; that is, even if we wonder to the degree that the latter rests implicitly on the astral visions of prior trips; imaginings which, oracular in their reflectivity, outshine the sun, like an eclipse which magnifies the light, reflecting it and focusing it into a beam which, if met by any gaze, blinds.

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This leads us to consider Lacan’s appraisals of Nietzsche, as one more mellow about this subject than Freud. Unlike the Old Man, who refers to Nietzsche in the same way that Aquinas casually came to refer to Aristotle, as “the philosopher,” Lacan can tell a joke or two about the subject, perhaps spread some rumours, and be self-certain enough to see how the uniqueness of psychoanalysis will allow it to survive, regardless of whatever the verdict on Nietzsche shall be in the coming years. Lacan shows that Nietzsche’s “eternal recurrence” is not the same as the psychoanalytic notion of “repetition,”[39] a point which was actually first made by Freud, but needed to be repeated.[40] Still, Lacan goes farther in explaining where Nietzsche fits in, at least vis-a-vis the rest of the Eurocanon. According to Lacan, Nietzsche “is a nova as dazzling as it is short-lived.” He adds, however, that this is still not so much as Balthazar Gracian or La Rochefoucauld, who shine as “the brightest stars” of “a milky way in the heavenly vault of European culture.”[41] At another point, in his Seminar I, Lacan slights both Nietzsche and Rochefoucauld, considering them to be “insignificant” when compared to Gracian, in particular his books The Oracle and Criticón.[42]

This is a paradoxical gesture: merely mentioning Nietzsche here is, to put it one way, a ‘shout-out,’ since it is also to hold him in the same company as these other “stars,” if only in a supporting role. But it is still an attack (does one dare to suggest, “displacement”?) on the commanding influence of Nietzsche, as evidenced by Lacan’s election of Gracian and, later, Joyce,[43] into the position of kingmakers in the department of what gets counted for stylistic substance today, at least, according to Lacan. He appreciates the effort, but this doesn’t save Nietzsche from not making the cut: hence his emo-ness, hence his picked-last-in-gym-class mentality. This trauma is devastating for Nietzsche, since for him there would be nothing more humiliating than finishing in fourth place at the philosophy Olympics.

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It takes psychoanalytic thinking to understand the extent of Nietzsche’s folly (however praiseworthy though it may be), insofar as his loud posturing only sells the appearance of an atheism which, unconsciously, remains betrothed to God-in-the-sky. Imagine that Nietzsche the madman runs into the street and yells, at the top of his lungs, “God is dead!” He repeats this gesture at the same time each morning, and twice on Sundays. Are we to believe that he really believes what he says? Here is where Lacan’s alternative formulation of atheism comes to the fore: “the true formula of atheism is not God is dead – even by basing the origin of the function of the father upon his murder, Freud protects the father – the true formula of atheism is God is unconscious.”[44]

While Lacan tended to deflect questions concerning the belief in God — said it didn’t matter to him, one way or another, personally — he also adopted the philosophical position of “dialectical materialism,”[45] that is, the same position of Marx and Lenin,[46] that entails a rejection of theological beliefs and religious superstitions. All of this adds up to Lacatheism, Lacanian atheism, and when taken together with Žižek’s explicitly avowed atheism,[47] it is clear that Lacanian thought, i.e. psychoanalysis, is really the sine qua non of atheism in the modern age. Lacan thus manages to accomplish something that Nietzsche set out to do but could not bring himself to fully fathom, once he got lost down the highway of his private metaphysics, a Neverland-like Pleasuredomain that he so-called, contingently, “will to power.” An immensely exalted father continued to ape in the shadows of Nietzsche’s fantasy-world, disavowed, but therefore all the more awful. Lacan in contrast was able to relieve himself from the grasp of God, able to catch a glimpse of what lies beyond secular thinking, beyond the immensely frightful shadow of the Big Buddha, and convey a bit of his vision to the rest of us still stuck in Plato’s cave. He is Nietzsche un-Nietzsched, castrator of castration, negating negation itself.

james joyce ulyssesNietzsche and Lacan emerge from the same Eurotradition of thought. It includes the “early modern” thinkers of Renaissance and Enlightenment but also the mystics and radicals of the Catholic Church, Plato and Aristotle, Sophocles and Homer, etc. etc., who all attempt to account not only for their own times but the entire “nightmare of history,” as both Marx and Joyce described it.[48] It is impossible to hold the world in your right hand, but attempting to do so produces a specific discourse, nonetheless, a discourse that reflects the conditions of its production, and is not without noteworthy features of its own. But here is where Lacan disjoints from Nietzsche. Insofar as Lacan compasses Nietzsche in his repertoire, combined with many others and taken to higher stage (since Lacan takes the tradition of Nietzsche and Schopenhauer alongside the Freudian system which — why not? — should be counted as an ontology in its own right, a materialist phenomenology of the symptom qua signifier), the equation is obvious: Lacan > Nietzsche, or, Lacan = Nietzsche + MORE (at the very least, Freud’s development upon and critique of Nietzsche’s merely mythological articulation, halfway-deduction, of what makes for modern psychology; also a more coherent politics; also Heidegger; also Saussure; also Lévi-Strauss; also Joyce; etc. etc.). Lacan holds Nietzsche as a card in a big deck, another name to be played alongside the rest, just as those writing in the present are permitted to use the Lacan card — a trump if there ever was one, or a joker.[49]

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Yet there is no card that will stop history from continuing to accumulate under the emotionless supervision of Benjamin’s angel of wreckage.[50] The relevance of the teacher corresponds to the needs of his students. Lacan is only relevant here and now, much more so than Nietzsche. Romantic appraisals of the 19th century are a reflective medium that allows you to go back to the Dionysian days of ancient hedonism, the romantic imagination flitting from one scene to the other faster than you can say desire desires desire: a Lacanian maxim, without which Nietzsche — too late, but still too early — came to psychological ruin. Although, to be fair, there goes romanticism again: the temptation to see Nietzsche’s mental collapse and ‘final’ madness as anything but a case of syphilis.

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Stuck between Marx and Freud, Nietzsche is most untimely. Despite this fact, part of the Cause Lacanienne is his redemption and resurrection by a fulfillment of his prophecy about the development of The Grand Style. Nietzsche described his vision with the following words: “Power which needs no further demonstration, which scorns to please, which answers unwillingly, which has no sense of any witness near it, which is without consciousness that there is opposition to it, which reposes in itself, fatalistic, a law among laws: that is what speaks of itself as the grand style.”[51]

This is not a description of Nietzsche’s own writing style; rather it is a prophecy that has come of age in the works and seminars of Lacan. Here the reader is privy to a style that ‘speaks to itself’ (remember how Hegel described the dialectic as “objective reason talking with itself,”[52] in other words a dialogue without characters or setting, but no shortage of voices?), not in the sense of constructing for oneself a play-park of private meaning (like Derrida does), but in allowing the power of language itself to generate the thought-forms that naturally give rise to a train of association that, for the subject, can take on an antagonistic character in its very spontaneity (insofar as talking to yourself is, at the same time, talking to someone else, an other). Instead of letting this hamper him, Lacan harnesses the objective play of the signifier as the careful contributions made by the Big Other, and adapts these gifts to the flow of his output. The way the ball (mis)bounces is a vital part of style, like an early Louis Armstrong trumpet solo, or the way Neil Young would record his mistakes into the mix.

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Mis-style, thus, in our age, is the precondition of the grand style: which is not to say that mistakes are all it takes, but that what goes without them is suspect. Art must now be all and nothing at once; a competition of tongues fused into a monster of speech; a permanent cultural revolution; force that is beyond control and unencumbered, even turning cancerous, explosive, like the horrific transubstantiation of Tetsuo from the classic anime Akira (1988). This capacity for mad growth into something that exceeds proportions, like the breathing furniture from the films of David Cronenberg,[53] is at home with us in the present. And our depictions of it, in the imagistic content of artistic productions, must also be met accordingly in the realm of letters, to keep honest Hegel’s assertion that language, textuality, is “the most spiritual existence of the spiritual,”[54] i.e. the Super-Spiritual substance, or God-in-the-world It-self. Hence we argue on behalf of “the supremacy of the Signifier,”[55] a phrase first offered by Lacan and located at the top of the analytical index for his Écrits, as an appeal to establish it in the minds of readers as the first rule of his guided tour for the perplexed of the present.

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Still, Nietzsche and Lacan are united in the ferocity of their polemic. The former hates the entire world, while the latter hates the world so much more that, instead of (ineffectively) blaming everything all at the same time, he focuses his intense scorn on a specific group of bad psychoanalysts who sell short the teaching of Freud. Nietzsche’s macrocosmic rejection and denial of the world, which becomes the inverse basis for his joyous affirmation of life, is replaced by the prestige micro-politics of the International Psychoanalytic Association and its internecine squabbling. However, since so much does indeed depend on the reading and understanding and interpreting of Freud’s teaching, Lacan is to be thanked for adopting such a militant, “asshole”-ish identity over this disputed question: Whither Freud, in today’s era of pharmacopious drug-use, cybernetic reprogramming of ‘thought-forms,’ and hyper-sexed impotence? Who is teaching Freud today, when everything stands for it, nothing against, and yet still, no one does it?

The moral law should be rendered “Read Freud,” if only to get people to understand the multitude of problems that follow from a naive (Kantian) belief in morality, which tends to be found today in low-grade facsimiles of the categorical imperative.[56] For the first time in history, the question of Desire is posed – not in-itself but for-itself, as a self-recognizing, self-relating entity. For what is desire but the reward attached to the drive that turns the wheel of the world? And surplus-desire but the fantasy to cut class, to ‘get away from it all,’ to leave the cockpit from Rivera’s Man at the Crossroads without a pilot? The demand for research into desire is, in turn, the call for a burning desire to research, to seize the night with upturned telescopes and bottomburned candles.

A curriculum which aims to compliment Freud with Nietzsche – perhaps alongside others favourites such as Sophocles, Kant, Schopenhauer, Poe, etc. – might stand a chance at reviving what Lacan dubbed the Cause Freudienne, in the winter of our society’s anti-Freudian discontent. But we should take this open call for submissions, not to mean a return to the specific organization which went by this name, but rather the psychoanalytic movement itself, the spirit of 1895, the “project for a scientific psychology,”[57] that takes science in the dialectic sense of the word. This may add up to no more than what Alain Badiou already suggested, when he claimed that “Lacan is the Lenin of Psychoanalysis,” a relation which casts Freud as Marx,[58] and also: “Lacan is a condition of the renaissance of philosophy. A philosophy is possible today only if it is compatible with Lacan.”[59] In other words, Freud, or at the very least “Freud’s teaching,” as the teaching of Lacan, is our starting point today, even if this means that we are burdened to go back to what is inscribed in the texts and lectures of father Sigmund, rest his soul, before we can begin to make heads or tails of the Lacanian voodoo.

But Lacan, as the first one to relay a radical interpretation of Freud that went fearlessly to the root of his teaching, can nonetheless be said to add something totally original to the progression of the psychoanalytic Idea. This very erection of the name of Freud to the rank of King-Master, for Lacan, becomes a way of getting the obvious out of the way and dealing with the elephant in the room, in order to get down to business, to the work of philosophy, to a teaching of dialectics that accepts Freud’s contributions to the materialist conception of the human body and the nature of psychosexual development.[60] In the same way that Žižek belts us over the head, repeatedly, with the imperatives to “read Hegel” and “read Lacan,” shamelessly promoting the status of these figures like a fan-boy, Lacan’s constant boosting of Freud qua Freud (as opposed to Freud qua Anna, Brill, Strachey, Jones, Klein, Horney, Adler, Reich, Jung, etc. etc.) is a way of being able to develop the plot, while at the same time bringing up to speed those who tuned in late to the broadcast, and as a consequence have yet to locate the villains in the story.

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Which brings us back to the present, not so much for resolution as to recap: without acknowledging our foundations in the dialectic (of Hegel, Marx) and Lacan’s interpretation of Freudian psychoanalysis (with Lacan himself as the self-relating, ‘doubled’ negativity that lets him stand for Freud qua Freud as well, as the radicalization of Freud), it is impossible to begin to reckon the full extent to which Nietzsche fits into our (post)modern moment. What Lacan et al., when taken as such, can show us about a one like Nietzsche, is that his very disjointed, out-of-place aspect is, at the same time, his most proper and fitting place, insofar as this replicates his position as the primordial father of the modern mind, which had to wait to be recognized officially as a Freudian creation, in order to come into conscious knowing.

As a result, Nietzsche, his own prophet, is left to bury himself. A tragic climax to a murder-suicide, which claimed the life of One God and the last man. And while Nietzsche is dead, gone for good, at least with Lacan we can learn how non-all is not lost. A new society is on the horizon and with it the creation of a new man and women. The grand style and its multiplex variations leads the way, like a Piper at the Gates of Dawn whose song is free jazz, whose style is form unleashed, revolutionized. For until structures walk the streets once more as they did in ’68,[61] there is no hope and no potential for social renewal or cultural rebirth. Just as without the reconstitution of the subject, there is no possibility of recovery. And without an organized operation to reap the grapes and ferment the wine, what’s ripe will turn rotten, left to wither on the vine.

—Noah R. Gataveckas

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Noah R. Gataveckas is a writer and educator who lives and works in Toronto. He is currently working on a book called Symposium: A Philosophical Mash-up, a portion of which can be found here on Numéro Cinq (see “Professor O’Blivion Rides Again“). He has also written numerous articles, one play for performance (“Five Star”), and a manifesto (“Why do we burn book?; or, The Burning Question of Our Movement“) also published on NC. See the June issue of the Platypus Review for his essay: “La contra Adorno: The Sex-Economic Problem of Platypus.”

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Footnotes    (↵ returns to text)

  1. See Silvia Ons, “Nietzsche, Freud, Lacan,” Lacan: The Silent Partners, ed. Slavoj Žižek (London: Verso, 2006), p. 80.
  2. See chapter 20 of Jacques Lacan, Seminar XI: The Four Fundamental Concepts of Psycho-analysis, trans. Alan Sheridan (New York: Norton, 1998), p. 263.
  3. See Lacan, Seminar XX: On Feminine Sexuality, trans. Bruce Fink (New York: Norton, 1999), p. 37.
  4. Then again, Lacan’s essay on the mirror stage (1936) noted how the ancient Sanskrit saying “Tat Tvam Asi” (Thou Art That) could be brought to accord with his psychoanalytic teaching.
  5. The worst representative of this kind of ideological indulgence is found in a lifestyle-anarchist tract by Hakim Bey from 1991, called T.A.Z.: The Temporary Autonomous Zone, Ontological-Anarchy, Poetic Terrorism, available online at: http://hermetic.com/bey/taz_cont.html.
  6. Lacan, “The Freudian Thing, or the Meaning of the Return to Freud in Psychoanalysis,” Écrits: A Selection (New York: Norton, 2002), p. 107.
  7. Lacan, “The Freudian Thing, ” Écrits: A Selection (London: Routledge, 2001), p. 87.
  8. For reference, see the myth of the primordial father from Freud’s Totem and Taboo (1918), in which the ape-man is murdered by the ‘band of brothers’ and society is subsequently founded.
  9. For a full defense of Lacan’s Hegelianism, see chapter 8 of Slavoj Žižek, Less Than Nothing (London: Verso, 2012), p. 508ff.
  10. Lacan, “Overture to this Collection,” Écrits: The First Complete Edition in English, trans. Bruce Fink (New York: Norton, 2002), p. 3.
  11. This term, popularized by Sartre in the 1950s and disowned soon afterwards, has shamefully been seized upon by the academic and media ideological state apparatuses to perpetuate a mystified account of unique authors such as Kierkegaard, Dostoyevsky, Nietzsche, Heidegger, and others; as if the differences between these disparate sources could simply be cast as ‘variants’ or ‘flavours’ of a ‘common’ project which they all worked on together, called “existentialism.”
  12. And yet Paul Feyerabend exists, whose “anarchic theory of knowledge” approximates what the sciences are missing, in terms of an avowed Nietzschean influence. Thus despite the efforts made to stem a creeping negativity, by isolating Nietzsche and pegging him in the philosophy department as an “existentialist,” the night-terror of critical criticism that he represents, like the shadow-monster from the cheesy remake of House on Haunted Hill (1999), rises from the basements of the Academy, to invade every department and eventually consume the entire schoolhouse. Nietzsche’s negativity, taken in this way, is bigger than himself, has the capacity to outgrow its historical confines.
  13. In a sentence, the ‘sanctity’ of the university discourse was forever tarnished when Marx showed “the ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force.” See The German Ideology (1845), available online at: http://www.marxists.org/archive/marx/works/1845/german-ideology/ch01b.htm.
  14. The historical biography of the man, Friedrich Wilhelm Nietzsche (1844 – 1900), does not begin to resemble the (imaginary) heroic figures of action whom, over the course of his texts, he lauds with love and admiration, like an immensely exalted father in the flesh; like Marx, Nietzsche did preach a philosophy of praxis (at least in the abstract), but unlike Marx, Nietzsche’s body remained tied to the routine of passive contemplation, of sickly recovering – in this way (i.e. the form of ‘doing philosophy,’ of sheltered thought), he never broke from his roots in Schopenhauer (even if he broke with Schopenhauer in terms of content).
  15. On this point, compare Kierkegaard’s Masters thesis: The Concept of Irony with Constant Reference to Socrates (1841).
  16. It is interesting to note, from the perspective of the critique of ideology, that Lacan would regularly refer to certain words during his seminars in English, to ridicule certain ideological positions of English-speaking societies. For example, he did this with words such as “success,” “self-made man,” “the American way of life,” etc.
  17. One can imagine the advert on the packaging: “Existential’sms! All your faves in one bag! Krazy Kierkegaards! Neat Nietzsches! Dope Dostoyevskys! Hot Heidegger! Sweet Sartres! Cool Camus!”
  18. Cf. book I of the Republic of Plato, where Thrasymichus shows that the Nietzschean understanding of “justice” that in the present he is theoretically famous for, in fact, predates him by millenia.
  19. A generation of parents and guardians, due to their short-sightedness and complicity with the capitalist system, have effectively sold their children and grand-children, an entire series of cohorts, into slavery and to be used as human sacrifices to the pagan god Baal, so that they might receive an upgrade on the size of their television screens. This is how the baby-boomers of North America and Europe will come to be remembered, that is, by the survivors of the upcoming catastrophe: as the generation who saw no irony in Swift’s modest proposal, and was willing to make a deal for an all-time low, something the equivalent of a hot tub.
  20. Perhaps the most important theoretical difference between Marx and Nietzsche can be articulated along these lines, insofar as Marx’s critique was more radical than Nietzsche’s, at least when it came to the notion of history. Whereas Nietzsche lauds the nobility of the past as a mythical standpoint from which to critique the ‘degenerated’ present situation (the cause of which he tellingly displaces in Christianity as opposed to capitalism), Marx’s critique has no illusions about the ‘great men’ of ancient times. As a materialist method of combining thought and practice, Marxism’s “ruthless criticism of all that exists” (“Letter to Ruge”) does not need to rely on any kind of ‘original’ historical position, from which our current ‘misbegotten’ age has fallen into decline. On this basis, one can claim that Nietzsche’s critique is not self-reflexive to the most radical degree: while all-encompassing in terms of its scope, it does not include its own presuppositions (of “strength,” “will to power,” “Europe,” “eternal recurrence,” etc.) into its critical purview; an over-accumulation of negativity is offered in the place of the teaching about the “negation of the negation”; an infinite quantity of deconstructive analysis stands in for an infinity of infinities (Cantor) – the former of which opens the door to textual idealism a la Derrida, while the latter of which constitutes a “great materialist breakthrough” (Žižek, Less Than Nothing, p. 227).
  21. See Nietzsche, “The Anti-Christ,” The Anti-Christ, Ecce Homo, Twilight of the Idols and Other Writings, ed. Aaron Ridley and Judith Norman (Cambridge, UK: Cambridge University Press, 2005), p. 66.
  22. For example, see how uneasy Lukács is made in “The Destruction of Reason” (1952), where he describes Nietzsche as being one who possessed “a special sixth sense, an anticipatory sensitivity to what the parasitical intelligentsia would need in the imperialist age, what would inwardly move and disturb it, and what kind of answer would most appease it. Thus he was able to encompass very wide areas of culture, to illuminate the pressing questions with clever aphorisms, and to satisfy the frustrated, indeed sometimes rebellious instincts of this parasitical class of intellectuals with gestures that appeared fascinating and hyper-revolutionary.” Available online at: http://www.marxists.org/archive/lukacs/works/destruction-reason/ch03.htm
  23. Usually by way of the composer Richard Wagner, who was an anti-Semite, and whose music was used posthumously by the Third Reich. Nietzsche kept company for a time with Wagner, that is, until Nietzsche’s admiration turned to enmity. For example, see Nietzsche’s account in Nietzsche Contra Wagner, written in 1888 and first published in 1895.
  24. Nietzsche’s writing, at its most polished, is never as dazzling as Marx’s The Eighteenth Brumaire of Louis Napoleon; at its most raw and concrete, The Will to Power is not so ambitious and absorbing as the Grundrisse; and for a weird mixture of the two, see the late writings of Engels, such as his retroactive introductions to The Civil War in France and The Class Struggles in France, from 1891 and 1895 respectively. There are turns of phrase and rhetorical flourishes that Engels makes in these documents which are reminiscent of Nietzsche; and since some of Nietzsche’s works had been released by 1890, it is entirely possible that Engels could have read them and – who knows? – borrowed a trick or two. Then again, Engels seemed to have beat Nietzsche to the punch about the monumental foolishness of Dühring, with Anti-Dühring having been published first in 1877, while Nietzsche only first began to polemicize against the anti-Semitic ideologist of “heroic materialism” in the 1878 text Human, All Too Human, an engagement that extended all the way past Beyond Good and Evil (1886) and On the Genealogy of Morals (1887), to The Will to Power, which was assembled posthumously from Nietzsche’s late notes and manuscripts, and continued to batter Dühring, i.e. calling him a “barbarian” (§130).
  25. A list typically taken to include Marx, Engels, Luxemburg, Lenin, and Trotsky as the key five.
  26. Trotsky, Leon, “On the Philosophy of the Superman,” trans. Mitchell Abidor, available online at Marxists.org.
  27. See Trotsky, 1905, available online at: http://www.marxists.org/archive/trotsky/1907/1905/
  28. See “Some hitherto untranslated sections of Trotsky on Nietzsche (1908),” The Charnel-House, available online at: http://rosswolfe.wordpress.com/2013/01/06/some-hitherto-untranslated-sections-of-trotsky-on-nietzsche-1908/.
  29. As late as 1924, in Trotsky’s writings on “Literature and Revolution,” he invokes Nietzschean themes and language to describe a “new man” for a new society: “the new man of the future will want to laugh… the new man will love in a better and stronger way than did the old people, and he will think about the problems of birth and death. The new art will revive all the old forms, which arose in the course of the development of the creative spirit” (available online at: http://www.marxists.org/archive/trotsky/1924/lit_revo/ch08.htm).
  30. See Derick Varn, “Interview with Noah Gataveckas on the Ted Grant and the Specter of Trotskyism,” The (Dis)Loyal Opposition to Modernity blog (27 Mar 2013), available online at: http://skepoet.wordpress.com/2013/03/27/interview-with-noah-gataveckas-on-the-ted-grant-and-the-spectre-of-trotsky/
  31. Lacan, “Overture to this Collection,” Écrits: The First Complete Edition in English, p. 4.
  32. A pivotal year in Freud’s development. Freud’s career, in terms of its theoretical progression, can be roughly divided into four sections: pre-1895; 1895 – 1913; 1914 – 1926; 1927 – 1940. The theory that he has at the end of the journey is different than the one he starts with; he has picked up some ‘friends’ along the way – like the “death drive” – which were not present at the expedition’s outset.
  33. See Silvia Ons, “Nietzsche, Freud, Lacan,” Lacan: The Silent Partners, p. 79.
  34. See Mikkel Borch-Jacobsen and Sonu Shamdasani, The Freud Files: An Inquiry into the History of Psychoanalysis (New York: Cambridge University Press, 2012), p. 106.
  35. See Bloom, Harold, The Anxiety of Influence (New York: Oxford University Press, 1997), p. 5.
  36. See Lacan, “The Direction of the Treatment and the Principles of Its Power,” Écrits: A Selection, p. 249.
  37. See Žižek, The Ticklish Subject: The Absent Center of Political Ontology (London: Verso, 2000), p. 11.
  38. Only “ish,” insofar as antinomic thought (cf. Kant’s Critique of Pure Reason) is less than dialectical thinking. Credit for the perfection of the expression of the dialectic in a literary (stylistic) form, of course, goes to Hegel and Marx. The superiority of the combination of these two is demonstrated on a daily basis in the work of Žižek, who adopts the positive position of “dialectical materialism” by way of a radical reading of Hegel that draws out the already-materialist aspects in Hegel’s writing, thereby dissolving the traditional distinction stressed by Marx (but especially Engels), that Hegel’s “idealism” had been supplanted by Marx’s “materialism” (a claim which of course is true, if you take into account the Marxist understanding of materialism (cf. Theses on Feuerbach III), but which does not prevent it from getting used by materialists-in-name-only (faux-Marxists) to justify the outright rejection and denigration of Hegel’s contribution – that is, as the founder, cornerstone, backbone, etc. – to the science of dialectics, once it is taken as a science (which may or may not be done under the banner of “philosophy,” it doesn’t really matter)).
  39. Which is modeled on Kierkegaard’s notion of “repetition,” but at the same time should be argued to stand as an authentic contribution made by Freud to the conceptual canon of theoretical thought, insofar as Freudian repetition comes along with his theory of the “drive,” the “death drive,” i.e. urge-to-repeat. See Lacan, “On a Purpose,” Écrits: The First Complete Edition in English, p. 307.
  40. See Freud, Beyond the Pleasure Principle, ed. Todd Dufrense, trans. Gregory Richter (Peterborough, ON: Broadview Editions, 2011), p. 64.
  41. Lacan, “The Freudian Thing,” Écrits: The First Complete Edition in English, p. 339.
  42. Lacan, Seminar I: Freud’s Papers on Technique, trans. John Forrester (New York: Norton, 1991), p. 169.
  43. For example, see Lacan, Seminar XX: On Feminine Sexuality, p. 37.
  44. Lacan, Seminar XI: The Four Fundamental Concepts of Psycho-analysis, p. 59.
  45. See Žižek, Less Than Nothing, p. 780.
  46. For an exposition of this position, see V. I. Lenin, “On the Significance of Militant Materialism,” 1922, available online at: http://www.marxists.org/archive/lenin/works/1922/mar/12.htm.
  47. He has described himself as a “militant atheist” at multiple public speaking engagements, many of which are available on the internet.
  48. See Joyce, Ulysses (London: Flamingo, 1994), p. 42.
  49. If, to use relations from Magic: The Gathering, Nietzsche is Ancestral Recall, then Lacan is Black Lotus; likewise, to use relations from Pokemon, if Nietzsche is Arceus Lv. X, then Lacan is Arceus Ex.
  50. See Benjamin, “Theses on the Philosophy of History,” trans. Dennis Redmond, available online at: http://www.marxists.org/reference/archive/benjamin/1940/history.htm
  51. Nietzsche, The Twilight of the Idols, trans. Thomas Common (Mineola, NY: Dover Publications Inc., 2004), p. 45.
  52. Hegel, “A. Plato,” Lectures on the History of Philosophy, available online at: http://www.marxists.org/reference/archive/hegel/works/hp/hpplato.htm
  53. For example, see Videodrome (1983) and Naked Lunch (1991).
  54. See G.W.F. Hegel, Elements of the Philosophy of Right, ed. Allen W. Wood, trans. H. B. Nisbet (New York: Cambridge University Press, 1991), p. 204.
  55. See Lacan, “The Direction of the Treatment and the Principles of Its Power,” Écrits: A Selection, p. 359.
  56. According to Kant, the moral law is: “act only in accordance with that maxim through which you can at the same time will that it become a universal law.” See “Groundwork of the Metaphysics of Morals,” Practical Philosophy, ed. Mary J. Gregor (New York: Cambridge University Press, 1996), p. 73.
  57. Over the course of his seminars, Lacan repeatedly alludes to the importance of this document of Freud’s from 1895, which gives a prototype sketch of the way that Freud’s thought would develop along materialist, neurological and physiological, lines.
  58. See Peter Hallward, Badiou: A Subject to Truth (Minneapolis, MN: University of Minnesota Press, 2003), p. 353.
  59. See Žižek, Less Than Nothing, p. 18.
  60. See Freud, Three Essays on Sexuality (1905).
  61. See Žižek, Living in the End Times (London: Verso, 2010), p. 353.

Numéro Cinq at the Movies

 

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Numéro Cinq’s unique and unparalleled collection of short films and commentary edited and (mostly) written by R. W. Gray. Other contributions from Jon Dewar, Douglas Glover, Sophie Lavoie, Philip Marchand, Megan MacKay, Jared Carney, Erin Morton, Julie Trimingham, Michael V. Smith, Nicholas Humphries, and Taryn Sirove.

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Aug 142017
 

  Walter Benjamin

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My Red Heaven is collage in form. This piece centers on Walter Benjamin, and moves back and forth in time as he sits on a bench on Unter den Linden, beginning what will become The Arcades Project.

 

1.The only way of knowing a person is to love him or her without hope, Walter Benjamin pencils in his notebook, hunched on a dark green bench in the dark green shade of a linden.

A bear occurs, a man playing a flute followed by twenty beautiful children.

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  1. Walter crosses out the sentence. He has spent his entire day here, the last three, in this park running up the center of Unter den Linden, in combat with a three-page essay about Parisian arcades for the Frankfurter Zeitung. The essay refuses to stay in its skin. It keeps wanting to unfurl into something larger, messier, less itself.

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  2. Suppose I were to begin by recounting, he pencils in his notebook, how many cities have revealed themselves to me in my expeditions through them in pursuit of books. Suppose I were to speak of a time, ours, when even the best readers have become frightened of imperfect, torrential monographs — ones that fan out into a maze of dangerous branchings.

    Suppose I were to bring up how easy a certain kind of completeness is.

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  3. He crosses out that paragraph, writes in a choked scribble I am falling in love with lostness, then the brakes, a woman’s shriek.

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  4. When he raises his head everything already exists in another tense.

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  5. An old truck, advertisement for a brewery across its side, run up onto the curb in front of the Adlon Hotel. Several empty barrels burst on the sidewalk. A smartly dressed man splayed in the street, pedestrians vectoring in.

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  6. (When a world war breaks out, all you can do sometimes is begin to translate the works of Baudelaire as faithfully as possible.)

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  7. The bear man stops. His triad of notes. The twenty beautiful children stop, at first confused about where to look.

    One points, a perfect girl, mouth opening, nickel-blue eyes wide with the world.

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  8. Walter squints through his chunky spectacles to determine if the man is alive or the other thing.

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  9. Suppose, he considers, his weak heart twinging, I am falling in love with disjunction. Medieval alleys full of flowers. Suppose I am falling in love with learning to interrupt my —

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  10. Three years ago. Island of Capri. Ernst Bloch crumpled down the newspaper he had been reading and glared at Walter over the dried-seagull remains. The pair reclined in chaise lounges on their pension’s balcony amid a tumble of shiny white houses overlooking the Bay of Naples.

    How just so fucking absurd it must seem, Bloch proclaimed, for an immortal soul destined for heaven or hell to find itself sitting in the kitchen in the form of a maid.

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  11. The bear waiting for orders.

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  12. The children.

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  13. We may call these images wish images; in them the collective seeks

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  14. But most of all the tiny squares. Medieval alleys full of bougainvillea clinging to stone walls. Plumbago. Yellow, red, powder blue rowboats pulled up on the Marina Grande’s pebbly beach. And Bloch saying: The most tragic form of loss isn’t the loss of security. It is the loss of the capacity to imagine things other than they are.

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  15. For you were born under the sign of Saturn, planet of detours and delays, blunders and stubbornness; of those who see themselves as books, thinking as a method of gathering, organizing, yet always knowing when to stray, wander off.

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  16. For to lose your way in a city or a person requires a great amount of willpower.

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  17. It is Bloch proclaiming from his chaise lounge, newspaper seagull crumpled in his lap, and emaciated Rilke all those years after that first meeting at the University of Munich, praising in a letter to Walter from somewhere among the Swiss Alps Mussolini’s New Year’s Eve speech.

    What soaring language! What beautiful discourse! Fascism, our great healing agent!

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  18. The hotel doormen holding onto the driver of the truck until the police show up, and the belief Jewishness means a promise to further European culture, each epoch dreaming the one to follow.

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  19. Inaccurately.

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  20. These moments, those hours, the other days: Had Walter really accomplished anything at all?

    Wonders Walter.

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  21. It is Baudelaire scribbling on a scrap of paper Sois toujours poète, même en prose — Always be a poet, even in prose — and the ambulance disturbance rising on the far side of the heavy, coal-smoked Brandenburg Gate, and the found object, the readymade, the already extant message, the chance encounter, the transitory, the fugitive, the contingent, that half of art of which the other half is eternal and immutable.

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  22. There was the juncture at which he understood he was not to become an academic instructor.

    There was that injury.

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  23. Wine. Bread. Thickly sliced salami.

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  24. The lizard with azure scales panting rapidly on a fence rail.

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  25. The sun, a glossy orange in the sunset sky: Capri.

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  26. There was that juncture, and there will be the one in which he can no longer remember what he wants as he reaches languidly for the bottle of tablets on his hotel nightstand in room number three.

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  27. Yet now it is those days with Bloch on that balcony, the nights with Asja Lācis in her bed, long umber hair tousled.

    Naked.

    Yawning.

    Her unselfconscious stretching, her body Y-ing on the mattress.

    Walter was completely open about the Latvian Bolshevik theater director when his wife, Dora, asked in her letters.

    But only when she asked.

    (She asked only once.)

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  28. Writing about a given place at a given time puts its existence between quotation marks, plucks it from its native context by engendering unanticipated new ones.

    This is collage’s capacity, through cutting up and cutting off, to open up and ou

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  29. We won’t be getting married, mana saulīte. I find divorce too hard on the nerves.

    Asja footnoting in mid-stretch.

    .

  30. Dora remaining behind in Berlin with their nine-year-old son, moody anxious Stefan, and Asja introducing Walter over dinner to Marxism as historical mutiny and late night Prosecco to sex as whirlwind.

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  31. Writing that looks like writing, however, thinking that looks like thinking, has come to feel to Walter progressively flat, faded, fated.

    Suppose, he pencils in his notebook, I were to rethink everything.

    Suppose I were to start all over again.

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  32. And thirteen years later, twenty-some-odd changes of address, standing outside the Bibliothèque Nationale on a thick spring day, twenty-four hours before the Germans howl into Paris with orders to arrest that Jew intellectual at his flat, Walter hands over his color-coded notes — green language, yellow, red; diagrams; copies of images that have collared his curiosity — to his grouper-mouthed librarian friend Georges Bataille.

    Over Georges’ shoulder, Walter’s last glimpse of the filthy Seine glistering.

    .

  33. Asja’s double enlivening: the erotic and the political slurred into a single unfathomableness.

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  34. Or this man, weak heart, weakening lungs, a mobile intelligence unit moving through the metropolitan streets, he likes to think of himself as, likes to believe he believes, maybe others, too, although what would happen if you began to imagine the essay you are composing, not as a —

    .

  35. After this shitty war, Georges telling Walter outside the library on that balmy pre-invasion day, Europe will resemble a de Sade novel. Watch out for Duc de Blangis. He will be everywhere.

    Georges not grinning then, but rather turning away, repairing to work.

    Walter watching his friend’s lightly pigeon-toed gait decrease in size down the sidewalk.

    .

  36. Suppose you began to imagine the essay you are writing, not as a piece of music that must move from first note to last, but rather as a building you could approach from various sides, navigate along various paths, one in which perspective continually changes?

    This building, we might submit, would constitute a literary architectonics that pits itself against narrative’s seemingly inflexible arc from birth to the other thing.

    .

  37. These lines written by the man who earned his Ph.D. cum laude eight years ago with a dissertation on art criticism amid German Romanticism, yet who has been assiduously unable to find academic employment ever since.

    That injury, too.

    .

  38. (Among others.)

    .

  39. There is that brief deliberation over emigrating from Germany to Palestine and how the bottle of morphine tablets catches the caramel sun in his tiny room at the Hotel de Francia on the Catalonian coast one autumn afternoon in 1940, police guard posted outside Walter’s door demurely clearing his throat every now and then.

    .

  40. Written by the thirty-four-year-old journalist unable to support himself, let alone his family, through his own labor, and so forced for a time to ask his wife to stop loving him so he could return to Berlin to reside with his parents.

    .

  41. To reside with his

    .

  42. Ne cherchez plus mon coeur; les bêtes l’ont mange.

    Baudelaire scribbling on a scrap.

    .

  43. There is that slightly less brief deliberation over emigrating to the United States through neutral Portugal as the Germans howled closer, and how Max Horkheimer negotiates a travel visa for Walter, who will only be able to flee as far as Spain over the Pyrenees before the Franco regime cancels all transit permits and orders the authorities to return those carrying them to France.

    .

  44. And on 25 September, 1940, there is that Spanish official with the pinched lips telling the group of Jewish refugees Walter has joined to prepare for deportation the following morning, and the emptiness on Hannah Arendt’s face taking in this information, on her husband the poet and philosopher Heinrich Blücher’s, on their friend the Hungarian novelist Arthur Koestler’s, on the German photographer Henny Gurland’s, her son Joseph’s.

    .

  45. Yet, despite the future, the bear man steps into motion again, melody picking up.

    .

  46. One by one, the beautiful children.

    .

  47. Do not look for my heart anymore; the beasts have eaten it, scribbling the poet who spent his last two years between Brussels and Paris, semi-paralyzed and unable to speak after the massive stroke.

    .

  48. The emptiness on the ambulance driver’s face as he employs a plain white sheet to cover the bodily fluids held in by tender skin.

    .

  49. Or the emptiness on the doctor’s face during each of his four visits to tiny room number three through that late September afternoon and evening, administering injections and blood letting as if these things might in the end somehow alter the configuration of that space.

    .

  50. It is the ambulance driver’s face, even at this distance, and Asja’s body in her bed, sheetless in silvery sun, along with the belief writing as collage draws attention to the sensuality of the page even as it strips itself of the tedious, tendentious pretense of originality.

    Suppose, therefore, it could be argued

    .

  51. Suppose we were to call it a meditative practice that allows one to be surprised by what one says next.

    A practice, we could even submit, of reading.

    .

  52. Or the other manuscript, completed, which Walter will carry in his suitcase from Paris to Portbou, which will disappear forever.

    That manuscript, too.

    .

  53. Suppose, therefore, it could be argued that we are all collage artists, pencils Walter, then crosses out the sentence, for there will be that juncture in two years at which Dora and he will have become separated, then divorced, the juncture in thirteen at which the other Jews in his party of refugees for no discernible reason will be allowed sudden passage through Spain into Portugal.

    .

  54. Four days later all will safely reach Lisbon.

    Minus one.

    .

  55. It is the ambulance driver’s face, even at this distance, and Hannah Arendt admiring the terracotta rooftops, the pale yellow dwellings, bunching down the steep Lisbon hillsides into bluegreen seasprawl.

    .

  56. The Spanish police will refer to the deceased forty-eight-year-old in their correspondence with Max Horkheimer, who will query about the details of his friend’s passing, as that German gentleman.

    .

  57. That German gentleman about whom you inquire, the Spanish police writing, died of heart failure.

    .

  58. Cerebral hemorrhage, the medical certificate will state.

    .

  59. The town judge listing Walter’s possessions at the time of death thus: suitcase leather, gold watch, pipe, passport issued in Marseilles by the American Foreign Service, six passport photos, an X-ray, one pair of spectacles, various magazines, a number of letters, a few papers, contents unknown, and some money.

    .

  60. A few papers, contents un

    .

  61. How, because of confusion surrounding his identity, Walter will be buried in leased-niche number 563 in the Catholic section of the Portbou cemetery. When no one remembers to keep up the payments, Walter’s remains will be quietly exhumed and moved in the summer of 1945 to the town’s common burial ground, where their exact location will over time become unremembered.

    .

  62. Four days after Walter reaches for the bottle of morphine tablets he brought with him from Marseilles, just in case, Hannah Arendt will lean out the window of her hotel room in Lisbon, relishing the act of breathing, just that, while admiring the terracotta rooftops and pale yellow dwellings bunching down the steep hillsides into the bluegreen seasprawl.

    .

  63. Below, the streetcars clanking by.

    .

  64. Mosquitoey scooters revving.

    .

  65. That greasy scent of reprieve billowing up around her a flash before she steps back into life.

—Lance Olsen

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Lance Olsen
Lance Olsen is author of more than 20 books of and about innovative writing. His latest is the novel Dreamlives of Debris (Dzanc, 2017). A Guggenheim, Berlin Prize, D.A.A.D. Artist-in-Berlin Residency, N.E.A. Fellowship, and Pushcart Prize recipient, as well as a Fulbright Scholar, he teaches experimental narrative theory and practice at the University of Utah.

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Aug 112017
 

Huck Finn and Jim on the Mississippi drawing

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For Doug Glover

When Doug wrote to me this morning, to announce that he had “decided to cease publication” of Numéro Cinq, and “find a new life,” he added two points. The first was funny, if self-effacingly untrue: “Maybe I’ll try to become a writer.” As we all know, that attempt has long since been an actual and impressive achievement. The second remark was both truthful and encouraging: “I’m not gloomy or regretful.” Considering what he has accomplished over the past half-dozen years—making available a trove of fiction, poetry, art, and critical commentary, and bringing together a community of writers and artists in this warm place on the web—neither Doug nor the rest of us have reason to be gloomy or regretful. Quite the opposite.

I believe that the cliché that “All good things must come to an end,” has its origin in Chaucer’s great 14th-century narrative poem, Troilus and Criseyde. As it happens, that five-book masterpiece is Chaucer’s only complete long poem, and, for all its tragic love-story, it does not end with either its author or the poem’s hero “gloomy or regretful.” In the finale, at last aware of everything, Troilus ascends to the eighth of the heavenly spheres, from which celestial vantage point he looks down upon the world and “laughs” at all that “cannot last.” But Troilus’s laughter is not merely disdainful; from his observation point in eternity, he sees all in amused perspective, and knows that in his mortal ending there is a new beginning.

Numéro Cinq will survive in its own, secular, version of eternity. As Doug said at the end of his announcement, “All the pieces we’ve published will stay up on the internet.” No new issues will be added, but “the site won’t disappear.” The magazine’s temporal ending coincides with a never-ending beginning, its internet afterlife. By way of valediction, I would like to dedicate to Doug, in admiration, affection, and gratitude, this new essay on beginnings and endings. In truncated form, it was presented, on August 4, as a talk at the eighth Mark Twain Quadrennial Conference in Elmira, where Huckleberry Finn was completed in 1885, precisely five centuries after Chaucer published Troilus and Criseyde.

Pat Keane  July 12, 2017

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The beginnings and endings of all human endeavors are untidy…the writing of a novel…and, eminently, the finish of a voyage.

John Galsworthy, Over the River (1933), 9th & final novel in The Forsyte Saga

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1.

In The Pound Era, Hugh Kenner introduces T. S. Eliot in what may seem an odd way: “Elegant, shy from great sensitivities and great gifts, the youngest of eight children, he came, by way of several Academies, from a birthplace by Twain’s Mississippi in Twain’s lifetime.” As Kenner goes on to note, Eliot’s was “a family of some local prominence, connected, moreover, with the Massachusetts Eliots.” Of course his family also had deep and distinguished roots in England, in East Coker, in Somerset, and, when young Eliot left Boston and Harvard for the continent and then London in 1914, he rapidly became, in manner, dress, and speech, more English than English, certainly more English than American. Just as Sam Clemons of Missouri had reinvented himself as “Mark Twain,” the world-traveler decked out in that iconic white suit, so Tom Eliot of Missouri, the American who, along with Henry James, most thoroughly reinvented himself as an Englishman, became “T. S. Eliot,” an Anglophile who, in 1928, pronounced himself “classicist in literature, royalist in politics, and Anglo-Catholic in religion”; affected a disdainful English accent that caused an annoyed Robert Frost, in that same year, to dismiss him as a “mealy-mouthed snob”;  and took to wearing a white rose on the anniversary of the Battle of Bosworth, in memory of Richard III, whom Eliot, Shakespeare notwithstanding, considered the last true English king.[1]

T. S. Eliot in 1923 via Wikimedia CommonsT. S. Eliot in 1923

Equally worth noting, however, once he was established as a major literary figure with a comfortable income, Eliot made trips back to the United States. After a visit in the late autumn of 1950, these trips were to become part of his routine, “a regular event” in the final decade and a half of his life. There was, as Peter Ackroyd observes in his biography of Eliot, “a sense in which he was returning home.”[2] Eliot was returning in 1950, not to his own St. Louis and Twain’s Missouri but to Boston, where he visited, along with relatives, old friends Emily Hale (who had preceded Eliot’s first wife, Vivien, as a romantic interest and hoped to succeed her) and Djuna Barnes (whose lesbian novel Nightwood Eliot had admired and shepherded, delicately edited, through Faber & Faber in 1936). Novelist and translator Willa Muir, who also saw him at this time, reported: “Tom Eliot is much more human here than in England. He was less cautious, smiling more easily, spontaneous in repartee, enjoying the teasing he was getting from Djuna,” in whose “company he seemed to have shed some English drilling and become more American.”[3]

Eliot may have “become more American,” in part, because he had just written an Introduction to Adventures of Huckleberry Finn.[4] Perhaps like “most of us,” Eliot suggests early in that Introduction, Mark Twain “never became in all respects mature. We might even say that the adult side of him was boyish, and that only the boy in him, that was Huck Finn, was adult” (322). In the transformed Eliot Willa Muir described in 1950, we may have not only a man loosened up by the liberated Barnes, but, as Ackroyd suggests, filled with memories of his own  childhood, “still to be wished for although lost and gone forever” (301-2).

Willa Muir’s observation of the American humanizing of Anglican and priggish Eliot in 1950, her refreshing account of his spontaneity and boyish enjoyment, may indeed remind us of the Huck he had recently been writing about. That relaxed pleasure might also remind us, if we have been rummaging among his unpublished papers in Yale’s Beinecke Library, that Eliot confided to Ezra Pound in 1961 that there had been only two happy periods in his life. The last was during his second marriage, to Valerie. The first, he said, was “during his childhood”: a lost boyhood that may have been glimpsed, in part through the prism of Huck, by the adult and successful Thomas Stearns Eliot (in 1950 almost as world-famous as Mark Twain himself had been), returning to America to lecture and see his sisters.

Young T.S. EliotYoung Tom Eliot

Huck’s impact would have been all the more powerful since, as Eliot tells us in the second paragraph of his Introduction, the novel, deemed “unsuitable” by his strict parents, was kept from him as a boy. Thus it was “only a few years” prior to writing the Introduction that “I read for the first time, and in that order, Tom Sawyer and Huckleberry Finn” (321). Eliot perceptively saw Mark Twain as a “composite” of Tom, applause-seeking, and Huck, “indifferent” to fame and conventional success; and he may have had in mind his own situation as a famous public figure in describing Mark Twain as a man who sought success, approval, and reputation, yet simultaneously “resented their violation of his integrity” (322).

But there are two interrelated problems with this 1950 connection between Huck and Eliot’s inner boy. The first is that the one phrase Ackroyd quotes from Eliot’s Introduction (the impossibility of either Huck or the river having “a beginning or end”) may remind us of Eliot’s defense of the much-disputed ending of the novel. Eliot insists that “all great works of art,” among which he numbers Huckleberry Finn, “mean much more than the author could have been aware of meaning….So what seems to be the rightness, of reverting at the end of the book to the mood of Tom Sawyer, was perhaps unconscious art” (326-27).

One can agree with Eliot that for Huck “neither a tragic nor a happy ending would be suitable” (327), and that no “book ever written ends more certainly with the right words: ‘But I reckon I got to light out for the territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it. I been there before’.” But one resists his repeated insistence on the “rightness” of the novel’s reversion, in the so-called “evasion” chapters, to the mood of Tom Sawyer.

Adventures of Huckleberry Finn cover image

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2.

Eliot’s final formulation—“it is right that the mood at the end of the book should bring us back to that of the beginning” (326)—seems more appropriate to Eliot, as poet and as man, or to Mark Twain himself, who famously came into the world, and left it, with Halley’s Comet lighting up the sky, than to the conclusion of Twain’s novel. Eliot’s Four Quartets enacts that rondure; and his own ashes rest in the Parish Church of St. Michael’s, East Coker, in Somerset, the place of origin from which, centuries earlier, his ancestors had emigrated to America. Eliot had his memorial tablet circumscribed by the opening and closing lines from “East Coker” (1940), the second of Four Quartets: “In my beginning is my end….in my end is my beginning.” But to apply, as Eliot does, a similar circuitous journey to the Adventures of Huckleberry Finn is to rationalize the flaw in Mark Twain’s masterpiece and to endorse, in Huck’s case, a regression that betrays the boy’s instinctive and gradually more articulate commitment to freedom. For most readers, freedom is the principal theme of the book, even if it takes the limited form of “sliding down the river” on the raft, “free and easy”—Huck’s and Jim’s joyous freedom in harmony with nature, in contrast to corrupt civilization: the societal violence, malice, and vulgarity exhibited in the towns along the shore.

Mark Twain 1882Mark Twain in 1882, two years before publication of Adventures of Huckleberry Finn

The second, and intimately related, problem is that Eliot, who here privileges rondure above almost all else, seems less interested in “freedom”—embodied in, and symbolized by, Huck and, of course, Jim’s ultimate goal (Eliot does mention, as an illustration of the voyage-controlling power of the River, that “it will not let them land at Cairo, where Jim could have reached freedom” [325])—than in literary form, the supposed coming-full-circle structure of the novel. Though, as a non-specialist, I am unfamiliar with details, I am generally aware that—beginning with James M. Cox as early as 1966, followed by two close readings in 1991, by Victor A. Doyno and Richard Hill—there have been many sophisticated post-Eliot defenses of the sustained ending of Huckleberry Finn.[5] “But”—to quote Huck himself rejecting (at the end of Chapter 3) the early fooleries of Tom Sawyer (as I wish he had rejected his later Gothic grotesqueries at Jim’s expense at the Phelps Farm)—“as for me I think different.”

I’m hardly alone. As early as 1932, in Mark Twain’s America, Bernard DeVoto, the scholar-critic whose professionalism made accessible Twain’s scattered papers, said of the ending of Huckleberry Finn: “In the whole reach of the English novel there is no more abrupt or more chilling descent.”[6] The landmark attack on the ending came in 1953, in the wake of the publication of both Eliot’s and Lionel Trilling’s introductions to popular editions of Huckleberry Finn. In an eloquent and immensely influential essay, Leo Marx took issue with both these major critics and men of letters, arguing persuasively that, while “both critics see the problem as one of form,” it is the content, “the discordant farcical tone and the disintegration of the major characters,” that “makes so many readers uneasy because they rightly sense that it jeopardizes the significance of the entire novel.”

This is no minor matter since, as Marx forces us to remember, the ending “comprises almost one-fifth of the text.” For Marx (as for much of the book’s audience, if not for its author, whose experience of slavery made him more realistic about racial matters), the novel has “little or no formal unity independent of the joint purpose of Huck and Jim.” Those yearning for a more affirmative conclusion to Huck’s and Jim’s “joint purpose” are bound to find the ending—in which Huck is again subservient to Tom Sawyer and Jim is reduced, as a result of Tom’s antics, to a caricature of a slave—particularly egregious. The formalist stress of both Trilling and Eliot, in particular their defense of the ending, comes at a considerable human and ultimately aesthetic cost.[7] We register the pressure of historical realism, but, for Marx and many others, myself included, the movement of the novel, however episodic, into a serious moral world is betrayed by the return at the end to buffoonery and cruel slapstick at Jim’s uncomplaining expense.

Eliot should have known better. In his Introduction, singling out as the best illustration of the relationship between Huck and Jim, he chose the conclusion of the chapter (15) in which, after the two have become separated in the fog, Huck in the canoe and Jim on the raft, Huck, “in his impulse of boyish mischief,” persuades Jim for a time that he had dreamt the whole episode. Heartbroken at the “loss” of Huck, and weeping “thankful” tears to see him back again, Jim realizes what has actually happened, the trick Huck has played: “En all you wuz thinkin‘ ’bout wuz how you could make a fool uv ole Jim wid a lie. Dat truck dah is trash; and trash is what people is dat puts dirt on de head er de fren’s en makes ’em ashamed.” It was “fifteen minutes,” Huck tells us, “before I could work myself up to go and humble myself to a nigger—but I done it, and I warn’t ever sorry for it afterwards neither.”

Jim asleep on the raftIllustration by Edward W. Kemble from first ed., via University of Virginia

Aware that the passage had been often quoted, Eliot quotes it again, not only because of the obvious “pathos and dignity of Jim,” which is “moving enough,” but because of something often “overlooked” and even more profound: the “pathos and dignity of the boy, when reminded so humbly and humiliatingly, that his position in the world is not that of other boys, entitled from time to time to a practical joke; but that he must bear, and bear alone, the responsibility of a man” (324). Given that insight, it is all the more painful that Eliot should so glibly accept Huck’s resubmission to Tom Sawyer’s leadership and to the protracted “practical joke” at Jim’s expense in the final chapters, even celebrating those chapters’ “rightness”—all under the aegis of rondure: a reversion at the end to the novel’s beginning, even to the “mood” of Tom Sawyer rather than of Huck’s own book.

 To embrace as “right,” even “inevitable,” the “Evasion” chapters violates the integrity of Huck’s own maturing character, from his instinctive alliance with Jim (“They’re after us”) to his momentous, “awful,” decision, in Chapter 31, to defy the law and contemporary “morality” rather than betray Jim. Having just written a note to Miss Watson, revealing Jim’s capture, Huck, as we all remember, holds the letter in his hand: “I was a trembling, because I’d got to decide, forever, betwixt two things, and I knowed it. I studied a minute, sort of holding my breath, and then says to myself, ‘All right, then, I’ll go to hell’—and tore it up.”

 Whether or not he recalled that Huck had earlier chosen to go to the “bad” rather than the “good” place, providing Tom Sawyer was there, Eliot says not a word about this crucial decision. That seems remarkable since, as epitomized by his reading of the fog episode, Eliot is attuned to the “kinship of mind and the sympathy between the boy outcast and the negro fugitive from the injustice of society.” He even remarks, finely, that Huck would be “incomplete without Jim, who is almost as notable a creation as Huck himself,” and that “they are equal in dignity” (323-24). Earlier, in the context of praising Twain’s pivotal decision to write “in the person of Huck,” Eliot adds that “the style of the book, which is the style of Huck, is what makes it a far more convincing indictment of slavery than the sensationalistic propaganda of Uncle Tom’s Cabin” (322-23). But just as he forgets that, unlike Twain’s, Stowe’s novel was written when slavery was still an issue,[8] Eliot is silent about Huck’s defiant willingness to “go to hell” rather than turn Jim in as a runaway slave. One can imagine the conservatively religious Eliot resisting that last assertion as hyperbole, sympathetic or blasphemous, even saying, in a favorite and recurrent formulation of Huck’s (repeated in Chapters 3, 15, and 34): that was one “too many for me.”

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3.

Eliot was of course impressed by Huck’s demotic but rhapsodic descriptions of the Mississippi, its majesty and movement. Eliot stresses its power and thematic unifying force: “It is the River that controls the voyage of Huck and Jim,” the River that “separates…and re-unites them….Recurrently, we are reminded of its presence and its power” (325). Eliot had personal experience of the power of the Mississippi. In evoking that power in his Introduction, Eliot refers to “the great Eads Bridge,” the river-spanning steel structure which, unlike earlier bridges, “could resist the floods” (325). Two decades earlier, Eliot had told an interviewer that, as a boy, “the big river” made a “deep impression on me; and it was a great treat to be taken down to the Eads Bridge”—at the time of its 1874 opening the largest ever built—“in flood time.”  It is a useful reminder of Hugh Kenner’s emphasis on Eliot’s “birthplace by Twain’s Mississippi in Twain’s lifetime.”

Eads Bridge between 1873-1909 courtesy New York Public Library Digital Collection_1Eads Bridge, St. Louis, Missouri, between 1873-1909, courtesy New York Public Library Digital Collection

In a much later interview, referring to the “sources” of his poetry, Eliot said that, “in its emotional springs, it comes from America.”  He was referring less to American literature than to American locale, landscape, and language.[9] In 1953, Eliot noted that in Huckleberry Finn, Mark Twain

reveals himself to be one of those writers, of whom there are not a great many in any literature, who have discovered a new way of writing, not only for themselves but for others. I should place him in this respect, even with Dryden and Swift, as one of those rare writers who have brought their language up to date, and in so doing, “purified the dialect of the tribe.”[10]

These linguistic observations had been anticipated in the Huckleberry Finn Introduction. “Repeated readings of the book,” says Eliot, “only confirm and deepen one’s admiration of the consistency and perfect adaptation of the writing. This is a style which at the period, whether in America or in England, was an innovation, a new discovery in the English language.” Other novelists had achieved “natural speech” in relation to particular characters, “but no one else had kept it up through the whole of a book,” and flawlessly: “there is no sentence or phrase to destroy the illusion that these are Huck’s own words” (323).

Mark Twain (Clemens) family around the time Adventures of Huckleberry Finn was publishedTwain with his family around the time Adventures of Huckleberry Finn was published

That last point is, Huck himself might say, a bit of a “stretcher.” Though the history is wonderfully recast in his own terms, the unschooled Huck knows more than seems plausible about British and French royalty, not to mention Hamlet’s soliloquy, as rendered by the rapscallion “Duke.” It might be added that, in terms of Eliot’s own poetry, despite his linguistic insights here, while he may have purified the dialect of the tribe, he seldom varied from his increasingly British-inflected diction; and even there he could not catch the working-class vernacular required for the pub-scene of The Waste Land without the help of his wife, Vivien, her ear attuned to “lower-class” speech. Eliot never approached the vernacular innovation of Mark Twain in Huckleberry Finn. A semblance of that achievement was reserved to William Carlos Williams who, while admiring the brilliance of The Waste Land, deplored and feared its impact. In his Autobiography (1951), written three decades after he registered the shock of The Waste Land, Williams described Eliot’s poem as a “great catastrophe” that “returned us to the classroom just at the moment when I felt we were at the point of escape to…the essence of a new art form” (164). Though it  took years to come out from the shadow of the Eliotic rock, eventually Williams emerged as the pioneer who, fulfilling Whitman and perhaps Twain, achieved a distinctively American poetry employing colloquial speech, and so became, for future generations of American poets, more influential than Eliot.

To return to Twain’s masterpiece:  Eliot had asserted from the outset that in “the writing of Huckleberry Finn Mark Twain had two elements which, when treated with his sensibility and his experience, formed a great book: these two are the Boy and the River” (320). The Boy “is the spirit of the River,” and we “come to understand the River by seeing it through the eyes of the Boy” (325), whose human voice is as much a unifying element as the River. Considerations of style and speech shift attention from the river itself to the life on the raft the river makes possible for that boy and for Jim; and to the language, the dialect, Twain invents for Huck to express his love of the river. The vital center of the novel, early in Chapter 19, precedes the intrusive arrival of the “King” and the “Duke.” The days and nights, Huck tells us, “slid along so quiet and smooth and lovely….you see the mist curl up off the water and the east reddens up, and the river,” and then from across the river, “the nice breeze springs up and comes fanning you, so cool and fresh and sweet to smell, on account of the woods and the flowers,” though “sometimes” there is also the rank smell of dead fish; “and next you’ve got the full day and everything smiling in the sun, and the songbirds just going it!”

Jim and Huck on the raftIllustration by Edward W. Kemble from first ed., via University of Virginia

Two paragraphs later, our attention is turned to the night sky and to some seemingly casual but in fact rather significant cosmological/theological speculation: “It’s lovely to live on a raft. We had the sky up there, all speckled with stars, and we used to lay on our backs and look up at them, and discuss about whether they was made, or only just happened—Jim he allowed they was made, but I allowed they happened; I judged it would have took too long to make so many.” Though far more cheerful than the author of The Mysterious Stranger or Twain’s other late, dark fables, Huck seems as much a skeptic or agnostic as Mark Twain. And he is a loner. His companionship with Jim, however warm, is temporary, ultimately unsustainable. Huck is, as Eliot notes, “alone: there is no more solitary character in fiction” (322). And, as suggested by this passage, stressing chance rather than divine design, Huck—while he believes in providence, heaven and hell—has no god, riverine or celestial. He has, instead, his alert senses and native intelligence, even something of Coleridge’s “shaping spirit of imagination,” made flesh in the incomparable language given to him by Mark Twain.

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4.

To re-focus on the second of Eliot’s two elements: If it is “Huck who gives the book style,” it is “the River” that gives it “form,” and makes it a “great book.”  Eliot contrasts Twain’s Mississippi to the Congo of Conrad, who, in Heart of Darkness, constantly reminds us of “the power and terror of Nature, and the isolation and feebleness of Man.” But unlike Conrad, who remains always “the European observer of the tropics, the white man’s eye contemplating the Congo and its black gods,” Mark Twain “is a native, and the River God is his God. It is as a native that he accepts the River God, and it is the subjection of Man that gives to Man his dignity. For without some kind of God, Man is not even very interesting”

At this point (325-26), agnostic Huck and agnostic Twain have been pushed offstage to make way for theistic T. S. Eliot, a committed Christian believer, who has, nevertheless, more than a few things to say about animistic River Gods. “The Dry Salvages” (1941) famously begins: “I do not know much about gods; but I think that the river/ Is a strong brown god…” This poem, the third of Four Quartets, is set on the New England Coast, but its opening movement summons up, along with “The River” section of Hart Crane’s The Bridge, Twain’s river, which becomes, as Eliot notes in his Introduction to the novel, “the Mississippi of this book only after its union with the Big Muddy—the Missouri” (327). The specifically “Southern” muddiness of the river in “The Dry Salvages” becomes uncomfortably clear in lines 117-18:  “Time the destroyer is time the preserver,/ Like the river with its cargo of dead negroes, cows and chicken coops.” “Cargo” casually evokes the commercial heritage of slavery, the antebellum world of the Adventures of Huckleberry Finn; and, like the more notorious “spawned” and squatting “jew” in “Gerontian” (elevated, more than forty years later, in 1963, to the uppercase), the dead “negroes,” tossed in with cows and chicken coops, are, if it is not too politically correct to note, subordinated to lowercase status.

This is hardly the place to relitigate Eliot’s anti-Semitism; but we may legitimately wonder if, despite his expressed admiration for Jim as Huck’s equal in “dignity,” the apparent indifference to Jim’s plight implicit in Eliot’s endorsement of Twain’s final chapters has something to do with vestigial racism. We were alerted to Eliot’s early attitude with the publication, in 1997, of notebook poems written when he was in his twenties, especially the scatological and racist doggeral starring “Bolo,” a sexually well-endowed Negro monarch, attended by a “set of blacks,” a “hardy” and “playful lot/ But most disgusting dirty,” and the poem featuring an imaginary interview with Booker T. Washington alternately titled “Up From Possum Stew!” or “How I Set the Niggers Free!”[11] It is unfair to saddle the mature poet and critic with ribald juvenilia never intended to be published; and, as we have seen, there is nothing offensive or racially insensitive, quite the opposite, in what Eliot has to say of Jim in the Introduction to Huckleberry Finn. But readers hostile to Eliot might wonder if it is possible that, in making the case he does for the final Jim-imprisoning chapters of Twain’s novel, Eliot was, as late as 1950, still less than passionately interested in setting Niggers free.

Huck Finn thinkingIllustration by Edward W. Kemble from first ed., via University of Virginia

To return, with relief, to the River: it is always capitalized by Eliot, who personifies and deifies the powerful, all-controlling Mississippi. Like Huck, “the River itself has no beginning or end. In its beginning, it is not yet the River; in its end, it is no longer the River.” Having flowed from many headwaters, it “merely disappears among its deltas.” But, since the people who “live along its shores or who commit themselves to its current” are all subject to its flow, “the River gives the book its form. But for the River, the book might be only a sequence of adventures with a happy ending” (327). In the finale, Jim is revealed as free, Pap as dead, and Huck has $6,000 to fund his next adventure, in the Indian Territory. But Eliot had earlier said that it would be “unsuitable” for Huck to have either “a tragic or a happy ending.” And in the worst reading of the latter, Eliot may have decided that the novel’s Evasion chapters, taken as a whole, not only illustrate rondural “rightness,” but constitute a “happy ending.” If so, he would seem to have adopted the attitude of Tom Sawyer, who thought keeping Jim locked up the “best fun he ever had in his life,” and hoped to delay his escape indefinitely (Chapter 36).

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5.

Since Huck, like the River, “has no beginning and no end,” he, too, can “only disappear.” And, Eliot adds, crucially and dubiously, “his disappearance can only be accomplished by bringing forward another performer to obscure the disappearance in a cloud of whimsicalities” (327). But the more-than-whimsical torments inflicted on Jim by Tom, following the “rules” of Romantic escape-literature, include snakes, spiders, and rats, a menagerie that kept the terrified prisoner awake since “they never slept at one time, but took turn about” (Chapter 39).  In all of this, though he occasionally offers practical suggestions to counter the more absurd of his friend’s literary fantasies, Huck defers to Tom’s authority.

The only time he is seriously critical comes at the very beginning, when Tom, yet to work out what will become his ever-more-elaborate “escape” plan, agrees to help save Jim. Huck merely wants him “to keep mum and not let on,” but “Tom’s eye lit up, and he says: I’ll help you steal him!” An outlaw at peace with his own decision, Huck is shocked to discover that Tom, a mischief-maker but a “respectable” member of the law-abiding community, is more than willing to help Jim escape. “It was,” says Huck, “the most astonishing speech I ever heard—and I’m bound to say Tom Sawyer fell, considerable, in my estimation. Only I couldn’t believe it. Tom Sawyer a nigger stealer!” (Chapter 33). Only when Tom belatedly reveals that Jim has already been freed in Miss Watson’s will does he regain full respectability in Huck’s eyes!

If, despite his development in the course of the novel, Huck is still of the South, so, and even more obviously, is Tom. Whatever we make of Tom’s behavior, we join Huck in admiring his friend’s fertile imagination as well as his “pluck.” The gunshot leg-wound he received during the escape, welcomed by Tom as a badge of honor, might have proved fatal if not for Jim’s help. And yet an inescapable premise of the prolonged ordeal to which Tom subjected Jim is that its victim was somehow subhuman. The real villain is not Tom, but the society that produced him. “All Europe,” Conrad tells us in Heart of Darkness, “contributed to the making of Kurtz”; so all of the American South—though unnoticed by Conrad-admirer and Missourian T. S. Eliot—contributed to the making of the racially-unenlightened if far more appealing Tom Sawyer. Nor is Huck untainted. [12]

Tom Sawyer, Jim, and Huck Tom, Jim, and Huck — Illustration by Edward W. Kemble from first ed., via University of Virginia

This recalcitrance of history is often lost in our tendency—not unlike the American love affair with the film Casablanca—to lavish affection on a book which for many, especially in the wake of Ernest Hemingway’s encomium in the mid-1930s, is the “great American novel.” Placing Huckleberry Finn in the context of longstanding American cultural debates, historicist critic Jonathan Arac registered the virtues of the novel while also pronouncing it mean-spirited. Writing in 1997, he warned against that overloading of the book with cultural value that had led to feel-good white liberal complacency regarding race. And what he called the “hypercanonization” and “idolatry” of Huckleberry Finn was a flaw-forgiving development contributed to, Arac claimed, by Eliot’s Introduction to the novel.

Four years later, Ann Ryan examined Arac’s view that the now iconic Huckleberry Finn has an undeserved reputation as a novel that somehow resolved the issue of racism. In Ryan’s concise synopsis of Arac’s argument, critics since the 1940s, “self-consciously engaged” in an interpretive process, “equated Huck with tolerance and love, Twain with Huck, and America with Twain.” Reacting to the “self-serving criticism” of the “white literary establishment,” Arac represents Huckleberry Finn, not as healing or resolving, but “as a novel with a mean spirit and Twain as an author with a hard heart.” Countering Arac, Ryan argues that “it is precisely this raw quality, in both the book and its author,” that makes Huckleberry Finn a valuable asset in contemporary discussions of race, in general and in the classroom. She argues persuasively that, while Twain “evades political entanglements,” he “intentionally represents this evasion”; and that while the novel clearly “operates on racist assumptions and privileges,” it “unflinchingly illustrates how both are expressed and defended.”

Finally, there is the matter, troubling to so many critics, of Twain’s sense of humor and penchant for practical jokes. Registering Huck’s empathy even for rascals, Ryan reminds us that, sickened by the final tar-and-feathered plight of the King and Duke, Huck concludes, “It was a dreadful thing to see. Human beings can be awful cruel sometimes” (Chapter 33). Ryan then notes the final ironic twist: that “Twain ends his novel with a grotesque practical joke at the expense of Jim, the most ‘human’ being in the narrative.”  Regarding Twain’s employment of humor as a possible “imaginative response to our racist history,” Ryan concludes: “If Twain imagines that race is a joke, he does not necessarily mean that we should not take it seriously.”[13]

We can appreciate this multilayered irony. And, whether “serious” as opposed to common readers like it or not, there are genuinely funny moments in the final chapters; Twain himself certainly enjoyed trotting out Tom’s shenanigans in his stage performances, and drew the laughter he always sought. Still, it hurts to see Huck subordinate himself to Tom, whose extravagant, ever-proliferating machinations simply go on too long (as virtually every critic, even Eliot and Lionel Trilling acknowledged), sometimes becoming as tedious as they are otiose and cruel. If Jim, reduced to a minstrel character, even emasculated, rigged out in Aunt Sally’s calico dress, doesn’t mind, we do, or should, especially since Tom withholds, even from Huck, the fact that Jim has already been legally freed.

Mark Twain may have been “cheating” at the end, as Hemingway famously charged in nevertheless celebrating the novel as “the source of all modern American literature.”[14] Or Twain may have reverted to his customary cap and bells simply because he remained confused, troubled as he had been from the beginning of his work on the book in 1876, as to how to bring the journey of Jim and Huck to a successful conclusion. Or he may just not have been able to resist a practical joke, even one as strung out and seemingly anticlimactic as Tom’s Great Escape, especially not if, as Ann Ryan suggests, it constitutes a racial joke that Twain “does not necessarily mean we should not take seriously.”

One can understand how, psychologically, back in the shore-world and under the sway of a self-confident leader like Tom Sawyer, an adolescent boy, even one as experienced and practical-minded as Huck, might regress, and the mores of Southern society reassert themselves. But, all joking aside, realism needn’t require farce, sporadically funny but finally dehumanizing. Eliot insists that the chapters detailing Tom’s protracted buffoonery at Jim’s expense (with the painful complicity of Huck, who hasn’t a malicious bone in his body) have the “rightness” of “art,” whether conscious or “unconscious.” I remain unpersuaded.

Like the issue of racism itself, the debate over the final section of Huckleberry Finn—a debate as protracted as Tom’s evolving escape plans—may be ultimately irresolvable. But those on my side of that debate can only regret that T. S. Eliot—given his immense authority circa 1950, as world-famous poet-critic and Nobel laureate—should have put his imprimatur on what seems to us an error. As Eliot had announced in 1928, re-invented, now more English than American, he was not only royalist in politics and Anglo-Catholic in religion; he was a “classicist in literature,” and so, though a modernist poet, still wedded to what he called (in the subtitle of the book in which he made that triple announcement) “style and order.” In the case of the Adventures of Huckleberry Finn, in mounting so eloquent a rondural defense, evoking the venerable symbol of the ouroboros, Eliot in effect validated Mark Twain’s original sin against his own (or Huck’s) book—a book which is not only, as Eliot himself asserted by emphasizing the unifying power of the River, a series of picaresque adventures, but something of a bildungsroman. In defending what many readers continue to find indefensible, the formalist Eliot himself paid too high a critical price in order to have Mark Twain’s novel, to quote one of Eliot’s favorite poets, “end where it begunne.”[15]

Huck striking for the back country_1Illustration by Edward W. Kemble from first ed., via University of Virginia

—Patrick J. Keane

Works Cited

Ackroyd, Peter. T. S. Eliot: A Life. New York: Simon and Schuster, 1984.

American Literature and the American Language. Washington U Studies, New Series Language and Literature, No. 22. St. Louis, 1953.

Arac, Jonathan. Huckleberry Finn as Idol and Target: The Functions of Criticism in Our Time. Madison: U of Wisconsin Press, 1997.

Cox, James M. Mark Twain: The Fate of Humor (1966); excerpt as reprinted in Graff and Phelan, 305-12.

DeVoto, Bernard. Mark Twain’s America. Boston: Little, Brown, 1932.

Doyno, Victor A. Writing “Huck Finn”: Mark Twain’s Creative Process. Philadelphia: U of Pennsylvania Press, 1991.

Eliot, T. S. For Lancelot Andrewes: Essays on Style and Order. London: Faber & Faber, 1928.

________. Four Quartets, in T. S. Eliot: The Complete Poems and Plays. New York: Harcourt, Brace & World, 1952.

________. Inventions of the March Hare, ed. Christopher Ricks. London: Faber, 1997.

________. Introduction to Huckleberry Finn (1950), in Twain, 320-27.

_______. The Letters of T. S. Eliot, ed. Valerie Eliot and John Haffenden, 7 vols. to date. London: Faber & Faber, 2008-2017.

Epstein, Joseph. Narcissus Leaves the Pool. Boston: Houghton Mifflin Harcourt, 1999.

Graff, Gerald, and James Phelan, Eds. Adventures of Huckleberry Finn: A Case Study in Critical Controversy. Boston and New York: Bedford Books of St. Martin’s Press, 1995.

Hemingway, Ernest. Green Hills of Africa. New York: Scribner, 1935.

Hill, Richard. “Overreaching: Critical Agenda and the Ending of Adventures of Huckleberry Finn.” Texas Studies in Literature and Language (Winter 1991); cited as reprinted in Graff and Phelan, 312-34.

Kenner, Hugh. The Pound Era. Berkeley and Los Angeles: U of California Press, 1971.

Marx, Leo. “Mr. Eliot, Mr. Trilling, and Huckleberry Finn.” The American Scholar 22 (1953), 423-40; cited as reprinted in Twain, 328-41.

Moody, David A., ed. The Cambridge Companion to T. S. Eliot. Cambridge: Cambridge U Press, 1994.

Plimpton, George, ed. Writers at Work. New York: Penguin, 1977, 2nd series.

Ryan, Ann. “Black Genes and White Lies: The Romance of Race,” in Trombley and Kiskis, 167-91.

Sigg, Eric. “Eliot as a Product of America,” in Moody, 14-30.

Trombley, Laura E. Skandera, and Michael J. Kiskis, ed. Constructing Mark Twain: New Directions in Scholarship. Columbia and London: U of Missouri Press, 2001.

Twain, Mark. Adventures of Huckleberry Finn. The Norton Critical Edition, ed. Sculley Bradley, Richmond Croom  Beatty, and E. Hudson Long. New York: Norton, 1962.

Williams, W. C. The Autobiography of William Carlos Williams. New York: New Directions, 1951.

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Patrick J Keane smaller

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Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics(1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2008).

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Footnotes    (↵ returns to text)

  1. On Eliot’s wearing of the white rose, see Joseph Epstein, “Anglophilia, American Style,” in his Narcissus Leaves the Pool, 241. For Frost’s comment, see The Letters of T. S. Eliot, 4:286, n.1. Eliot’s own famous pronouncement about his stance in literature, politics, and religion—a cause of much consternation among modernist literati—occurs in the Preface to his For Lancelot Andrewes: Essays on Style and Order.
  2. Kenner, The Pound Era, 274-75. Ackroyd, T. S. Eliot: A Life, 300-01.
  3. Muir, Belonging: A Memoir (London: Hogarth Press, 1968); as quoted in Ackroyd, 301.
  4. The edition Eliot introduced was published in 1950, by The Cresset Press in London, and Chanticleer Press in New York. It is reprinted in The Norton Critical Edition of the Adventures of Huckleberry Finn. Twain, 320-27. I quote parenthetically from this edition.
  5. In Mark Twain: The Fate of Humor, Cox insists that, since Huck’s journey has never been a “quest,” but an “escape,” a flight “from tyranny, not a flight toward freedom,” his behavior in the final chapters is in character; and that, while we “become uncomfortable when he submits to Tom’s role,” Mark Twain knew what he was doing: “The entire burlesque ending is a revenge upon the moral sentiment which, though it shielded the humor, ultimately threatened Huck’s identity” (312). Two adroit defenses of the ending appeared in 1991, the first by Victor A. Doyno, whose extensive study of the manuscripts of Huckleberry Finn informs his Writing “Huck Finn”: Mark Twain’s Creative Process. In his 10th and final chapter, “Repetition, Cycles, and Structure,” Doyno defends the novel’s unity, including the ending. In arguing that, “in a complex way the ending is aesthetically and thematically appropriate,” he questions both the social and genre-assumptions of those who want a bildungsroman rather than a series of “adventures.” In establishing a strong contrary case against those critics put off by the novel’s final chapters, he notes that, however “severely criticized” it has been, the ending “does resolve several problems,” not least the issue of Jim, who is “decriminalized” (223-27). In his informed and acerbic essay on critical “overreaching” in assaults on the ending of the novel, Richard Hill attacks Leo Marx and the critics who followed his lead. Hill, too, finds Huck in character in the final chapters. “To expect Huck to give up instantly both his ongoing personality and Tom Sawyer is to push the epiphany aspect of his decision to tear up the letter to Miss Watson into the excesses of modern social-agenda fiction.” Nor, he argues, is Jim reduced to a caricature. (320, 323-27)
  6. DeVoto, Mark Twain’s America, 92.
  7. Trilling’s Introduction to the 1948 Rinehart edition was reprinted in 1950 in his The Liberal Imagination. Marx, “Mr. Eliot, Mr. Trilling, and Huckleberry Finn,” 329.
  8. What Jonathan Arac has called the “hypercanonization” of Huckleberry Finn  at the specific expense of Uncle Tom’s Cabin began in the 1920s and has continued—despite praise of Stowe’s novel by Edmund Wilson (Patriotic Gore, 1962), Ellen Moer (Literary Women, 1976), and Arac himself (1997). That Twain’s novel, a “work of art” written well after the Civil War, has been judged a more powerful attack on slavery than Stowe’s novel, which appeared as a book in 1852,  galvanized Arac into writing his reassessment and partial debunking of Twain’s novel. One catalyst was Eliot’s Introduction, which put the prestige of the “mid-century’s leading man of letters” and recent Nobel Prize winner on the side of Twain’s novel rather than the “propagandistic” Uncle Tom’s Cabin as the “far more convincing indictment of slavery.”  This “mythicization of history,” Arac continues, “by which Huckleberry Finn gained the prestige of abolitionism despite its having been written at a time when slavery did not exist and was defended by no one, helped provoke me to this book.” Huckleberry Finn as Idol and Target: The Functions of Criticism in Our Time, 92-93.
  9. Both interviews mentioned in these paragraphs are cited by Eric Sigg, “Eliot as a Product of America,” in Moody, ed., 24, 28. In the first, Eliot is quoted by M. W. Childs, “From a Distinguished Former St. Louisan,” St. Louis Post-Dispatch (15 October 1930), 3B. For the second, see Writers at Work, ed. George Plimpton, 110.
  10. American Literature and the American Language, 16-17. Stéphane Mallarmé’s imperative “to purify the dialect of the tribe” occurs frequently in Eliot, most notably in the nocturnal encounter with the “familiar compound ghost” (mostly Yeats) in Part II of “Little Gidding,” the finest section of the last and best of Four Quartets.
  11. Eliot, Inventions of the March Hare, edited with scholarly thoroughness and annotated, copiously, brilliantly, and protectively, by Christopher Ricks.
  12. We recall the opening exchange (Chapter 32) between Aunt Sally and Huck (pretending to be Tom, and to have experienced an accident on the boat): “Good gracious! Anybody hurt?” “No’m. Killed a nigger.” “Well, it’s lucky,” replies this affectionate woman; “because sometimes people do get hurt.” Though admirers of Huck would rather repress the memory, there is that two-chapter stretch between the running over the raft by a steamboat, with the apparent loss of Jim (toward the end of Chapter 16), and the moment, in Chapter 18, when he is rediscovered by Huck (less emotionally than we would expect, even though Jim weeps with joy). In the interim, Huck, engaged in onshore adventures, has had not one thought of a friend he doesn’t know is dead or alive. This is troubling, whether we attribute the thoughtlessness to a Southern-inflected flaw in Huck’s character; or to Mark Twain, guilty of episodic and careless plotting or to a short memory regarding offstage characters.
  13. Ryan, “Black Genes and White Lies: Twain and the Romance of Race,” 169, 170. For Arac, see  n.8, above.
  14. Hemingway’s hyperbolic but endlessly repeated praise/ criticism of Huckleberry Finn occurs in that half-memoir, half-fictional account of a safari, Green Hills of Africa, 22. H. L Mencken was no less effusive in his celebration of Huckleberry Finn (a book he read annually) as “Himalayan,” a masterpiece that soared in solitary splendor above all other American novels.
  15. John Donne’s “A Valediction: Forbidding Mourning” concludes with his brilliant compass-image—lines addressed to his wife, who remained at home while he was compelled to roam abroad:  “Thy firmnes makes my circle just,/ And makes me end, where I begunne.”
Jul 252017
 

  

And I saw, and behold, a pale horse, and its rider’s name was Death, and Hades followed him; and they were given power over a fourth of the earth, to kill with sword and with famine and with pestilence and by wild beasts of the earth.

Revelation 6:8

Franz Marc’s The Large Blue Horses—another work of art that has been with me almost my entire life, a print of which also has hung on a wall for some fifteen years, and I can’t remember when or where I first saw it. My best guess is in the library of elementary school, high up in childhood memory, among other paintings on the walls surrounding the low shelves that held books within reach of our hands and hearts and minds, appropriate for the course our lives were supposed to follow.

The blueness of the horses did not strike me as strange but rather was a given supported by the mass of their collective surge and the energy of the overall composition, their motion made significant by their self-possession, the color itself part of some larger motion I did not question and wouldn’t have grasped if explained. But what I took from it then, I think, is that there could be power in reflection and composure.

And the painting has survived the process of school, its ideas of itself, its upward gradations; and the rising flood of images that followed on screens and in popular print; and, when I studied art in college, the outline taught that put art on an ascending conveyor belt of movements. There is no such thing as progress in art or any permanence in our ideas and distractions.

Events from the last years and changes in my life and recent reading, however, have unsettled the painting and made me question its place now over my hearth.

Marc painted The Large Blue Horses in 1911, for many a time of alienation from and revolt against rapid industrial growth in Germany and the materialist Wilhelmine society it brought, when Nietzsche’s appeals for a return to Dionysian passions flourished, when crisis in the Balkans increased in pitch and European instabilities made global war seem inevitable, a war which many others found attractive, a world whose vast web of motives and intrigues most of us have forgotten, if we ever learned it.

What I’m supposed to say is that Marc was a German Expressionist, who looked not at the facts and impressions of people and nature and society but at subjective realities beneath the surface, at undercurrents of self and culture, and, hopefully, at something beyond and higher. The animals he painted represented human states and a desire to return to uncorrupted nature, nature expressed in ideal landscape. Marc created his own color symbolism, and blue stood for the male principle, serious and spiritual.

All these terms are as intriguing as they are slippery, ultimately meaningless.

Of course the painting is sexual, but that slant obscures as much as it makes clear.

But there is no escaping the sensuous, sinuous, swelling flesh of the horses or the suggestive pull of their movement or the tension of the contrasting colors. The rhythm of their bodies continues into and complements that of the hills and sky, positing larger context. The horses’ blue, a color that optically recedes, is placed in front, while the distant hills are painted the forward red, this atmospheric reversal closing foreground and background and increasing the break from expectations, moving us from the nature we think we know.

Horses themselves give pause—such large animals that are not predators, that possess great strength yet are graceful and reserved. A horse without a rider lifts the burden of possession and use, opening up possibilities and raising questions. With their bowed heads Marc’s blue horses submit to the rhythm and yet push against, parting the distended white trees that divide the canvas.

In 1913, the world closer to war, Marc painted The Tower of Blue Horses, where there are four blue horses now, vertical and rising, open-eyed and agitated, their flesh taking on the angles of Cubism.

A few months later, war still closer, in Fate of the Animals the horses, frenzied and in peril, turn green, blue mixed with yellow, which, Marc tells us, “cannot still the brutality of red,”

in a picture that takes animals and landscape to the point of annihilation by the slashing diagonal lines, red flames, that dominate the canvas and set the fractured composition. An irony here—the painting was actually damaged in a fire and Paul Klee only partially restored the area on the right.

Fate of the Animals recalls Picasso’s Guernica, another painting of wholesale destruction and disruptive composition, his response to Franco’s request to bomb the town, Germany’s tuneup for the next world war. Both have since stood as pictures of the horrors of war in general, of civilization on the brink.

Marc also shows the influence of the dynamism of Futurism, though with inverted intent; Picasso continues his cubist experiments in his synthetic phase, with clearer representation in his angled shapes. These maneuvers are not advances, however, but adjustments to match the subject. But the breakup and rearrangement of parts does not create chaos but rather gives coherence to disorder, and with coherence, the terror of beauty.

Most have taken the bull as the source of the massacre, representing fascist brutality, and the horse stands for the slain innocents, their agony and death. The bull alone is passive, however, with a stilled face that is hard to read, and Picasso used the figure for other representations, including of himself. Guernica is direct in its images and but ambiguous in its meanings, leaving unanswered questions. The bull also leads us to the Minotaur and the labyrinth of mythical meaning. Still, there is the overpowering sense of revulsion at something we have done to ourselves.

But in Fate of the Animals the source of destruction is external, coming from some unseen force above, beyond our agency, entering the canvas in the flames at the upper left and rebounding and continuing their destructive course across the picture plane. It is, in fact, a picture of apocalypse. Frederick Levine, in The Apocalyptic Vision, makes a convincing case, explaining how Marc drew cataclysm from Wagner, from Nordic myth. The long column that slants left against the flames is Yggdrasil, the eternal ash, which shelters the four willowy deer on the right, who alone will survive to start a new race. Apocalypse is not just inevitable, it is desired.

We know that everything can be destroyed if the germination of a spiritual race does not endure the test of the greed and impurity of the masses. We struggle for pure ideas, for a world in which pure ideas can be thought and can be expressed without becoming impure.

Marc saw the war as the coming apocalypse and volunteered early, before conscription. It was something he had to witness and endure. But the imagined glory of the past that others wanted restored was what he wished to see destroyed. Like them, he had no idea what was to follow.

The combat of the infantrymen which I witnessed yesterday was incredibly hideous, more horrifying than anything I have ever seen. I was totally shaken last night. The courage with which they advance, and the indifference, indeed, the enthusiasm for death and for wounds has something mystical about it. Naturally, it is a mood of reconciliation, the clarification of something that was previously uncertain.

Purity is a trap, a dead end, and this is pathology. Marc, who was given to bouts of depression, has surrendered to his mood and in self-immolation projected it into unnamed abstraction. Spiritual shell shock here as well, as the pathology of the self meets the pathology of the world in a landscape of death and shattered mirrors.

And the apocalypse of Fate is what The Large Blue Horses leads up to, what stirs the trio in their lowered gaze above my mantle. Reading Levine forced reexamination of the painting and led me in downward spiral. My living room deadened in its plane and turned into a no man’s land, a grayness spreading to lifeless winter trees outside my windows, to lifeless streets, and lifelessness beyond, endlessly. Everywhere I went I saw entrenched lives and, on faces, in reports from around the world, the signs of dissolution and breakage. I avoided looking at the painting, then started avoiding the room. I long debated taking it down, not finding resolve.

Nietzsche’s descent into madness, legend goes, began with the sight of a beaten horse.

But psychology is sterile reduction. And to reject myth as superstition is to deny its power and persistence. Some notion of apocalypse has been with us a long time. It may be one of our earliest formations. In Dürer’s gorgeous woodcut the four horses unleashed in Revelation take the riders who scourge the land, necessary preparation for a new heaven and new earth. Destruction precedes renewal—or is it merely the underside of our highest, purist aspirations?

It is impossible to recreate the confusion of thought and emotion of Marc’s time and get a fix, but it is just as impossible to gain footing now in a world certain only of itself, not going anywhere at breakneck speed, where wars are fought by others and victims most often are others and apocalypse has become a casual diversion in movies and video games.

Too often when we read biography into art we only read ourselves. What I most became aware of looking at the Blue Horses was myself, a depression that came from within and radiated out. The signs of breakage were still there outside my windows, however. They are still there. They have always been there. If I hadn’t noticed them before it was because I wasn’t looking.

And I don’t know if a glance towards apocalypse isn’t what drew me to the painting over fifty years ago.

Only by risking everything do we know what anything is worth.

Or:

We risk everything because we do not know what else to do.

I have no idea which is true, if either.

I only know the old man will always be with us.

And that if I take the Blue Horses down I will be lost.

Slowly, cautiously, I have returned to their coiling, inward gaze. Color has returned to the room, slowly, cautiously, and leaves have returned to trees, and grasses return to barren fields and softly fill furrows and cover mounds though from which chunks of old concrete still protrude, though a grayish mist lingers over all.

March 4, 1916, near Verdun, Lieutenant Franz Marc rode a chestnut bay out on a reconnaissance mission and did not return. He was killed by shrapnel, French or German, no one knew. Another irony. The world is littered with ironies.

Gary Garvin

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May 122017
 

Sombrero Galaxy composite image from Hubble and Spitzer space telescopes

x

I shall find the dark grow luminous, the void fruitful, when I understand that I have nothing; that the ringers in the tower have appointed for the hymen of the soul a passing bell.

—Yeats, Per Amica Silentia Lunae

 

The Soul. Seek out reality, leave things that seem.
The Heart. What, be a singer born and lack a theme?
The Soul. Isaiah’s coal, what more can man desire?
The Heart. Struck dumb in the simplicity of fire!
The Soul. Look on that fire, salvation walks within.
The Heart. What theme had Homer but original sin?

—Yeats, “Vacillation,” VII

 

“Her favorite reading as a child was Huxley and Tyndall,” Virginia Woolf tells us of Clarissa Dalloway. As Yeats was fond of saying, “We Irish think otherwise.” He was quoting George Berkeley, reinforcing his favorite philosopher’s resistance to Lockean empiricism with his own defense of visionary powers. In the section of The Trembling of the Veil covering the period 1887-91, Yeats says he was “unlike others of my generation in one thing only.”

I am very religious, and deprived by Huxley and Tyndall, whom I detested, of the simple-minded religion of my childhood, I had made a new religion, almost an infallible Church of poetic tradition, of a fardel of stories, and of personages, and of emotions… passed on from generation to generation by poets and painters with some help from philosophers and theologians.[1]

Though Yeats was never “religious” in the normative sense, he did seek a world, as he says later in this passage, that reflected the “deepest instinct of man,” and would be “steeped in the supernatural.” That was his own instinct. It was his conscious intention, as well, to offset the scientific naturalism of John Tyndall and T. H. Huxley, “Darwin’s bulldog,” and to buttress his rebellion against his skeptical father’s Comptean positivism. In making up his own religion, Yeats relied essentially on art (“poetic tradition,” “poets and painters”), but he included in his “fardel” strands from interrelated traditions Western and Eastern. Seeing them all as a single perennial philosophy, “one history and that the soul’s,” he gathered together elements from Celtic mythology and Irish folklore, British Romanticism (especially Shelley and Blake, whose Los tells us that he “must create a system or be enslaved by another man’s”); Platonism and Neoplatonism; Rosicrucianism and Theosophy, Cabbalism, Hinduism, and Buddhism, along with other varieties of spiritualist and esoteric thought, including Gnosticism. Though Yeats was not a scholar of Gnosticism, neither a Carl Jung nor an Eric Voegelin, let alone a Hans Jonas, there are persistent themes and emphases in his thought and poetry that Gnostics, ancient and modern, would find both familiar and congenial. Others, not so much.

William Butler Yeats by George Charles Beresford 1911Yeats by George Charles Beresford, 1911

After this preamble, I will, in discussing the spiritual dimension in Yeats’s work, focus more often than not on Gnostic elements. But this is an essay on Yeats rather than Gnosticism. Having mentioned Gnostics “ancient and modern,” I should make it clear that, for the most part, I bring in historical Gnosticism and the tenets of certain Gnostic sects only where they illuminate particular poems; for example, “A Dialogue of Self and Soul” and “Crazy Jane and Jack the Journeyman.” Otherwise, I will have little to say of the religious movement drawing on, but competing with, Judaism and Christianity in the Eastern Mediterranean in the first and second centuries, CE.[2] Instead, I will emphasize gnosis as differentiated from historical Gnosticism, precisely the distinction made at the 1966 international conference, the Colloquium of Messina, convened to examine the origins of Gnosticism. In the colloquium’s final “Proposal,” the emphasis was on the attainment of gnosis, defined as “knowledge of the divine mysteries reserved for an elite.”

Such knowledge was individual: one’s “intuition” of revealed truth. For most Gnostics, this intuitive esoteric “knowledge” had nothing to do with either Western philosophic reasoning or with the theological knowledge of God to be found in orthodox Judaism or normative Christianity. For spiritual adepts, such intuition derived from knowledge of the divine One. For poets like Yeats, it was identified with that “intuitive Reason” which, for the Romantics—notably, Wordsworth, Coleridge, and their American disciple, Ralph Waldo Emerson—was virtually indistinguishable from the creative Imagination, which, for Yeats, was most powerfully exemplified in the prophetic poetry of Blake and Shelley.

At the same time, there is no denying the centrality of spiritual quest, of esoteric knowledge, of mysticism and “magic,” in Yeats’s life and work. In July 1892, preparing to be initiated into the Second Order of the Golden Dawn, he wrote to one of his heroes, the old Irish nationalist John O’Leary, in response to a “somewhat testy postcard” the kindly old Fenian had sent him. The “probable explanation,” Yeats surmised, was that O’Leary had been listening to the poet’s skeptical father, holding forth on his son’s “magical pursuits out of the immense depths of his ignorance as to everything that I am doing and thinking.” Yeats realizes that the word “magic,” however familiar to his own ears, “has a very outlandish sound to other ears.” But “as to Magic”:

It is surely absurd to hold me ‘weak’…because I chose to persist in a study which I decided deliberately four or five years ago to make, next to my poetry, the most important pursuit of my life….If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen have ever come to exist. The mystical life is the centre of all that I do and all that I think and all that I write….I have always considered myself a voice of what I believe to be a greater renaissance—the revolt of the soul against the intellect—now beginning in the world.[3]

Just as he had emphasized art and a “Church of poetic tradition” in the creation of his own “new religion,” even here, in his most strenuous defense of his mystical and magical pursuits, Yeats inserts the caveat that they were paramount, “next to my poetry.” But this is hardly to dismiss the passionate intensity of Yeats’s esoteric and mystical pursuits. What seemed to W. H. Auden, even in his great elegy, “In Memory of W. B. Yeats,” to be “silly” or, worse, to Ezra Pound, to be “very very very bughouse” (it takes one to know one), or by T. S. Eliot to be dreadfully misguided, was taken, not with complete credulity, but very very very seriously, by Yeats himself. His esoteric pursuits, in many heterodox guises, remained an energizing stimulus, if not an obsession, throughout his life. In his elegy for Yeats, written just days after the poet’s death in January 1939, Auden says, “You were silly like us; your gift survived it all.” But it was more than that. What Auden and Eliot and Pound dismissed actually enhanced Yeats’s artistic gift.[4]

§

I just mentioned the Golden Dawn, which makes it time to briefly fill in Yeats’s esoteric resume, some of which will be familiar to many readers. He was, along with his friend George Russell (AE), a founding member, in 1885, of the Dublin Hermetic Society. It quickly evolved, in April 1886, into the Dublin Theosophical Society. Though, as he tells us in an unpublished memoir, he “was much among the Theosophists, having drifted there from the Dublin Hermetic Society,” Yeats declined to join, believing that “Hermetic” better described his own wider interests as a devotee of what he called the study of “magic.” He did join the Theosophical Society of London, in which, eager to push mystical boundaries, he became a member of the “Esoteric Section.” In 1891, he resigned; he was not, as rumor sometimes had it, “expelled,” let alone “excommunicated.”

Yeats was, of course, for more than thirty years a member of the Hermetic Order of the Golden Dawn, which he joined in London in March 1890; he stayed with the Golden Dawn until it splintered, then joined one of its offshoot Orders, the Stella Matutina. During its heyday in the 1890s, the G.D and its Inner Order of the Rose of Ruby and the Cross of Gold (R.R. & A.C.) was “the crowning glory of the occult revival in the nineteenth century,” having succeeded in synthesizing a vast body of disparate material and welding it into an effective “system.”[5] Yeats took as his Golden Dawn motto and pseudonym Demon Est Deus Inversus (D.E.D.I.). That sobriquet’s recognition of the interdependence of opposites is a nod to both William Blake and Helena Petrovna Blavatsky, the 11th chapter of whose seminal text, The Secret Doctrine (1888), bears this title.

's Rose Cross National Library of IrelandYeats’s Rose Cross, Order of the Golden Dawn, photo © National Library of Ireland

The most extraordinary of the many exotic figures that gathered in societies and cults, making Victorian London ground zero in the revolt against reductive materialism, Madame Blavatsky (HPB to her acolytes) was, of course, the co-founder and presiding genius of the Theosophical Society. In a letter to a New England newspaper, Yeats referred to her with wary fascination as “the Pythoness of the Movement.”[6] Unless we accept her own tracing of Theosophy to ancient Tibetan roots, the movement was born in 1875, in part in Blavatsky’s New York City apartment, where she kept a stuffed baboon, sporting under its arm a copy of Darwin’s Origin of Species to represent the creeping tide of scientific materialism she was determined to push back—though it should be mentioned that The Secret Doctrine was an audacious attempt to synthesize science, religion, and philosophy.

While he never shared the requisite belief in the Tibetan Masters who supposedly dictated her theosophical revelations, Yeats, without being anti-Darwinian, did share her determination to resist and turn back that materialist tide. And he was personally fascinated by the Pythoness herself, whom he first met in the considerable flesh (she then weighed well over 200 lbs.) in 1887 when he visited her at a little house in Norwood, a suburb of London. She was just 56 at the time but looked older (she would live only four more years). Young Yeats was kept waiting while she attended to some earlier visitors. Finally admitted, he “found an old woman in a plain loose dark dress: a sort of old Irish peasant, with an air of humor and audacious power.” Their first conversation was a whimsical exchange on the vagaries of her cuckoo clock, which Yeats thought had “hooted” at him. On subsequent visits he found her “almost always full of gaiety…kindly and tolerant,” and accessible—except on those occasions, once a week, when she “answered questions upon her system, and as I look back after thirty tears I often ask myself, ‘Was her speech automatic? Was she a trance medium, or in some similar state, one night in every week?’”[7]

Her alternating states were adumbrated in the phases, active and passive, HPB called, in Isis Unveiled (1877), “the days and nights of Brahma.” Yeats had read that book and Blavatsky’s alternating phases tally with, and may have influenced, his lifelong emphasis on polarity, the antinomies: the tension between quotidian reality and the spiritual or Romantic allure of the Otherworld, in forms ranging from the Celtic Faeryland to that city of art and spirit, Byzantium; and, early and late, between things that merely “seem” (Platonic “appearance,” Hindu maya) and the spiritual reality perceived by Western visionaries and Hindu hermits contemplating on Asian mountains. After reading Isis Unveiled, Yeats had delved into a book given him by AE. This was Esoteric Buddhism (1883) by Madame Blavatsky’s fellow Theosophist and sometime disciple, A. P. Sinnett, whose earlier book, The Occult World (1881), had already had an impact on Yeats. “Spirituality, in the occult sense,” Sinnett declared, “has nothing to do with feeling devout: it has to do with the capacity of the mind for assimilating knowledge at the fountainhead of knowledge itself.” And he asserted another antithesis crucial to Yeats: that to become an “adept,” a rare status “beyond the reach of the general public,” one must “obey the inward impulse of [one’s] soul, irrespective of the prudential considerations of worldly science or sagacity” (101). That Eastern impulse is evident in Yeats’s three “hermit” poems in Responsibilities (1914).

A quarter century earlier, three poems in Crossways, his first collection of lyrics— “The Indian upon God,” “The Indian to his Love,” and the lengthy (91-line) “Anashuya and Vijaya”[8]—were written under a more direct and visceral influence. For the lure of the East had another source, also related to Madame Blavatsky. Yeats had been deeply impressed with the roving ambassador of Theosophy she had sent to Dublin in April 1886, to instruct the members of the Dublin Hermetic Society in the nuances of Theosophy. The envoy was the charismatic young Bengali Swami, Mohini Chatterjee, described by Madame Blavatsky, with perhaps more gaiety than tolerance, as “a nutmeg Hindoo with buck eyes,” for whom several of his English disciples “burned with a scandalous, ferocious passion,” that “craving of old gourmands for unnatural food.”[9] Despite his inability to resist the sexual temptations presented to him (he was eventually dispatched back to India), Chatterjee preached the need to realize one’s individual soul by contemplation, penetrating the illusory nature of the material world, and abjuring worldly ambition. His book, published several months later, described reincarnational stages, and ascending states of consciousness. The fourth and final state, which “may be called transcendental consciousness,” is ineffable, though “glimpses” of it “may be obtained in the abnormal condition of extasis.”[10]

Madame Blavatsky photo taken between 1886 and 1888Madame Blavatsky, photo taken between 1886 and 1888

Yeats later said that he learned more from Chattterjee than “from any book.” Hyperbole; but there is no doubt that he was permanently affected by the concept of ancient and secret wisdom being passed on orally from generation to generation, fragmentary glimpses of an ineffable truth. There are distinctions between East and West, but, as in Gnosticism and Neoplatonism, the Theosophy of Madame Blavatsky and Mohini Chatterjee presents an unknown Absolute, from which souls emanate as fragments, or “sparks,” separated from the divine substance, and longing to return to the One from which they came. The principal Eastern variation is that, to achieve that ultimate goal, they have to “make a long pilgrimage through many incarnations, live through many lives, both in this world and the next.”[11]

Many years later, in 1929, Yeats wrote an eponymous poem, “Mohini Chatterjee.” Its final words, “Men dance on deathless feet,” were added (though attributed to various “great sages”), by Yeats himself “in commentary” on Chatterjee’s own “words” on reincarnation. There is no reference to a personal God, and we are to “pray for nothing,” but just repeat every night in bed, that one has been a king, a slave, a fool, a rascal, knave. “Nor is there anything/ …That I have not been./ And yet upon my breast/ A myriad heads have lain.” Such words were spoken by Mohini Chatterjee to “set at rest/ A boy’s turbulent days.” When that boy, almost forty years later, published “Mohini Chatterjee” in The Winding Stair and Other Poems (1933), he placed it immediately preceding what is certainly his most “turbulent” poem of spiritual purgation and reincarnation:  “Byzantium,” in which impure spirits, “complexities of mire and blood,” are presented “dying into a dance,/ An agony of trance,/ An agony of flame that cannot singe a sleeve.” Yet, like most of the other poems we will examine, “Byzantium” participates, though in this case with unique fury and surging energy, in the dominant Yeatsian agon between Time and Eternity, flesh and spirit.

§

As we’ve seen, Yeats wondered if, on heightened occasions, HPB’s speech might not be “automatic,” and herself a “trance medium.” But, since he never gave full credence to the “astral” dictations of Blavatsky’s Tibetan Masters, it is ironic that his own major esoteric text had a related genesis. His book A Vision, first published in 1925 and revised in 1937, is based on the “automatic writing” for which Mrs. Yeats discovered a gift when, in the early days of their marriage in 1917, she sensed that her husband’s thoughts were drifting back to the love of his life and his Muse, the unattainable Maud Gonne, and to her lush daughter, Iseult, to whom Yeats had also proposed before marrying his wife. Whatever their origin, psychological or occult, the wisdom conveyed to George by her “Communicators,” and then passed on to her husband, preoccupied the poet for years. Alternately insightful and idiosyncratic, beautiful and a bit bananas, A Vision may not be required reading for lovers of the poetry, even for serious students. As one Yeatsian wittily put it, speaking for many, “a little seems too much, his business none of ours.”[12]

But Yeats’s purpose was serious, and, as always, a balancing attempt to exercise individual creative freedom within a rich tradition. In dedicating the first edition of A Vision to “Vestigia” (Moina Mathers, sister of MacGregor Mathers, head of the Order of the Golden Dawn), Yeats noted that while some in the Order were “looking for spiritual happiness or for some form of unknown power,” clearly Hermetic or historically Gnostic goals, he had a more practical and poetry-centered object, though that, too, reflects the intuitive Gnosticism of poets and other creative artists seeking their own personal visions. Even back then, in the 1890s, he claims, he anticipated what would finally emerge as A Vision, with its circuits of sun and moon and its double-gyre, its tension between Fate and Freedom: “I wished for a system of thought that would leave my imagination free to create as it chose and yet make all that it created, or could create, part of one history and that the soul’s” (A Vision [1925], xi). A few years earlier, T. S. Eliot, though he had no more patience than did W.H. Auden with Yeats’s esoteric pursuits, had memorably described creative freedom operating within a larger and necessary historical discipline as the interaction between “Tradition and the Individual Talent.”

If it is not mandatory that those drawn to the poetry read A Vision, it was absolutely necessary that Yeats write it. It illuminates the later poetry, and even provides the skeletal structure for some of his greatest poems, the single best known of which, “The Second Coming,” was originally accompanied by a long note, reproducing the double-gyre, that central symbol of A Vision. Yeats tells us, in the “Introduction” to the second edition of A Vision, that, back in 1917, he struggled for several days to decipher the “almost illegible script,” which he nevertheless found “so exciting, sometimes so profound,” that he not only persuaded his wife to persevere, but offered to give up poetry to devote what remained of his own life to “explaining and piecing together those scattered sentences” which he believed contained mysterious wisdom. The response from one of the unknown writers was welcome news for him and for us: “‘No,’ was the answer, ‘we have come to give you metaphors for poetry’.” [13]

Yeats's GyreYeats’s Gyre

Yeats was a man at once credulous and skeptical. His lifelong quest for esoteric knowledge was countered by the circumspection of an intelligent, self-divided man and a notably dialectical poet. But he had no doubt that there was a spiritual realm. He strove to acquire knowledge of that world through any and all means at hand: studying the “perennial philosophy,” but not excluding the occasional resort to hashish and mescal to induce occult visions, and belief in astrology and séances, of which he attended many. A séance is at the center of one of his most dramatic plays, Words upon the Window-pane (1932), which helps explain the emphasis on “a medium’s mouth” in his cryptic poem “Fragments,” written at the same time, and which I will later discuss at some length.

Though it is difficult to track and disentangle intertwined strands of thought and influence, let alone make conclusive pronouncements, two significant Yeats scholars, Allan Grossman (in his 1969 study of The Wind Among the Reeds, titled Poetic Knowledge in Early Yeats) and that titan, Harold Bloom, in his sweeping 1970 study, grandly titled Yeats, both concluded that their man was essentially a Gnostic. The same assertion governs an impressive though unpublished 1992 Ph.D thesis, written by Steven J. Kelley and titled Yeats, Bloom, and the Dialectics of Theory, Criticism and Poetry. My own conclusion is close, but less certain.

§

There is no question that Yeats was a lifelong Seeker and that the “knowledge” he was seeking, whether poetic or Hermetic, was compatible, often in close alignment, with the quest for gnosis: that internal, intuitive knowledge of spiritual truth believed by Gnostics, ancient and modern, to provide the one path to deliverance from the constraints of material existence, and thus to be essential to salvation.  On the other hand, he wanted, as he told “Vestigia,” to participate in a spiritual tradition that “would leave my imagination free to create as it chose.”  The power and passionate intensity of much of his best poetry derives from Yeats’s commitment to the paradox that the “sacred,” unquestionably valid, was to be found through the “profane,” and in the here and now.

A profound point was made three-quarters of a century ago by a perceptive student of Yeats’s life and work, Peter Allt, later the editor of the indispensable “Variorum Edition” of the poems. Allt argued persuasively that Yeats’s “mature religious Anschauung” consists of “religious belief without any religious faith, notional assent to the reality of the supernatural” combined with “an emotional dissent from its actuality.”[14] In Gnostic terms (which are not Allt’s), Yeats, as a student of secret wisdom, responded, not to the orthodox Christian emphasis on pistis (God’s gift of faith), but to gnosis: the esoteric knowledge derived from individual intuition of divine revelation, often, as in that most formidable of Gnostics, Valentinus, in the guise of myth garmented as philosophy.[15] What Allt refers to as “emotional dissent” illuminates Yeats’s resistance to Christianity, and his occasional need to “mock Plotinus’ thought/ And cry in Plato’s teeth,” as he does in the final section of “The Tower” in the very act of preparing his “peace” and making his “soul.” But emotional dissent and the making of one’s own soul in an act of self-redemption are hardly alien to the concept of individual gnosis.

Paramount to understanding Yeats as man and poet is recognizing the tension between the two worlds, between what he called the primary and the antithetical, the never fully resolved debate between the Soul and the Self (or Heart). As we will see, that tension plays out from his earliest poems to the masterpieces of his maturity. The theme begins with his first published major work, The Wanderings of Oisin (1889), a lengthy quest-poem centering on the debate between paganism and Christianity, between the Celtic warrior Oisin and St. Patrick. The theme continues with his pivotal Rosicrucian poem, “To the Rose upon the Rood of Time” (1893), and culminates in the great debate-poems of his maturity: “A Dialogue of Self and Soul” (1927) and the condensed, career-synopsizing debate between “The Soul” and “The Heart” in section VII of the poetic sequence revealingly titled “Vacillation,” which appeared forty years after “To the Rose upon the Rood of Time.”

The final section of “Vacillation” ends with the poet blessing, yet—gently and gaily, if somewhat patronizingly—rejecting the Saint, here represented by the Catholic theologian Baron von Hügel, who had, in his book The Mystical Element of Religion, stressed “the costingness of regeneration.” In the last and best of his Four Quartets, T. S. Eliot aligns himself with von Hügel by endorsing, in the conclusion of “Little Gidding” (lines 293-94), “A condition of complete simplicity/ (Costing not less than everything).” In section 2, in the Dantesque ghost-encounter (seventy of the finest lines he ever wrote and, by his own admission, the ones that had “cost him the most effort”), Eliot respectfully but definitively differentiated himself from the recently deceased Yeats. In that nocturnal encounter with a largely Yeatsian “compound familiar ghost,” Eliot echoes in order to alter Yeats’s poem “Vacillation,” and the refusal of “The Heart” to be “struck dumb in the simplicity of fire!”[16] In the context of the theme of this essay, the contrast between Eliot and Yeats is illuminating; and Eliot is right to perceive as his mighty opposite in spiritual terms, W. B. Yeats, whom he pronounced in his 1940 memorial address, the greatest poet of the century, “certainly in English and, and, as far as I can tell, in any language,” but who was also, from Eliot’s Christian perspective, an occultist and a pagan.

The charges were hardly far-fetched. The final section of “Vacillation” begins with the poet wondering if he really must “part” with von Hügel, since both “Accept the miracles of the saints and honor sanctity.” And yet he must, for although his heart “might find relief/ Did I become a Christian man and choose for my belief/ What seems most welcome in the tomb,” he must

xxxxxxxxxxxxxxxxxxxxxplay a predestined part.

Homer is my example and his unchristened heart.

The lion and the honeycomb, what has Scripture said?

So get you gone, von Hugel, though with blessings on your head.

In sending the poem to Olivia Shakespear, his first lover and later most intimate lifetime correspondent, Yeats, having just re-read all his lyric poetry, cited that line, and observed: “The swordsman throughout repudiates the saint, but not without vacillation. Is that perhaps the sole theme—Usheen and Patrick—“so get you gone Von Hugel though with blessings on your head’?” (Letters, 790)

§

In referring throughout to Yeats as a Seeker, I am alluding to a very early, little-known “dramatic poem in two scenes” with that title. Though Yeats later struck The Seeker from his canon, its theme—the perennial quest for secret knowledge, usually celebrated but always with an acute awareness of the attendant dangers of estrangement from “mere” human life—initiates what might be fairly described as the basic and archetypal pattern of his life and work.[17] The “Seeker” of the title is an aged knight who sacrifices the normal comforts of life and shirks social responsibilities in order to follow a mysterious, beckoning voice. In his dying moments, he discovers that the alluring voice he has been pursuing all his life is that of a bearded hag, whose name is “Infamy.” That final turn looks back to Celtic mythology and to Book I, Canto ii of Spenser’s Faery Queen, where the evil witch Duessa, outwardly “faire,” is actually “fowle.”  It also anticipates Rebecca du Maurier’s short story, “Don’t Look Now” (later turned by director Nicholas Roeg into a haunting film starring Donald Sutherland and Julie Christie). Of course, Celtic mythology also has instances of reversal. In the most famous modern version (Yeats’s 1902 play Cathleen ni Houlihan, written for and starring the poet’s beloved Maud Gonne), the old hag is climactically transformed into a beautiful woman: “a young girl with the walk of a queen,” who is Ireland herself, rejuvenated by blood-sacrifice.

Maud Gonne in Cathleen Ni Houlihan Project Gutenberg eTextMaud Gonne in Cathleen Ni Houlihan

As in that seminal precursor poem for Yeats, Shelley’s Alastor, this theme, with its tension between the material and spiritual worlds, is at once Gnostic and High Romantic. As such, the Seeker-theme illuminates, along with several of Yeats’s most beautiful early quest-lyrics, two quintessential, explicitly Rosicrucian, poems: “To the Rose upon the Rood of Time” and, a poem I will get to in due course, “The Secret Rose.”

“To the Rose upon the Rood of Time,” the italicized poem opening the 1893 volume The Rose, establishes, far more powerfully than The Seeker, this poet’ s lifelong pattern of dialectical vacillation, of being “pulled” between the temporal and spiritual worlds. In his 1907 essay “Poetry and Tradition,” Yeats would fuse Romanticism (Blake’s dialectical “Contraries” without which there can be “no progression”) with Rosicrucianism: “The nobleness of the Arts,” Yeats writes, “is in the mingling of contraries, the extremity of sorrow, the extremity of joy, perfection of personality, the perfection of its surrender; and the red rose opens at the meeting of the two beams of the cross, and at the trysting place of mortal and immortal, time and eternity.”[18]

In “To the Rose upon the Rood of Time,” the symbolist poet seeks to “find” the immortal within the mortal; yet there is an inevitable tension between “all poor foolish things that live a day” and “Eternal Beauty wandering on her way.” That mingling, or contrast, concludes the first of the poem’s two 12-line movements. The second part begins by invoking the Rose to “Come near, come near, come near…,” only to have the poet suddenly recoil from total absorption in the eternal symbol. He may be recalling Keats, who, at the turning point of the “Ode to a Nightingale,” suddenly realizes that if he were to emulate the nightingale’s “pouring forth thy soul abroad/ In such an ecstasy,” by dying, he would, far from entering into unity with the “immortal Bird,” be divorced from it, and everything else, forever: “Still wouldst thou sing, and I have ears in vain—/ To thy high requiem become a sod.”

Yeats’s recoil in “To the Rose upon the Rood of Time” is no less abrupt, and thematically identical:  “Come near, come near, come near—Ah, leave me still/ A little space for the rose- breath to fill!” This sudden recoil, marked by a rare exclamation-point, is a frightened defense against the very Beauty he remains in quest of—like his precursor, the Shelley of the “Hymn to Intellectual Beauty.” But Yeats hesitates, afraid that he will be totally absorbed, engulfed, in the spiritual realm symbolized by the Rose. Along with Keats at the turning-point of the “Ode to a Nightingale,” another parallel may be illuminating.

The Latin Epigraph to The RoseSero te amavi, Pulchritudo tam antiqua et tam nova! Sero te amavi—is from The Confessions (“Too late I have loved you, Beauty so old and so new! Too late I have loved you”), a passage (X, 27) in which St. Augustine, addressing God, longs to be kindled with a desire that God approach him. Yeats would later, in 1901, quote these same Latin lines to illustrate that the religious life and the life of the artist share a common goal.[19] But the plea for “a little space” in “To the Rose upon the Rood of Time” may remind us of a more famous remark by Augustine, also addressed to God, but having to do with profane rather than sacred love. A sinful man, still smitten with his mistress, he would, Augustine tells us, pray: “‘O Lord, give me chastity and continency, but not yet!’ For I was afraid, lest you should hear me soon, and soon deliver me from the disease of concupiscence, which I desired to have satisfied rather than extinguished” (Confessions XIII, 7:7).

Title page of Summum Bonum by Rosicrucian apologist Robert Fludd 1629Title page of Summum Bonum by Rosicrucian apologist Robert Fludd, 1629

In pleading with his Rose-Muse to “come near,” yet “leave me still/ A little space for the rose-breath to fill,” Yeats also fears a too precipitous deliverance from the temporal world. Augustine is “afraid, lest you [God] should hear me too soon.” Yeats is afraid “Lest I no more hear common things that crave.” Becoming deaf to the transient world with its “heavy mortal hopes that toil and pass,” he worries that he will “seek alone to hear the strange things said/ By God to…those long dead,” and thus “learn to chaunt a tongue men do not know.” The hidden wisdom and eternal beauty symbolized by the Rose is much to be desired. But this quester is also a poet; and “a poet,” as Wordsworth rightly said in the Preface to Lyrical Ballads, is above all, “a man speaking to other men.” The “rose-breath” is the crucial “space” between the two worlds. Here, as elsewhere, self-divided Yeats is pulled in two antithetical directions. Hence the debates, implicit and often explicit, that shape so many of his poems.

§

A memorable paragraph in his most beautiful prose work begins, “We make out of the quarrel with others, rhetoric, but out of the quarrel with ourselves, poetry.”[20] Almost forty years after he wrote “To the Rose upon the Rood of Time,” Yeats presented, in section VII of his poetic sequence “Vacillation,” a debate between “The Soul” and “The Heart.” Once again, and more dramatically, the more Yeatsian of the interlocutors resists the option of chanting in “a tongue men do not know.” The Soul offers “Isaiah’s coal,” adding, in an imperious rhetorical question, “what more can man desire?” But the Heart, “a singer born,” refuses to be “struck dumb in the simplicity of fire,” his tongue purified but cauterized by the spiritual fire of that live coal the rather Promethean angel took from God’s altar and brought to the prophet’s lips in Isaiah 6:6-7. Having just refused to “seek out” spiritual “reality,” the “Heart” goes on, after indignantly rejecting Isaiah’s coal and “the simplicity of fire,” to adamantly spurn Soul’s final promise and threat: “Look on that fire, salvation walks within.” The Heart anachronistically but dramatically responds, “What theme had Homer but original sin?” Though it firmly stands its antithetical ground, the Heart does not deny the lot-darkening concept of original sin, and accepts the notional distinction (Platonic, Neoplatonic, Christian) between spiritual “reality” and material “things that [merely] seem.” But since it is these resinous things of the world that fuel an artist’s fire and provide a “theme,” the Heart emotionally dissents. The tension between contraries, and the titular “vacillation,” persist, as does the desire to merge the antinomies at some “trysting place,” Yeats’s language characteristically “mingling” the spiritual and the erotic.

Before turning to “The Secret Rose,” which appeared in Yeats’s next volume, two other poems from The Rose merit comment: “Who Goes with Fergus?” and, immediately following, “The Man who Dreamed of Faeryland.” Both are beautiful, and both embody the tension between the two worlds. The first suggests that the peace promised by an alluring Otherworld is more tumultuous than it appears; the second, like The Seeker and “The Stolen Child,” emphasizes the human cost of seduction by Otherworldly dreams. I intend to return to “The Man who Dreamed of Faeryland” later in this essay, juxtaposing it with “What Then?,” a poem written almost a half-century later, and which, I believe, amounts to a point-by-point refutation of the earlier poem—except, crucially, for the refrain.

“The Man who Dreamed of Faeryland” is a catalog of might-have-beens. The “tenderness” of love; the “prudent years” that might have freed him from “money cares and fears”; the maintenance of “a fine angry mood” leading to “vengeance” upon mockers; and, finally, “unhaunted sleep” in the grave: all have been lost, spoiled by the repeated “singing” of “an unnecessary cruel voice” that “shook the man out of his new ease,” paralyzing him so that he dies without ever having lived.[21] The voice—a variation on the siren call of the faeries in “The Stolen Child” (“Come away, O human child!”) and on the “voice” that beckons and deceives the victim of The Seeker—emanates, of course, from the Otherworld, in this case from a Celtic “woven world-forgotten isle,” where

There dwelt a gay, exulting, gentle race

Under the golden or the silver skies;

That if a dancer stayed his hungry foot

It seemed the sun and moon were in the fruit;

And at that singing he was no more wise.

The poem ends, “The man has found no comfort in the grave.” But that closing line is immediately preceded by a rather cryptic couplet: “Why should those lovers that no lovers miss/ Dream, until God burn Nature with a kiss?” Presumably, in Faeryland, where the boughs are “changeless” and the waves “dreamless,” all dreams are fulfilled, as are the desires of those perfect lovers, who are together, and therefore do not “miss” one another.[22] Thus, there is no need for further dreaming, “until” (always a pivotal word in poems, and notably in Yeats’s poems) “God burn Nature with a kiss.” Yeats’s early poetry has its apocalypses, among the most dramatic the windblown Blakean conflagration in “The Secret Rose.” But the apocalypse in the Faeryland poem is unexpected, unless one has come across Yeats’s story “The Untiring Ones,” where the faeries dance for many centuries “until God shall burn up the world with a kiss.”[23]

We also have a supposedly perfect world, with the “deep wood’s woven shade” and lovers who “dance upon the level shore,” in “Who Goes with Fergus?” Originally a song in the earliest version (1892) of Yeats’s play The Countess Kathleen, it was a favorite among the early Yeats poems memorized by James Joyce—the song he sang in lieu of the requested prayer at his mother’s deathbed and whose words haunt his alter ego, Stephen Dedalus, throughout Bloomsday. Fergus, the king of Ulster who put aside his crown to live in peace and “pierce the deep wood’s woven shade,” invites a young man and maid to join him in his forest paradise, where, he promises, they will “brood on hopes and fear no more”;

And no more turn aside and brood

Upon love’s bitter mystery;

For Fergus rules the brazen cars,

And rules the shadows of the wood,

And the white breast of the dim sea

And all disheveled wandering stars.

That enchanting final line has sexual precursors; it fuses the “golden tresses” Eve “wore/ Disheveled” and in “wanton ringlets” (Paradise Lost 4:305-6) with Pope’s echo in The Rape of the Lock, which ends with Belinda’s shorn tresses consecrated “midst the Stars”: “Not Berenices’s Locks first rose so bright,/ The Heavens bespangling with disheveled Light.” Those sexual undercurrents are present in all three of the concluding lines. Despite the emotional respite promised by Fergus, the poem’s climactic imagery—“shadows of the wood,” the “white breast of the dim sea,” the “disheveled wandering stars”—embracing earth, sea, and the heavens—extends to this supposedly peaceful paradise all the erotic tumult of “love’s bitter mystery.”

§ 

The quest-theme first established crudely in The Seeker, beautifully in “The Stolen Child,” “The Man who Dreamed of Faeryland,” and “Who Goes with Fergus?,” and, perhaps most seminally in “The Rose upon the Rood of Time,” also provides the thematic structure for the two Byzantium poems, featuring, first, a sailing after knowledge and, second, a process of purgation, both of which turn out to be simultaneously spiritual and erotic. Looking ahead several decades, therefore, I’m compelled to note that something similar happens in both Byzantium poems, whose subject is the opposition of flesh and spirit, life and death, natural flux and spiritual form, but whose shared theme is that these antitheses are polarities—Blakean Contraries ultimately and inextricably interdependent. The Byzantium poems seem proof of the artistic truth of Yeats’s Golden Dawn name, Demon Est Deus Inversus, and of Blake’s proverb, “Eternity is in love with the productions of time.” That proverb is from The Marriage of Heaven and Hell, Blake’s affirmation of the polar nature of being, privileging, in the dialectic of necessary Contraries, “Energy” and the active “Prolific” over the “Devouring,” the passive and religious.

In “Sailing to Byzantium,” a sixty-year-old and temporarily impotent poet, painfully aware that the world of youth and sexual vitality is “no country for old men,” sets sail for and has finally “come/ To the holy city of Byzantium.” Everything, yet nothing, has changed. The opening stanza’s “young/ In one another’s arms, birds in the trees,/—Those dying generations at their song—” are reversed yet mirrored in the final stanza. “Once out of nature,” the aging speaker, his heart “sick with desire/ And fastened to a dying animal,” imagines that heart consumed away and himself (with what Denis Donoghue once wittily characterized as “the desperate certainty of a recent convert”) transformed into a bird of “hammered gold and gold enameling,” set “upon a golden bough to sing/ To lords and ladies of Byzantium/ Of what is past, or passing, or to come.”

Yeats later in lifeYeats later in life

In a 1937 BBC broadcast, Yeats glossed the golden bird and Virgilian golden bough as symbolic “of the intellectual joy of eternity, as contrasted to the instinctual joy of human life.” But these golden artifacts are still, however changed, recognizable “birds in the trees,” so that, whatever the ostensible thrust of the poem, the undertow of the imagery recreates—as in the “white breast” and “disheveled” stars of the supposedly tumult-free final stanza of “Who Goes with Fergus?”—the very world that has been rejected. Further, the now-avian poet is singing to “lords and ladies” of Byzantium, the sexual principle surviving even in that “holy city”;  and his theme, “What is past, or passing, or to come,” repeats—in a Keatsian “finer tone,” to be sure—the three-stage cycle of generation presented in the opening stanza: “Whatever is begotten, born, and dies.” “Caught in that sensual music,” those “dying generations….neglect/ Monuments of unageing intellect.” But that golden bird set on the golden bough, however symbolic of unageing intellect, seems still partially caught in that sensual music, singing of the cycle of time to lords and ladies. Nature is the source of art, which, in turn, expresses nature; and the audience will always necessarily be men and women.

I’ve already referred to “Byzantium”—borrowing the adjective from “Mohini Chatterjee,” the poem that immediately precedes it—as Yeats’s most “turbulent” engagement in the tension, marked by conflict and continuity, between flesh and spirit, natural and supernatural, Time and Eternity. Though he admired the first Byzantium poem, Yeats’s friend Sturge Moore expressed a serious reservation: “Your Sailing to Byzantium, magnificent as the first three stanzas are, lets me down in the fourth, as such a goldsmith’s bird is as much nature as a man’s body, especially if it only sings like Homer and Shakespeare of what is past or passing or to come to Lords and Ladies.” It’s difficult to believe that this was news to Yeats; but, agreeing with Moore to the extent that his friend had shown him that “the idea needed exposition,” he set out to address the issue in a second poem.[24]

The result was “Byzantium,” a poem that complicates rather than resolves Sturge Moore’s intelligent if limited quibble. Holy and purgatorial though the city may be, we are told, as the “unpurged images of day recede,” that the Emperor’s soldiery are “drunken” and “abed,” perhaps exhausted from visiting temple prostitutes, since we hear, as night’s resonance recedes, “night-walker’s song/ After great cathedral gong.” Amid considerable occult spookiness, including a walking mummy, more image than shade or man, two images of the Eternal emerge, the works of architect and goldsmith; both transcending and scorning the human cycle, sublunary and changeable:

A starlit or a moonlit dome disdains

All that man is,

All mere complexities,

The fury and the mire of human veins.

The second emblem of eternity reprises the first poem’s icon of “hammered gold and gold enameling,” the form the speaker of “Sailing to Byzantium” imagined himself taking once he was “out of nature.” This avian artifact,

Miracle, bird, or golden handiwork,

More miracle than bird or handiwork,

Can, like the cocks of Hades crow,

Or, by the moon embittered, scorn aloud

In glory of changeless metal

Common bird or petal

And all complexities of mire and blood.

However golden and immutable it may be, that the miraculous bird can be moon-embittered and scornful suggests that it may be “almost as much nature” as the golden bird Moore found insufficiently transcendent in the first Byzantium poem. Even in the overtly primary or soul-directed Byzantium poems, the antithetical or life-directed impulse is too passionate to be programmatically subdued. We remember (as with the Byzantium poems’ precursors, Keats’s Nightingale and Grecian Urn odes) the rich vitality of the sexual world being “rejected” in the first poem, and the ambiguity of the famous phrase, “the artifice of eternity.” And the final tumultuous stanza of “Byzantium,” especially its astonishing last line, evokes a power almost, but not quite, beyond critical analysis:

The multitude of souls (“Spirit after spirit!”) riding into the holy city, each “Astraddle on the dolphin’s mire and blood,” cannot be controlled, even though that surging power is said to be broken by the Byzantine artificers and artifacts. The poem ends with a single extraordinary burst, asserting one thing thematically, but, in its sheer momentum and syntax, suggesting quite another:

xxxxxxxThe smithies break the flood,

The golden smithies of the Emperor!

Marbles of the dancing floor

Break bitter furies of complexity,

Those images that yet

Fresh images beget,

That dolphin-torn, that gong-tormented sea.

The marbled floor is not only the site for the preceding stanza’s ritual of purgation, where the spirits are envisioned “dying into a dance”; the floor itself seems to be “dancing,” the city almost lifted off its dykes under the inundation of the prolific sea of generation. The Emperor’s smithies and marbles, we are twice told, “break” (defend against, order, tame) these “furies,” “images,” and the sea itself. All three are the direct objects of that one verb; but, as Helen Vendler has brilliantly observed, “Practically speaking, the governing force of the verb ‘break’ is spent long before the end of the sentence is reached.”[25] The artistic defenses erected to order and transform the flood end up emphasizing instead the turbulent plenitude of nature, and those spawning “images that yet/ Fresh images beget.”

We are left—in one of the most remarkable single lines in all of English literature—with “That dolphin-torn, that gong-tormented sea.” Along with the images that yet fresh images “beget,” that final line recalls but overpowers the teeming fish and flesh—all that is “begotten, born, and dies,” the “salmon-falls, the mackerel-crowded seas”—of “Sailing to Byzantium.” The dolphin is at once the mythological savior and transporter of souls to paradise and kin to us, who share its complexities of “mire and blood.” Inversely, the “gong,” though emblematic of Time, also, since it recalls the semantron of the opening stanza, the “great cathedral gong,” has to be seen and heard as tormenting the surface of life, yet pulling the sea of generation up, to the spiritual source of life’s transcendence. Once again, though more powerfully than usual, we are caught up in the dialectical conflict between Time and Eternity, sexuality and spirituality, Self and Soul.

§

We will shortly be returning, at long last, to the second of the Rosicrucian poems earlier mentioned. “The Secret Rose” (1896), the last of his explicit Rose poems, appeared in Yeats’s next collection, the autumnal The Wind Among the Reeds (1899). This fin-de-siècle and symboliste volume (his friend Arthur Symons’s influential The Symbolist Movement in Poetry appeared the same year), evokes a fallen world, soon to be visited by a longed-for apocalyptic wind. This volume includes what may be Yeats’s most beautiful early poem, the exquisite “Song of Wandering Aengus,” which projects ultimate union between the temporal and eternal as a “trysting place,” sexual and, in its mingling—as in that dreamt-of “Faeryland,” where “the sun and moon were in fruit”— of lunar apples of silver and solar apples of gold: a marriage of alchemy and Deuteronomy. The long-sought immortal, transformed from fish to a woman of the Sidhe, and Aengus, a notably human god, will meet in Eternity, an earthly Paradise where he will

xxxxxxkiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done

The silver apples of the moon,

The golden apples of the sun.

Less entrancing poems in The Wind Among the Reeds feature a world-weary speaker who, to quote the longest-titled poem in a volume of many long titles, “mourns for the Change that has come upon him and his Beloved, and longs for the End of the World.” That consummation devoutly to be wished is far more dramatic in “The Secret Rose.” The poem begins and ends, “Far-off, most secret, and inviolate Rose”: a rondure suggesting that all is now enfolded (the verb “enfold” appears twice in the poem) within the petals of the symbolic flower. The speaker, and Seeker is among those questers who “have sought thee in the Holy Sepulchre,/ Or in the wine-vat,” a questing alternately Christian or Dionysian. Wandering Aengus sought his elusive beauty (the “apple-blossom in her hair” allying her with Maud Gonne, associated from the day Yeats met her with apple blossoms) “through hollow lands, and hilly lands.” The Seeker in “The Secret Rose” also, over many years, “sought through lands and islands numberless…/ Until he found”—unsurprisingly since this poem, too, was written for Maud Gonne—“a woman of so shining loveliness” that one desired consummation suggests another. No sooner is the beautifully-tressed woman of shining loveliness “found” (a state  projected in “The Song of Wandering Aengus,” where “I will find out where she has gone…”) than we are told:

xxxxxxxxxxxxxxxxxxxxI, too, await

The hour of thy great wind of love and hate.

When shall the stars be blown about the sky,

Like the sparks blown out of a smithy, and die?

Surely thine hour has come, thy great wind blows,

Far-off, most secret, and inviolate Rose?

This apocalypse, with its approaching “hour” and final questions, looks before and after. That “surely” anticipates (“Surely some revelation is at hand,/ Surely the Second Coming is at hand…”) Yeats’s most powerful, terrifying, and yet longed-for apocalypse, in the most-quoted poem of the past hundred years. The “vast image” of the sphinx-beast that rises up from “sands of the desert,” coming “out of Spiritus Mundi,” in “The Second Coming” had its occult (as opposed to literary) origin in an 1890 symbolic-card experiment conducted with Yeats by MacGregor Mathers, head of the Order of the Golden Dawn. Yeats suddenly saw “a gigantic Negro raising up his head and shoulders among great stones,” changed in its published version to “a desert and a Black Titan.”[26] And “The Second Coming,” like “The Secret Rose,” also terminates in a mysterious question mingling breathless anticipation with ambiguity, an uncertain certitude. “But now I know,” Yeats began the final movement of “The Second Coming,” but the poem ends with a question, the mark of the terrified but excited reverie that defines the Sublime. Intriguingly, whatever gnosis (‘now I know…”) the visionary poet claimed in the final version of “The Second Coming” was reserved, in the drafts, to the apocalyptic “rough beast” itself: “And now at last knowing its hour come round/ It has set out for Bethlehem to be born.”[27]

But I said that the apocalyptic “hour” of “The Secret Rose” looks before as well as after; and just as “The Second Coming” had a genesis both occult and literary, so too with the apocalypse of “The Secret Rose.” In both cases, the primary literary source is Blake. The slouching rough beast of the later poem fuses (among other creatures) Blake’s sublime Tyger with his striking illustration (in The Marriage of Heaven and Hell and elsewhere) of bestial Nebuchadnezzar slouching on all fours. In the earlier poem, the precursor passage is Blake’s description of “The stars consumed like a lamp blown out” (The Four Zoas, IX: 826), which reappears as Yeats’s “stars…blown about the sky/ Like the sparks blown out of a smithy.” Even Yeats’s substitution of a smithy for a lamp pays tribute to Blake’s great creative figure, the blacksmith-god, Los (in Eternity, Urthona).

William Blake Nebuchadnezzar (Tate copy)William Blake’s Nebuchadnezzar

The Blakean echo is hardly accidental. Of the three Rosicrucian short stories Yeats wrote in the 1890s (“Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi”), “The Secret Rose” is, as the titles alone suggest, most closely related to the first. The world-traveling hero of “Rosa Alchemica,” the magician Michael Robartes, is a student of comparative literature, especially drawn, as was Yeats himself, to the prophetic poems of William Blake.  Blake’s epic The Four Zoas (originally titled Vala, and abandoned in manuscript in 1807) was rediscovered and published in 1893 by none other than Yeats (and his co-editor, Edwin Ellis). In the finale of The Four Zoas, from which Yeats lifted the lines about the “stars” being “blown” about the skies like “sparks,” redeemed Man, having finally purged all the evil in himself, can look at infinity unharmed.  Los “rose in all his regenerative power”; the hour of transformation arrives:

The sun has left his blackness & found a fresher morning,

And the mild moon rejoices in the clear & cloudless night,

And Man walks forth from midst of the fires, the evil is all consumed:

His eyes behold the angelic spheres arising night & day;

The stars consumed like a lamp blown out, & in their stead, behold:

The expanding eyes of Man behold the depths of wondrous worlds.

Here we have the potentially divine Man envisioned by so many Gnostics, Hermeticists, Cabbalists, and Rosicrucians: Valentinus’s “new man…more noble in his glorified state” than he was before “the conflagration”: a Man fully human, liberated from all imprisoning limitations, whether of materialism, the merely bodily (Lockean/empiricist) senses, or political tyranny. In the final lines of The Four Zoas, Urthona, the eternal form of Los (and, of the four, the Zoa least in need of redemption) “rises from the ruinous walls/In all his ancient strength.” According to one of Yeats’s (and Joyce’s) favorite phrases of Blake (from an 1800 letter to William Hayley), “The ruins of Time build mansions in Eternity.”  In Blake’s anything-but-static Eternity, Urthona, though still ready for combat, is now armed to wage “intellectual war,” the “war of swords” having “departed.” In his single most famous and concise appeal for an imaginative art prophetically inspired and intended to achieve individual and societal redemption, Blake says his “sword” will not “sleep” in his hand. But the weaponry (“Bow of burning gold,” “Arrows of desire,” Spear, and “Chariot of fire”) is to be employed in ceaseless “Mental Fight.” He has, Gnostics would say, achieved gnosis.[28]

§

Gnosis takes many forms. I have already noted what the visionary poet of “The Second Coming” claims to “know,” and mentioned the very different assertion in the drafts, where the rough beast, “knowing its hour come round,” possesses whatever gnosis there is to go round. In “Leda and the Swan” (1925), the sonnet that begins the three-part cycle that ends with “The Second Coming,” we have another annunciation of a new historical era, beginning with a birth, and a hint of gnosis. Did Leda, raped by the swan-god Zeus, “put on his knowledge with his power/ Before the indifferent beak could let her drop?” Here is another poem, like “The Secret Rose” and “The Second Coming,” ending in a question, the mystery-marker of the Sublime. There is, of course, no question about the brutality of the sudden rape, and the indifference of the God following the “shudder in the loins,” which, impregnating Leda, completes Zeus’s mission.

For in fathering Helen of Troy, he also “engenders there” the Trojan War (depicted in imagery at once military and sexual: “The broken wall, the burning roof and tower”) and its sequelae (“And Agamemnon dead”), initiating an historical cycle destined to last until, two thousand years later, another lady, the Virgin Mary, would be visited by the Holy Spirit: another divine bird, his “great wings beating about the room” in Yeats’s “The Mother of God” (1931), a dramatic monologue spoken by the terrified village girl singled out to bear “The Heavens in my womb.” The question raised at the end of “Leda and the Swan” is not merely rhetorical. Did Leda, “her thighs” rather tenderly “caressed/ By the dark webs,” so intrigue the swan-god that he inadvertently held her just long enough (“Before the indifferent beak could let her drop”) for her to participate momentarily in “his knowledge,” the divine gnosis of Zeus himself?

Leda and the Swan by Jerzy Hulewicz 1928Leda and the Swan by Jerzy Hulewicz, 1928

Gnosis also figures in the cryptic poem, “Fragments,” which features, like its  far better-known cousin, “The Second Coming,” a strange birth, and a revelation derived from counter-Enlightenment intuition, gnosis. Written between 1931 and 1933, this epigrammatic poem is in two short parts. Here is the first:

Locke sank into a swoon;

The Garden died;

God took the spinning-jenny

Out of his side.

In this parody of Genesis, the role of sleeping Adam, from whose side God took Eve, is usurped by a swooning John Locke, whose empiricist epistemology and distinction between primary and secondary qualities seemed to Yeats, as to George Berkeley and Blake before him, to have fractured the organic unity of the living world, and thus destroyed not only nature but its archetype, the Edenic “Garden.” That the resultant birth, that of the “spinning-jenny,” bears a woman’s name accentuates the irony, and the horror. It was not altogether to the benefit of humanity and a sign of progress, Yeats once mordantly observed, for the home spinning wheel and the distaff to have been replaced by the robotic looms and masculinized factories of the Industrial Revolution. Blake’s god of the fallen world, Urizen, presides over an Enlightenment world-machine perceived as “the Loom of Locke” washed by the “Water-wheels of Newton,” all “cruel Works” with “cogs tyrannic” moving each other “by compulsion” (Jerusalem 15:15-19)

Yeats is never closer to Blake than in this first part of “Fragments,” where he emulates not only his mentor’s attack on Locke (and Newton), but also his genius for epigram and crystallization, Blake being “perhaps the finest gnomic artist in English literature.” In Yeats’s gnomic vision in “Fragments” (I), which has been called “certainly the shortest and perhaps not the least comprehensive history of modern civilization,” the Enlightenment is revealed as a nightmare for the creative imagination; and the monster that rides upon this spirit-sealing sleep of reason is the mechanistic conception of matter, indeed the whole mechanistic rather than organic way of thinking (a crucial contrast Yeats knew from Coleridge, who had borrowed it from A. W. Schlegel), here symbolized by the invention that epitomizes the Industrial Revolution.[29] Yeats replaces the divinely anesthetized flesh of Adam with Locke’s imaginatively inert body (sunk into that fall into division Blake called “Single Vision & Newton’s sleep”), and substitutes for Eve, the beautiful embodiment of Adam’s dream, a mechanical contraption, a patriarchal cog in the dark Satanic mills of which it is proleptic.

Spinnng room in cotton mill 1916Spinning room in a New England cotton mill, 1916, photo courtesy National Archives

But how does Yeats know all this, and know it to be the “truth”? It wasn’t only from absorbing Blake. Or only from reading Alfred North Whitehead’s Science and the Modern World (1925), a chapter of which, “The Romantic Reaction,” Yeats synopsized with a related variation of the Genesis 2 creation-metaphor, jotting in the margin: “The dry rib (Pope) becomes Eve (Nature) with Wordsworth.”[30] Yeats answers his own question in “Fragments” II:

Where got I that truth?

Out of a medium’s mouth,

Out of nothing it came,

Out of the forest loam,

Out of dark night where lay

The crowns of Nineveh.

Is this mere occult mumbo-jumbo, intended to twist the tail of positivists and empiricists? Well, yes and no. But before coming to conclusions, let’s pause to appreciate the wit of the lines, alive with reversals and allusions. Yeats’s ironic reversal of the birth “out of” the side of Locke takes the form of a counter-“truth,” born “out of” (repeated four times in succession) a variety of sources. The anaphora is Whitmanian— “Out of the cradle endlessly rocking,/ Out of the mocking bird’s throat, the musical shuttle,/ Out of the Ninth-month midnight.” And Whitman’s birth-images may have suggested Yeats’s equally fertile sources: the female “medium’s mouth,” the “forest loam,” and “dark night,” all in organic and fecund contrast to the mechanical, sterile “birth” of the spinning-jenny.

Yeats deliberately begins with what rationalists would dismiss as among the least reputable sources of “truth”: “Out of a medium’s mouth…” Even Madame Blavatsky, whose own experiments had been discredited, told Yeats, who reported it to John O’Leary in a May 1889 letter, that she “hates spiritualism vehemently—says mediumship and insanity are the same thing” (Letters, 125). In “Fragments” (II) Yeats is having some fun, but it is worth mentioning that the poem was written shortly after the first production of one of Yeats’s most dramatic plays, The Words Upon the Window-pane, which centers on a séance, climaxing with our shocked recognition that the female medium is authentic. The one scholarly skeptic who had attended, a specialist in the life and work of Jonathan Swift, is refuted once the post-séance stage is bare except for the female medium, who is suddenly revealed, not to be faking it as he had been sure all along, but to be channeling the tormented ghost of Swift, and thus speaking the sort of spiritual truth Yeats, half-skeptic himself, sought all his life. “All about us,” he concludes his Introduction to the play, “there seems to start up a precise inexplicable teeming life, and the earth becomes once more, not in rhetorical metaphor, but in reality, sacred.”[31]

The second source is philosophically and theologically scandalous. Subverting the venerable axiom, ex nihilo nihil fit, employed by metaphysicians from Parmenides on and by theologians arguing for the necessary existence of God, Yeats boldly declares that the “truth” revealed to him came “Out of nothing,” only to instantly add details that deepen the mystery and sharpen his thrust against the Enlightenment. Coming “Out of the forest loam,/ Out of dark night…” Yeats’s “truth” is generated from fecund earth, once more become “sacred,” and teeming with inexplicable “life,” replacing or restoring the “Garden” earlier said to have “died.” It also comes, out of a mysterious, or occult, “dark night.”

If the spinning-jenny epitomizes the Industrial Revolution, Alexander Pope’s intended epitaph for Isaac Newton epitomizes the Scientific Revolution and the Enlightenment: “Nature and Nature’s laws lay hid in night,/ God said, Let Newton be! And all was light.” Pope’s couplet, like Yeats’s opening quatrain, plays off Scripture, with Newton now assuming God’s role as Creator by verbal fiat: “And God said, ‘Let there be light,’ and there was light” (Genesis 1:3). Pope avoids blasphemy; after all, it was God who said “Let Newton be!” Until the advent of the principal scientific genius of the European Enlightenment, the universe existed, but “Nature and Nature’s laws lay hid in night.” Adopting that darkness, and reversing the “laws” that prior to Newton “lay hid in night,” Yeats tells us that his Counter-Enlightenment truth came “Out of dark night where lay,” not Nature’s scientific laws, but “The crowns of Nineveh.”

Nineveh image by archaeologist Henry Layard CC 4.0Archaeologist Henry Layard’s image of Nineveh

Why Nineveh in particular? For one thing, Yeats loved Arthur O’Shaughnessy’s “Ode” celebrating poets as music-makers and prophets. The famous final stanza (and these are the lines Yeats always cited) begins: “We, in the ages lying/ In the buried past of the earth,/ Built Nineveh with our sighing,/ And Babel itself with our mirth.” When, in “Fragments,” the golden crowns of Nineveh flame up “Out of dark night,” what is evoked is more O’Shaughnessy’s city of the poetic imagination than Ashurbanipal’s capital, majestic as that may have been. For Yeats was looking, not merely back to old Nineveh, but cyclically ahead, to the resuscitation of the ancient—a past buried, dark, chthonic, and, here, female. For, as Yeats seems to have known, the Assyrians named their capital city Nin-evah—after “Holy Mother Eve,” the Mother-womb, or Goddess of the Tree of Life in their mythology. Displaced by a machine in the withered Garden of the first part of “Fragments,” Eve, in a return of the repressed, is restored, re-surfacing in the final word of part II, in the disguised but detectable form of the city named for her. Recalling the role of Sophia, often opposed to the male Logos in esoteric tradition, including Gnosticism, I’m reminded as well that gnosis is a Greek female noun.

At his most winning, Yeats reminds us of Hamlet’s rejoinder to his skeptical and scholastic friend: “there are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.” But we are right to be wary when Yeats crosses the threshold into the occult. Though concurring in, in fact shaping, Yeats’s cavalier dismissal of Locke and Newton as Enlightenment icons, Blake would be appalled by his disciple’s delving into the occult darkness. Though Yeats tended to mystify and occultize him, Blake in fact condemned the heathen “God of this World & the Goddess Nature/ Mystery, Babylon the Great” (Jerusalem 93: 22-25). But what Blake rejects here are the very things his prodigal son celebrates as the matrix of vision: the forest loam and the mysterious dark night where lay the crowns of ancient Nineveh, repository of Assyro-Babylonian mythology.

Of course, Yeats’s recourse to the occult is one measure of the intensity of his need to expedite what he called in that earlier-cited 1892 letter to John O’Leary “the revolt of the soul against the intellect” (Letters, 211). That is, somewhat reductively, a description of the Romantic Revolution, the noble attempt to beat back, through restored wonder at a re-enchanted nature and the transformative power of the creative imagination, the passivity of mind and mechanistic materialism that had reigned (Yeats insists in introducing his 1936 anthology of modern poetry) since “the end of the seventeenth century” down to the present. With, he emphasizes— as had Alfred North Whitehead, though his Romantic hero was Wordsworth rather than Blake or Shelley—“the exception of the period beginning at the end of the eighteenth century” and ending “with the death of Byron”: that is to say, the “brief period” of the Romantic revolt, a span “wherein imprisoned man beat upon the door.”[32]

That compelling metaphor was repeated the next year in “An Acre of Grass,” Yeats’s late poem (a companion of “What Then?”), in which he prays to be granted the creative “frenzy” and “old man’s eagle mind” he had read of in Nietzsche’s Daybreak. He also specifically invokes “That William Blake/ Who beat upon the wall/ Till truth obeyed his call”—a “truth” related to, but not identical to, the “truth” Yeats claimed in “Fragments” (II) came to him “Out of” Counter-Enlightenment sources both Romantic and, most dubiously, out of a mysterious “dark night” whose counter-Enlightenment frisson will be offset for many readers by resistance to the dangerous irrationality of the occult.

§

Night was not normally privileged over day in Yeats’s thinking. Blake and Nietzsche, his great mentors, were both celebrators of daybreak, of Blake’s “glad day.” In 1902, enthralled by his “excited” reading of “that strong enchanter, Nietzsche,” Yeats drew in the margin of an anthology of selections from the German philosopher a diagram crucial to understanding much if not all of Yeats’s subsequent thought and work. He grouped under the heading NIGHT: “Socrates, Christ,” and “one god”— “denial of self, the soul turned toward spirit seeking knowledge.” And, under the heading DAY: “Homer” and “many gods”—“affirmation of self, the soul turned from spirit to be its mask & instrument when it seeks life.”[33] Reminiscent of Madame Blavatsky’s alternating “days and nights of Brahma,” that  diagrammatical skeleton, anticipated by the pull between eternity and the temporal in such early poems as “To the Rose upon the Rood of Time,” is later fleshed out by Yeats’s own chosen exemplar in “Vacillation”—“Homer is my example and his unchristened heart”—and Self’s choice of Sato’s sword wound in “embroidery” of “Heart’s purple”: “all these I set/ For emblems of the day against the tower/ Emblematical of the night.” Ultimately, they are the emblems of a life-seeking Poet who, without “denial of self,” attempts to transcend the antithesis set up a quarter-century earlier in that Nietzsche anthology, usurping Soul’s role by also being oriented “toward spirit seeking knowledge,” or gnosis.

“A Dialogue of Self and Soul” is in many ways Yeats’s central poem since its ramifications reach before and after, and it features perhaps the greatest of Yeats’s fused symbols: the “ancient blade” (the gift of a Japanese admirer, Junzo Sato) scabbarded and bound in complementary “female” embroidery. That sword and winding silk are not only “emblems of the day against the tower/ Emblematical of the night.” Fusing the sacred and the profane, war and love, the phallic and the vaginal, the sheathed and silk-wound sword becomes Yeats’s symbol of gyring life, set against the vertical ascent urged by the Neoplatonic Soul. What Gnostics put asunder, body and spirit, Yeats unites. And yet, as we will see, Self’s final act of self-redemption, magnificent but heretical, is as Gnostic as it is Nietzschean.

In the opening movement of the poem, the half in which there is still a semblance of actual dialogue, hectoring Soul repeatedly demands that Self “fix” every thought “upon” the One, “upon” the steep ascent,  “upon” the occult Pole Star, “upon” the spiritual quarter where all thought is done. But the recalcitrant Self remains diverted by the Many, by earthly multiplicity, by the sword wound in embroidery replicating the windings of mortal nature. In unpublished notes, Yeats describes “Dialogue” as “a variation on Macrobius” (the “learned astrologer” of “Chosen,” the central poem of A Woman Young and Old). Yeats had been directed by a friend (F. P. Sturm) to Macrobius’s Neoplatonic Commentary on Cicero’s Somnium Scipionis. In Cicero’s text, despite the admonition of Scipio’s ghostly ancestor, “Why not fix your attention upon the heavens and contemn what is mortal?,” young Scipio admits he “kept turning my eyes back to earth.” According to Macrobius, Scipio “looked about him everywhere with wonder. Hereupon his grandfather’s admonitions recalled him to the upper realms.” Though the agon between the Yeatsian Self and Soul is identical to that between young Scipio and his grandfather’s spirit, the Soul in Yeats’s poem proves a much less successful spiritual guide than that ghost.[34]

Turning a largely deaf ear to Soul’s advocacy of the upward path, Self (revealingly called “Me” in the drafts of the poem) has preferred to focus downward, on life, brooding on the consecrated blade upon his knees with its tattered but still protective wrapping of “Heart’s purple.” Its “flowering, silken, old embroidery, torn/ From some court-lady’s dress and round/ The wooden scabbard bound and wound” makes the double icon “emblematical” not only of “love and war,” but of the ever-circling gyre: the eternal, and archetypally female, spiral. When Soul’s paradoxically physical tongue is turned to stone with the realization that, according to his own austere doctrine, “only the dead can be forgiven,” Self takes over the poem. He goes on to win his way, despite difficulty, to a self-redemptive affirmation of life.

Winding stair in Thoor Ballylee tower c Jacket2 CC 3.0Walt Hunter viaWinding stair in Thoor Ballylee tower, photo by Walt Hunter via Jacket2 CC 3.0

Self begins his peroration defiantly: “A living man is blind and drinks his drop./ What matter if the ditches are impure?” This “variation” on Neoplatonism, privileging life’s filthy downflow, or “defluction,” over the Plotinian pure fountain of emanation, is followed by an even more defiant rhetorical question: “What matter if I live it all once more?” “Was that life?” asks Nietzsche’s Zarathustra. “Well then! Once more!”[35]  But Self’s grandiose and premature gesture is instantly undercut by the litany of grief that Nietzschean Recurrence, the exact repetition of the events of one’s life, would entail—from the “toil of growing up,” through the “ignominy of boyhood” and the “distress” of “changing into a man,” to the “pain” of the “unfinished man” having to confront “his own clumsiness,” then the “finished man,” old and “among his enemies.” Despite the Self’s bravado, it is in danger of being shaped, deformed, by what Hegel and, later, feminist critics have emphasized as the judgmental Gaze of Others. Soul’s tongue may have turned to stone, but malignant, almost Archon-like ocular forces have palpable designs upon the assaulted Self:

How in the name of Heaven can he escape

That defiling and disfigured shape

The mirror of malicious eyes

Casts upon his eyes until at last

He thinks that shape must be his shape?

This would be, as Yeats says in “Ancestral Houses” (1921), to lose the ability to “choose whatever shape [one] wills,” and (echoing Browning’s arrogant Duke, who “choose[s] never to stoop”) to “never stoop to a mechanical / Or servile shape, at others’ beck and call”: Yeats’s rejection of “slave morality” in favor of Nietzschean “master morality.” The centrality of “A Dialogue of Self and Soul” is enhanced by its repercussions in Yeats’s own work and its absorption of so many influences outside the Yeatsian canon. Aside from the Body/Soul debate-tradition, from Cicero to Milton and Marvell, and the combat between Nietzsche on the one hand and Neoplatonism on the other, this Yeatsian psychomachia incorporates, among other poems in the Romantic tradition, another Browning poem, “Childe Roland to the Dark Tower Came,” which supplies those “malicious eyes” that cast upon Self a distorting lie so powerful that he temporarily falls victim to it, and Blake’s feminist Visions of the Daughters of Albion.[36]  Self’s eventual victory, like Oothoon’s, is over severe moralism, the reduction of the body to a defiled object. In Yeats’s case, Self’s victory is a triumph over his own Neoplatonism. Though Gnosticism, too, seeks liberation from the body, the heterodox Gnostic emphasis on self-redemption makes it compatible with Blake, Nietzsche, and Yeats. “Dialogue” represents Nietzschean Selbstüberwindung, creative “self-overcoming,” for, as Yeats said, “we make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.”

 §

Since “Dialogue” is a quarrel with himself, the spiritual tradition is not simply dismissed, here any more than in the Crazy Jane or Woman Young and Old sequences. For Yeats, the world of experience, however dark the declivities into which the generated soul may drop, is never utterly divorced from the world of light and grace. The water imagery branching through Self’s peroration subsumes pure fountain and impure ditches. There is a continuum. The Plotinian fountain cascades down from the divine One through mind or intellect (nous) to the lower depths. As long, says Plotinus, as nous maintains its gaze on and contemplation of God (the First Cause or “Father”), it retains the likeness of its Creator (Enneads 5.2.4). But, writes Macrobius (Commentary 1.14.4), the soul, “by diverting its attention more and more, though itself incorporeal, degenerates into the fabric of bodies.”

Viewed from Soul’s perspective, Self is a falling off from the higher Soul. When the attention, supposed to be fixed on things above, is diverted below—down to the blade on his knees wound in tattered silk and, further downward, to life’s “impure” ditches—the Self has indeed degenerated into the “fabric,” the tattered embroidery, of bodies. And yet, as usual in later Yeats, that degradation is also a triumph, couched in terms modulating from stoic contentment through fierce embrace to a casting out of remorse, leading to self-forgiveness and redemption:

I am content to live it all again

And yet again, if it be life to pitch

Into the frog-spawn of a blind man’s ditch,

A blind man battering blind men;

Or into that most fecund ditch of all,

The folly that man does

Or must suffer, if he woos

A proud woman not kindred of his soul.

X

I am content to follow to its source

Every event in action or in thought;

Measure the lot, forgive myself the lot!

When such as I cast out remorse

So great a sweetness flows into the breast

We must laugh and we must sing,

We are blest by everything,

Everything we look upon is blest.

Following everything to the “source” within, Self spurns Soul’s tongue-numbing Neoplatonic doctrine that “only the dead can be forgiven.” Instead, having pitched with vitalistic relish into life’s filthy frog-spawn, Self audaciously (or blasphemously) claims the power to forgive himself. In a similar act of self-determination, Self “cast[s] out” remorse, reversing the defiling image earlier “cast upon” him by the “mirror of malicious eyes.” The sweetness that “flows into” the self-forgiving breast redeems the frog-spawn of the blind man’s ditch and even that “most fecund ditch of all,” the painful but productive folly that is the bittersweet fruit of unrequited love.

That sweet flow also displaces the infusion (infundere: “to pour in”) of Christian grace through divine forgiveness. It is a claim to autonomy at once redemptive and heretical, and a masterly fusion of Yeats’s two principal precursors. “Nietzsche completes Blake, and has the same roots,” Yeats claimed. If, as he also rightly said, Blake’s central doctrine is a Christ-like “forgiveness of sins,” the sweetness that flows into the suffering but self-forgiving “breast,” the breast in which Blake also said “all deities reside,” allies the Romantic poet with Nietzsche. He had been preceded by the German Inner Light theologians, but it took Nietzsche, the son of a Protestant minister, to most radically transvalue the Augustinian doctrine that man can only be redeemed by divine power and grace, a foretaste of predestination made even more uncompromising in the strict Protestant doctrine of the salvation of the Elect as an unmerited gift of God. One must find one’s own “grace,” countered Nietzsche in Daybreak, a book read by Yeats. He who has “definitively conquered himself, henceforth regards it as his own privilege to punish himself, to pardon himself”—in Yeats’s phrase, “forgive myself the lot.”  We must cast out remorse and cease to despise ourselves: “Then you will no longer have any need of your god, and the whole drama of Fall and Redemption will be played out to the end in you yourselves!”[37]

But, as I earlier suggested, this is as Gnostic as it is Nietzschean. The most formidable of the historical Gnostics, Valentinus, claimed that the person who received gnosis could purge himself of the ignorance associated with matter. He describes the process in the “Gospel of Truth,” a Valentinian text unearthed at Naj Hammadi in 1945. In stark contrast with the orthodox Christian doctrine of salvation through the grace of God, Valentinus declared that “It is within Unity that each one will attain himself; within gnosis he will purify himself from multiplicity into Unity, consuming matter within himself like a fire, and darkness by light, death by life.” In the best-known Valentinian formulation, “what liberates us is the gnosis of who we were, what we became; where we were, whereunto we have been thrown; whither we hasten, from what we are redeemed; what birth is, and what rebirth.” Here (Excerpts from Theodotus) and elsewhere in Gnostic literature, salvation is defined, as it is in Romanticism (from which Gnosticism often seems less a deviation than a precursor), as an escape into the self, where, through introspective private vision, we find true knowledge, gnosis. The spiritual quest is solitary. When Sturge Moore, who was designing the book cover for the volume containing “Byzantium,” asked if Yeats saw  “all humanity riding on the back of a huge dolphin,” Yeats responded, “One dolphin, one man” (Yeats-Moore Correspondence, 165). There is no real need for any Other; the individual who has attained gnosis is the whole and sole agent of redemption.[38]

In the now-famous Gospel of Thomas, the most audaciously heterodox of the Naj Hammadi texts, the Gnostic Jesus of Thomas tells us, “Whoever drinks from my mouth will become as I am.” The central teaching, again, is internal salvation, redemption from within: “If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.” If Emerson hadn’t been speaking more than a century before the Gospel of Thomas had been rediscovered, he might have been accused of plagiarizing from that long-suppressed text in his Divinity School Address, the bombshell he exploded at Harvard in 1838. Emerson celebrated Jesus not as divine, nor even as Lord, but as the religious thinker who first realized that “God incarnates himself in man.”  He informed the shocked ministers and thrilled graduating students in the audience: “That is always best which gives me to myself. That which shows God in me, fortifies me. That which shows God out of me, makes me a wart and a wen.” As heterodox as Thomas’s, Emerson’s Jesus is imagined saying, in “a jubilee of sublime emotion, ‘I am divine. Through me, God acts; through me, speaks. Would you see God, see me; or see thee, when thou also thinkest as I now think.’” [39]

It is primarily under the twin auspices of Blake and Nietzsche, as manipulated by Yeats, that the Self finds the bliss traditionally reserved for those who follow the ascending path. But that heretical self-redemption is also Gnostic. Whatever its various “sources,” Yeats’s alteration of the orthodox spiritual tradition completes Blake, who considered cyclicism the ultimate nightmare, with that Nietzsche whose exuberant Zarathustra jumps “with both feet” into the “golden-emerald delight” of self-redemption and Eternal Recurrence, exultantly embraced as the ultimate affirmation of life in the “Yes and Amen Song” that concludes part III :

In laughter all that is evil comes together, but is pronounced holy and absolved by its own bliss; and if this is my alpha and omega, that all that is heavy and grave should become light, all that is body, dancer, all that is spirit, bird—and verily that is my alpha and omega: oh, how should I not lust after eternity and the nuptial ring of rings, the ring of recurrence?[40]

We might say that Zarathustra here also “jumps” into a cluster of images and motifs we would call Yeatsian, remembering, along with Self’s laughing, singing self-absolution, “Among School Children,” where “body is not bruised to pleasure soul,” and we no longer “know/ The dancer from the dance”; the natural and golden birds of the Byzantium poems; and the final transfiguration of Yeats’s central hero, both in The Death of Cuchulain and “Cuchulain Comforted,” into a singing bird.

In “A Dialogue of Self and Soul,” the Yeatsian-Nietzschean Self, commandeering the spiritual vocabulary Soul would monopolize, affirms Eternal Recurrence, the labyrinth of human life with all its tangled antinomies of joy and suffering. In subverting the debate-tradition, Yeats leaves Soul with a petrified tongue, and gives Self a final chant that is among the most rhapsodic in that whole tradition of secularized supernaturalism Yeats inherited from the Romantic poets and from Nietzsche. In a related if somewhat lower register, it is also the vision of Crazy Jane and the Woman Young and Old.

Of course, Self and Soul are aspects of the one man, and, as Yeats jotted in his 1930 Diary, “Man can only love Unity of Being.” The internal “opponent” we debate with “must be shown for a part of our greater expression” (Essays and Introductions, 362). This resembles the Valentinian Unity “each one will attain himself,” overcoming “multiplicity.” Yeats’s friend, AE (George Russell) to whom he sent a copy of The Winding Stair, said that of the many superb poems in that remarkable volume he liked “best” of all “A Dialogue of Self and Soul.” Acknowledging his friend’s gift, he wrote, “I am on the side of Soul, but know that its companion has its own eternal claim, and perhaps when you side with the Self it is only a motion to that fusion of opposites which is the end of wisdom.”[41]

Having astutely synopsized the central Yeatsian dialectic, Russell was tentatively noting its reflection in the poem’s impulse, beneath the manifest debate of opposites, toward fusion. We seem to achieve fusion in the secular beatitude of Self’s final chant. But Yeats was not AE, the “saint,” as Mrs. Yeats described him, to her husband’s “poet,”[42] and the poet in Yeats, the Self, gives us—in the whole of “A Dialogue of Self and Soul” and particularly in this magnificent final affirmation—an overcoming of Christian and Neoplatonic dualism and defilement of the body by way of a heterodox, “heretical” self-blessing at once Blakean, Nietzschean, and Gnostic.

§

Despite Self’s triumph in this central poem, Yeats remained torn between what he called in “Vacillation” (echoing Kant) “the antinomies” of soul and body, by antithetical longings for the Otherworld and, on the most autobiographical level, for Maud Gonne: that extravagantly beautiful but never fully attainable femme fatale, the Muse that haunts the life and work of the twentieth century’s greatest love poet. His occult speculations were always entangled in his emotional life. “His aim,” Graham Hough concludes, “was to redeem passion, not to transcend it, and a beatitude that has passed beyond the bounds of earthly love could not be his ideal goal” (The Mystery Religion of W. B. Yeats, 119). Unsurprisingly, then, in the alembic of Yeats’s paradoxical imagination, the search for hidden spiritual knowledge is often merged with carnal knowledge. Even then, however, the beloved proves to be ultimately unattainable, even if physical consummation has been briefly attained, as it was, in December 1908, with the elusive Maud. Yeats was both impressed and deeply moved (responding to both human tragedy and Latinate rhetorical majesty) by a resonant phrase he encountered—“The tragedy of sexual intercourse is the perpetual virginity of the soul”—in reading John Dryden’s translation of Lucretius, one of whose arguments in De rerum natura is that sexual union can never provide complete satisfaction.

Maud GonneMaud Gonne

In a 1931 conversation with John Sparrow, then Fellow of All Souls’ College, Oxford, Yeats cited and expanded on Lucretius’ famous lines from the end of the long passage (1030-1237) on sexual love concluding Book IV of De rerum natura. In glossing Dryden’s translation of the Roman poet, Yeats seems to echo the Gnostics’ doubly radical dualism, a dualism between man and nature, but also between nature and the transmundane God who is utterly Other, Alien, and unknowable—except through gnosis. Yeats’s citation and commentary also seem worth quoting because he appears to me to be looking back to four of his own poems, three of them written in 1926-27, the fourth in 1931. Two of them, “A Dialogue of Self and Soul” and “Among School Children,” are indisputably major. The other two, lesser lyrics but closely related to those major texts, are “Summer and Spring,” from Yeats’s Man Young and Old sequence, and, the most splendid of the Crazy Jane lyrics, the poignant yet triumphant “Crazy Jane and Jack the Journeyman,” written in 1931, the same year as his conversation with John Sparrow. But here, finally, is what Yeats told Sparrow:

The finest description of sexual intercourse ever written was in John Dryden’s translation of Lucretius, and it was justified; it was introduced to illustrate the difficulty of two becoming a unity: “The tragedy of sexual intercourse is the perpetual virginity of the soul.” Sexual intercourse is an attempt to solve the eternal antinomy, doomed to failure because it takes place only on one side of the gulf. The gulf is that which separates the one and the many, or if you like, God and man.[43]

In “Summer and Spring” (poem VIII of the autobiographical sequence in which the poet is masked as an anonymous “Man Young and Old”), two lovers grown old reminisce “under an old thorn tree.” When they talked of growing up, they “Knew that we’d halved a soul/ And fell the one in t’other’s arms/ That we might make it whole.” We recall, as we are meant to, “Among School Children,” written in the same year. In transitioning from the first to the second stanza of this great poem, we shift abruptly from Yeats’s external persona as senator and school inspector, “a sixty-year-old smiling public man,” to the private, inner man, the poet himself reporting an incident Maud Gonne once related from her childhood:

I dream of a Ledaean body bent

Above a sinking fire, a tale that she

Told of a harsh reproof, or trivial event

That changed some childish day to tragedy—

Told, and it seemed that our two natures blent

Into a sphere from youthful sympathy,

Or else, to alter Plato’s parable,

Into the yolk and white of the one shell.

In “Summer and Spring” there is gnosis; the lovers “Knew that we’d halved a soul.” The tragedy in this stanza of “Among School Children” lies in the qualifying “seemed” and in the need “to alter Plato’s parable”—a “Lucretian” alteration, since the blending here is empathetic and partial (yolk and white remain separated even within the unity of the “one shell”) rather than the full sexual union of Aristophanes’ haunting fable in Plato’s Symposium. It is precisely this “whole” union that the old man claims in “His Memories” (poem VI of A Man Young and Old)[44] and in “Summer and Spring,” which concludes with a sexual variation on the Unity of Being symbolized by the dancer and “great-rooted blossomer” of “Among School Children”: “O what a bursting out there was,/ And what a blossoming,/ When we had all the summer-time/ And she had all the spring!”

But even here, despite that “fecund” blossoming, it is all memory and heartache. Two decades later, that night in December 1908, no matter how fleeting, remains paramount among the “memories” of Yeats’s “Man Old.” In “real life,” however, after their night of lovemaking in that Paris hotel, Maud had quickly put the relationship back on its old basis, a “spiritual marriage,” informing Yeats in a morning-after note that she was praying that he would be able to overcome his “physical desire” for her. In a journal entry the following month (21 January 1909), Yeats referred despairingly but realistically to the “return” of Maud’s “old dread of physical love,” which has “probably spoiled her life….I was never more deeply in love, but my desires must go elsewhere if I would escape their poison.”

Gonne1Maud Gonne

William Butler Yeats and Wife GeorgieYeats and his wife Georgie, late 1920s

Hence, those “others,” including Yeats’s wife, destined to become “friends,” or sexual partners, if never a fully satisfactory replacement for “that one” (as he refers to her, namelessly and climactically in his poem “Friends”).  Since Maud was, ultimately, “not kindred of his soul,” Yeats sought complete union, if only in memory, in poetry, and masked as “A Man Young and Old” or, empathetically switching genders, in the vision of Crazy Jane. Partly based on an old, crazed Irish woman, Jane is not merely promiscuous. Yeats’s occult experiences had led him to a belief in feminized, often sexualized, spirituality, early embodied in the beautiful, highly-sexed actress Florence Farr, one of the most gifted women visionaries of the Golden Dawn (and, briefly, his lover). Such female adepts, whose powers he admired and envied; women of “second sight” (his own sister, “Lily,” his uncle George Pollexfen’s servant, Mary Battle); his experiences at séances, where the mediums were almost invariably women: all convinced him of a female and erotic dimension in spirituality. The artistic result was the two powerful poetic sequences, A Woman Young and Old and the Crazy Jane poems. The third poem in the Jane sequence, “Crazy Jane on the Day of Judgment,” begins:

“Love is all

Unsatisfied

That cannot take the whole

Body and soul”:

And that is what Jane said.

It ends with Jane still holding forth, now emphasizing her version of gnosis, but one that would certainly resonate with most Gnostics. While mystical experience was possible during life, virtually all Gnostics believed that the true ascent, in which (in Jane’s phrase) “all could be known,” took place after death, with the return of the spirit to its divine origins, the spark of life redeemed and reunited with the One from which it had been severed and alienated by its immersion in the material, temporal world. For most of the Crazy Jane sequence, unconventional Jane, making the most of her time on earth, will take a decidedly unorthodox Itinerarium mentis ad Deum. But here we find her, yearning for Time to disappear and gnosis to be achieved:

“What can be shown?

What true love be?

All could be known or shown

If Time were but gone.”

Jane’s male interlocutor—responding, “That’s certainly the case”—might be Yeats himself, who thought Lucretius remained “justified” in insisting on the “failure,” in this life, to bridge “the gulf,” the insuperable “difficulty of two becoming a unity.”

The poem that immediately follows Jane’s thoughts on the Day of Judgment, “Crazy Jane and Jack the Journeyman,” responds more personally, magnificently, and certainly more audaciously, to Dryden’s Lucretius-  and Epicurus-based assertion that “The tragedy of sexual intercourse is the perpetual virginity of the soul.” Writing in 1875, the Victorian essayist J. M. Symonds qualified what Dryden before him and Yeats after him designated a “tragedy,” though Symonds goes on to emphasize, even more than Yeats, the Lucretian, Epicurean—and, I would add, Gnostic—bleakness and frustration of lovers whose immaterial souls are entrammeled in the flesh: “There is something almost tragic,” writes a sympathetic but austere Symonds, “in these sighs and pantings and pleasure-throes, and the incomplete fruition of souls pent up within their frames of flesh.”[45] Symonds seems to reflect, along with the frustration described by Lucretius (and Platonism and Neoplatonism in general), the dualism of the Gnostics, concerned above all with freeing the spirit dwelling within (to quote two passages from Genesis well known to Gnostics) that “coat of flesh” imprisoning “the spark of life” (3:21, 3:78).

In the beginning (in what Shelley would later call “the white radiance of eternity”), we were “in the light,” uncreated, fully human, and also divine. What makes us free, in the present and future, the Gnostics insisted, is the gnosis of who we were back then, when we were “in the light.” Crazy Jane, returning to the One, “Shall leap into the light lost/ In my mother’s womb.” That Blakean infant joy marks the exuberant climax of her vision. But she had begun by asserting her own gnosis, shaped by earthly experience:

I know, although when looks meet

I tremble to the bone,

The more I leave the door unlatched

The sooner love is gone,

For love is but a skein unwound

Between the dark and dawn. …

Her knowledge of the transience of sexual love has not driven Jane to abstinence, despite the hectoring of the Bishop (her antagonist in this sequence) that she should “Live in a heavenly mansion,/ Not in some foul sty.” In that poem, “Crazy Jane Talks with the Bishop” (sixth in the sequence), Jane tells the Bishop, a “religious” Soul-spokesman nevertheless fixated on “those breasts,” where her God—neither Jehovah nor Jesus, but Eros—has “pitched” (temporarily set up as one would a tent) his mansion. It is not up among the stars as a “heavenly mansion” (Yeats has the Bishop borrow that lofty sty-disdaining phrase from Platonism and Christianity, from Pietro Bembo and the Gospel of John, 14:2). Love’s mansion is “pitched” (with, I suspect, a pun on darkened), not up but down, inter urinam et faeces, “in/The place of excrement.” And her final, definitely punning but serious news for the Bishop, is that “Nothing can be sole, or whole/ That has not been rent”: a sexual/spiritual variation on the archetypal cycle of original unity, division, and reunification and completion.

Despite the graphic nature of her language here, Jane is no more a simple materialist than is Augustine, or Swift, or Blake, whose excremental yet visionary vocabulary Yeats has her echo. What Jane insists on is the beauty of both the physical and the ideal world, with “Love” the tertium quid mediating between them. Love is the “great spirit” or “daemon” celebrated by that Sophia-figure, Diotima, presented in the Symposium by Socrates, whose simplistic dualism between good and evil, “fair” and “foul,” she corrects by presenting Love as “a mean between them,” a yoker of apparent opposites, a creator of unity out of division. (Symposium 202-3).

Statue of Diotima at University of Western Australia

Whatever its other parallels and sources, Jane’s vision is also Gnostic, at least reflective of some aspects of Gnosticism, which is, in general, hostile to “law,” especially to Old Testament law and the sort of puritanical strictures the Bishop wants to impose on Jane. Historical Gnosticism ran the ethical gamut from extreme asceticism to, at its most unconventional, robust promiscuity. The charges, by early Christian opponents, of Gnostic orgies were exaggerated (or at least unsupported by evidence). However, two Gnostic sects (the Carpocrations and the Cainites) held that, in order to be freed from the power of the Archons, the world-creating angels who would “enslave” them, men and women had to “experience everything.” No one, said Carpocrates, “can escape from the power” of the Archons, “but that he must pass from body to body until he has experience of every kind of action which can be practiced in this world, and when nothing is any longer wanting to him, then his liberated soul should soar upwards to that God who is above the angels, the makers of the world.” By “fulfilling and accomplishing what is requisite,” the liberated soul will be saved, “no longer imprisoned in the body.”[46] This is certainly in accord with Jane’s notably embodied theory of illumination through a sexual liberation that is ultimately spiritual and salvivic:

A lonely ghost the ghost is

That to God shall come;

I—love’s skein upon the ground,

My body in the tomb—

Shall leap into the light lost

In my mother’s womb.

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But were I left to lie alone

In an empty bed,

The skein so bound us ghost to ghost

When he turned his head

Passing on the road that night,

Mine must walk when dead.

Most readers of Yeats, even Yeatsian scholars familiar with the finale of the Enneads of his beloved Plotinus, misread the central and crucial stanza, a misreading based on an understandably negative response, when the word is taken out of context, to the adjective “lonely.” It is in fact an ultimate affirmation. Jane will come to God as a “lonely ghost,” the climax of her “flight of the alone to the Alone.” These, the final words of the Enneads, are also memorably recalled by Yeats’s friend Lionel Johnson at the climax of “The Dark Angel,” a poem Yeats rightly admired: “Lonely unto the lone I go,/ Divine to the Divinity.”

Jane’s transcendence is earned not (to echo the final stanza of “Among School Children”) through a body-bruising, soul-pleasuring abstinence, but (since nothing can be sole or whole that has not been rent) by utterly unwinding, through experience, what Blake called (in The Gates of Paradise) “the sexual Garments.” Though “love is but a skein unwound/ Between the dark and dawn,” if left unwound, it would bind her to the earth, condemning her ghost, like that of her true lover, Jack, to “walk when dead.” That skein fully unwound, we are to go to our graves (to use a Miltonic phrase, but hardly his meaning), “all passion spent.” Yeats told an interviewer at this time, “If you don’t express yourself, you walk after you’re dead. The great thing is to go empty to your grave.”

To be liberated from those world-making angels who would enslave us, we must, Carpocrates and some other Gnostics insisted, “experience” every action possible on earth; then, with nothing left to be experienced, the liberated soul will “soar upwards to that God who is above the angels,” those makers of the fallen world. Yeats confided to Olivia Shakespear, “I shall be a sinful man to the end and think upon my deathbed of all the nights I wasted in my youth.”[47] He was fond of quoting a passage from Blake’s Vision of the Last Judgment: two sentences which, with their emphasis on both the “realities of intellect” and the need for the passions to “emanate” in a way alien to Plotinus, would appeal to some Gnostics: “Men are admitted into Heaven not because they have curbed and governed their passions, but because they have cultivated their understandings. The treasures of heaven are not negations of passion, but realities of intellect, from which the passions emanate uncurbed in their eternal glory.”[48] The Gnostic Carpocrates would endorse that vision of the Last Judgment. Whatever he might have thought of Crazy Jane’s promiscuous theology, Blake himself saw no puritanical line demarcating the human heart and loins from the human head and spirit.

 §

Finally, the Seeker-theme, the quest for gnosis, informs a number of late, great poems. I’m thinking of “Lapis Lazuli,” and of three death-poems:  “Cuchulain Comforted,” “Man and the Echo,” and the seemingly colloquial debate-poem, “What Then?” If I had to select just one last testament of Yeats, aside from Self’s chant at the end of “A Dialogue of Self and Soul,” the choice would narrow to the final movements of “Lapis Lazuli,” “Cuchulain Comforted,” and “Man and the Echo.” In their own ways, each of these poems constitutes wisdom writing, a quest for gnosis, or the acknowledgment that it may not be attainable in this life. That is true as well of the apparently more casual, but no less momentous, “What Then?”

Written in July 1936, “Lapis Lazuli” was published with war imminent. Yeats is annoyed by those who cannot abide the gaiety of artists creating amid impending catastrophe, unaware of the deep truth—known to Hindu mystics, to Nietzsche, and to Arthur O’Shaughnessy, whose creative artists “built Nineveh” and Babel out of their own “sighs” and “mirth”—that “All things fall and are built again/And those that build them again are gay.” To counter the consternation of those who are “sick of the palette and fiddle-bow,/ Of poets that are always gay,” women dismissed as “hysterical,” Yeats presents Shakespearean figures who—like Ophelia, Cordelia, and (by implication) Cleopatra—“do not break up their lines to weep.” Above all, “Hamlet and Lear are gay;/ Gaiety transfiguring all that dread.” Fusing western heroism with Eastern serenity and Nietzsche’s Zarathustrian joy (“He who climbs the highest mountains laughs at all tragic plays and tragic seriousness”), the poem turns in its final movement to the mountain-shaped lapis lazuli sculpture given to Yeats as a gift, and which, in turn, giving the poet his title, serves as the Yeatsian equivalent of Keats’s Grecian urn.

Two Chinamen, behind them a third,

Are carved in lapis lazuli;

Over them a long-legged bird,

A symbol of longevity;

The third, doubtless a serving man,

Carries a musical instrument.

Aside from the obvious resemblance to the Grecian urn, the repeated “or” in the lines that follow seals the connection, with description yielding to a stunning exercise of the creative imagination, worthy of its precursor, the fourth stanza of Keats’s ode. Since the place of origin of the figures in the sacrificial procession is not depicted on the urn, Keats speculates: “What little town by river or seas-shore,/ Or mountain-built….” Yeats ups the ante to four repetitions:

Every discoloration of the stone;

Every accidental crack or dent,

Seems a water-course or an avalanche,

Or lofty slope where it still snows

Though doubtless plum or cherry-branch

Sweetens the little half-way house

Those Chinamen climb towards, and I

Delight to imagine them seated there;

There, on the mountain and the sky,

On all the tragic scene they stare.

One asks for mournful melodies;

Accomplished fingers begin to play.

Their eyes mid many wrinkles, their eyes,

Their ancient glittering eyes are gay.

Yeats turns every discoloration and “Every accidental crack or dent”[49] into a feature of the mountain landscape. But the even greater creative leap in this exquisite final movement is the setting of those sculpted figures, frozen in lapis as Keats’s were on the marble urn, into motion, with the poet delighting to “imagine” them having attained the prospect of the gazebo half-way up the mountain. That the perspective is not quite sub specie aeternitatis; that the “little half-way house” is situated at the midpoint rather than on the summit, makes this a human rather than divine vision. To that extent, the Chinese sages’ mountain-vision may not achieve the gnosis attained by the naked hermits caverned on another Asian mountain, in Yeats’s 1933 sonnet, “Meru.” Those hermits, aware of the “manifold illusion” of one passing civilization after another, “know/ That day brings round the night, that before dawn/ [Man’s] glory and his monuments are gone.” Yet the affirmation of the Chinese sages of “Lapis Lazuli” is also registered in full awareness of “all the tragic scene.” The eyes of these Yeatsian visionaries, wreathed in the wrinkles of mutability, glitter with a tragic joy lit by the poet’s own creative “delight,” and by something resembling the Gnostic “spark.”

's lapis lazuli carving c. National Library of Ireland

Yeats’s lapis lazuli carving, (photo above courtesy National Library of Ireland)

's lapis lazuli carving

The end of mutability is death. The ancient Chinese sages’ gaiety in the face of tragedy may remind us of Yeats’s central mythological figure, Cuchulain, the hero of several Yeats poems and a cycle of five plays, ending with The Death of Cuchulain. The poet’s final encounter with his Celtic Achilles takes place in a ghostly poem completed on January 13, 1939, two weeks before his death.[50] The magnificent and eerie “Cuchulain Comforted,” composed, appropriately, in Dante’s terza rima, finds the nameless hero, wounded in battle and slain by a blind man, in the Underworld among “Shrouds that muttered head to head,” and “Came and were gone.”  He “leant upon a tree/ As though to meditate on wounds and blood.” He is among his polar opposites— “convicted cowards all,” according to one “that seemed to have authority /Among those birdlike things,” and who informs the still armed hero: “Now must we sing and sing the best we can.”

The poem ends with the hero’s apotheosis imminent. Having joined these spirits in a kind of communal sewing-bee, making shrouds, he is soon to undergo their transformation, described in haunting final lines reminiscent of Zarathustra’s vision of evil absolved by its own bliss so that all that is “body” becomes “dancer, all that is spirit, bird”:  “They sang but had nor human tunes nor words,/ Though all was done in common as before.//They had changed their throats and had the throats of birds.” That uncanny final line, the pinnacle of the Yeatsian Sublime, is also a final fusion. Marrying the posthumous continuation, as in “Sailing to Byzantium,” of a bird-like poet’s need to sing with the transformation and liberation of the soul, it should thrill Romantics and Gnostics alike. According to Valentinus, “what liberates is the knowledge [gnosis] of who we were, what we became; where we were, whereunto we have been thrown; whereto we speed, wherefrom we are redeemed; what birth is, and what rebirth.”

Cuchulain's death illus by Stephen Reid 1904Cuchulain’s death, illustration by Stephen Reid, 1904

This, the best-known Valentinian formula of salvation, is cited by Harold Bloom as a “good motto” for “Cuchulain Comforted,” which Bloom considers “Yeats’s finest achievement in the Sublime.”[51] The triumph of this mysterious and yet revelatory death-poem is that it discloses, along with an unexpected aspect of the solitary hero, Yeats himself: the man under the many masks, “one that,” in yet another bird-image, “ruffled in a manly pose/ For all his timid heart” (“Coole Park, 1929”). It recalls the similar if more personal triumph-in-defeat of “Man and the Echo” (1938), a poem that comes, like the ghost of King Hamlet, “in a questionable shape,” and, appropriately, borrows the questioning and tetrameters of Coleridge’s confessional “The Pains of Sleep.” A “Man” halted in a rock-cleft on the mountainside shouts “a question to the stone.”

All that I have said and done,

Now that I am old and ill,

Turns into a question till

I lie awake night after night

And never get the answers right.

Did that play of mine send out

Certain men the English shot?

Did words of mine put too great strain

On that woman’s reeling brain?

Could my spoken words have checked

That whereby a house lay wrecked?

It is unclear what Yeats might have said to save Lady Gregory’s Coole Park, or have not said to preserve the sanity of Margot Ruddock, the infatuated and crazed girl memorialized in “Sweet Dancer” (1937). That “play of mine” is, of course, Cathleen ni Houlihan, the ostensible celebration of blood-sacrifice written for and starring Maud Gonne as Ireland herself. It did send out men that were shot in the Easter Rising; in fact, the first to die was an actor cast in a revival of the play. The “terrible beauty” born that Easter had many causes, but Yeats, fingering the “links in the chain of responsibility,” wondered “if any link” was forged “in my workshop.” Here, his responsibility for its impact is the first “question” that causes him to feel guilt and to “lie awake night after night.”[52]

Here is Coleridge, as sleepless and anguished as Yeats: “All confused I could not know/ Whether I suffered or I did: / For all seemed guilt, remorse or woe.” Yeats concludes his questioning in the same perplexity: “And all seems evil until I/ Sleepless would lie down and die.” Echo: “Lie down and die.” But that, Man responds, would be “to shirk / The spiritual intellect’s great work.” There can be no thought of ending life until he can “stand in judgment on his soul.” Once “all’s arranged in one clear view,” and “all work done,” he will be ready to “sink at last into the night.” But, given Echo’s sardonic repetition, “Into the night,” that prospect only raises more, and more metaphysical, questions (“Shall we in that great night rejoice?/ What do we know but that we face/ One another in this place?”), until all cerebral self-centered thoughts stop together, interrupted:

But hush, for I have lost the theme,

Its joy or night seem but a dream;

Up there some hawk or owl has struck

Dropping out of sky or rock,

A stricken rabbit is crying out

And its cry distracts my thought.

“Take physic, pomp,” cries a chastened Lear out on the storm-beaten heath, finally exposing himself to feel pity for life’s naked victims. The greatness of “Man and the Echo” has to do with a similar intervention from the existential physical reality outside Yeats’s own self-absorbed thoughts about death and the fate of his soul. Gnostics would not approve of this external interference that “distracts the thought” of the thinker. But Yeats is not only philosophizing, he is writing a poem, and the poem’s triumph lies in the old man’s setting aside, as in “Cuchulain Comforted,” of the “heroic mask”— of Swiftian arrogance or Nietzschean master morality, of the perspective of the predatory hawk, of Cuchulain, that “great hawk out of the sun”—in order to fully and humbly accept common mortality: the radical finitude he shares with human rags and bones, with cowards, with the pitiable death-cry of a rabbit, struck down by hawk or owl.

At the end of “Man and the Echo,” amid uncertainty (“joy or night,” “hawk or owl” dropping out of “sky or rock”), the one certitude is death. “Mortality touches the heart,” epitomized by what Virgil (Aeneid 1:462) calls the “tears that are in things” (Sunt lacrimae rerum et mentem mortalia tangunt). Yet here the tears are unshed from “an eye” that has “kept watch oe’r man’s mortality.” Like Wordsworth at the end of the great “Ode: Intimations of Immortality,” Yeats is touched by the human heart’s “tenderness, its joys, and fears.” Responding to the death throes of a humble, transient creature of nature, he is left, as Wordsworth was, with “Thoughts that do often lie too deep for tears.” Both of these great poets end, not crying, but thinking. Having registered “all the tragic scene,” they achieve, amid uncertainty, at least a limited gnosis, though Yeats’s question, “What do we know?” continues to resonate.

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Two years before his death, Yeats received a request for a “representative” poem for The Erasmian, the magazine of his old Dublin high school. He selected “What Then?” (1937), which lays out for the Erasmus Smith students a planned life of disciplined labor, aimed at achieving what Yeats’s “chosen comrades” at school believed to be his destiny: the conviction, in which he concurred, that he would “grow a famous man.” Writing intimately though in the third person, “he” tells the young students and us that he “crammed” his twenties “with toil,” and that, in time, “Everything he wrote was read.” He attained “sufficient money for his need,” true friends, and that predestined yet industriously sought-after fame. Eventually, “All his happier dreams came true”: house, wife, daughter, son; “Poets and wits about him drew.”

But this self-satisfied rehearsal of accomplishment has been challenged by the refrain ending each stanza: “‘What then?’ sang Plato’s ghost, ‘What then?’” As in “Man and the Echo,” despite best-laid plans, an ultimate uncertainty attends the certainty of death. In the fourth and final stanza, as the litany of achievement mounts in passionate intensity, the opposing challenge from the world beyond earthly accomplishment also reaches a crescendo:

“The work is done,” grown old he thought,

“According to my boyish plan;

Let the fools rage, I swerved in naught,

Something to perfection brought”;

But louder sang that ghost, “What Then?”

In “The Choice,” written a decade earlier, Yeats had declared that “the intellect of man is forced to choose/ Perfection of the life, or of the work.”  The “something” brought to “perfection” in “What Then?” is clearly the second choice. Must “he” therefore, as in “The Choice,” “refuse/ A heavenly mansion, raging in the dark”? Momentous in import despite its casual tone, “What Then?” revisits the “Dialogue of Self and Soul,” with the spiritual spokesman, despite being restricted to two words, at last mounting a potent challenge. The refrain Yeats places in the breathless mouth of that formidable ghost— “What then?”—fuses the Idealism of that “Plato,” who (in “Among School Children”) “thought nature but a spume that plays/ Upon a ghostly paradigm of things,” and the Hindu tatah kim (you may have gained glory and accomplished all your desires: what further?), with the question raised in the synoptic gospels: what does it profit a man to gain the whole world if he lose his immortal soul?

That relentless question, “what then?,” also tallies with the Gnostic insistence that the liberating spirit within, the “divine spark” of which most remain ignorant all their lives but which alone constitutes true humanity, was the sole agent of salvation. That inner spark of divinity, once ignited, redeems the “inner” spiritual man, freeing him from the Archon-imposed limitations of an alien body in an alien world, from enslaving attachment to earthly things. However, powerful though the Otherworldly challenge is in “What Then”,” here as always—beginning with the crucial “The Rose upon the Rood of Time”—dialectical Yeats is not quite succumbing to the spiritual, a realm at once alluring and demanding. “His” litany of achievements, in the poem Yeats himself chose to represent his life-work to the students of his former high school, are triumphs of the imagination even more than they are flauntings of material success; and, given the massiveness of Yeats’s poetic achievement, “his” is far from empty boasting. “Plato’s ghost” gets the last word, but “What Then?” consists of more than its refrain. Taken as a whole, the poem presents Yeats once again vacillating “between extremities” or “antinomies” (“Vacillation,” I), and, in the process, making poetry out of the quarrel with himself. It was Nietzsche—Yeats’s chosen counter-weight to Plato and Christianity, that “Platonism for the people”—who said, “It is precisely such ‘contradictions’ that seduce one to existence.”[53]

Nietzsche’s prophet famously advises us, at the outset of Thus Spoke Zarathustra, to “remain faithful to the earth, and do not believe those who speak to you of otherworldly hopes.” In “What Then?,” Yeats seems in part to be following Zarathustra’s imperative; but he had not yet been introduced to Nietzsche when, almost a half-century earlier, he wrote “The Man who Dreamed of Faeryland,” a poem to which “What Then?” responds almost point for point. As we have seen, in that earlier poem every earthly pleasure and achievement had been spoiled by a repeated, cruel “singing” whose theme was a golden and silver Faeryland, an Otherworld of immutable, but unattainable beauty. Everything lost in the early poem, including the “fine angry mood” required to rebut mockers, is re-gained in this late poem, where the speaker, his work done, cries out, “Let the fools rage, I swerved in  naught,/ Something to perfection brought.” The mature, accomplished man has “succeeded” beyond his dreams, and thus exposed the folly of the man who wasted his life away by fruitlessly dreaming of Faeryland. And yet, that “singing” from the Otherworld persists: “‘What then,’ sang Plato’s ghost, ‘What then?’”—a “singing” that grows “louder” the more the speaker rehearses his accomplishments. The tension between the two worlds persists.

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Harold Bloom, who has over the years come to half-accept the Gnostic vision he once rejected, most harshly in his 1970 book Yeats, ended the essay he wrote a half-dozen years later—“Yeats, Gnosticism, and the Sacred Void”—by contrasting Yeats to his own formational  precursor, Shelley, and to Schopenhauer. Though Bloom doesn’t get into the lineage, Schopenhauer was an “educator” of Nietzsche, “that strong enchanter” whose “curious astringent joy” allied him in Yeats’s mind with Blake, and so helped transform the Irish poet from a lyricist of the Celtic Twilight into the most powerful poet of the Twentieth Century. But here is Bloom:

Shelley and Schopenhauer were questers, in their very different ways, who could journey through the Void without yielding to the temptation of worshiping the Void as itself being sacred. Yeats, like Nietzsche, implicitly decided that he too would rather have the Void as purpose, than be void of purpose.[54]

Though Bloom does not mention it, Yeats seems to me to have been thinking of the Gnostic vision when he ended one of his final letters by declaring, “The last kiss is given to the void.”  Some context is instructive. No more a believer in linear progress than Nietzsche (for whom the “theory of progress” was a “modern” concept, “and therefore vulgar”), Yeats, under Indian influence, came to consider cultures and civilizations a succession of provisional illusions: that “manifold illusion” or maya, seen through by those who, in “Meru,” realize that “man’s life is thought,” its ultimate destructive/creative goal to “come/ Into the desolation of reality.” As earlier noted, such seers as the ascetic hermits caverned on Mount Meru or Everest, “know/ That day brings round the night, that before dawn/ [Man’s] glory and his monuments are gone.”

Bhutanese thanka of Mount Meru and the Buddhist universie 19th centuryBhutanese thanka of Mount Meru and the Buddhist universe, 19th century

Those who have, after “Ravening, raging, and uprooting,” finally “come/ Into the desolation of reality,” have come far, but—despite the gay farewell to civilizations, “Egypt and Greece good-bye, and good-bye, Rome!”—they may not have attained the state of “bliss” attained by Bhagwan Shri Hamsa, who describes climbing Meru in The Holy Mountain, read and introduced by Yeats shortly before writing “Meru.” In that Introduction, Hamsa is quoted describing his attainment of ineffable “bliss’—all merged in the Absolute Brahma!”[55] Yeats’s sonnet registers the strenuous mental steps to the Absolute, but does not culminate in the merging joy expressed by Hamsa. Nevertheless, Yeats’s hermits, by coming to “know” the truth underlying illusions, have achieved a considerable degree of gnosis.

In the letter I began with, Yeats insists that there is “no improvement, only a series of sudden fires,” each fainter than the one before it. “We free ourselves from delusion that we may be nothing. The last kiss is given to the void.”[56] Commenting on this letter, the great Irish critic Declan Kiberd perceptively observed that, for Yeats, “the only hope of humanity was to break out of this diminishing series of cycles by recasting life on an altogether higher plane of consciousness.”[57] Kiberd does not dwell on the “void,” or connect this “higher plane of consciousness” with gnosis, but those familiar with Gnosticism well might. I believe Yeats himself did.

The memorable paragraph in Per Amica Silentia Lunae that begins, “We make out of the quarrel with others, rhetoric, but out of the quarrel with ourselves, poetry,” ends: “I shall find the dark grow luminous, the void fruitful, when I understand that I have nothing; that the ringers in the tower have appointed for the hymen of the soul a passing bell.” Practical men are committed to the world and to social conventions symbolized by the marriage bell. By contrast, the Poet must concentrate on what is scarcely attainable. The soul achieves its “hymen” or marriage when it forsakes the gratifications of this material world, a forsaking symbolized by the “passing bell,” or death knell. Again, we “free ourselves from delusion that we may be nothing. The last kiss is given to the void.” A lifelong Seeker, Yeats seems at times as much a Gnostic Quester as he is a Romantic Poet.

In his last letter, written to Elizabeth Pelham on January 4, 1939, three weeks before his death, Yeats concluded:

I am happy, and I think full of an energy, an energy I had despaired of. It seems to me that I have found what I wanted. When I try to put all into a phrase I say, “Man can embody truth but he cannot know it.” I must embody it in the completion of my life. The abstract is not life and everywhere draws out its contradictions. You can refute Hegel but not the Saint or the Song of Sixpence. (Letters, 922)

One has no wish to resist let alone refute this gay farewell. But Harold Bloom, in his 2004 book Where Shall Wisdom Be Found? resisted that Yeatsian emphasis on embodiment by choosing, in keeping with his title, to focus on wisdom rather than that “truth” Yeats said could not be “known” but could be embodied. “Of wisdom,” writes Bloom—and he thought his reversal of Yeats important enough to place in splendid isolation on the back cover of his book—“I personally would affirm the reverse. We cannot embody it, yet we can be taught how to learn wisdom, whether or not it can be identified with the Truth that might make us free.” His final, somewhat skeptical allusion is to the Gospel of John (8:32), but Bloom’s emphasis on being taught how to learn wisdom would appeal to all Seekers, certainly Gnostic Seekers.

—Patrick J. Keane

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Patrick J Keane smaller

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Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2008).

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Footnotes    (↵ returns to text)

  1. Yeats, Autobiographies (London, 1956), 114-15. For Clarissa Dalloway’s reading, see Virginia Woolf, Mrs. Dalloway (Ontario, 2013), 106-7.
  2. Even that Gnosticism is syncretist and complex, steeped not only in Hebrew and early Christian writing, but with roots in India, Iran, and of course in Greece (Orphism and Pythagoreanism, Platonism and Neoplatonism). That kind of cross-fertilization simultaneously enriches the tradition, from the mysterious Simon Magus to the formidable Valentinus, and complicates analysis. In addition, the various sects were secret. Because of its value as the way to break out of our imprisonment by the flesh and the material world, and thus the path to salvation, the knowledge was kept hidden, reserved for the spiritual elite capable of achieving and exercising gnosis.
  3. The Letters of W. B. Yeats, ed. Allan Wade (London, 1954), 210-11.
  4. A very different response to Yeats’s apparent possession of mysterious wisdom is registered by Virginia Woolf. When she met Yeats in November 1930, at Lady Ottoline Morrell’s, Woolf knew little of his thought and not all that much of his poetry, but she was overwhelmed by his personality and by an immediate sense of a body of thought underlying his observations on life and art: “I perceived that he had worked out a complete psychology that I could only catch on to momentarily, in my alarming ignorance.” When he spoke of modern poetry, he described deficiencies inevitable because we are at the end of an era. “Here was another system of thought, of which I could only catch fragments.” She concludes on a note seldom found in Bloomsbury self-assurance: “how crude and jaunty my own theories were besides his: indeed I got a tremendous sense of the intricacy of his art; also of its meaning, its seriousness, its importance, which wholly engrosses this large active minded immensely vitalised man.”  The Diary of Virginia Woolf.  5 vols. Volume 3 (London, 1980), 329.
  5. Ellic Howe, The Magicians of the Golden Dawn (New York, 1972), ix. The ceremony of admission to the R.R.& A.C., based on the legend of Christian Rosenkreuz, required an initiate to commit him- or herself to the “Great Work,” which was, with divine help, to “purify and exalt my Spiritual nature,” and thus,”gradually raise and unite  myself to my Higher and Divine Genius.” In 1901, Yeats wrote an important pamphlet titled “Is the Order of R.R. & A.C. to Remain a Magical Order?” His main point—that frivolous “freedom” is inferior to “bonds gladly accepted”—illuminates his own philosophy in A Vision, and the tension in his poetry between freedom and traditional forms.
  6. Yeats, Letters to the New Island: A New Edition, ed. George Bornstein and Hugh Witemeyer (London, 1990), 84. The volume collects pieces Yeats sent between 1888-92 to The Boston Pilot and the Providence Sunday Journal.
  7. Yeats, The Trembling of the Veil (1922), in Autobiographies, 173-74, 179. An almost Yeatsian mixture of fascination and skepticism was evident in the report issued on Blavatsky by Richard Hodgson, a skilled investigator employed by the Society of Psychical Research. Though the SPR report assessed her claimed activities in India to be fraudulent, it concluded that she was “neither the mouthpiece of hidden seers, nor…a mere vulgar adventuress. We think she has achieved a title to a permanent remembrance as one of the most accomplished, ingenious, and interesting imposters of history” (cited in Peter Washington, Madame Blavatsky’s Baboon: Theosophy and the Emergence of the Western Guru [London, 1993], 83). Yeats, writing in 1889, and still registering Blavatsky’s magnetism and skills as an eclectic magpie, found that conclusion simplistic, noting, with his usual mixture of skepticism and credulity, that “the fraud theory” at least at its most pronounced, was “unable to cover all the facts.” Memoirs, ed. Denis Donoghue (New York 1973), 281.
  8. The latter, though, poetically, a false start, anticipates Yeats’s debate-poems as well as two powerful late poems: the sonnet, “Meru” (1933), centered on Hindu hermits caverned on Mount Meru, and “Lapis Lazuli,” that marvelous poem based on a Chinese sculpture ending in a blessing and mountain vision. In the Crossways poem, the young priestess Anashuya compels Vijaya to swear an oath by the gods “who dwell on sacred Himalay,/ On the far Golden Peak; enormous shapes,/ Who still were old when the great sea was young;/ On their vast faces mystery and dreams” (lines 66-70). Like Meru, Golden Peak is a Himalayan sacred mountain.
  9. Quoted in Peter Washington, Madame Blavatsky’s Baboon, 88-89.
  10. Chatterjee, Man: Fragments of a Forgotten History (London, 1887).
  11. The quoted phrase is from the succinct synopsis of Graham Hough, The Mystery Religion of W. B. Yeats (Sussex, 1984), 39. Consisting of three Northcliff Lectures given in London in 1983, fleshed out by a fourth chapter on A Vision, Hough’s short book offers an illuminating introduction to the subject. But while he provides a humane counter-weight to the learned but crabbed studies that were threatening to bury Yeats in esoteric commentary, Hough, though a fine reader, discuses very few of the poems, and none at length.
  12. William York Tindall, W. B. Yeats (New York, 1966), 27. With a few notable exceptions, preeminently the late, great George Mills Harper, the best guides to A Vision are not the occultist commentators, but two brilliant literary critics: Helen Vendler (Yeats’s Vision and the Later Plays, 1963) and Harold Bloom (Yeats, 1970).
  13. “Introduction” to A Vision, 2nd ed. (London, 1937), 8. It’s hard not to imagine that Yeats was relieved when advice arrived, conveniently, that he should relax, and recall that he was, above all else, a poet.
  14. Peter Allt, “W. B. Yeats,” Theology 42 (1941), 81-99.
  15. Valentinus’s “revelation” came when the Greco-Christian Logos appeared to him as a child. Unsurprisingly, his greatest disciples Ptolemaeus and his pupil, Heracleon, both interpreted the Gospel of John as a Valentinian text.
  16. Both the drafts and the final version of the passage, riddled with echoes of “Vacillation,” “Man and the Echo,” and  of Yeats’s Dantesque death-poem, “Cuchulain Comforted,” make it clear that the ghost is primarily that of  Yeats, an identification confirmed by Eliot in letters to John Hayward, Maurice Johnson, and Kristian Smidt. For details, see Helen Gardner, The Composition of Four Quartets  (New York, 1978), 64-67, and Terence Diggory, Yeats and American Poetry (Princeton, 1983), 115-17, 239. That Jonathan Swift is also part of the compound ghost only reaffirms the dominant presence of Yeats, since Eliot’s reference to “lacerating  laughter at what ceases to amuse” echoes Yeats’s poem, “Swift’s Epitaph,” and nods toward the presence of Swift’s own ghost in Yeats’s play The Words upon  the Window-pane.”
  17. A lengthy text for Yeats (91 lines, like “Anashuya and Vijaya”), The Seeker appeared in 1885, in the Dublin University Review, and was re-printed in the poet’s first book, The Wanderings of Oisin and Other Poems (1889).
  18. Yeats, “Poetry and Tradition,” in Collected Works of W. B. Yeats, IV: Early Essays, ed. Richard J. Finneran and George Bornstein (London, 2007), 186.
  19. Essays and Introductions (London, 1961), 207.
  20. The paragraph, the conclusion of which I will return to in  my own conclusion, occurs in the Amina Hominis (“The Soul of Man”) section of Per Amica Silentia Lunae,  its Virgilian title (“through the friendly silence of the moon”) taken from Book II of the Aeneid.
  21. In a jauntily bleak poem written twenty years later, “Miniver Cheevy,” the American poet Edward Arlington Robinson gave us another frustrated Romantic dreamer (as chivalry-intoxicated as Don Quixote) who, wasting his life, “sighed for what was not,/ And dreamed, and rested from his labors.”
  22. Much in “The Man who Dreamed of Faeryland” is reminiscent of the “Ode on a Grecian Urn,” reminding  me that, many years later, the old woman of “Her Vision in the Wood” (poem VIII of A Woman Young and Old) asks a Keatsian question of other immortals: “Why should they think that are for ever young?”
  23. Yeats, Mythologies (London and New York, 1959), 78.
  24. W. B. Yeats and T. Sturge Moore: Their Correspondence, 1901-1937, ed. Ursula Bridge (London, 1953), 164.
  25. Vendler, Yeats’s Vision and the Later Plays (Cambridge, Mass, 1963), 118. The floor is ambiguously “marbled.”  Yeats originally envisioned a marble pavement, but another draft, referring to the emperor’s “bronze & marble,” suggests statuary, as in in the statues of “Among School Children,” that “keep a marble or a bronze repose.”
  26. Memoirs, ed. Denis Donoghue (London, 1972), 71; Autobiographies, 180.
  27. The photocopied drafts of the poem (in the Yeats Archives at SUNY, Stony Brook) have been transcribed by Jon Stallworthy, Donald Torchiana, and myself; here, I cite my Yeats’s Interactions with Tradition, 100, italics added.
  28. In the Preface to his epic poem Milton, Blake, having  requested his prophetic weapons (“Bring me my Bow of burning gold,/Bring me my Arrows of desire,/ Bring me my Spear,/O clouds, unfold!,/ Bring me my Chariot of fire”), pledges, in the final quatrain, that “I will not cease from Mental Fight,/ Nor shall my Sword sleep in my hand,/ Till we have built Jerusalem/ In  England’s green and pleasant Land.” The passage earlier quoted from the apocalyptic Ninth “Night” of The Four Zoas includes lines IX:798, 822-27, and 849-51. Valentinus is quoted from the “Fourth Key”: “At the end,…the world shall be judged by fire,” and “After the conflagration, there shall be formed a new heaven and a new earth, and the new man will be more noble in his glorified state than he was before.” The Hermetic Museum, trans. from the 1678 Latin text, ed. A. E. Waite, 2 vols. (London, 1893), I, 331.
  29. For Blake’s “gnomic” genius, see Northrop Frye, Fearful Symmetry: A Study of William Blake (Boston, 1962 [1947]), 5. For the remark on Yeats’s synopsis of modern civilization in “Fragments” (I), see Douglas Bush, Science and English Poetry: A Historical Sketch, 1590-1950 (New York, 1950), 158.
  30. Edward O.Shea, A Descriptive Catalog of W. B. Yeats’s Library (New York, 1985), item 2258.
  31. Reprinted in Explorations (New York, 1962), 369.
  32. Yeats, “Introduction” to The Oxford Book of Modern Verse (London, 1936), xxvi-vii. For Whitehead, in his similar account (in Science and the Modern World) of the Romantic reaction to the limitations of the Enlightenment, the principal figure was Wordsworth, as influenced by Coleridge on Imagination and Organicism.
  33. The diagram was drawn on p. 122 of Nietzsche as Critic, Philosopher, and Prophet: Choice Selections from His Works, compiled by Thomas Common (1901). Given to Yeats as a gift in 1902 by attorney and patron of the arts John Quinn, it is now in the Special Collections of the library at Northwestern University. First mentioned by Richard Ellmann (The Identity of Yeats), these annotations were transcribed for me many years ago by another late, great scholar, Erich Heller.
  34. For these unpublished notes, connecting Cicero’s Dream of Scipio and Macrobius’s Commentary with Balzac’s Swedenborgian novel Séraphita and Paul Gaughin’s Intimate Journals, see my Yeats’s Interactions with Tradition (London and Columbia, 1987), 142-47.
  35. Thus Spoke Zarathustra  III.2:1, in The Portable  Nietzsche, ed. Walter Kaufmann  (New York, 1954), 269.
  36. In the opening stanza of Browning’s quest-poem, Childe Roland first thought was that he was being “lied” to by that sadistic cripple, “with malicious eye/ Askance to watch the working of his lie/ On mine.” (The earlier allusion, to Browning’s Duke, refers of course to “My Last Duchess.”) Even closer to Self’s temporarily mistaken belief that that “defiling” shape “cast upon” him by mirroring eyes “must be his shape” is the initially deluded, masochistic cry of Blake’s Oothoon (2: 36-39) for her “defiled bosom” to be rent away so that she “may reflect/ The image” of the very man (the moralistic sadist, Theotormon, who, having raped her, now brands her “harlot”) whose “loved” but unloving “eyes” have cast upon her precisely this “defiled” shape—one of Blake’s, and now Yeats’s, grimmest ironies. But both recover.
  37. Nietzsche, Daybreak, trans. R. J. Hollingdale (Cambridge, 1982), 186-87, 48 (§437, §79).
  38. Theodotus was a leading Valentinian of the Eastern school. The 2nd-century Excerpts were quoted and thus preserved by Clement of Alexandria.  In his 1970 study, Yeats, Harold Bloom viewed Gnosticism as the pessimistic opposite of Romantic affirmation, especially in Blake and Shelley. Within a half-dozen years (hardly the span of “light years” he jocoseriously refers to), he no longer saw Gnosticism as a “deviation from Romanticism.” Indeed, it “could be argued that a form of Gnosticism is endemic in Romantic tradition without, however, dominating that tradition, or even that Gnosticism is the implicit, inevitable religion that frequently informs aspects of post-Enlightenment poetry.” “Yeats, Gnosticism, and the Sacred Void,” in Poetry and Repression: Revisionism from Blake to Stevens (New Haven, 1966), 212.
  39. Emerson: Essays and Lectures, ed. Joel Porte (New York, 1983), 81; italics added. The Divinity School Address evoked a ferocious controversy that shook New England. Condemned as a “pagan,” an “infidel,” and a “cloven-hoofed” pantheist who had defiled the sacred citadel of Unitarianism, Emerson was ostracized from his alma mater for thirty years. For the “bringing-forth” passages, see Elaine Pagels, Beyond Belief: The Gospel of Thomas (New York, 2003), 49, 32. As Harold Bloom is right to say, “there is little in the Gospel of Thomas that would not have been accepted by Emerson, Thoreau and Whitman.” Where Shall Wisdom Be Found? (New York, 2004), 260.
  40. Thus Spoke Zarathustra III.16:6, in The Portable Nietzsche, 342.Yeats read the work in the 1896 Alexander Tille translation and, excerpted, in the Thomas Common anthology given him by Quinn.
  41. Letters to W. B. Yeats, ed. Richard Finneran, et al, 2 vols. (London, 1977), 2:560.
  42. Yeats quotes George in a letter to Dorothy Wellesley, written shortly after Russell’s death in July, 1935:  “My wife said the other night, ‘AE’ was the nearest thing to a saint you and I will ever meet. You are a better poet but no saint. I suppose one has to choose.” (Letters, 838).
  43. Quoted in A. Norman Jeffares, The Poetry of W. B. Yeats (London, 1961), 267.
  44. Aside from “To a Young Girl” (1915), addressed to Iseult Gonne, “His Memories” is the only poem where Yeats claims that his passion for Maud was sexually reciprocated. Readers, used to the Maud /Helen association, would know who “The first of all the tribe” was who lay in the speaker’s arms, “And did such pleasure take—/ She who had brought great Hector down/ And put all Troy to wreck—/ That she cried into this ear,/ ‘Strike me if I shriek’.”
  45. “Lucretius,” Fortnightly Review 17 (1875); in The Cambridge Companion to Lucretius (Cambridge, 2007), 12.
  46. The Carpocratian doctrine is synopsized in Against Heresies (§2952), by Irenaeus, the Bishop of Lyon. Though his motive was to condemn Gnosticism, which at the time (174-89 CE) was spreading in Gaul, this work of Irenaeus has been invaluable to modern scholars studying the beliefs of various Gnostic sects.
  47. Letters, 790. W. B. Yeats: Interviews and Recollections, ed. E. H. Mikhail, 2 vols. (London, 1977), 2:203.
  48. Yeats: Essays and Introductions, 137-38. Blake continued by excoriating those who, “having no passions of their own, because no intellect, have spent their lives in curbing and governing other peoples’.” Yeats’s Bishop comes immediately to mind, especially since Blake is thinking of “the modern church,” which “crucifies” the “true” imaginative Christ “upside down.”
  49. Damage to which I very nearly contributed in 1995, when I almost dropped the piece of lapis I’d been invited to examine during a visit to the home of Michael and Gráinne Yeats.
  50. A week later, dictating to his wife days before his actual death, Yeats wrote “The Black Tower,” in which he resumes the heroic mask shed in “Cuchulain Comforted” and “Man and the Echo.” Here, “the men of the old black tower,” though down to their last provisions and faced with a relentless, sordid enemy, remain “all…oath-bound men;/ Those banners come not in.” Their final exclamation—“Stand we on guard oath-bound!”—echoes an assertion Yeats liked to quote from his favorite Anglo-Irish hero. Defending the merits of the Ancients against the Moderns, Jonathan Swift pronounced himself a man “appointed to guard a position.” “The Black Tower” has its own merits, but we are right to regret its place of honor as Yeats’s very last poem.
  51. Bloom, Poetry and Repression, 230, 228.
  52. Along with pride at its popular success, Yeats felt guilt in having produced a patriotic but propagandistic play that was, at heart, a love-offering to his own terrible beauty, Maud Gonne, and a betrayal of his own better judgment. We cannot simply dismiss some of later Yeats’s ranting and his theatrical waving of Sato’s sword, and cry for “war,” in responding to an Indian visitor’s request for “a message for India.” But Yeats, like Joyce, was opposed to the rabid nationalism embodied in the crude and violent “Citizen” in the “Cyclops” episode of Ulysses. That one-eyed Fenian, a reincarnation of Homer’s Polyphemus, may also be a male equivalent of Ireland’s own one-eyed Morrigu, the overtly dark side of Cathleen ni Houlihan. I have a suspicion amounting to a conviction that Yeats thought “that play of mine” not really his (in fact, most of the dialogue, though not the lyric passages, was written by Lady Gregory), and that, when he wasn’t basking in its popularity, sometimes wished it had been omitted rather than committed.
  53. Nietzsche, On the Genealogy of Morals. III.3. J. M. Kennedy, the first translator of Nietzsche’s Die Morgenröte (Dawn or Daybreak), also translated, in the same year (1913), the Satakas (or Wise Sayings) of the Hindu hermit-poet, Bhartrahari, one of whose texts (Vairagasataka §71) I paraphrased in glossing tatah kim.
  54. Bloom, “Yeats, Gnosticism, and the Sacred Void,” in Poetry and Repression, 234.
  55. Yeats, “Manduka Upanishad,” in Essays and Introductions, 479-81.
  56. W. B. Yeats and T. Sturge Moore: Their Correspondence, 154.
  57. “W. B. Yeats—Building Amid Ruins,” in Kiberd’s Irish Classics (Cambridge, Mass., 2001), 454.
May 042017
 


 

.Marissa woke as intended to the sound of the unearthly chant: qui sedes ad dexteram Patris, miserere nobis. She sat up on her prayer mat, hands folded across her heart, breathing as she had been taught, sharp intakes of air through the nostrils, pulled down to the bottom of her belly, then harshly expelled. The rushing sound of her breath flowed in and out between the long sustains of the singing. Ten breaths brought her alert. What had been the dream she was just dreaming? — but she was not meant go toward it now.

Quoniam tu solus sanctus. Tu solus Dominus.

Now breathing normally, forgetting even that she breathed, she lowered her hands from her heart and let them lie palms open on her inner thighs, in the cross of her legs on the prayer mat. Her palms were full of heart warmth, as if they cupped warm fluid in the dark. The darkness was not total, though. A weak light flickered in a high corner, casting a horned shadow across the floor and the far wall where it broke on the black felt that sealed the window. She brought her memory to bear on the First Sin, which was that of the Angels—wanting to recall and understand all this in order to make me more ashamed and confound me more, bringing into comparison with the one sin of the Angels my so many sins, and reflecting, while they for one sin were cast into Hell, how often I have deserved it for so many…. In doing so she also concentrated on a point of warmth halfway between her navel and her vulva, as though blowing softly on a coal—this practice belonged to a different discipline yet she believed it might aid this one.

Qui tollis peccata mundi, miserere nobis the sin of the Angels, how they, being created in grace, not wanting to help themselves with their liberty to reverence and obey their Creator and Lord, were changed from grace to malice, and hurled from Heaven to Hell; and so then qui tollis peccata mundi, suscipe deprecationem nostrum but here Marissa’s mind hung up on the word hurled which somehow attached itself to a weakness in her meditation, whispering itself into meaninglessness, tawdry as the hidden disc on which she’d looped a Gregorian Qui Sedes, setting the player with a timer to rouse her from her idle dreams at midnight, false as the yellow Christmas bulb tucked on top of her tall corner cupboard which hurled the shape of its fineals across the room like horns. Mocked by her own monkey mind she trembled in frustration, hurled back and repulsed from the meditation even as she continued hopelessly to struggle, to move the feelings more with the will.

The music stopped, but she didn’t notice, and the light was gone too, something had changed, monkey mind was fussing over these changes but quickly completely she managed to smother it, turning her being into the new thing, whatever it was, or rather being snatched into it by three points, the one below her navel and the two aching points of her breasts. Across total darkness curved a sliver of light like a shooting star, going down and down, hurled down. 0, 0, 0, she thought, with unutterable sorrow, she is lost. Away in her room, which somehow her being had after all departed, her hands were fluttering in her lap. Far away in the other realm, among its splintering materials. Lost to me. To herself. Not to herself.

The spark went down a long way into darkness, but it did not go out.

§

“The eye of our intention,” Claude was saying, with the rasp and flare of a match as he scraped it on the striker. He leaned forward across his folded knees to light the candle between them on the wooden floor. Marissa looked down on the top of his bony, close-cropped head, sprouting a silvery down like dandelion seed. He wore his favorite sweater, a black crewneck riddled with tiny moth holes. The sight of it gave Marissa a peculiar watery feeling, like looking at a puppy before its eyes had opened.

She too was kneeling, sitting on her heels. It was a remarkably painful position if held for long. Claude had inured himself to it during a sojourn in Tibet. He tilted his baldish skull, whose shadow shifted on the wall behind him. In the dim his eyes seemed to acquire an ascetic slant.

“…makes the difference.” He breathed slowly. “Between an Exercise and ordinary trance.”

The eye of our intention. Claude had told her not to think of him as pastor or confessor, nor to call him Father, although he was a priest. He was her guide, through the Exercises. Like–

But he did have an intuition for her intention if it faltered. For her confusion, when she was confused. He looked at her now across the flickering candle flame, as if withholding a hint of a smile. As if somehow he knew the odd interruption of her Exercise two nights before: the image of a meteor hurtling down into the dark. The eye of her intention had wandered then—Marissa knew it, would not willingly admit it.

“Set and setting,” Claude announced.

Marissa rolled a little on her already-aching knees. “What are you talking about?”

His smile became visible now. “You know, we used to cooperate with other religions sometimes.” By we he meant the Jesuits. “Not here so much, but sometimes in the East. Considerably. Maybe too much. As if whatever religious practices were really all about the same thing—the Divine but in a different aspect.”

“And so?” She returned his smile with her mouth, eliciting, her eyes turned down.

“Set and setting is a phrase from the LSD culture,” Claude explained. “There’re a hundred ways to enter a trance. What happens inside it depends on your expectations and your guidance. The cultural surroundings, so to speak.”

Marissa raised her eyes from the candle to his face. “But you still believe,” she asked him.

“Lord, I believe!” Claude said, raising his open hands. “Help thou mine unbelief!”

They laughed. The room, which was drafty, grew a little warmer.

Claude said, “Shall we begin?”

§

The candle was a fat white cube, unscented, its four walls faced with thin slices of agate. The reddish-brown whorls of the cross-cut stone warmed with the interior light. Shadows of their two kneeling figures loomed in the corners of the ceiling. A voice resonated, Claude’s, not-Claude’s. … to bring to memory all the sins of life, looking from year to year, or from period to period. She was careful not to look at him first, to look at the place and the house where I have lived; second, the relations I have had with others; third, the occupation in which I have lived.

It was equally possible that Claude sat simply mute with his lidded eyes and his lips slightly parted and the voice she heard was an inner one, a fusion of her study and her familiarity with his tone.

§

Fourth, to see all my bodily corruption and foulness;

§

Fifth, to look at myself as a sore and ulcer, from which have sprung so   many sins and so many iniquities and so very vile poison.

§

She heard these phrases, as her eyes turned backwards in her head, and yet she was having trouble with the composition, which in this as in the previous Exercise seemed difficult because abstract.

 

to see with the sight of the imagination and consider that my soul is imprisoned in this corruptible body, and all the compound in this valley, as exiled among brute   beasts:

§

Her eyes, turned backward in her head, saw no such thing.   Nevertheless she was somehow aware how the candle was a barrier between them like a trench full of burning brimstone—why must it be so? The spark she saw tumbling into darkness now had a shape, a bright rectangle like the form of a small mirror, flickering and turning as it fell. The mirror image was a face, a long Modigliani oval, with something streaming away from its edges like hair or snakes or blood. Animal persons rushed at her from the walls of the cave: bison, bear, a mastodon.

§

an exclamation of wonder with deep feeling,

going through all creatures, how they have left me in life and  preserved me in it; the Angels, how, though they are the sword of the   Divine Justice, they have endured me, and guarded me, and prayed for   me; the Saints, how they have been engaged in interceding and praying   for me; and the heavens, sun, moon, stars, and elements, fruits, birds,   fishes and animals–and the earth, how it has not opened to swallow me   up, creating new Hells for me to suffer in them forever!

§

Now she struggled up through syrupy layers of this dark somnolence; her eyes burst open as she broke the surface. She hoped she had not groaned or cried aloud. The candle flame was ordinary, small. Across it, Claude seemed to look at her quizzically. She knew that much more time must have passed in this room than in the cavernous space where she had been.

Blood rushed painfully through her cramped legs as she cautiously unfolded her knees. An aurora of gold speckles swirled across her vision for a few seconds before it cleared. Claude’s regard was knowing now; he knew she had seen something unusual with her inward eye, while she knew that she could recover and understand it when she would, and that she would not tell him now.

Claude came up from the floor like a carpenter’s rule extending, long arms, lean legs in his black jeans.

“All right?” he said.

“Yes.” Marissa’s smile felt warped on her face. “All right.”

Claude looked as if he would offer a hand to help her rise, but didn’t. She got her feet under her and rose on her own. It was difficult to understand the awkwardness of their leave-takings, which were frequent after all. She had seen Claude spontaneously embrace fat foulmouthed drunken women from the rez. The space between their bodies seemed a chasm now. He reached across it, briefly clasped her hand, then let it go.

§

From the next night she could recall no dream but on the third morning she woke with a comprehension of what she had seen in the dark furrow where her Exercise had strayed. “But you know,” Claude seemed to be saying to her in the space of her mind, and she did know now, exactly. It hurt but she was more glad of the pain than not. She was proud to have figured it out on her own. She had something to bring to him now, like a treasure, her confession.

Early, but Claude was an early riser, and Marissa saw no reason to wait. Though they had not planned any meeting this morning, she might if she went quickly catch him for a bit before either of their workdays were due to begin. She dressed quickly, dragged a brush through her dark hair. No make-up, she decided with a tick of hesitation, for she didn’t normally wear it to work.

Her ancient little Toyota pickup rolled over the side streets of Kadoka till its windshield framed the church. Over the white lintel was affixed an electrified image of the Sacred Heart, exploding the burning cross from its upper ventricles, its Valentine contour wrapped in yellow-glowing thorns and weeping a tear of marquee-light blood. Marissa loathed this artifact and wished that Claude would have it removed. His predecessor as parish priest had raised the funds to install it.

Adjacent and connected to the church by a passage of coal-blackened brick, the small seminary where Claude resided was three-quarters empty, most of its windows dirty and dark. Vocations had dwindled on the rez, where a few handfuls of young men once had seen the Church as a portal to a better life. Of course, especially since the scandals, vocations were a problem nationwide…. An ambulance was parked alongside the seminary, its back doors open, siren quiet, red lights revolving slowly. On the far side of the white marble steps Sister Anne-Marie Feeney stood solid as a fireplug, her orthopedic shoes set apart on the pavement, cool wind twitching the black cloth of her habit.

Marissa’s mind could not yet construct the thing she wished to be other than it was, but as she got out of the truck she was already thinking, if I got up on the other side of the bed, put my right shoe on before my left, if a butterfly flapped its wings in China, if then if— A pair of shoulders hunched in a white scrub top appeared in the doorway, backing awkwardly toward the first step, while leaning forward into a load.

Sister Anne-Marie registered her presence and waved her imperiously back with her brick-red calloused hand. Marissa continued to advance; the nun pointed more insistently at something behind her. Her lips moved but Marissa heard nothing. She looked over her shoulder and saw that she had left her driver’s door hanging open across the bike lane which the town had recently established by dint of drizzling a line of white paint across the pot-holed pavement. Sister Anne Marie, who transported herself on a rust-red Schwinn three-speed, was militant on the subject of the bike lane.

Marissa turned back and slapped her door shut –irritably, though knowing herself in the wrong. She advanced again toward the seminary door, where the two paramedics had now emerged with their stretcher and the long figure laid out motionless upon it, covered from head to toe with a white sheet. With no particular urgency they rolled the stretcher in. No eye contact with Marissa or the nun.   Sister Anne-Marie had caught Marissa’s elbow in her blunt grip—had she looked like she would throw herself onto the, onto the—? But now the attendants had closed both doors and were climbing into the front of their vehicle.

She dipped into her front pants pocket and touched the rosary he had given her. This other sequence of events was so clearly present to her still; she arrived to find Claude sweeping the seminary steps, one of many banal tasks he claimed for himself around the grounds of the church. He looked up, mildly surprised, but already more pleased to see her than not, his smile still not quite perceptible as Marissa glanced at her watch and stopped herself from quickening her step. She did not have to be at work for forty minutes so there was time to go around the corner and have a cup of dishwater coffee at the donut shop there—time and so much to tell, and finally someone she could safely tell it to.

The sun broke over the peaked roof line of the church and flooded the sidewalk where they stood with light.

She had apparently missed a few things Sister Anne-Marie had been saying, “… a mickey valve, a mighty valve—oh I can’t remember exactly what but Father said it wasn’t serious, the doctors were watching it, supposed to be.”

She looked at the ugly electric sign. Claude’s heart had a hole in it then, if it had not blown up. Marissa brought her eyes down to the nun’s face, which was the same color and texture of the abrasive blood-red brick of which the older parts of the town were constructed. Take away the wimple and she might have been looking at the face of a career alcoholic, one of the sterno-strainers. Oh, it was only high blood pressure in Sister Anne-Marie’s case, she knew.

“I didn’t know,” she heard herself say.

“Father didn’t tell many people.”

And now Marissa searched the nun’s face for something along the lines of suspicious knowledge (an insight she had carefully denied herself)—an unspoken What makes you think you had a right to know, you little minx? Instead she found only a gentleness she could not bear.

“Child,” said Sister Anne Marie. Marissa broke away from her and walked stiff-legged to her truck.

§

Early to work, she leafed through her dossiers, barely seeing them with her parched eyes. It was supposed to be a paperwork morning; she had no appointments till late afternoon. Just Jimmy Scales, and he was not likely to show. Marissa knew he had skipped his court-ordered pee test and that she would most likely be spending a piece of her afternoon writing him up for it. The molded plastic chair across from her desk, where Scales sat sullen and uncommunicative for forty-five minutes every two weeks. It would be a paperwork day, then, not just a paperwork morning—well, she could catch up on some of those files. A break midmorning, telling her beads in her pocket while she watched Peggy smoke her weak, toxic cigarettes. Yoghurt or a stale packaged salad for lunch. She could populate her whole future with such banalities, as if instead of being doled out one at a time the events had all fallen out of their box.

She yanked the sheet with Scales’s basic stats on it out of the grubby folder and dropped the rest of the folders back in the metal file drawer. Peggy ran into her in the entryway, coming in as Marissa went out.

“Where you off to?” Peggy said.

“After Jimmy Scales,” Marissa told her.

“What? Would that be a rational act? He didn’t even miss his appointment yet.”

“No,” Marissa said. “But don’t I know he’s going to—am I Nostradamus or what?”

“Girl, you look you seen a ghost.” Peggy was wagging her head slowly. “No, you look you are a freaking ghost.”

§

At a gas station on the north bank of White River she stopped and bought a pack of Marlboro Reds and tossed it on the dashboard. She’d done that before when she quit smoking—once for a whole sixteen months. An unopened pack on the corner of her desk proved she was stronger than her addiction and that her clients might even be stronger than theirs. A parable in pantomime. Sometimes she had given the pack to a client, in the end.

At the border of the reservation she pulled over to enter Jimmy Scales’ reported address into the small GPS unit improvisationally mounted on the cracking dashboard of her truck. It came up somewhere west of Sharp’s Corner. Marissa wasn’t familiar with the area. She knew her way to the IHS hospital on East Highway 18, and to Oglala Lakota College, where she had briefly worked in the health center.

She missed the turn she should have taken at Scenic and drove blind across a narrow waist of Badlands National Park. On the far side she kept following 44 as it twisted south into the rez, and presently found herself passing through Wanblee. The wreckage of a couple of houses torn up by a tornado lay scattered over three acres of ground south of the roadway. A little further was a white frame church, with a quaint wooden belfry, photogenic. She pushed down the thought of Claude.   There’d be a funeral. When would it be? Her future….   A handful of boys in droopy shorts and shirts were popping skateboards off the concrete stoop of the church.   One of the more daring rode crouching down the welded pipe stair rail and survived the landing. Swooping in a wide turn over the asphalt parking lot, he glanced incuriously at her truck as it rattled by.

Her dry eyes burned. West of Potato Creek she began to overtake a pedestrian. Slender, with glossy black hair so long it swung around her hips. A half open backpack swung from her shoulder by one strap. She turned, lifting her chin, and signaled not by raising her thumb but pointing her hand peremptorily to the ground, as if to command the truck to stop.

Inez. Marissa’s heart lifted slightly. She leaned across to pop the passenger door. Inez slipped off the backpack as she climbed in, then shrugged out of the denim jacket she was wearing.

“Wow Miz Hardigan, whatcha doin’ all the way out here? Can you gimme a ride down to school?” Inez wore an orange tank top and the round of her belly pushed a gap between its hem and the waistband of her jeans. In her slightly distended navel glittered a small bright stud. She had not stopped talking: “I’d been late to comp class if you didn’t stop—“ she pointed at the corner of a rhetoric textbook sticking out of her backpack– ” I dunno it’s kinda boring anyway I thought I might switch to the nursing program anyway, Miz Hardigan you musta done nursing, right? Hey, can I take a cig? Hey, cool truck, I always liked ‘m, my uncle used to have one once back when they were sorta new.”

Marissa nodded at the pack on the dashboard. It was not like Inez to chatter this way. Marissa knew her as calm and slightly mysterious. She had already peeled the cellophane from her pack and lit a cigarette with a lighter she squeezed out of her jeans pocket, then let it burn down unnoticed between her fingers, as she picked obsessively at some invisible something between the hairs of her left forearm.

Oh Christ, Marissa thought. Do you know what that’s doing to your baby? Do you know what… she didn’t say anything. She couldn’t have, as there was no chink in Inez’ prattle for her to have slipped a word into before they reached the entrance of the college.   Marissa dug in the pocket behind her seat and fished out a scare-you-off-meth brochure…. Unfolded, it displayed the stages of a twenty-year-old woman aging forty years in two. Inez shoved it into her backpack without really seeming to see it at all, but she gave Marissa a hurt look from her wiggly eyes as she hopped out of the truck and slammed the door.

In a devil’s elbow beyond the college, Marissa narrowly missed a collision with a horse-trailer, though the road was otherwise empty and their speeds were low. She pulled onto the shoulder and sat there, shaking with the fading tension, watching the trailer recede in her side-view mirror. A painted rodeo scene flaked from its back panel: cowboys and Indians, horses and bulls. Marissa saw that Inez had dropped a lighter on the passenger seat when she got out. The blue translucent plastic showed a quarter full of fluid. And the cigarette box lay on the dash, cracked open. Another few months into a meth habit and Inez would have automatically stolen it.

Marissa got out of the truck to smoke her first cigarette in over a week. The blast of unaccustomed nicotine dizzied her so much that she had to brace a palm on the warm ticking hood of her vehicle. In one corner of her mind was the thought that this was not really a pleasant or desirable sensation. In another: Now I am going to cry. But she didn’t cry.

Sharp’s Corner was no more remarkable than Wanblee had been. The GPS led her west onto a gravel road that soon degraded itself into a packed dirt track. Where the track petered out into blank open prairie, the GPS unit went dark. Marissa had a state map in her glove box, but on that the reservation proved to be a nearly blank white space, like the African interior on the maps of Victorian explorers. Her tires were worn and it would be idiotic to break down out here; if the GPS had failed her cell phone probably wouldn’t get a signal either.

Nevertheless she drove on. The prairie was neither as featureless nor flat as it first seemed. There were billows and hollows full of thorny scrub and small twisted trees. In one of these pockets appeared a tin roof streaked brown with rust. Marissa steered toward it, thinking that she might have blundered onto the Jimmy Scales’ domicile after all.

She set her parking brake and got out. The small house sat half in, half out of a thicket of evergreen brush, at the bottom of a dish in the prairie, scattered with sharp white stones. It did not exactly look abandoned, but the door hung open in a way that dismayed her. She started to call to the house but did not. To the left of it the rusted carcass of an old Mustang stood on blocks and beside it a washing machine so ancient it had a wringer bolted on top. A dented aluminum saucepan lay upside down among the stones.

The sky darkened abruptly, though it could scarcely have been noon. Marissa looked up to see a black squall line hurrying from the west, dense inky cloud that blotted out the sun. She could no longer remember why she had come here. Out of the thicket to the right of the house came an old man with long white hair, wearing a green quilted vest with the stuffing coming out from its parted seams. He shook a rattle at the end of one bony arm and made a thin keening sound with his voice. Although he did not seem to see her he was coming toward her certainly, as if everything in this day, in her whole life, existed to carry her to this moment and him to her. When he had reached her, his free hand took hers.

Marissa said, Why?

You have a hollow in your heart, the shaman said. Or maybe he said hunger. The rattle shook in his other hand. Hunger. Hollow. Now Marissa was weeping, with no sound or sobbing. She only knew because the water from her eyes ran into the neck of her shirt and pooled in the shell of her collar bone.

Go to it now, the shaman said. Don’t hesitate.

—Madison Smartt Bell

N5

Madison Smartt Bell is the author of twelve novels, including The Washington Square Ensemble (1983), Waiting for the End of the World (1985), Straight Cut (1986), The Year of Silence (1987), Doctor Sleep (1991), Save Me, Joe Louis (1993), Ten Indians (1997)  and Soldier’s Joy, which received the Lillian Smith Award in 1989.  Bell has also published two collections of short stories: Zero db (1987) and Barking Man (1990).  In 2002, the novel Doctor Sleep was adapted as a film, Close Your Eyes, starring Goran Visnjic, Paddy Considine, and Shirley Henderson.  Forty Words For Fear, an album of songs co-written by Bell and  Wyn Cooper and inspired by the novel Anything Goes, was released by Gaff Music in 2003; other performers include Don Dixon, Jim Brock, Mitch Easter and Chris Frank.

Bell’s eighth novel, All Soul’s Rising, was a finalist for the 1995 National Book Award and the 1996 PEN/Faulkner Award and winner of the 1996 Anisfield-Wolf award for the best book of the year dealing with matters of race. All Souls Rising, along with the second and third novels of his Haitian Revolutionary trilogy, Master of the Crossroads and The Stone That The Builder Refused, is available in a uniform edition from Vintage Contemporaries. Toussaint Louverture: A Biography, appeared in 2007Devil’s Dream, a novel based on the career of Nathan Bedford Forrest, was published by Pantheon in 2009. His most recent novel is The Color of Night.

Born and raised in Tennessee, he has lived in New York and in London and now lives in Baltimore, Maryland. A graduate of Princeton University (A.B 1979) and Hollins College (M.A. 1981), he has taught in various creative writing programs, including the Iowa Writers’ Workshop and the Johns Hopkins University Writing Seminars. Since 1984 he has taught at Goucher College, along with his wife, the poet Elizabeth Spires. He has been a member of the Fellowship of Southern Writers since 2003. For more details, visit http://faculty.goucher.edu/mbell

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Mar 022017
 

J P McEvoy image 37 J.P. McEvoy portrait by James Montgomery Flagg, from a 1951 print

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The 1920s saw a surge in experimentation with the form of the novel. In Ulysses (1922), James Joyce used a different style for each chapter, including the play format for the notorious Nighttown episode. Jean Toomer’s “composite novel” Cane (1923) consists of numerous vignettes alternating between prose, poetry, and drama. John Dos Passos in Manhattan Transfer (1925) abandoned traditional narrative for a collage of individual stories, newspaper clippings, song lyrics, and prose poems. Taking his cue from European Surrealists, Robert M. Coates likewise deployed newspaper clippings, along with footnotes, diagrams, and unusual typography, in The Eater of Darkness (1926). Djuna Barnes’s novel Ryder (1929) includes a variety of genres—poems, plays, parables—and is written in a pastiche of antique prose styles. William Faulkner scrambled chronology and used four distinct narrative voices in The Sound and the Fury (1929), and later even added a narrative appendix. These were all serious novelists who disrupted nineteenth-century narrative form to reflect the discontinuities, upheavals, and fragmentation of the early twentieth century, a time when many new media emerged that would rival and in some quarters supplant the novel in cultural importance and popularity.

But literary historians have overlooked a novelist from the same decade who deployed these same formal innovations largely for comic rather than serious effect, adapting avant-garde techniques for mainstream readers instead of the literati. Between 1928 and 1932, J. P. McEvoy published six ingenious novels that unfold solely by way of letters, telegrams, newspaper articles, ads, telephone transcriptions, scripts, playbills, greeting card verses, interoffice memos, legal documents, monologues, song lyrics, and radio broadcasts. Ted Gioia described Manhattan Transfer as a scrapbook, which could describe McEvoy’s novels as well, and in fact a reviewer of his first novel used that very term.[1] Given their concern with a variety of media (vaudeville, musicals, movies, newspapers, greeting cards, comic strips, radio) and their replication of the print forms of those media, they might better be described as multimedia novels. But perhaps the best, if anachronistic, category for McEvoy’s novels is avant-pop,  that postmodern movement of the late 1980s/early 1990s which (per Brian McHale, quoting Larry McCaffery) “appropriates, recycles and repurposes the materials of popular mass-media culture, ‘combin[ing] Pop Art’s focus on consumer goods and mass media with the avant-garde’s spirit of subversion and emphasis on radical formal innovation.’”[2]

Since McEvoy is all but unknown, a brief biographical sketch follows.

An orphan, Joseph Patrick McEvoy told the Rockford Morning Star later in life that he didn’t “remember where he was born—but he has been told that it was New York City and that the year was 1894.” Newspaper comic historian Alex Jay, who records that remark in a well-researched profile,[3] gives a number of possible birthdates ranging from 1894 to 1897; the consensus today is 1895. Possibly born Joseph Hilliek or Hillick, the boy was adopted by Patrick and Mary Anne McEvoy of New Burnside, Illinois. The same Rockford Morning Star piece reports him as saying “he didn’t go to school—he was dragged. This went on for a number of years, during which time McEvoy grew stronger and stronger—until finally he couldn’t be dragged any more. This was officially called the end of his education.” In the contributors’ notes to a 1937 periodical, he wrote (in third person): “While he was still a guest in his mother’s house, J. P. McEvoy started his writing career at the age of fifteen as Sporting editor of the South Bend Sporting-Times.”[4] He later admitted (in first person), “I remember my first assignment as sports editor for the News-Times [sic] was to cover a baseball game. I was a descriptive writer. I became so interested in what was going on that I omitted the detail of scoring the game. I had to call The Tribune (a rival newspaper) to get the score.”[5] In 1910 he enrolled at the University of Notre Dame, which he attended until 1912.

In 1920, a stationery industry journal called Geyer’s Stationer gave this account of his early career (again from Jay):

It is interesting to take a peep into Mr. McEvoy’s past. He early acquired the art of hustling—perhaps that is why he is able now to do the work of two or three men. At Christian Brothers’ College in St. Louis he was the star bed maker. One hundred and fifty a day was his regular chore. Later, at Notre Dame University, he was a “waiter” at meal times and a newspaper man in the evenings. He worked on the South Bend News from six in the evening until two in the morning. When pay day came he required no guard to protect him—$4.00 constituted his salary!

When he came to Chicago, after graduating, he obtained a position as cub reporter in the sporting department of the old Record-Herald.

McEvoy in the 1920sMcEvoy in 1920 (l.) and 1922 (r.)

He created several comic strips there beginning in 1914, and moved on to the Chicago Tribune in 1916 for further strips before joining the P. F. Volland Company, which published books, postcards, and greeting cards. McEvoy published two illustrated books of sarcastic verse with Volland, both in 1919: Slams of Life: With Malice for All, and Charity Toward None, Assembled in Rhyme—with a postmodernish introduction in which McEvoy refers to himself in the third person as “his favorite author”—and The Sweet Dry and Dry; or, See America Thirst!, a mélange of poems and strips protesting the passing of the Eighteenth Amendment prohibiting the sale of alcohol. Slams of Life in particular trumpets the linguistic ingenuity that enlivens his later writings. The mostly comic poems are bursting with wordplay, slang, raffish rhymes, typographical tricks, and flamboyant diction: the first sesquipedalian word in one poem is “Absquatulating,” and the opening stanza of “The Song of the Movie Vamp” reads:

I am the Moving Picture Vamp, insidious and tropical,
The Lorelei of celluloid, the lure kaleidoscopical,
Calorific and sinuous, voluptuous and canicular,
And when it comes to picking pals, I ain’t a bit particular.

Many are quite literate, even erudite: “That’s a Gift” namedrops the historians Taine, Gibbon, and Grote, while another ranges from “the Ghibelline and Guelp” to “Eddie Poe.” The latter’s “The Raven” is parodied in “A Chicago Night’s Entertainment,” and “Lines to a Cafeteria or Glom-Shop” is a takeoff on a canto from “Kid” Byron’s Don Juan.[6] A poem with the baby-talk title “Bawp-Bawp-Bawp-Bawp-Pa!” acknowledges the ancient Greek orators “Who slung a mean syllable over the floor / Isaeus, Aeschines, Demosthenes, too,” and McEvoy seems to have been au courant with the latest poetry and art as well, for another one is entitled “An Imagist Would Call This ‘Pale Purple Question Descending a Staircase.’” He introduced Sinclair Lewis at a talk before the Booksellers’ League in Chicago in 1921; reporting the event, Publishers Weekly identified McElroy as the author of Psalms of Life, a sanctification of his Slams that probably amused him.[7]

McEvoy wasn’t happy at Volland, despite his lavish salary ($10,000 a year, equivalent to around $130K today) and the prestige of being “the first writer of greeting-card sentiments to be admitted to the Author’s League.”[8] In the author’s note at the end of his Denny and the Dumb Cluck—a 1930 novel satirizing the greeting-card business—he writes:

For many years I was editor and poet laureate of P. F. Volland and Co. and the Buzza Co., leaders in the manufacture and distribution of greeting cards, and among other minor atrocities I have compiled 47,888 variations of Merry Christmas. Also I have sat in on art conferences without number, where we met such important crises as “Shall we face the three camels east, or would it be better to put one of those Elizabethan singers out on the doorstep, holding a roll of wall paper?”

Until he resigned from Volland in 1922, McEvoy continued to write for the Chicago Tribune. It ran a serial called The Potters in 1921, illustrated by a friend he had made at Notre Dame named John H. Striebel (1891–1962), with whom he would later collaborate. The Potters was described as “a new weekly humorous satire in verse on married life in a big city” and was later turned into a successful play and published in book form  in 1924.

By then McEvoy had left Chicago and was living in New York City, leaving behind both greeting cards and comic strips to write for the stage. First he wrote a revue called The Comic Supplement (1924), which was produced by Florenz Ziegfeld and starred W. C. Fields.[9] McEvoy wrote the original “Drug Store” sketch, one of Field’s favorites and reprised in some of his later films. Ziegfeld forced unwanted changes on McEvoy’s script, but later repented and invited him to begin writing for the Ziegfeld Follies. McEvoy cowrote the 1925 production (with Fields, Will Rogers, Gus Weinberg, and Gene Buck), and continued to contribute skits and songs until 1926.

In 1926 he wrote a two-act revue entitled Americana,[10] a smart but zany show that Gershwin biographer Howard Pollack describes in terms that anticipate McEvoy’s novels: “Americana . . . satirized American life, including an after-dinner speech at a Rotary Club and an awkward attempt by a father to talk to his son about sex; it also took aim at opera (‘Cavalier Americana’) as well as Shakespeare by way of [composer Sigmund] Romberg (‘The Student Prince of Denmark’). Critics welcomed the show as refreshingly clever—a ‘revue of ideas,’ as the Times headline stated. . . .”[11] His other revues—No Foolin’ (1926), Allez Oop (1927), and New Americana (1932)—were less successful but provided plenty of backstage material for his novels.

It was at the Ziegfeld Follies that McEvoy met the inspiration for his first novel. Louise Brooks (1906–1985) was a featured dancer in the 1925 edition, and caught the eye of Paramount Pictures producer Walter Wanger, who signed her to a five-year contract later that year. McEvoy thought the wild-living Brooks would make an attractive heroine for a comic novel, and after naming her “Dixie Dugan” began writing a fictional account of her madcap adventures in show biz. Show Girl—made up of letters, telegrams, newspaper clippings, and so forth—was serialized in Liberty Magazine from 14 January to 14 July 1928, illustrated by his Notre Dame classmate John Striebel, who modeled Dixie on Brooks.

J P McEvoy Showgirl illus by John H StriebelJohn Striebel illustration, Liberty serialization of Show Girl

It was published in book form by Simon & Schuster in July of the same year, and was an immediate success, going through five printings in two months for a total of 31,000 copies in print—not to mention reprints by two other publishers, two British editions, and a German translation (Revue-Girl, adapted by Arthur Rundt). Show Girl deals with Dixie’s zigzagging path to success on Broadway; in its sequel, Hollywood Girl, Dixie (like Louise Brooks) travels out to Hollywood for further risqué adventures. Like its predecessor, Hollywood Girl was first serialized in Liberty (22 June–28 September 1929), then published by Simon & Schuster in book form later in 1929. Both were quickly made into movies, Show Girl (1928) and Show Girl in Hollywood (1930); it was initially reported that Brooks would play Dixie, but she didn’t get the part, possibly because she was under contract to another studio (though she had been loaned out before). Both films starred Alice White instead, who resembled It girl Clara Bow rather than the vampy Brooks. Stills from the films were tipped into later printings of both novels, an early example of media synergy.

In 1929, McEvoy’s former employer Florenz Ziegfeld, who appears as a character in Show Girl, produced a musical entitled Glorifying the American Girl with a script cowritten by McEvoy, and then staged a musical version of the novel, on which Gershwin again collaborated.[12] The lamest but longest-lasting spin-off of Show Girl is the comic strip Dixie Dugan, which McEvoy and Striebel began in October 1929 and which ran until October 1966, long after both had died.[13] The show-biz premise was soon dropped for a series of light romantic adventures, and today the strip is held in low esteem by most comic book historians. As Jay notes, McEvoy appeared in the 17 October 1939 edition of the strip, metafictionally depicted arguing with Dixie over money made from the franchise. A forgotten movie version, also called Dixie Dugan and starring Lois Andrews, was released in 1943.

J P McEvoy in Dixie Dugan comic stripMcEvoy in Dixie Dugan comic strip

Dixie Dugan comic stripLater Dixie Dugan strip

McEvoy followed Hollywood Girl with four more novels in the same multimedia format. Denny and the Dumb Cluck (Simon & Schuster, 1930), is about a greeting-card salesman named Denny Kerrigan, who was first introduced in Show Girl as a long-distance love interest of Dixie’s. (The “dumb cluck” of the title is Denny’s new girlfriend, Doris Miller.) In the same author’s note quoted earlier, McEvoy admits

The truth is Denny and The Dumb Cluck is a grudge book. It was I who originated the most famous Christmas Greeting of all—Wishing you and yours a Merry Christmas and a Happy New Year. You have probably used it yourself, not knowing—nor caring, which is worse—that it was stolen from me, that I have not received one cent of royalties for it.

I was robbed of that beautiful sediment [sic: a pun often used in his novels] and I swore that I would bide my time and some day I would get even. Denny and The Dumb Cluck is my answer.

McEvoy’s fourth novel, a satire of the comic-strip business entitled Mr. Noodle: An Extravaganza, was serialized in the Saturday Evening Post from 15 November to 20 December 1930 (a little too elegantly illustrated by Arthur William Brown) and published in book form by Simon & Schuster in April 1931. In the fall of that year they also published Society—serialized as Show Girl in Society in Liberty between 30 May and 8 August, again illustrated by Striebel—which picks up the Dixie Dugan story where it left off at the end of Hollywood Girl and, after a satiric view of high society in both Europe and the U.S., brings her zany story to an end.

Striebel illustration from Show Girl in SocietyJohn Striebel illustration, Liberty serialization “Show Girl in Society”

McEvoy’s final novel, Are You Listening?, was serialized in Collier’s Weekly between 17 October and 12 December 1931 (illustrated by Harry L. Timmins) and quickly made into a movie with the same title before it was published in book form by Houghton Mifflin in August of 1932. McEvoy’s last two novels apparently didn’t sell well, for they are nearly impossible to find today.

In 1930, at the height of McEvoy’s success, Broadway columnist Sidney Skolsky ticked off some amusing if questionable trivia about him:

His first piece of writing appeared in the South Bend News. He inserted a job-wanted advertisement.

For some unknown reason he is afraid to enter a laundry.[14]

Lives at Woodstock, N. Y. Is the proud possessor of two blessed events and a St. Bernard dog. The two children are now attending school in California. The dog, dying of loneliness, is to be shipped there next week.

The only jewelry he wears is a black opal ring. Wears this because everyone says it is unlucky.

Is very fond of people who resemble him.

He saves unused return postal cards.

Never actually writes a play or story. He dictates everything. Always has two secretaries working. Never revises any of his manuscripts. Show Girl has fourteen chapters. It was dictated at fourteen settings.

He is unable to part his hair.

Believes there should be a law against bed makers who never tuck in the sheets at the foot of the bed.

As far as comedians go he starts laughing if he’s in the same city as Jimmy Durante.

Always buys two copies of a book. One to read and one to lend.

His full name is Joseph Patrick McEvoy. His mother named him Joseph. His father named him Patrick. Not caring for either, he became J. P. McEvoy.

He has a picture of his wife in every room.

Still receives royalties on some of the greeting cards he wrote. His favorite is the following:

Eve had no Xmas
Neither did Adam.
Never had socks,
Nobody had ’em.
Never got cards,
Nobody did.
Take this and have it
On Adam, old kid.

He was once an amateur wrestler. Gave it up because he didn’t like being on the floor.

He hates to see people in wet bathing suits.

His first book to be published was a volume of poetry titled Slams of Life. He has the names of those who bought it. Two more sales and he could have formed a club.

Smokes a cigar from the moment he turns off the shower in the morning until he puts on his pajamas at night.

His pet aversions are women’s elbows, chocolate candy all melted together, fishing stories, fishermen, fish, Laugh, Clown, Laugh; radio talks on how to make hens lay, buying new shoes, mixed quartets, Laugh, Clown, Laugh; runs in silk stockings, three-piece orchestras, waiters who breathe down his neck and Laugh, Clown, Laugh.

When in New York he puts up at the Algonquin. If working on a story or play he and his wife occupy separate rooms.

His first writing for the stage was a vaudeville sketch. Out of the Dark, written with John V. A. Weaver. It played only two performances in a four-a-day vaudeville house.

His favorite composers are Tchaikovsky, and George Gershwin. His favorite conductors are Toscanini and Frank Kennedy of the Fifth Avenue bus line.

Has two mottoes. One for the home and one for the office. The motto hanging in his house is: “Let No Guilty Dollar Escape.” The motto hanging in his office is: “Watch Your Hat and Coat.”

Dislikes all the Hungarian Rhapsodies from number one to twelve.

His idea of a grand time is hearing Paul Robeson sing anything, going to Havana, being petted by any brunette not over five feet five, depositing royalty checks from Simon & Schuster, throwing pebbles into a lake, reading anything by James Stephens, eating kalteraufschnitt mit kartoffelsalat and attending a Chinese theater with a Chinaman.

He once got sick eating a sandwich that was named after him.

After he quit running a column in the Chicago Tribune the circulation of the Tribune dropped from forty thousand to a million.[15]

McEvoy continued to work in movies and publishing throughout the 1930s and 1940s. He appears in the opening credits of the 1933 film The Woman Accused as one of the ten authors who wrote a chapter each of the serialized novella (in Liberty) from which the screenplay was adapted; he collaborated again with W. C. Fields on the latter’s 1934 films You’re Telling Me! and It’s a Gift; wrote nonfiction accounts of his life in upper New York State; published a children’s book called The Bam Bam Clock (Algonquin Publishing Co., illustrated by Johnny Gruelle); and he wrote a humorous advice column called “Father Meets Son” for the Saturday Evening Post (published in book form by Lippincott in 1937).

J P McEvoy with W C Fields 1934McEvoy with W.C. Fields at a Paramount banquet, 1934

He coauthored the screenplay for Shirley Temple’s musical Just around the Corner (1938), along with an article on her (“Little Miss Miracle”) in the 9 July 1938 issue of the Saturday Evening Post, which reproduces a photograph of the author sitting next to the ten-year-old actress. He wrote the book for Stars in Your Eyes, a 1939 Broadway revue starring Ethel Merman and Jimmy Durante (the latter had a cameo in McEvoy’s first novel). Other notable magazine contributions include an interview with Clark Gable about Gone with the Wind in the 4 May 1940 issue of the Saturday Evening Post (there’s a photo available of a tuxedoed McEvoy dancing with Gable’s co-star Vivien Leigh), and a profile of Walter Howey, editor of William Randolph Hearst’s Boston American, in the June 1948 issue of Cosmopolitan. He was famous enough to be featured in magazine ads for White Owl cigars, “just off the plane from Havana” (reproduced by Jay).

J P McEvoy with Shirley TempleMcEvoy with Shirley Temple, 1938

J P McEvoy dancing with Vivien LeighMcEvoy dancing with Vivien Leigh, 1939

J P McEvoy White Owls Havana cigar adMcEvoy in White Owl  cigar ad, 1940

McEvoy spent the rest of his life contributing to Reader’s Digest as a roving editor, travelling with his third wife, and entertaining a veritable who’s who in America. Visitors to his large estate near Woodstock included members of the Algonquin Round Table, Frank Lloyd Wright, Clarence Darrow, Rube Goldberg, and avant-garde composer George Antheil. “One hectic weekend,” a local newspaper reported (per Jay), “almost the entire membership of the American Society of Artists and Illustrators attended a fabulous weekend party.” In 1956, McEvoy published his last book, Charlie Would Have Loved This (Duell, Sloan and Pearce), a collection of humorous articles. He died on 8 August 1958.

x

“Get hot!”: The Dixie Dugan Trilogy

Show Girl cover image

For most readers in 1928, Show Girl looked utterly unlike any novel they had ever seen. Preceding the title page is a teaser with some hype from the publisher’s Inner Sanctum imprint,[16] and the title page itself is an elaborate cast list “In the order of their appearance,” as in a theater program or the opening credits of a silent film. Each “performer” is followed by a saucy descriptive line, beginning with “Dixie Dugan: The hottest little wench that ever shook a scanty at a tired businessman.” The novel proper begins with a dozen pages of letters—familiar enough from epistolary fiction—which are quickly followed by a cavalcade of telegrams, Western Union cablegrams, newspaper articles (in two columns and a different font) and letters to the editor, playlets in script form, police reports (IN SMALL CAPS), poems and greeting card verses, a detective agency log, various  theater materials (ads, reviews, notices, house receipts), one-sided telephone conversations, a dramatization of a business convention, radiograms, even a House of Representatives session reprinted from the Congressional Record.

Show Girl title pageTitle page for Show Girl

All of this narrative razzmatazz supports a screwball-comic Broadway success story that occurs over a six-month period in 1927. (Nearly every document is dated, from May 1st to October 22nd.) The first half of the novel tracks Dixie’s hectic rise to notoriety. As this 18-year-old Brooklynite explains in a letter to her long-distance boyfriend Denny Kerrigan, she’s hell-bent on joining the chorus line of the Ziegfeld Follies.[17] He, on the other hand, writes that he wants to “get married and get a little apartment in Chicago, and I’ll come home to you every Saturday night after my week on the road selling mottoes and greeting cards in Indiana” (98).[18] Failing her Ziegfeld audition, Dixie instead becomes a specialty dancer at the Jollity Night Club, where she attracts the smoldering glances of “a tall, dark-haired, black-eyed tango dancer” named Alvarez Romano, who turns out to be the son of a South American president. (She enjoys making out with him: “And when he kisses—well the kid goes sorta faint and dreamy and don’t care-ish and can barely get through the front door and slam it shut” [19].) She also attracts the attention of a 45-year-old Wall Street broker named Jack Milton,[19] who one night after the show invites Dixie and other dancers to a party with his Wall Street buddies. He gropes and mauls her, only to be interrupted by Romano, who stabs him.

The New York Evening Tab turns it into a salacious scandal, and as a result Dixie is deluged with job offers, endorsement deals, and marriage proposals. The Evening Tab begins running Dixie’s first-person life story, ghostwritten and completely fabricated by reporter Jimmy Doyle, whom Dixie describes as “cute as a little red wagon and writes beautiful and I think he’s hot dog” (98). Fairly literate (though he confuses Swinburne with Browning), he describes his “bogus autobiography” to a Hollywood friend as follows, in a representative example of McEvoy’s jazzy style and his contempt for tabloid readers:

Well, I’m still Dixie Dugan and my contribution to the Fine Arts is monastically entitled “Ten Thousand Sweet Legs.” Boy, it’s hot. With one hand I offer them sex and with the other I rap them smartly over the knuckles with a brass ruler and say “Mustn’t touch. Burn-y, burn-y.” Then I sling them a paragraph of old time religion and single standard and what will become of this young generation. (I hope nothing ever becomes of it. I like it just the way it is.) And then another paragraph like the proverbial flannel undershirt that is supposed to make you hot and drive you crazy, and presto! the uplifted forefinger, “But this is not what you should be interested in, children.” And then a little Weltschmerz and then the old Sturm und Drang—a Sturm to the nose followed up with a Drang to the chin—the old one-two. So, as you may gather, this opus is the kind of love child that might result from an Atlantic City week-end party with the American Mercury and True Stories[20] occupying adjoining rooms. So much for literature! (77–78)

Spying on Dixie one night outside the theatre of her new show, Jimmy sees Romano abduct Dixie (to take her back to “Costaragua” to marry her), abducts Dixie himself when their limousine crashes, and then convinces her to lay low while his newspaper milks her disappearance for weeks. The recovering Jack Milton hires detectives to find her, offers to underwrite a musical for Dixie, and enlists Jack to write the book and lyrics for it.

Show Girl sample pages 1Pages from Show Girl

The second half of the novel documents the progress of the musical from its contentious beginning—Milton hires show-biz producers who rewrite Jack’s script and bring in outside contributors[21]—to its disastrous out-of-town opening, to its eventual success after Jack takes charge and restores his original conception. Retitled Get Your Girl, the musical makes Dixie a star, and Jimmy realizes he loves Dixie as much as she does him: “Besides being cute and all that she’s got a quick mind, a keen sense of humor and says just what she thinks,” he writes to his Hollywood friend. “And she really thinks” (195). Meanwhile, Dixie’s three suitors come to different ends: she rejects the marriage proposal of her sugar daddy, Jack Milton. Denny Kerrigan, still pining for Dixie, makes a big splash at a greeting-card convention in Atlantic City (where he catches Dixie’s show), and heads home with a promotion if not with the girl. On a darker note, Alvarez Romano returns to Costaragua to help his father lead a counter-revolution, is captured, and  sentenced to death. He escapes, but all his fellow prisoners are slaughtered, as a two-page article from the Evening Tab reports in gruesome detail. McEvoy places that tragedy near but not at the conclusion of the novel in order not to spoil the happy ending: Dixie finds success and love, conveyed by some clever parodies of notable theater critics of the day (Percy Hammond, Alexander Woollcott, Alan Dale, Walter Winchell) and a flurry of giddy radiograms.

Aside from the novelty of its format, the most appealing aspect of Show Girl is its language. Often sounding like a risqué and snarky P. G. Wodehouse, McEvoy offers a fruity cocktail of slang and flapperspeak, most of it from Dixie herself. She slings words and phrases such as “into the merry-merry” (show biz), “a good skate” vs. “a wet smack” (a fun vs. dull person), “gazelles” and “gorillas” (young women and nightclub predators), “butter and eggers” (theater audiences), “ginny” (tipsy), “static” (unwanted advice), “goopher dust” (a legal loophole), “blue baby” (a dud play), “clucks” (dumb people), “crazy as a brass drummer,” and exclamations like “Tie that one,” “skillabootch,” and “Get hot!” (encouragement shouted at a good dancer). Glib Jimmy Doyle has already been quoted, and throughout McEvoy inserts some clever song lyrics, parodies, and greeting-card verse; he even has Denny quote and praise a song from his own musical Allez Oop. There are times when the insider theater lingo becomes hermetic (“the old comedy mule stunt . . . an easy hit in the deuce spot . . . an unsubtle comedy team in ‘one’ with Yid humor and soprano straight . . . novelty perch turn in four . . . the choice groove next to shut” [52]), but all the slang and shoptalk is a constant delight. One reviewer said “Five years from now Show Girl and Hollywood Girl will need a glossary.”[22] Dixie agrees: she starts a diary in the latter for the benefit of her future biographers:

I can refer them to you Diary and they can see for themselves I’m not handing them a lot of horsefeathers. I suppose too Diary we should keep posterity in mind because when they came across a word like horsefeathers and didn’t know what it meant we should have it defined somewhere, so for the sake of posterity horsefeathers means a lot of cha-cha and cha-cha means what diaries are usually full of. (Hollywood Girl 35)

Dixie is the first of many independent, untraditional young women in McEvoy’s novels. She is a self-proclaimed representative of “flaming youth” (a 1923 novel and silent movie), and at times sounds surprisingly 21st-century: “The real ambition of our young generation . . . is to be cool but look hot” (7). At a time when most young woman wanted to get married as soon as possible, Dixie tells Denny, “I don’t want to marry you or anybody else. . . . I’m young and full of the devil and want to stay that way for a while” (94)—a sentiment that will be voiced by many of McEvoy’s young heroines.

Show Girl sample pages 2Pages from Show Girl

In Show Girl McEvoy introduces other themes that will run through all of his novels, dark undercurrents beneath their playful surfaces. His contempt for the general public has already been noted in Jimmy’s condescending remarks on his newspaper readers, an attitude that McEvoy will later extend to theater audiences, greeting-card customers, comic-strip fans, and radio listeners. When Jimmy meets with the Broadway producers who want to dumb down his play, we get this exchange:

DOYLE (bitterly): I suppose if you got “Romeo and Juliet” you wouldn’t produce it unless you could buy a balcony cheap.

EPPUS: “Romeo and Juliet”? Pfui! I seen that once. There wasn’t a hundred dollars in the house.

KIBBITZER: That kind of play don’t make money. You got to stick to things people understand. (112–13)

Kibbitzer later makes a pass at Dixie, and sexual predation in show business is another recurring theme. Dixie breezily dismisses that incident—“Well, that’s what a female gets for having Deese, Dem and Doze” (118)—but along with her earlier sexual assault at Jack Milton’s party and the lascivious advances of club “gorillas,” McEvoy dramatizes how dangerous show biz is for “gazelles” like her.

The mendacity of the media is mostly played for laughs here, with the joke on the dumb clucks who take celebrity gossip as gospel and actually believe the “sediments” expressed in greeting cards, but corruption is handled more seriously. When the police arrive at Milton’s wild party and arrest Alvarez, Dixie notes that one of the guests, “Wilkins his name was, a big politician I found out later—got the cops off to one corner and gave them some sort of song and dance” that keeps their names out of the papers the next day (30, 32). Near the end, Alvarez’s father travels to New York and promises Milton the oil concession in Costaragua in exchange for financing his revolt; Milton gets a few of his Wall Street pals together and decide “that would be the patriotic thing American thing to do. Our country may she always be right,” Dixie remembers him saying, “but right or wrong we’ve got to have oil.” Milton enlists an Alabama congressman named Fibbledibber to convince his fellow representatives via patriotic rhetoric that America’s honor depends upon &c &c &c, and sure enough Congress authorizes the Marines to intervene in the South American country. These darker elements add depths to what would otherwise be a light entertainment—depths that were drained by the producers of the 1928 movie version (no doubt of the same mindset as Kibbitzer & Eppus), according to those who have seen it. The novel is dark and daring, like Louise Brooks; the movie is blonde and harmless, like Alice White.

Scene from movie Show Girl starring Alice White 1

Scene from movie Show Girl starring Alice White 2Alice White in 1928 movie version of Show Girl

Show Girl’s reviews were as boffo as those for Dixie’s performance in Get Your Girl. Marian Storm quite rightly praised it as “a show-case of language. Whirling, whizzing, dizzying—a bombardment upon eye and ear of monotonous, accurate, faithful ugliness, of snappy similes.” Proposing a new criteria for literature, the Springfield Republican said, “If making ‘whoopee’ is one of the aims of literary art, Mr. McEvoy has scored a literary success.” Ziegfeld himself reviewed it for the Saturday Review of Literature—despite appearing in Show Girl as a character!—and described it as “show business ‘hoked up’ to the saturation point. . . . The action races by and every typographical ingenuity is used to emphasize and amplify the ‘punch stuff’”—slinging slang as deftly as Dixie, but perhaps not entirely comfortable with seeing his profession mocked.[23]

***

Hollywood Girl cover image

Published a little over a year later, Hollywood Girl is one of the first and still best satires of Hollywood—a clichéd subject today but a novelty in 1929, when the industry was still young and making the transition from silent films to talkies. It begins seven months after the conclusion of Show Girl, and ends a year later (i.e., May 1928–April 1929), and features a similar story arc. Get Your Girl having run its course, Dixie is back in Brooklyn looking for work while Jimmy tries to write a new star vehicle for her, vowing to marry Dixie as soon as it is staged. When Dixie learns that flamboyant movie director Fritz Buelow[24] is in New York casting his next epic—Sinning Lovers, based on “The Charge of the Light Brigade”[25]—and is “hot for a jazz-mad baby that could make yip yip and faw down in a new squeakie,” as Dixie puts it (14), she finagles an interview and passes a screen test, on the basis of which she’s given a tentative contract and sent to Hollywood. She gets only bit parts at first, and then none at all, and learns the studio will not be renewing her contract.

At this low point, nearly halfway through the novel, Dixie delivers an emotional, 18-page interior monologue modeled on Molly Bloom’s at the end of Ulysses, at the end of which Jimmy calls her and vows to help. (He too is now in Hollywood as a screenwriter.) He feels a publicity party is what she needs to attract work, which results in a remarkable chapter entitled “Hollywood Party: A Talking, Singing, Dancing Picture with Sound Effects,” another 18-page tour de force that ends with the suicide of an “aging” actress. (“I’m thirty two,” she tells Dixie, “and in this business if you’re [a woman] over thirty you’re older than God” [124].) While the party rages, Dixie goes off with Buelow to another party and is nearly raped. All this Sturm und Drang is heightened by troubling rumors that a Wall Street syndicate of bankers, including Dixie’s old admirer Jack Milton, will be merging the major studios, eliminating jobs, and moving the whole business back east.

Hollywood Girl sample pagesPages from Hollywood Girl

At about the same structural point in Show Girl where Jack regains control of his musical, Dixie learns she has been given the lead in Sinning Lovers, once again thanks to Jack Milton. (Ironically, the studio had decided to give the role to the aging actress the same night she committed suicide.) Dixie is tempted to accept Milton’s marriage proposal after she and Jimmy have the last in a series of fights, but after the preview version of the movie flops, she drops him because he wants to give up on the film (and on her career). She is shocked at his philistine views: “Jack says so far as the bankers are concerned if it doesn’t make money it’s not a good picture and I says what about Caligari[26] and he says I never saw it and from all I’ve heard of it I never want to see it . . .” (205). Fortunately, another producer and director step in, save the film (retitled Loving Sinners under pressure from the censorious Hays office), and the movie makes Dixie a star, as attested by another raft of rave notices (more real-life reviewers, this time representing Los Angeles).

But this is where the novel takes a surprising turn. Unexpectedly, Jimmy Doyle is not called in to save the screenplay, make up with Dixie, and marry her at the end. Instead McEvoy lets fame and riches go to her head: Dixie starts hanging out with silly rich people, indulges in trivial pursuits, and only two weeks after meeting Teddy Page, a “New York millionaire sportsman and young society aviation enthusiast” (227), she elopes with him in Las Vegas. She’s aware he’s a binge-drinking, hell-raising skirt-chaser, but she’s convinced she can change him. “It’s only because he hasn’t met the right kind of girl” (235). (Cue reader’s rolling eyes.) The penultimate page of the novel features a tipped-in wedding photo of the couple (with a dead ringer for Louise Brooks as Dixie), followed by an announcement in the New York Times that Page’s wealthy family has cut ties with him.[27] This unexpected ending is a daring subversion of the wedding bells convention typical of most romantic books and movies, but Hollywood Girl is not a typical novel.

Final pages of Hollywood Girl (book)Final pages of Hollywood Girl

Final pages of Hollywood Girl (serialization)Final pages of Hollywood Girl, Liberty serialization 

In addition to all the narrative bells and whistles of Show Girl, the sequel sports a publicity release, cast lists and shooting schedules, the morality clause from an actor’s contract, interoffice memos, six drafts of the opening sentences of a letter, screenplays (complete with camera directions), a full-page ad in Variety, and some unpunctuated, modernist-looking dialogue. Plus there’s a parody of Edgar Guest (reminiscent of the poems in The Sweet Dry and Dry) and that Joycean monologue. Dixie starts and abandons a diary, which feels like a narrative crutch on McEvoy’s part, but Dixie is so entertaining that it would be churlish to complain. There’s another slew of slang: “maddizell,” “laying down a few flat arches” (dancing), “belchers” (talking pictures), “dog house” (a bass violin), “sitzplatz” (sitting place=ass), and “Hot cat!” (expressing excitement). Jimmy is as glib as ever, as when he is asked by a reporter for his first impression of Hollywood: “Offhand, it looks a little bit like Keokuk [in Iowa] on a Sunday afternoon, except that the houses and vegetation seem to have been retouched by one of those disappointed virgins who go in for painting china” (67). But he can’t top Dixie on the difference between the Big Apple and the Windy City: “New York is a jazz-band playing diga-diga-doo but Chicago is just a big megaphone with an overgrown boy hollering through it: Look at me, ain’t I big for my age” (40).

Like the first novel, there are a few celebrity cameos, including Dixie’s counterparts Louise Brooks and Alice White, aptly enough, and Aimee Semple McPherson via the radio airwaves. Von Stroheim is seen working with Gloria Swanson on Queen Kelly, a production as costly and strife-ridden as Sinning Lovers, and fans of old Hollywood will revel in all the namedropping, tech talk (UFA angles, lap dissolves), and insider dope.

Sexual predation is even more prominent here than in McEvoy’s first novel, and creepier: Show Girl is PG-13, Hollywood Girl R-rated. Director Buelow is a letch who indulges in Trump/Bush “locker room banter” and seduces the Evening Tab reporter who interviews him near the beginning of the novel (and who begins dating Jimmy at the end, when he returns to his job there), and plans to do the same with Dixie. (First, she has to fend off his manager with a joke about pedophilia.) Warned by Jimmy that Buelow “was on the make for me,” Dixie tells her diary “of course he’s on the make and what of it, all men are, only some are sneaky and don’t admit it . . .” (42). Jimmy tells her she will have to put out to be put in Buelow’s movie, which causes their first spat, but Dixie sees plenty of that after she’s been in Hollywood a few months. She keeps saying no to all the men who hit on her, including Jimmy’s Hollywood correspondent, unlike those who say yes: “that’s how you get along say yes talk about yes-men you never hear of the yes-girls but they’re the ones with the Minerva cars and three kinds of fur coats I guess I could get there too if I said yes . . .” (81).[28] The novel is frank about the sex appeal of movies. The aging star says of the latest starlets,

they’ve got one thing I haven’t got—youth. They’ve got young necks and young legs and young eyes. And nice slim, soft young bodies. And you can’t fool the camera when it comes to those things. And that’s what they want out here in this business. Youth. Young flesh. And they feed it into the machine and out comes thousands of feet of young eyes and young legs and young bodies. Reels and reels of it. And that’s what people want to see. Men go there and watch them hungrily all evening and then go home and close their eyes when they kiss their wives. (124)

McEvoy would have used a different verb if he thought he could get away with it. A month later Dixie is almost raped by Buelow, and after her success she speaks of budding actresses in terms of prostitution:

Hardfaced mothers from all over the country dragging their little girls around to studios ready to sell them out to anyone from an assistant director to a property man just to make a little money off them. Agents with young girls tied up under long term contracts at a hundred a week leasing them to studios for ten times that and pocketing the difference. Hundreds of pretty kids from small towns, nice family girls, church girls, even society pets going broke and desperate, waiting tables, selling notions, peddling box lunches on the street corners—I could tell you stories that would curl your hair. (223–24)

Passages like this are what make Hollywood Girl closer in tone and intent to Caligari than Singin’ in the Rain.

These intimations on immorality in show biz perhaps account for the curious number of biblical allusions in the novel, beginning on the first page, when Dixie blithely answers an imaginary interlocutor: “Where’ve you been? On Broadway, sez I. Where on Broadway, sez you. Up and down, sez I—up and down, between Forty-eighth and Forty-second, looking for a job”—the final word punning on the source of Dixie’s diction, Job 1:7: “And the Lord said unto Satan, Whence comest thou? Then Satan answered the Lord, and said, From going to and fro in the earth, and from walking up and down in it.” Over the next few pages there are allusions to the twelve apostles, Jonah and the whale, the book of Genesis, Noah’s ark, and the Four Horseman of the Apocalypse. Though based on Tennyson’s poem, Sinning Lovers inexplicably begins with the Garden of Eden (with Dixie in Eve’s role), and when Dixie resignedly decides to marry Milton, she says, “sometimes I feel like that bimbo in the Bible who sold out for a mess of pottage” (cf. Gen. 25:29–34; “bimbo” is used of men and women in the novel).

Show Girl in Hollywood pagePage from Hollywood Girl, Liberty serialization

The most sustained biblical allusion is the radio broadcast Dixie and Jimmy endure while in a restaurant: from L.A.’s Angelus Temple Aimee Semple McPherson delivers a hokey sermon on Daniel in the lion’s den, spread over four pages in small caps (174–77), exhorting her listeners to tune out “all the jazz bands and the frivolous things of this world” and to sing along with her (to the tune of “Yes Sir, She’s My Baby”):

Yes sir here’s salvation
No sir don’t mean maybe
Yes sir here’s salvation now
Goodbye sin and sorrow
Welcome bright tomorrow
For we’ve got salvation now (177)

This is too ludicrous to take seriously, and though Dixie occasionally refers to herself in terms such as “a devil on wheels” (231), she is hardly Satan, much less Eve, Esau, or Daniel, and her thoughtless elopement at the end makes a mockery of finding salvation. Nor is McEvoy calling for readers to renounce “the frivolous things of this world” like Broadway musicals and Hollywood epics; for his purposes, the Bible is no longer a moral guidebook but a source of wisecracks, but the recurring biblical references add one more unexpected level to the novel.

As with Show Girl, the reviewers ignored the dark depths and stayed at the bright surface of the novel, which they found a little dimmer than its predecessor. “The book is amusing, filled with Hollywood madness and Hollywood slang,” said the New York Times, “but it lacks the easy, hilarious fun of ‘Show Girl,’”[29] not considering the possibility that McEvoy was aiming at something more than “easy, hilarious fun.”

***

Society cover image

Two years later, McEvoy concluded Dixie’s sassy saga with Society, which picks up the same day Hollywood Girl left off.[30] The first half of the novel documents the first few months of Dixie and Teddy’s impulsive marriage: honeymooning down in Mexico and then up in Monterey, Teddy continues drinking and chasing after women, which soon drives Dixie to Hollywood to resume her career. But they make up, and Dixie begins learning more of Teddy’s rich family: his 18-year-old sister Serena, whom he calls “a wet smack and dumb as a duck” (6), who is preparing to make her debutante debut that fall; his 16-year-old sister Patricia, a hellion already wearing heels who has seen Dixie’s film and runs away from private school to pursue a similar career in Hollywood; and Teddy’s predictably stuffy mother and father; in order to trace his daughter, the latter hires the same Open Eye Detective Agency that searched for Dixie in Show Girl. Mr. and Mrs. Teddy Page, as they are called—Dixie loses much of her independent identity after she marries: “Teddy is my career now” (42)—then  sail to France to continue their honeymoon, but during the crossing Teddy lusts after an Apache dancer called Le Megot—“cigarette butt or a snipe,” as Dixie translates, and described as “one of the sexiest little devils I ever saw with a wild shock of hair, a slim lazy body, big black eyes and a red mouth that must drive men crazy” (70). Upon arrival in France, Dixie sends a telegram wittily announcing “LAFAYETTE I AM HERE” (74), but no sooner is the honeymooning couple settled in Paris than Teddy sneaks off to London “on business” to catch Le Megot’s act at the Kit Kat Club. Meanwhile, Dixie is escorted around Paris by an Italian gigolo who had tried to seduce her during the ocean crossing. After another big fight—Dixie throws “a complete set of Victor Hugo at [Teddy], all of which he managed to dodge with the exception of Volume II of ‘Les Miserables’” (109)—they make up and head down to the Riviera.

At that point, halfway through novel, the plot takes a metafictional turn: we learn that Jimmy Doyle is in Paris, working for Colossal Pictures again and “gathering material for a high society movie” (105–6). Excited to learn that Dixie is also in France, he telegraphs his producer with a revised idea: “COULD COMBINE EUROPEAN ANGLE SOCIETY AND DIXIES POPULARITY” (108, sic)—which sounds like a note McEvoy made to himself after finishing Hollywood Girl. Dixie continues to party with the idle rich and tells Jimmy she’s having fun, or “fun in a way. But it’s no pleasure—if you know what I mean. We’re all so bored—Teddy’s friends and their friends—and they work so hard to be amused—and nothing really makes ’em really laugh—only when they’re full of champagne and are their real selves but don’t know it” (123). Dixie is excited to learn she’s pregnant, but just then Teddy gets involved in a sex scandal and both have to sneak back to New York. As the Page family prepares for Serena’s obscenely expensive coming out ball at the Ritz-Carleton on Thanksgiving Eve ($50K, around $750K today), Patricia reconnects with the young communist radical she had met while en route to Hollywood, and attends a rally in Bryant Park at which he speaks the night of Serena’s ball. Learning the cost of the ball, her Red beloved leads a protest march to the Ritz, which is broken up by the police—or as the headline in the communist Daily Worker puts it (177):

TAMMANY COSSACKS DEFEND SACRED RITZ
FROM CONTAMINATION BY STARVING WORKERS
THOUSANDS OF DOLLARS FOR ORCHIDS
WHILE MILLIONS CRY FOR BREAD.

Early the next year, Jimmy returns from France, manuscript completed, and tracks Dixie down in Palm Beach, where she is drinking to excess, experiencing cramps, and having doubts about becoming a mother: “I’m so tired of this silly empty life and realize the baby is going to tie me down tighter than ever” (188). On the next page we read a news account of an explosion on a yacht, in which Dixie was seriously injured. When she learns she has lost the fetus, she declares herself through with it all. Her decent father-in-law arranges a quickie Mexican divorce (and a generous stipend for life), and Dixie agrees to star in Jimmy’s movie Society Girl, “A Sensational Expose of the Haut Monde At Play” as a full-page ad on the penultimate page describes it. The movie is a “smashing hit” (with more fake quotes from real reviewers of the time), and Dixie and Jimmy decide to rest by sailing together for France. Meanwhile, Teddy is already on to his next showgirl, who Walter Winchell informs us (in a tidbit from his column) is “the third gel from the left in Earl Carroll’s Fannyties” (205).[31]

Though Society lacks the hellzapoppin’ energy and jazzy lingo of its predecessors—which in fact would be inappropriate for the leisurely pursuits of the rich and fatuous—the novel is more ingenious than the average satire of high society due, once again, to the novelty of its materials. The title page resembles a formal invitation, set in a copperplate font and even blind-stamped.

Title page of SocietyTitle page from Society

In addition to the usual letters, telegrams, playlets, and news clippings, we’re treated to Dixie’s ocean crossing diary, shipboard schedules and announcements, formal invitations and cards of introduction, menus, invoices, legal documents, a Junior League report by Serena on “A Trip through a Biscuit Factory,” and best of all, several chapters from The Memoirs of Patricia Page (To Be Opened Fifty Years After Her Decease),” an amusingly self-dramatizing, misspelt account of the 16-year-old’s runaway adventure. There are self-conscious narrative winks from McEvoy, as when the stage direction in one playlet describes the head of the Open Eye Detective Agency as “one of those fiction detectives who can only be found in real life” (33), and when Jimmy remarks on the coincidence of booking a hotel room next to Dixie’s: “If a fellow wrote that in a book they’d say he certainly had to reach for that one” (118). As Jimmy adapts his film plans to fit Dixie’s life, and even asks her to supply background material on debutantes (which she does in snarky fashion), it becomes obvious that his Society Girl is a metafictional mirror image of McEvoy’s Society, a film of the novel/novel of the film.

Pages from Society

Pages from Society 2Pages from Society

The darker themes in the first two novels are lighter here: sexual predation takes the forms of handsy gigolos and rampant adultery. As early as page 3 Dixie reports that one of Teddy’s rich friends “went right on the make for me—didn’t seem to mind I was on my honeymoon. Teddy didn’t either. Seemed flattered if anything.” A dozen pages later he shacks up with his ex-fiancée, and his tomcatting ways result in the suicide of one betrayed husband. Prostitution imagery is used for both debutantes—their coming out balls are sales displays for the marriage market—and for “society girls who are poor as church mice and yet have to keep up a swank front and be seen everywhere in the swellest clothes and what they won’t do to get by would put a Follies girl’s gold digging into the ‘come into the drug store with me while I get some powder’ class” (18). Patricia’s communist friend reprises Alvarez Romano’s role in Show Girl to introduce political elements in the novel, railing against the decadence of capitalist society in America and aristocratic privilege abroad, which McEvoy records in garish detail.

He also slips homosexuality into the novel. In a brilliantly rendered playlet set in a Paris nightclub called Le Fétiche, two Harvard boys “doing post-graduate field work in abnormal psychology” marvel at the lesbians. “A rosy-cheeked, bright-eyed contralto in tweeds” sings three new stanzas of Cole Porter’s “Let’s Do It, Let’s Fall in Love” (1928), another opportunity for McEvoy to show off his gift for parody:

Bugs do it—
Slugs do it—
Evil-looking thugs in jugs do it—
Let’s do it—
Let’s fall in love.
In holes the nice little mice do it—
Tho they are pariahs—lice do it—
Let’s do it—
Let’s fall in love.
. . . . . . . . . . . . . . . . .
The Infusoria in Peoria do it—
And the better classes in Emporia do it—
Let’s do it—
Let’s fall in love. (93, 98)

This scene is followed by a letter from a Variety reporter describing the sights to be seen on the way south to the Riviera, including “a little hideaway tucked between [San Rafael and Toulon], entirely populated by the most delightful pixies, male and female, but you’ll never find it unless you meet one of three people, names enclosed here in sealed envelope. They’ll take you there if they like you” (103). In a trilogy about show business, it’s about time McEvoy mentioned the gay element, though it was a daring move for a commercial novelist in 1931.

Though Dixie takes up with high society, she’s never taken in by it. She mocks as she learns “society patter” and affected enunciation, yet can still deliver snappy similes such as “he closed up like Trenton on a Sunday night” (89; i.e., stopped talking). As she occasionally reminds people, she’s still just an Irish “punk” from Brooklyn, and despite a number of poor choices throughout the novel, she retains her best qualities. Teddy’s father praises her “spirit and independence in refusing alimony or settlement” (202), and the news item that concludes the novel indicates she’s single: she has reunited with the love of her life from Show Girl, but she hasn’t married him. Perhaps McEvoy merely wanted to leave the door open for another sequel, but it’s more likely that he intended Dixie to follow in the dance steps of his original model, Louise Brooks, who except for two very brief marriages spent most of her life single. (We can only hope that Dixie doesn’t wind up like our Miss Brooks did.)

Society is blander than its predecessors, but together the Dixie Dugan trilogy is an endlessly inventive portrayal of female independence as well as a damning indictment of show business, politics, sexual attitudes, and society at large. “To those who have followed him since ‘Show Girl,’ Mr. McEvoy has always meant humor and bite,” wrote the Saturday Review of Literature of Society. “The ridiculous and the sharply ironical were always blended,” and though the reviewer felt “the irony has wilted and the humor become worn” in the third novel, it’s that blend of humor and bite, of ridicule and irony—shaken and stirred with linguistic and formal ingenuity—that makes the trilogy as a whole a mordant, madcap masterpiece.

x

Fade to Black: The Final Novels

McEvoy’s 1930 novel Denny and the Dumb Cluck is a spin-off from Show Girl, which documented the failure of greeting-card salesman Denny Kerrigan to convince Dixie to abandon show biz and move to Chicago to marry him. Denny gets top billing in this novel, which begins two years later with a letter dated 11 May 1929 and ends about a year later, and which marks McEvoy’s turn toward darker, more bitter satires of American culture.[32] The novel is festooned with greeting-card verse, whose saccharine sentiments are undercut throughout by the vulgar businessmen who peddle the stuff and the “dumb clucks” who fall for it. Although marketed as a humorous novel,[33] the novel contains attempted suicides, mental breakdowns, divorce proceedings, Chicago mob slayings, and concludes with the murder of the president of Denny’s card company. Even the Hollywood happy ending, in which Denny regales his bride (the “dumb cluck” of the title) with the story of that murder during their honeymoon near Niagara Falls, is undercut by signs of what a terrible husband he will be. The novel is dedicated to Santa Claus.

Denny and the Dumb Cluck cover image

Like McEvoy’s earlier novels, Denny is an assemblage: letters, press bulletins and newspaper clippings, company memos (some shouting in ALL CAPS), telegrams, divorce papers and trial transcriptions, a hotel bill, two lengthy monologues, and selections from a lonely hearts newspaper column penned by “Carolyn Comfort”—actually a “white-haired [male] tobacco-chewing reprobate” (148).[34] It differs from his earlier novels in its structure: they proceeded chronologically, with their multiple story-lines interlaced, but Denny is divided into eight semi-independent sections that focus on specific story arcs. Part 1, dated from 11 May to 12 June 1929 concerns Denny’s modus operandi to selling the Gleason Greeting Card Company’s wares to the female owners of card shops (all with twee names like “Ye Arte Moderne Snuggery”); as he writes to his supervisor Al Evans, this entails “taking out the lady buyers and getting them all warm and confused so they’ll overstock themselves and have to work like hell making profits for you and me eh Al?” (22).[35]

Pages from Denny and the Dumb CluckPages from Denny and the Dumb Cluck

At loose ends one Sunday in Chicago, he meets “the dumb cluck”: a young woman named Doris Miller, estranged from her rich family in Indiana because she moved to Chicago “to make her own way” as a singer—another of McEvoy’s admirably independent young women. But when Denny recites one of his company’s lovey-dovey greeting cards and passes it off as his own spontaneous creation, Doris falls for him. “Poetry always gets dames,” he smirks to Al (15). But after she spots the poem in a greeting-card shop window, she attempts to drown herself. She is rescued, then explains her reason for the attempted suicide to a reporter who gussies it up for a human interest story for the Chicago Herald Examiner (reproduced on pp. 23–25), which leads to a spike in sales for the “Heart Throb” card Denny quoted. Denny hears about the sales but is unaware of his role in the spike.

The next section, however, begins with a letter by Al dated more than two months earlier (3 March) instructing his salesmen to make a big push for the new idea of a Father’s Day card, and concludes with a newspaper report dated 17 June 1929 noting Al’s admittance to a sanatorium for a nervous breakdown, the result of his stress-inducing sales efforts.  This section features heart-rending letters from his wife to her mother on the disastrous effects of his work on their marriage, and also introduces the Gleason Company’s “staff Poet Laureate” (3), Terence McNamara, a hard-drinking party animal (obviously a stand-in for McEvoy himself) whose marriage is likewise troubled. Section three is undated but apparently takes place in April, for it deals with sales plans for Mother’s Day cards. Denny gets nowhere with the proprietor of Ye What Ho Gifte Shoppe, “One of those long legged short-haired Greenwich village gals that wear batik bloomers and talk about their complexes” (60). She has eyes only for a milquetoast customer who shops frequently for cards to send home to mother. (In an ironic twist typical of McEvoy’s novels, he turns out to be a hired assassin.) Denny reports to Al about a crime wave in Chicago, and passes along his (and apparently his creator’s) doubts about his profession and his country: “Boy, you and I picked a piker’s game when we decided to spread cheer throughout the land. It’s nothing to cheer about if you ask me” (69).

Section four documents McNamara’s divorce proceedings, dated between 14 September and 5 October 1929.[36] His wife testifies to his numerous drinking binges on greeting-card related holidays and irresponsible behavior, including the time when McNamara flipped out when his kids recited a Valentine’s Day greeting-card poem to him. But when the poet takes the stand, he wins over judge and jury by answering entirely in greeting-card “sediments” (as it is often spelled in this and other McEvoy novels).

Pages from Denny and the Dumb Cluck 2Pages from Denny and the Dumb Cluck

The final four sections are undated. Section five apparently takes place later in October 1929, for greeting-card president George Gleason is in New York City looking for a replacement poet after firing McNamara for bad publicity. This startling section is a 23-page monologue delivered by Gleason to a Ziegfeld showgirl in his hotel room—she is currently dancing in Whoopee!, which closed 23 November 1929—whom he plies with liquor and tries to seduce until she panics and attempts to jump out the window. In section six, which seems to take place in late October or early November (though there’s no mention of the Wall Street crash during the last week of October), Denny searches for Doris, while the dumb cluck pours her heart out to Carolyn Comfort’s lonely heart column. Section seven must be set in late January of 1930, for football season has just ended and Denny is peddling Valentine Day cards. He’s having a difficult time making a sale to the owner of Ye Merrie Lyttle Nooke in South Bend, Indiana, “a little pug-nosed Mick” who is distracted by unrequited love for a theology student at Notre Dame, and is secretly contemptuous of her wares: “There is a card lying here on the table before me as I write, a sample Valentine given me by that fool salesman, Denny Kerrigan, who sells the Gleason line. It says ‘Love is bright as sunshine, love is sweet as dew’ and a lot more. But it isn’t anything like that at all, darling. Love is bitter and dark and cruel beyond all the cruel dark and bitter things of this world” (177). Her heartbroken letters to the student express true emotions in stark contrast to the false ones offered on greeting cards. After reading a newspaper announcement of her beloved’s ordination into the priesthood, clueless Denny writes to the woman about his new idea for a line of cards: “CONGRATULATIONS ON YOUR ORDINATION.”

The final section jumps ahead a few months to Denny and Doris’s honeymoon, and is mostly taken up by Denny’s account of George Gleason’s murder the previous February by a disgruntled customer. There’s no explanation for how Denny found and made up with Doris, for since Denny is talking to her (another one-sided monologue to a silent woman), there wouldn’t need to be. Doris obviously knows how it happened, but the reader doesn’t, who might be excused for thinking McEvoy grew impatient and didn’t want to write a penultimate section on their reunion and courtship. Denny had suffered some sort of accident in section six that entailed a hospital stay with his face in bandages, and unbeknownst to him Doris nursed him and took dictation for his letters to Al about his search for “that dumb cluck” (156). They obviously reconnected, so McEvoy apparently felt he could cut to the honeymoon and wrap it up.

Despite the ostensibly happy ending, this is a harsh novel, which is to be expected from an author who set out to write a “grudge book” to “get even” with the greeting-card industry, as he admits in the author’s note at the end. It was too harsh for some reviewers: “The book is American in the same way that chewing gun, comic supplements and loud speakers are American,” complained Edwin Seaver in the New York Evening Post. “It is a violent, noisy book.” Contemptuous of the publisher’s attempt to market the novel as light humor, V. P. Ross wrote, “It is too ugly to be delectable, too grotesque to be tragic, and too longwinded to deserve the laurels of humor.”[37] But it is precisely those qualities that give Denny and the Dumb Cluck its edge, its Voltairic clash between ideals and reality, its anticipation of the irony-clad black humor of 1960s novels. A standard boy meets-loses-marries girl novel taking jabs at greeting cards would be too simple. McElroy used that sideline to stand for American business practices in general, many aimed at persuading “dumb clucks” to purchase their goods and services. He even hints that the New Testament’s promises of immortality are as false and hollow as greeting cards when Denny flips through a Gideon’s Bible in a hotel room.

The language isn’t as slangy as that in the Dixie Dugan novels, though there are some amusing euphemisms (“you illegitimate sons of Rin-tin-tin’s mother”) and synonyms for drinking binges (“out on a bat”). There is also what appears to be McEvoy’s self-conscious defense of his “humorous” approach to writing versus that of “serious” writers, many of whom flocked to Paris in the 1920s. Denny writes to Al about the old drunk who writes the lonely hearts column:

For years he has done everything in the newspaper racket and found that nobody cared, so now he runs the Lonely Hearts Corner and hopes to save enough money to retire and go to Paris to write a novel. He says he needs a couple of years off from the job so he can gather material. I says, what about all these letters you get from the Lonely Hearts? I should think that would be swell stuff for a writer. A lot of hooey! says he. Now, take that story you were telling me about that girl you tried to find—you know, the one you picked up in a restaurant and took for a lake ride. She jumps off a boat because she thinks you wrote those bum sediments you’re always quoting! Well, I don’t blame her. I’d jump off myself to escape you. Now, I suppose you think there’s a story in that? Sure, says I. Crazy, says he. That just proves you’d better stick to peddling cheer. You’d starve to death if you tried to write. Now me, for instance, I know how, but I’ve nothing to write about and I can never save up enough to get ahead and settle down for a couple of years to do serious work. You know my dream, says he. I want to get a little studio in Paris near Montparnasse, and just sip wine, nibble cheese, and observe life and write about it. (150–51)

You can imagine what that novel would be like, if the old sot ever got around to writing it. But McEvoy did find “a story in that” attempted suicide, a polyvalent one that expands to indict all of American society at the bitter end of the Roaring Twenties when it all came crashing down, and didn’t need to take a few years off in Paris to write it.

***

Having settled his score with the greeting-card business, McElroy turned next to the comic-strip industry. The first half of Mister Noodle takes place in Chicago, where McEvoy got his start in strips, and I can’t improve on the plot summary provided by James A. Kazer in The Chicago of Fiction:

The story of Charlie “Chic” Kiley from Gum Springs, Illinois, is told through letters to his mother, news clippings, telegrams, and transcripts of conversations. Kiley takes drawing classes at the Art Institute and works in the art department of the Chicago Star. Overnight he becomes a nationally known comic strip artist when he introduces Mister Noodle, a strip composed only of profiles (since that is all Kiley can draw). He also effortlessly achieves social status, receiving memberships in the Chicago Athletic, Forty, and Midday Lunch clubs. With his newfound security he is able to marry his girlfriend and he soon has a one hundred thousand dollar per year contract for his syndicated strip. However, when he relocates to the syndicate’s offices in New York City he succumbs to the temptations of beautiful women, nightclub entertainments, and drink. When an actress falls from the balcony of his penthouse the scandal fills the Midwest with moral indignation and his comic book gets cancelled. Only when he returns to Chicago and reconnects with his small town does he get the inspiration for a new comic strip and rediscover success. This satire of the syndicated comic book industry makes pointed comparisons between Chicago and New York to the detriment of the latter.[38]

Illustration of Mr. Noodle from Saturday Evening Post 1Arthur William Brown illustration, Saturday Evening Post serialization of Mr. Noodle

It’s important to note that the novel satirizes only certain aspects of the comic industry, specifically the undeserved success of certain hacks and low-brow taste of many readers. The first time Kiley submits his poorly drawn strips to the editor of the Chicago Star, his boss tells him, “This paper has printed hundreds of questionnaires and prize contests for the correct answers on the simplest subjects, and we have found by experience that the average person knows only three things. . . . He knows his name; he knows his parents; and he knows where he lives. And that’s all he does know. Remember that if you’re going to be a comic-strip artist. . . . Always tell ’em something they already know. The better they know it the better they like it” (41). Talentless hacks pandering to the lowest common denominator is what irked McEvoy, not the genre itself; later in the novel, when a Russian director named Ivan Stalinsky sails to America to make a movie of Kiley’s strip,[39] the director expresses what might be McEvoy’s own views during a gangplank interview with the New York Evening Tab (the same rag that figures so prominently in Show Girl):

“The comic artist is the real modern artist. Comic artists were the first expressionists, and the colored supplements in your Sunday papers, with their vivid reds and greens and blues, are brutal and frank as the life they underscore, and it is only because I have always made pictures with real people rather than actors that I welcome this opportunity to come to your America and make a new comédie humaine, using the real Noodles of American life to reënact and interpret the salty humors of everyday existence. . . . You can say for me,” he added, “that the Supreme Author is a Humorist, and Life is a mad comic supplement He created to amuse the angels.” (125)

McEvoy placed the final sentence upfront as the epigraph to the novel, but then again, the entire statement may only be a swipe at the lofty claims sometimes made for the genre. The author definitely has his tongue in cheek when Kiley’s editor tells him, “Don’t forget the last frontier of old-fashioned virtue is the comic strip” (47).

Unlike the previous novels, the documents that make up Mister Noodle are not dated, except for a clip from Vanity Fair on the last page dated 1932, a year after the novel was published. Apparently the events occur between 1929 and 1930—a character on page 71 recites lyrics from “Just You, Just me,” a hit song introduced in the 1929 musical Marianne, though again there’s no mention of the Crash of ’29—and everything happens at a more rapid pace than in the previous novels, effectively conveying the “overnight-success” aspect of Kiley’s career. This is a deliberately unfunny novel about the funny papers, featuring one of McEvoy’s most despicable protagonists. Not only is he talentless, but he owes his success to others: his girlfriend Dorothy—whom he meets at the Art Institute and later elopes with—gave him the idea for the strip in the first place, which Kiley then adjusts to his boss’s low view of comics (which Kiley later parrots as his own). After he becomes successful, he has a team produce the strip for him while he gallivants around New York City, and even when he returns to Illinois in disgrace at the end, he has learned nothing. Kazer’s description of the conclusion is misleading: Kiley returns to Gum Springs to recuperate, but is subjected to a brilliantly rendered monologue by his ignorant Irish Catholic mother about murders, mayhem, and madness out in the sticks: hardly the stuff of inspiration. When Kiley then meets with his former Chicago Star editor and claims he has ideas for a new strip, he junks them as soon as his boss feeds him an idea for a new strip called Mister Whoosis, which Kiley claims for his own creation when he boasts to his New York syndicate boss of his imminent return to the big leagues. The novel ends with another hick comic artist arriving in the New York and getting carried away at the idea of living the high life, obviously on course to repeat Kiley’s fall. Or not: the last page of the novel reproduces a clip from a future issue of Vanity Fair stating, “We nominate for the Hall of Fame, Willie Timmerman, because—“ (186).

Illustration for Mr. Noodle from Saturday Evening Post 2Arthur William Brown illustration, Saturday Evening Post serialization of Mr. Noodle

The Chicago Star editor’s final lecture to Kiley is a cynical but informed overview of the comic-strip business, especially its lack of originality, and undoubtedly represents McEvoy’s conclusions after fifteen years in the business. When Kiley tells him that he has an idea for a strip that has never been done before, the editor (named James P. Mason) cuts him off:

Worse. Doomed to failure. The most successful strips running today were always successful, long before they were strips. Mutt and Jeff was a big hit when it was called Weber and Fields, and it’s a bigger hit now when it’s called Amos ’n’ Andy. Same idea. Big dumb guy picking on a little smart guy. German dialect, colored dialect, Brooklyn dialect—same thing. Little Orphan Annie is Cinderella. Bringing Up Father—Abe Kabibble—every burlesque show for the last fifty years has had a Jiggs and an Abe. The Gumps? Mr. and Mrs.? Any family comic? Has anything ever happened in any of ’em that hasn’t happened a million times in a million homes?

CHIC: I know, but they aren’t funny.

MASON: They don’t have to be funny. Did you ever watch anyone read a comic page? Did you ever see him laugh? Was there ever a laugh in Little Orphan Annie? One of the most successful comic strips running. People don’t want to laugh so much as they want to feel superior to somebody else. (179–80)

There are discussions like this throughout, with references to many strips and comic artists, which should make Mister Noodle valuable for comic historians, written by someone who was there at the beginning. For literary historians, Mister Noodle is valuable as a demonstration of how to take an unoriginal story-line (rube seduced by the big city) and make it new by way of formal and linguistic innovations. In addition to McEvoy’s usual documents, which as always provide a you-are-there immediacy to the proceedings, there are some amusing parodies of the gossip columnists of the time. Kiley’s arrival in New York is announced by a word-drunk columnist reaching for the literary stars:

AVE! MISTER NOODLE!
An Inquiry into the Irrefragable Tenuities
(From the Editorial Page of the New York World)

Swims into our ken a new planet—the algebraic mystification of orbital aberrations, the torturing ellipse of tortured ellipses, the Theseus before the throne of the Minotaur, half bull, half man, quaint Cretan symbol of American ideology—Mister Noodle—planet X—crying in the wilderness, eating the wild locusts of ephemeral fame, preparing the way for a greater-than-he, forsooth, or peradventure, if you will quibble—but I shout “Gold! Gold!” as did wild-eyed Sutter long ago—and mayhap I will grant you, a Fool’s Gold, but your Au may be my FeS₂, and who will bid me nay, for fool’s gold is the guerdon of fools—always the king on the throne has paid the fool on the stool stones for bread, darkness for light, the louring brow for the laughing lip—and so, in like manner—Measure for Measure, said the Mortal Poacher with immortal finality, or vice versa—we too long and too smugly, I fear, have been paying Mister Noodle of the earth earthy—Punchinello Redivivus!—with Jovian frowns from our high, crystal parapets, remembering not that Jove walked with the sons of men by day and talked with the daughters of men by night—Danaë? Shower of gold? FeS₂? Why not?—and from the little despairs of men, brewed by an alchemy lost to us the great courage of the gods against the cosmic crepuscle of the Götterdämmerung. (Ya sagers, all, shouting in the terrible twilight that finally swallowed warm, shining Olympus and cold, dread Erebus alike.) Vale, Great God Pan! Ave, Mister Noodle! (97–98)[40]

Columnist Walter Winchell is parodied twice, once upon Kiley’s arrival and once after his disgrace: “A certain cocky alien from Chicago, who was King Fish in the ookie-ookie racket a few months ago, and then faw down on his you-know-what with a big phfft is out of the camphor again and trying to merge a meal ticket on a local rag . . . no soap” (163). On the train from Illinois to New York, Kiley makes the acquaintance of “The Boop-a-Doop Sisters,” two nightclub chippies who provide an sassy stream of slang throughout the rest of the novel, even some pig Latin.

As in his previous novels, McEvoy takes the faults of a minor—some in the 1920s would have said trivial, even disreputable—medium of pop culture as a metonym for the faults of America at large. He presumably wrote Mister Noodle in the gloomy months following the Wall Street crash, which perhaps justifies the New York World columnist’s despairing evocation of Wagner’s Twilight of the Gods. Reviewers used to the fizzy fun of the Dixie Dugan novels were shocked at the novel: one complained “Its humor is cruel,” another that “There is a great deal that is coarse and unnecessarily realistic,” and a third that it “is hard, brittle, cruel almost to literary sadism”[41]—which sound like the reviews Faulkner’s Sanctuary received the same year. Neither Mister Noodle nor Society (also published in 1931) sold well, and perhaps for that reason McEvoy changed publishers for his final novel.

***

In contrast, reviewers were very impressed by Are You Listening?, and quite rightly so. It is his most compelling performance, his most technically ingenious “stunt” (as one reviewer called it), his grittiest and most realistic novel, and his most powerful dramatization of the impact of new media on the public. The media in question is commercial radio: only a decade old by 1932, “The invasion by this sort of blah is now history,” one of the novel reviewers lamented (William Rose Benét, he who labeled it a stunt):

One hears it not only in every apartment but on every street corner. It has turned any imaginative life that exists for the man in the street into a mixture of ballyhoo slogans, thickly syrupy sentiment—usually about all the wrong things—and sensational thought images. . . . [T]he industry in its infancy has so far managed to spread more blatant vulgarity on the air than one would even have suspected. This is probably what a democracy loves. It is certainly what it continues to listen to without noticeable protest.[42]

McEvoy’s “noticeable protest” puts it even more dramatically: a broadcaster describes radio as going “into every home, every factory, every story, every place where men and women meet to eat, sleep, drink, work or play; this tremendous voice from which there is no escape; this modern jungle drum beating from coast to coast . . .” (236). For some lonely souls in the novel radio provides companionship—“Turn it on in the morning and let it run. Keeps them company” (143)—but one character who can’t escape it lambastes radio for “babbling all day like a half-witted relative” (129).[43]

Are You Listening ColliersAre you Listening?, Collier’s serialization, illus. by Henry L. Timmins

The main story-line concerns the three O’Neal sisters, who have left Middletown, Connecticut, to try to make it in New York City. The eldest, Laura, went there to become a concert singer, but now performs for Radio WBLA (pronounced blah, as Benét notes). She shares an apartment with her younger sister Sally, who works as a receptionist at WBLA all day and parties all night. Their airhead kid sister Honey, nearly 18 when she moves in a little later, is “trying to crash Broadway” (40) but has to settle for bit parts on the radio, and eventually for a gig as a celebrity gossip reporter for the New York Morning Tab. All three have trouble with men, none more so than Laura, who is romantically involved with Bill Grimes, a continuity writer for WBLA. He’s stuck in a hellish marriage with a shrew who won’t grant him a divorce until he can afford to pay a huge alimony; near the end, he accidentally strangles her to death, then flees with Laura as WBLA, in cahoots with the police department and the Morning Tab, livecasts the manhunt for them. Because of the radio reports’ reach, the couple is ID’d and arrested in Florida, Bill is convicted of manslaughter, and is sent to Sing Sing (which was recently wired for radio). The novel ends with all three sisters listening, from different locations in different moods, to a live radio broadcast of Cab Calloway and his Joy Boys singing “Life Is Just a Bowl of Cherries” from the Cotton Club.[44]

The novel elapses over about a year’s time—undated, but apparently from May 1931 to spring 1932—and and is partly conveyed by way of radio broadcasts, set in boldface italics: announcer palaver, jingles, speeches (including one from the Vatican by the pope), skits plugging ludicrous products, musical interludes, and live shows from various locations, including the notorious Nut Club in Greenwich Village. (There are also some short-wave police bulletins near the end.) The broadcasts alternate with the main mode of the novel: unpunctuated dialogue, one-sided telephone calls (with unspaced Célinesque ellipses …), monologues, and italicized shouting in a larger point size. The earthy dialogues are often interrupted and undercut by the airy nonsense of the broadcasts, usually for darkly ironic purposes. (Saccharine love songs provide musical background for spats between couples; a noted judge delivers a speech praising Prohibition hours after his all-night, booze-filled yacht party; peaceful Christmas hymns are interrupted by the barked police reports on the manhunt.) And as in all of McEvoy’s novels, there is extensive behind-the-scenes dramatizations of putting a show together, especially the frustrating attempts of creative people to meet the needs of their commercial sponsors. WBLA’s producer regards radio as “a theater of the air. The advertising is incidental, but so far as the public is concerned, a necessary evil” (90). The sponsors, of course, feel precisely the opposite: one client, after hearing a Shakespearean skit created for the Eureka Exterminator Quarter Hour, wonders “if some of it won’t be hard to understand. Of course I understand it, but then you know how the average person is—especially when it comes to words like—like—like well, some of those words the girl used. . . . Seems we use a lot of time on the air without saying something about our product. Couldn’t we mention that it comes both in liquid and powder form, or something like that?” (184). The frequent time-of-day announcements are called M-O-R-I-S-O-N WATCH TIME after its sponsor, which anticipates the subsidized years in David Foster Wallace’s Infinite Jest.

McEvoy’s reliance on dialogue to carry the narrative is reminiscent of other novelists of the time such as Ronald Firbank, Ivy Compton-Burnett, Evelyn Waugh (Vile Bodies), and Virginia Woolf (The Waves). In the radio bits, he demonstrates his gift for satire and pastiche, but the dialogue is impressive for its unvarnished realism from a wide variety of characters, from radio personnel and sponsors to Wall Street investors to speakeasy owners and gangsters. (Just before he strangles his wife, Grimes tells her that her psychologist “just wanted to lay you” [219], perhaps the first appearance in fiction of the vulgar verb.[45]) By way of dialogue McEvoy ingeniously conveys everything that a third-person narrator in a conventional novel would—appearances, actions, settings—putting the reader in the same position as a radio listener creating visual images from dramatized scripts.

Pages from Are You Listening 1

Pages from Are You Listening 2Pages from Are You Listening?

The best lines are delivered by McEvoy’s female characters, most of whom reveal how difficult it is to be a woman, especially in what Sally O’Neal calls “this man’s town” of New York. When station announcer Buddy Law tells her he can’t see how girls stand it, she answers, “Buddy, when you’re a girl you learn to stand almost everything. That’s what being a girl means” (15). Both Sally and Honey party hearty in defiance of their conventional, religious mother, who visits and lectures them on a woman’s place in the world (safely married at home in an apron), while older sister Laura is so exasperated by her failed career and troubled relationship with Grimes that she attempts suicide. She complains of her neighbor Mrs. Peters, who turns on her radio “in the morning and never lets up until two o’clock the next morning,” but her mother tells her she does so because “She’s lonesome and sad. How would you feel if you used to be a famous actress, and now because you’re not young any more you can’t get a job and have to sit home and listen to the radio.” Laura replies, “Well, that’s just tough if she grows old and gets out of step. Who can help that?” (129). Later, Mrs. Peters offers some sound advice to Honey, who can’t decide whether to accept a rich man’s invitation to attend a football game in Chicago: “Remember, it’s always the woman who holds the key to any situation like this. It can be any kind of situation she chooses, and the man must abide by her decision. If I haven’t learned anything else in my fifty years, I’ve learned that men accept a girl on her own valuation of herself. If she wants respect for herself, she must have it for herself first” (167). As in his other novels, McEvoy portrays independent women in a positive light, but in Are You Listening? he poignantly captures the despair of women trapped in hopeless situations. The psychologist who treats, “lays,” and then abandons 50-year-old Mrs. Grimes doubts his smart secretary’s diagnosis that she’s dangerous: “Why? Just because she’s emotionally starved, repressed, and somewhat inclined to hysteria? What of it? Most married women of that age are.” “True,” his secretary responds, “but she’s a potential manic-depressive, starved, thwarted, on the edge of her menopause and fixed on you. You know that’s a bad spot” (195; like “lay,” this may be one of the earliest appearances of the word “menopause” in fiction). Both Laura and Alice Grimes suffer psychotic meltdowns, Sally and Honey fend off near-rapes, and in another scene a gangster Sally is dating knocks a woman unconscious. The plight of women alternates with the ubiquity of radio both formally and thematically in this gender-sensitive novel.

Despite its grim theme, there are some amusing bits. Answering the phone while the station’s broadcast blares overhead, Sally wisecracks, “If there’s anything that’s good for a hangover, it’s German on a loudspeaker” (45). There are clever Gilbert and Sullivan parodies that recall the McEvoy of Slams of Life, and the listening audience is treated to musical performances by such groups as the New Art Plumbing Symphony Orchestra (under the direction of Arturo Garfinkel) and the Beau Brummell Dandruff Dandies’ Jews’ Harp Trio playing the overture to Wagner’s Tannhäuser. (His Tristan and Isolde is incorporated into an ad for bathroom fixtures.) But as in McEvoy other late novels, the humor is black.

Even though the aforementioned William Rose Benét called Are You Listening? a “‘stunt’ novel” and stated “There is nothing a bit ‘literary’ about the book,” he praised it to the skies, pompously concluding his review: “Mr. McEvoy has been ere this a champion of the comic spirit. He has also, however, seen the cruel significance behind all the moronic chatter now burdening the ether, and has praiseworthily evoked it in this novel for us to see. Underneath all the japery, it mutters in our ears like the ghost of Hamlet’s father!” Hollister Noble, in a rave review for the New York Times Book Review, praised the “consistent balance between the serious delineation of character and the mocking irony of [the radio station] environment,” and complimented McEvoy

for two distinct achievements. He has re-created with amazing fidelity, through the rapid-fire conversation of his characters, the very breath and life of the studio. And at the same time he has skillfully handled a great variety of characters, each of them early delineated and definitely individual. All of them have the full flavor of reality, and Mr. McEvoy is most adept in depicting their collisions with the fantastic complexities and whirling enigmas surrounding them.[46] Perhaps heeding the show-biz advice of always leaving them wanting more, McEvoy ended his performance as a novelist on that high note.

***

The final line of McEvoy’s final novel is “Are you listening?,” which would be echoed 43 years later in the final line of William Gaddis’s multimedia novel J R, spoken into a telephone: “Hey? You listening . . . ?”[47] McEvoy resembles Gaddis in many ways: both have a caustic sense of humor and dim view of America; a high fidelity ear for dialogue and the vernacular; and a penchant for the comic-ironic juxtaposition of public statements vs. private sentiments, high art vs. low entertainment (in J R Gaddis uses Wagner much the same way McEvoy does). Both use documents in fiction—J R has several, and his novel A Frolic of His Own is filled with legal documents, a play script, letters, newspaper clippings, brochures, even recipes—and both satirize the frivolous uses of technology in the arts: like the Russian director in Mister Noodle, Gaddis in his final, posthumous novel Agapē Agape stares agape at “the lavish opulence of American technical resources and at the same time secretly frighten[ed] and depress[ed by] the remorseless rhythm of this great machine, spawning and spewing in callous complacence an endless flood of elegant marshmallows” (Noodle 136–37). Three other innovative fictions of the 1970s that come to mind are the vaudevillian skits, speeches, and news reports that make up Philip Roth’s Our Gang (1971), Jerome Charyn’s novel in the form of a literary quarterly, The Tar Baby (1973), and Robert Coover’s use of show-biz tropes to indict American culture in The Public Burning (1977), another novel comprised of documents, monologues, poems, and parodies. Whether regarded as a covert avant-gardist of the 1920s, as a harbinger of the Black Humor of the 1960s and certain multimedia novels of the 1970s, or as an avant-popster avant la lettre, J. P. McEvoy deserves to be rediscovered and reprinted.

J P McEvoy still from Woman Accused 1933Still from Woman Accused, 1933

—Steven Moore

.

STeven Moore

Steven Moore is the author of the two-volume study The Novel: An Alternative History (2010, 2013), as well as several books on William Gaddis. His new book, My Back Pages: Reviews and Essays, is forthcoming from Zerogram Press.

 

 

Footnotes    (↵ returns to text)

  1. Manhattan Transfer: The American Novel as Scrapbook,” http://www.fractiousfiction.com/manhattan_transfer.html. T. S. Matthews, New Republic, 25 July 1928, 259. The most famous predecessor for the “scrapbook” novel is Bram Stoker’s Dracula (1897); for a literal example, see The Scrapbook of Frankie Pratt by Caroline Preston (2011).
  2. The Cambridge Introduction to Postmodernism (New York: Cambridge University Press, 2015), 83.
  3. “Ink-Slinger Profiles: J. P. McEvoy,”<http://strippersguide.blogspot.de/2015/06/ink-slinger-profiles-by-alex-jay-jp.html>, posted 8 June 2015. This treasure trove of research is the source for many of the biographical details that follow.
  4. North American Review 244.1 (Autumn 1937): 206.
  5. Quoted in Ray Banta, Indiana’s Laughmakers: The Story of over 400 Hoosiers (Indianapolis: PennUltimate Press, 1990), 115.
  6. The Sweet Dry and Dry includes a parody entitled “The Boobyiat of O Howdri Iam.”
  7. “Lewis Talks to Chicago League,” Publishers Weekly, 19 March 1921, 914.
  8. James Curtis, W. C. Fields: A Biography (New York: Knopf, 2003), 157.
  9. For details, see Curtis (157–64) and especially chapter 23 of Simon Louvish’s Man on the Flying Trapeze: The Life and Times of W. C. Fields (London: Faber and Faber, 1997). Louvish says they had a lot in common, physically and temperamentally, and concludes, “McEvoy’s influence on Bill Fields was profound and long-lasting” (254). They appear together in a photograph on p. 255.
  10. It was registered with the Library of Congress as Americana: A Novel Revue—an inadvertent (or not) pun setting the stage for the revue-like novels McEvoy would soon write.
  11. George Gershwin: His Life and Work (Berkeley: University of California Press, 2006), 377. Gershwin wrote a song for the show (“That Lost Barber Shop Chord”). McEvoy was assisted by Morrie Ryskind and Phil Charig, and worked with composers Con Conrad and Henry Souvaine on the score. Conrad (1891–1938) writes the music for the musical in McEvoy’s first novel, Show Girl.
  12. See Pollack 451–61 for a detail account of the musical, who notes that the script “lost much of the charm of the original novel” (453). Ethan Mordden agrees: “Very little of McEvoy’s satirical view of how scandal and crime sell fame came through” (Ziegfeld: The Man Who Invented Show Business [New York: St. Martin’s Press, 2008], 268).
  13. Jay records McEvoy’s remark that he stopped writing the strip around 1936 and turned it over to his son Denny and Striebel. See the feature story on the origins of the strip in Modern Mechanix, April 1934, 57, 143–44 <http://blog.modernmechanix.com/dixie-dugans-fathers/#mmGal>.
  14. For the reason, see McEvoy’s “A Jeremiad on Laundries” in Slams of Life (58–59).
  15. Times Square Tintypes (New York: Ives Washburn, 1930), 245–48.
  16. Show Girl was what The Inner Sanctum calls a Life Saver. Part of it showed up on a gray afternoon and promptly ran away with the working day of our staff. It was read and accepted in twenty-four hours. Laughter is an irresistible salesman. A number of other customers fell in line. Liberty laughed and bought Show Girl for serial publication. First National is filming it and a musical comedy is in the offing.”
  17. Her age is not given in the novel, but in the sequel set a year later, Dixie writes: “As for me I am nineteen years old and what is technically known as a virgin although I have been most thoroughly and thrillingly mauled on many occasions . . .” (Hollywood Girl 37). She also states “I am now five feet two inches tall and weigh 110 pounds” (36)—Louise Brooks’s stats.
  18. Barry Shank offers some informed observations on Denny and his profession in A Token of My Affections: Greeting Cards and American Business Culture (New York: Columbia University Press, 2004), 148–51, one of the only treatments of McEvoy in recent criticism (though he gets some plot details wrong). Of McEvoy’s Slams of Life, Shank writes, “As an attempt at satire, the book fails to sustain a critical viewpoint. But it functions quite well as a document of the cheap cynicism that seemed to haunt those who produced culture on demand for commercial purposes in the first half of the twentieth century” (147).
  19. His formal name John Milton is given a few times; apparently McEvoy liked the idea of naming a horny Wall Street broker after the Puritan poet.
  20. American Mercury was the leading literary journal in the 1920s; True Story [sic] featured sleazy “sin-suffer-repent” confessions by women (often male ghostwriters).
  21. Real-life Broadway veterans Con Conrad (music), Sammy Lee (choreography), Herman Rosse (scenic design), and Walter Donaldson and Gus Kahn (additional songs). Several celebrities make cameos in the novel, including Florenz Ziegfeld, Jimmy Durante, and evangelist Aimee Semple McPherson, and many others are namedropped.
  22. Saturday Review of Literature, 30 November 1929, 491.
  23. All quoted from the 1928 edition of Book Review Digest.
  24. He is called Fritz von Buelow only on the cast list in the front of the book, and is apparently based on McEvoy’s friend Erich Von Stroheim, who also makes a few cameos in his novel under his real name.
  25. In 1929, the idea of making a romantic movie out of Tennyson’s 55-line poem was absurd, but in 1936 there appeared The Charge of the Light Brigade, starring Errol Flynn and Olivia de Havilland.
  26. The Cabinet of Dr. Caligari, the 1919 German Expressionist masterpiece.
  27. The final page of the Liberty serialization (28 September 1929, 73) is much more elaborate: the Times announcement mimics the paper’s actual display and text fonts, and the extended photo includes several wedding guests and a caption, not just the wedded couple as in the published book.
  28. This is occurs in Dixie’s monologue, echoing the closing line of Molly Bloom’s monologue in Ulysses: “. . . and yes I said yes I will Yes.” Like alcohol, Ulysses was prohibited in America at this time, but McEvoy managed to obtain both.
  29. Quoted in Book Review Digest for 1929.
  30. However, there is an inexplicable dating discrepancy: Hollywood Girl ends in April 1929, but Society begins in April 1930. A few references in the past tense to the Crash of ’29 indicate the novel is indeed set in 1930, the bulk of it from April to December, and concluding around the time of the book’s publication in the fall of 1931. Cf. note 33 below.
  31. A pun on Carroll’s stage revue Vanities. “Known as ‘the troubadour of the nude,’ Carroll was famous for his productions featuring the most lightly clad showgirls on Broadway” (Wikipedia).
  32. Thus the novel occurs during the inexplicable 1929–1930 gap between Hollywood Girl and Society, which is perhaps what McEvoy intended by re-dating the latter, hoping nobody would notice.
  33. The novel was published by Simon & Schuster’s Inner Sanctum line, an experiment at pricing new novels at $1.00 (instead of the usual $2.00) and using stiff paper rather than cloth covers. They were color-coded: blue for “books in a more or less serious vein,” green for detective and mystery novels, and red for “books of a lighter nature” (ii). Denny was classified as red.
  34. Nathanael West’s Miss Lonelyhearts was published three years later in 1933.
  35. Al and a few other characters from the greeting-card subplot in Show Girl reappear here.
  36. McEvoy drew upon his own 1922 divorce trial for this section. Jay quotes from a news story in the Portland Oregonian (27 August 1922), in which McEvoy accused his estranged wife of failing to take proper care of their children despite a generous alimony and “of gay ‘carryings on’ in her home at late hours after the children had been put to bed.” She countercharged “that McEvoy was too friendly with other women.”
  37. Outlook 155 (27 August 1930): 667. Seaver’s review appeared in the 9 August issue of the Evening Post, p. 5
  38. The Chicago of Fiction: A Resource Guide (Lanham, MD: Scarecrow Press, 2011), 236–37.
  39. When Stalinsky finally visits a Hollywood movie lot, a scene rendered in play form, the stage directions state he is shown around by a studio exec “overawing him with the lavish opulence of American technical resources and at the same time secretly frightening and depressing him with the remorseless rhythm of this great machine, spawning and spewing in callous complacence an endless flood of elegant marshmallows” (136–37), which can be read as McEvoy’s final verdict on the movie industry.
  40. This sounds like Percy Hamilton, who is parodied near the end of Show Girl (212).
  41. All quoted from the 1931 edition of Book Review Digest.
  42. “The Ghost in the Radio,” Saturday Review of Literature, 20 August 1932, 52.
  43. This recycles a stage direction in a restaurant scene in Hollywood Girl: “Above the clatter of dishes and the bumble bumble of voices a radio loud-speaker, pleasantly ignored, drools and cackles with the idiotic insistence of a half-witted relative at a family dinner” (168).
  44. There are footnoted permission acknowledgments for this and some other songs quoted in the book. McEvoy hadn’t done so in previous novels and may have run into legal problems.
  45. The earliest example recorded by the OED is John O’Hara Appointment in Samarra (1934).
  46. “Tuning for the Moonstruck Static of Radio land,” New York Times Book Review, 28 August 1932, 4.
  47. J R (New York: Knopf, 1975), 726. There’s no evidence Gaddis knew McEvoy’s work.
Feb 052017
 

Jamaluddin AramPhoto credit by Jonny Griffin.


The boy’s right leg quivered and he had to lean against the mud-wall of Sarkanda’s house to assess his wounds. He pulled up his pants and looked at the two deep holes, slightly below his skinny calf, where the dog’s canines had sunk in. With the tips of his fingers, he carefully pressed around the wounds and then limped off towards Khala’s house to borrow some salt for dinner. As he walked, he hoped that the rumors were true and that Qatel had been kidnapped and killed. But he worried how he could avoid Shah Wali Sarkanda, his friends, and Qatel too, if the rumors were not correct.

He had not yet turned the corner when the first shot went off. He slowed and looked up at the two startled turtledoves as they hastily flew away from the dead electric lines overhead. In the stale summer afternoon air, the shot sounded like a heavy hammer colliding against a thick sheet of corrugated, rusty metal: lonely, removed, yet lethal. By the time he approached the main street, the shooting had begun to intensify.

He looked around for Qatel; he tried to sneak a peek inside the checkpoint, a small primitive square structure of assembled plastic sandbags with a scanty roof of flattened oil barrel steel. The dog was not there. He glanced under the window of the bakery across the street where Qatel sometimes sought refuge when the heat of the day became unbearable, his tongue sticking out, panting. To his relief the dog had disappeared. “They’ve indeed taken the bastard,” he thought to himself, and felt the beginning of an unmanageable delight.

.

The boy was the youngest of his four siblings, and as the rules of the house dictated, he had to run all the errands. Mother sent him around to the neighbors and relatives to borrow a loaf of bread, the coal-fired pressing iron, a mortar and pestle, a painkiller, a cough syrup bottle, or a big shawl when she needed to step outside the house to attend a funeral or visit her sick and dying acquaintances. When unexpected guests showed up at their door, he had to find and carry plates and silverware and pillows and blankets. He usually brought most of these items from Khala’s, which meant he had to cross the checkpoint and the narrow, unpaved main street. Last week, when Mother needed to go to the funeral of Uncle Khanjan, who was killed by a stray bullet in front of his house, she sent him to borrow Khala’s black leather shoes, and the two militia guys, Sarkanda and Habib Charsi, had urged Qatel to chase him. Under the midday sun, they were sitting against the big whitewashed wall across from the checkpoint, high on Chars, their Kalashnikovs lying by their sides. When the dog charged after him and knocked him to the dirt, they had rolled on the ground, laughing.

.

Now Qatel was missing. Habib, Nasro Puchuq, and Zaman Dashka huddled in the freshly dug trench near the bakery, the dark, wet soil still piled against the bare electricity pole. Zaman manned a long-range Soviet DShK machine gun. He was planting his left knee into the fresh soil of the trench and using his right leg as a support for his right hand as he pulled the trigger. He was the only one who made an effort to aim before he shot, while Habib and Nasro, crouching on either side, fired their Kalashnikovs aimlessly in the general direction of the enemy’s position, a few hundred meters away at the end of the street. Sarkanda didn’t aim either. He was lying flat on his stomach right outside the trench in the middle of the street, his feet bare, the front of his long and loose navy blue perhan-tunban covered in dust. He fired with a maniacal passion, and the hot empty brass casings thrust out and fell by his side, bouncing and clinking.

The boy watched Sarkanda in disbelief. He had always seen him with a foolish smile on his face, but now he looked serious and determined. The boy tried to think why Sarkanda and his friends were fighting and how long the skirmish would last before he could go get the salt. He knew that Mother would straighten him out with the end of the broom if he took longer than usual.

Inside the bakery above the trench three men went about their work. One of them, with a dirty off-white piece of cloth wrapped around his head and covering his mouth and nose, bent down and came back up with a practiced efficiency and rhythm. With his back to the street, he fixed the flattened dough on his rafeda and put it into the oven, not caring the least what was going on outside. Across from him the fat owner of the bakery leaned against the soot-darkened wall, drinking his afternoon tea.

The shopkeepers whose shops were in reach of bullets had stepped outside and now stood in the safety of the whitewashed two-storey building. They talked and laughed, and the pedestrians who were blocked because of the gun fighting joined them. The porter rested in his wheelbarrow, his hands folded under his head, and shyly laughed at the vegetable seller’s silly jokes. The only people who did not participate were the two women covered in big dark shawls who came out of the same alley as the boy. When they saw the shooting, they sat against the wall, a few meters away from the men, in absolute silence.

.

The fighting went on. The boy cupped his ears with the palms of his hands and the shooting was drowned as if in a wind tunnel. As soon as he lifted his hands the sound of gunshots came back, loud and ludicrous. He closed his ears with the tips of his fingers this time and pressed them hard. The sound of war seemed as distant, as unbelievable, as a dream.

It looked as if people had stepped outside of their houses and shops at the first sign of a shallow earthquake, and now that they were out they thought why not catch up with their neighbors. Baba, a shopkeeper in his late fifties, didn’t even bother to leave his shop, an old, red shipping container insulated with a thick layer of mud and straw, right behind where Sarkanda and his friends had dug out the trench. In his impoverished, half-empty shop, he sat deep in thought, perhaps believing there was no way a stray bullet could find its way to him because the door of his shop opened perpendicular to the direction of the bullets of the Panjshiris. Still, he had to leave some room for his ignorance of the laws of physics, the intricacies of geometry, and above all some room for chance, and it made him worry. A bullet might take an inappropriate swerve and enter his shop. Now in the heat of the crossfire there was no way he could get out, so he sat there taking thoughtful sips of his steaming green tea and silently wishing a quick end to the reckless shooting.

The rain-filled clouds hung low, and it had become very hot. The boy leaned against the edge of the big whitewashed wall and looked past Sarkanda and Zaman. At the mouth of Khala’s narrow alley a group of people waited patiently for the shooting to cease. The boy folded his hands behind his back, balanced his weight on both heels, and started to wriggle. Then he stopped and looked down at his big toe sticking out of the tip of his right shoe, dirty and unwashed, exposed to dust and humidity. He tried to work it back into his shoe, but the hole was too generous. So he wiggled his toes and wondered when and where he had lost the lace on the left shoe. He felt a shudder of grief that his only pair of shoes was disintegrating faster than he’d expected. That meant he would have to switch back into hard plastic galoshes that cut the back of his heels and smelled terrible. To fight off this disturbing thought, with the tips of his fingers he took hold of the scanty sleeves of the old, discolored yellow sweater that he was outgrowing fast, and pulled them down. The collar of the sweater overstretched, revealing his scrawny neck and his fragile collarbones.

Then he fixed his gaze on Sarkanda, who still rested on his stomach on the ground, his whole body, particularly his shoulders, a constant tremor. A bullet whizzed past Sarkanda’s ear and hit the dry mud wall behind him. The boy, and the few others, who saw it, let out a cry of bewilderment mixed with a chill thrill. “Da kos khowar shomo to that vagina of your sisters!” Sarkanda gurgled aloud in a raspy voice and jolted forward as if the smell of heated copper and burned sulfur nitrate and the proximity of death fired up his determination. The two women who had been sitting against the wall became uncomfortable, hearing their most private part spoken of openly. The older woman made a failed attempt to swallow her laughter, but her lips puckered. The younger woman maintained a serious look and stared at the ground in front of her feet. The shopkeepers gave out a lighthearted laughter at Sarkanda’s effortless way of saying Kos, but also at the fact that the bullet could have easily smashed his face had it been an inch to the right. “Kam bod Sarkanda ra wardar kadod!” said one man. “Nah, I guess even death avoids that motherfucker. I bet even in hell he would rob people in open daylight and extort money,” responded another.

“Or a pack of cigarettes,” said the porter, adjusting his wheelbarrow.

The bakery owner shifted his weight on his left hip and glanced out the window to see what had happened. The baker put the rafeda down and turned for a quick peek at the street below. As soon as he realized that the moment was gone, he went back to his work.

“They’re wasting ammunition on such useless matters,” said the vegetable seller.

“How did all this begin?” said a bystander, a skinny man, constantly moving his jaws to adjust his dentures.

The boy moved closer to the men to hear what they were talking about.

The vegetable seller paused longer than he should have, trying to look important. “I heard that the Panjshiris kidnapped Qatel,” he finally said.

“Who is Qatel?” asked the man.

“The dog,” the vegetable seller responded.

“Oh, they’re out to kill each other over a dog?” said the man grinding his jaws, his plastic teeth making an empty sound.

“Yeah, these guys sent someone to bring the dog back, but the Panjshiris slapped the messenger in the face and sent him empty handed,” said the vegetable seller, raising his eyebrows and maintaining a faint smile. He was proud to know something that the others didn’t. Although he had said everything there was to be said about the shooting, he couldn’t stop himself, so he continued. “Did you know that Sarkanda had stolen that dog from a house?” He looked at the man with dentures for a reaction, but the man was busy looking at Sarkanda and his friends, who were still shooting relentlessly. The vegetable seller turned towards the boy, hoping he was listening to him. The boy, too, was watching the shooting. So the vegetable seller with a servile look on his face helplessly turned his attention to the fighting.

They all were looking at Sarkanda admitting that he had earned his nickname “the headless,” and they secretly admired his inexorable fearlessness in the face of death, a quality they well knew they didn’t possess. All of a sudden Sarkanda ducked his head. The bullet hit the hard steel in the corner of Baba’s shipping container that stuck out of a thick layer of mud, then rebounded and caught the skinny man above his right knee. “Akhhhh!” was the only sound the man made, and he sat on the ground holding his wounded thigh. The two women looked in the man’s direction, their faces warm with pity. Baba put down his glass of tea on a cooking oil box next to him and stood in his place to assess the situation. That was the maximum movement he allowed himself to make. The fear of getting hit by a stray bullet was tangible now that the man’s thigh started bleeding.

The porter ran with his wheelbarrow to help. The vegetable seller lifted the wounded man and placed him in the wheelbarrow.

The boy’s toes felt numb, especially the one that stuck out of his shoe. He saw the agony on the man’s face, and he noticed that for once the man was not adjusting his dentures, but clenching his jaws and shaking his small head from side to side as he lay on his back, his face pale, his legs dangling off the edges of the wheelbarrow.

“Would the compoder compounder be in his shop?” the porter asked, not particularly directing the question at anyone, but thinking out loud. He hurriedly pushed the wheelbarrow towards the pharmacy, negotiating the bumps, and disappeared into the alley.

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Nasro and Habib had stopped shooting, their cartridge magazines lay empty, but they stayed low in the trench amidst piles of spent shell casings. The shooting from the other side also died down. Zaman was dissembling his DShK. Every now and then a bullet rang in the air, and Sarkanda fired back. This went on for a couple of minutes as if no one wanted to bear the burden of being the first to accept defeat.

Eventually the shooting ended just as it had begun.

The crowd started crossing the street as soon as they thought it was safe enough. The two women got up. The vegetable seller went back to his shop and started sprinkling water over the fresh vegetables: basil, scallions, spinach, lettuce, radishes, cucumbers, and carrots, neatly organized on big inclined tables.

The boy crossed the street and stood at the mouth of Khala’s alley, his eyes set on the empty casings that lay in and around the trench.

Zaman stood up, and asked Nasro and Habib to help him carry the DShK back to the checkpoint. They carelessly flung their Kalashnikovs onto their shoulders, and each man held and carried one stand of the heavy machine gun. Sarkanda was the last to get up. He held his old, Russian PK by the muzzle and dragged it across the street into the post, and then came back for his sandals that lay face down on the ground.

As soon as Sarkanda went into the checkpoint, the boy rushed to the trench. He took fistfuls of the spent shell casings and fitted them into his pockets hurriedly, his heart racing as if he had struck a gold deposit, but others could come and loot him any minute. Two kids he had not noticed before jumped into the trench beside him. One of them knelt on the wet soil and held the plastic sack, while his friend shoved the empty brass casings with both hands into the bag. Although the boy’s pockets and palms were full, he wanted to pick more. Then he stood there in the middle of the trench calculating how much money he would make from selling the casings in his pockets. The amount seemed insignificant compared to what the two kids would get. He envied them and their bags.

Silently but bitterly he walked out of the trench holding his waist-band and headed to Khala’s house. He knew that he had taken way longer than he should have, and that Mother was waiting for him with the broom in hand, but the jingling sound of the shells in his pockets comforted him.

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By the time he returned with the salt, life on the main street was back to normal. People stood in the line in front of the bakery to buy fresh bread for dinner. Zaman, Sarkanda, Nasro, and Habib sat in the checkpoint, exhausted yet at peace. They leaned their heads against the sandbags. The dog issue was not settled and the fight would go on, but for now they could enjoy the two joints that went around in the circle.

Across from the checkpoint, the porter scrubbed the blood from his wheelbarrow, and the vegetable seller was pouring water on his hands from a green plastic pitcher. Baba stood next to them holding his cup of tea. They talked, and every now and then they all laughed and shook their heads.

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The boy turned the corner towards home. He felt the first drop of rain on his bare collarbone. He looked up at the dark clouds and knew it was about to rain hard. He started to run, but his leg felt numb, just where the dog had bit him and where the man had bled. He stumbled, then found his footing, and ran again, limping. The shell casings jingled in his pockets with the sound of empty brass.

— Jamaluddin Aram

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Jamaluddin Aram is a documentary filmmaker, producer, and short story writer from Kabul. His documentaries My Teacher Is a Shopkeeper (part one, part two) and Unbelievable Journey have been screened in Afghanistan and elsewhere around the world. He is the associate producer of the Academy Award-nominated film Buzkashi Boys. He is currently pursuing a major in English with a concentration in creative writing at Union College in Schenectady, New York.

Jan 072017
 

John Madera

 

But let us concede that the observation that “wherever you go there you are” is true; what happens, though, when the “there” is a destabilized something or other, that is, is a zone of uncertainty; is this “there” the same there about which Gertrude Stein would reflect on and write: “There is no there there”? In any case, there we were, “there,” on our way to the Absolute Quiet Room, drinking a smoothie (it was a “Hawaiian Lust,” a tangy blend of orange juice, strawberries, bananas, and something else, papaya, maybe?), thinking, as we sipped, about line 462 of Book I of Virgil’s The Aeneid, where you find Aeneas gazing at a Carthaginian temple’s mural depicting battles of the Trojan War, Aeneas, driven to tears as he recalls the deaths of his friends and fellow citizens, saying, “Sunt lacrimae rerum et mentem mortalia tangunt,” which could be translated as “There are tears for things and mortal matters touch the mind,” but which Robert Fagles translates as “The world is a world of tears, and the burdens of mortality touch the heart”; and Robert Fitzgerald as “They weep here / For how the world goes, and our life that passes / Touches their hearts.” Franz Liszt’s Sunt Lacrimae Rerum en Mode Hongrois was a response to the disastrous Hungarian War of Independence and the executions following it. The mournful four-note motif opening the piece is iterated throughout the composition, the piece’s rhythmic angularities colored by both ominous bass and plaintive melodic figures. Strangely enough, James Elkin’s Pictures and Tears, a book purporting to be a history of paintings that have made people cry, doesn’t address Aeneas’s falling apart at the sight of the mural. (Elkin does refer to Ingres’s Virgil Reading the Aeneid to Augustus, which might be an intimation of the abovementioned famous scene.) Perhaps Elkin is making too fine a distinction between characters and people, a distinction that we often find ourselves making with a kind of stringency that may well be worth sometimes being skeptical about. The word lacrimae inevitably always makes us think of the band Tool, whose music offers its own peculiar kind of catharsis, its members once claiming to be inspired to form after reading The Joyful Guide to Lachrymology, a book supposedly written in 1949 by Ronald P. Vincent, a “crop-spray contractor.” It was a hoax, of course. We have been tempted to actually write this book, since crying is something we know something about. We could talk about Roy Orbison’s “Crying,” for instance, a song which has made us cry, a song also used to eerie effect in David Lynch’s Mulholland Drive. Rita, still awake at two a.m. after having sex with Betty, insists they go to a theater called Club Silencio, where a man onstage explains in several languages that everything is an illusion, after which a woman, after emerging from the stage’s red curtains, begins singing “Crying” in Spanish, said singer collapsing toward the song’s end, the song continuing, the vocals disembodied, as it were, these thoughts leading us to think about the popularly held notion that some things are unthinkable, which leads us to think about the outset of “Are Some Things Unrepresentable?” where Jacques Rancière registers the titular question’s undecidability by first indicating that the notion of the “unrepresentable phenomenon” is often an umbrella term linking a “constellation of allied notions,” that is, “the unrepresentable, the unthinkable, the untreatable, the irredeemable.” Unfortunately, Rancière’s inventory, bolstered by another inventory of specific “phenomena, processes and notions,” doesn’t adequately address the differences between each of these varied phenomena, processes, and notions. We are not sure how defensible it is to simply contest how these disparate terms have been subsumed under the heading of the “unrepresentable phenomenon.” It would have been useful to have these terms defined and to see the ways in which they have been arbitrarily formed and connected. That said, Rancière’s project is a nuanced one: it is a series of inquiries toward ascertaining the circumstances under which an event can be said to be unrepresentable, followed by demonstrations of how that unrepresentability might be unrealizable.

Rancière investigates his subject through the lens of aesthetic inquiry, calling representation a “regime of thinking about art,” his use of the word “regime” surprising, since, for us, it immediately conjures up not only a generalized conception of organizing systems and patterns, but of governmental structures, particularly oppressive ones, its use, however, surely deliberate since one of the primary currents with which this essay engages is the supposedly inexplicable acts performed by fascistic entities. Rancière proceeds by engaging common notions about what art can and cannot do. So then, we have two “heterogeneous logics,” that is, the representative regime and the aesthetic regime, or, as Rancière puts it, a “Platonic plain tale” and “a new art of the sublime,” the majority of the essay finding Rancière disentangling these intertwining logics, while also engaging with Lyotard’s idea of the “‘witness’s narrative’”: “a new mode of art,” an idea which, though necessarily inadequate, is supposedly intrinsically capable of attesting to the existence of something that is unrepresentable.

Rancière refutes Lyotard’s new sublime by addressing the witness narrative, a seemingly singular attestation, as it were, as it pertains to the Holocaust, comparing the language, or, more specifically, the “paratactic linking of simple perceptions” that Robert Antelme employs in The Human Race (an eyewitness account of his imprisonment in Nazi concentration camps) with that found in Flaubert’s Madame Bovary, demonstrating that the language of testimony is no different from the “common language of literature.” Rancière argues that this “extreme experience of the inhuman confronts no impossibility of representation; nor is there a language peculiar to it. There is no appropriate language for witnessing”; it is instead a manifestation of qualities typical of the aesthetic regime, and is therefore intelligible.

Rancière concludes his essay by returning to the titular question, claiming that the idea that “some things can only be represented in a certain type of form, by a type of language appropriate to their exceptionality” is “vacuous,” reminding us of the passage in George Perec’s W, or the Memory of Childhood, where the narrator also confronts the idea of the unsayable: “I do not know whether I have anything to say, I know that I am saying nothing; I do not know if what I might have to say is unsaid because it is unsayable (the unsayable is not buried inside of writing, it is what prompted it in the first place); I know what I say is blank, is neutral, is a sign, once and for all, of a once-and-for-all annihilation,” the narrator’s circumlocutions suggesting that what is unsayable is ultimately what is actually left unsaid, which makes us think that what we thought we had known we do not now know. Until now, only we knew that we had known and do not now know what we had known. If only we did not know that we had known what we did not know and only we knew what we had not known and had known what we know now before we knew what we had known. We know that we knew that we did not know because knowing what we now know about what we knew we did not know about what we knew back then and knowing what we knew we had known about what we know and did not know back then has shown us that we do not know what we know about what we had known and did not know and do not know now.

Yes, there we were, thinking about thinking, and thinking about so-called intellectual property, thinking that if ideas are property, then they are meant to be trespassed; in other words, there we were, profoundly enjoying our Thursday, until we realized it was Monday, realizing our mistake as we passed Mt. Hope Community Baptist Church’s lawn, where a sign reads: “Words can make things wither and they can bring dead things to life,” making us think, first, of the Gospel of John and the Logos, and then also making us think about Derrida’s attack on “logocentrism,” but then also making us think about another sign that we are not sure we had ever seen but had simply heard about, namely, “Stop, drop, and roll isn’t going to work in Hell,” which made us think of another sign, which we are sure we had often seen when we worked in Jamaica, Queens, a sign that was unironically suffused with schadenfreude: “When your back is up against the wall, remember that Christ’s was on the cross,” all of which made us return to our own uncertainty about certainty, especially with regard to ideas and beauty, and language, doubting whether language could be anything other than a figure, a representation of a thing, rather than the thing itself, wondering whether we would ever know the thing itself, and whether it was even important to ever be able to identify that thing.

Blocks away from the Absolute Quiet Room, we heard cawing and looked up toward crows flying above our heads, and watched the ever-shifting patternings of their flight, and followed them to where they eventually landed, that is, a copse of oak trees, five of them, in fact, on old Prospect Street. The trees were bare, of course, though, probably as confused as the rest of us were by the sudden change in weather, their uppermost branches bent by crows. There must have been a hundred of them, black black and cawing, and we realized, with all due respect to Wallace Stevens, that there were more than thirteen ways to look at them.

Before you come to the Absolute Quiet Room, you will find on the wall, immediately to your left, a reproduction of a Mark Rothko painting flanked by two nondescript abstractions by some easily forgotten artist, each of those paintings clearly indebted to Rothko’s approach, but each one, though sharing, superficially, a similar palette to the aforementioned painting, containing similar hues of oranges, blacks, and yellows, actually contain nothing of the gravitas, the pathos of the Rothko, a painting which even in reproduction, substantially and necessarily reduced in size (the reproduction at about one by five feet appearing to be what we imagine is only a quarter the size of the original), and the icy glare from the crisp squares of fluorescent light, not to mention the reflection of the area itself, a convergence of lines where the ceiling and walls meet behind us, an image which is nevertheless still imbued with light, color-saturated lozenges floating within an overall field of magma-like intensity, these tiny swatches dissolving into the overall orange field, like disks of aspirin which have been plopped into liquid, fogging up its contents (much like the ice in the cup belonging to the woman who sat in front of the poster while we looked at it); a large black rectangular shape portentously taking up about two-thirds of the field, the combination of orange and black not conjuring up the Halloween we are most acquainted with, that is, an anesthetized, a Mickey Mouse version, of the Day of the Dead, but, rather, of death itself, that black shape like an amoral splotch of cancer slowly metastasizing, in quiet resolve and confidence, wrecking an otherwise healthy body, that black shape reminding us of Rothko’s final paintings, each one a portal, of a kind, into darkness; which makes us think of Andrew Bird’s “Dark Matter”; which makes us think how, on a terrible day, years back, falling face forward toward glass-scattered concrete, we had not been thinking about how it, the ground, looked like a shattered kaleidoscope, or about how Billy had called us a cocksucker, or how that was not an insult anyway—not that we were gay or anything—or about how this fight was a long time coming (we had long tired of Billy’s duplicity), or about how, later, our scar-streaked face would remind us of some phosphorescent and tentacled slimy thing on the ocean floor, or a paper birch’s branches, anything dendritic really, like the lightning that shook us awake as a toddler, forcing us to cry, only to have our mother tell us that it was nothing, that we should be a big boy, that we should go right to bed; we had not been thinking of any of those things, thinking, instead of one of Rothko’s black squares, as if plunging into its maw, its absence, its erasure, that emptiness thrumming in our chest whenever we think back to the fight; and as our face smashed against the ground, and a tooth squeezed down our throat like an aspirin, we had not been thinking that Esther, Sasha, and especially Jasmine, who were all standing around screaming, were all secretly rooting for us, rather than trying to keep us from getting completely pummeled, and we had not been thinking about how, just moments before, we had splashed our beer across Billy’s face because Billy had told these same three women how we had peed on ourselves when we were in the first grade, and as Billy’s boots carved into our stomach, and the bouncer from Mulchahy’s was pulling Billy away saying, “Get off him or deal with me, Motherfucker!” we had not been thinking about the sweet sick smell wafting from the hot dog stand on the corner, or the bus’s seeming illness as its doors congestedly wheezed open, or how everything went wrong, how everything always went wrong whenever Billy was around, and as we grabbed his shoe that somehow wriggled off when we were getting our ass kicked we watched Billy jump into the bus, and then threw our shoe at the bus, and saw Billy’s unmarked but beer-wet face curled into that same sitcom smile, and Billy flipped the bird at us, we had not thought of how Billy had once again got the last word, instead thinking how everything was what it was, turned out to be what it turned out to be: bus fumes, tires spinning, rainbow in oil, us tonguing our cheek; which makes us think back to the splotch, leading to thinking about news we had recently received about our ex-father-in-law, who has just begun experiencing “monocular transient blindness,” a symptom of what they refer to as a “mini-stroke,” a man we were once close to, who will, in a few days, have surgery to remove the plaque in his carotid artery, which is ninety-five percent blocked; thoughts of these correspondences raising, for us, a kind of skepticism about what might be described as circumstantial contiguities, the resonance of which, at first, brings satisfaction, but which, after reflecting that these were all really just incidental accidents, fills us, in the end, with horror, making us think about Henry James’s preface to The Turn of the Screw, where he writes: “My values are positively all blanks save so far as an excited horror, a promoted pity, a created expertness,” making us further feel that the tenuous grasp we have on meaning is about to snap.

A person, just passing us, sounded like he said, “ex nihilo reflexivity.”

Then there is the question of the woman, whose presence underneath (she is sitting) the faux Rothko has prevented us from properly deciphering what is apparently a signature on the hack’s painting. She has asked us to watch over her computer so that she may use the restroom. Actually, what she had meant was would we care to look after her rust-colored sweater, which was draped over the candied-apple red leather chair, from which she had just risen; the two spiral notebooks, one of which, the traffic-divider yellow (a yellow that also reminded us of the jaundiced disc and glowing goop wedged within the croissant of a promised egg and cheese sandwich purchased from a local eatery) one, rather than the sick pink one, stood on her seat against the inner-part of the armrest; the opened spiral notebook sitting on the aerodynamic circular table with wooden top and metal legs; her plastic cup of iced coffee, the ice having long since watered down what had probably once been a caramel brown into a kind of blanched tan, if that were possible; the empty, overturned bottle of, what was it? Sprite? Mountain Dew? or some other rarefied promise of sparkly effervescence, a kind of quintessence of delight, but what was instead a plastic container of citrus syrupy swill and fizzy ooze; an empty paper bag (But how do we know that it was really empty, since, from the angle from which we had observed it, said bag could not with any degree of certainty be said to, in fact, be empty. In any case, we can say that the bag bulged out in such a way that suggested it contained nothing save, perhaps, a straw’s long since removed papery husk and perhaps even the straw itself, nicked at its top from its respective drinker’s teeth.); the army green bag on the floor; the almost pocket-sized notebook (also enspiraled and also splayed open, with about four handwritten lines of text inscribed on it, as undecipherable as the abovementioned signature, alas); the textbook that she placed on the seat, which was still indented from her buttocks, the book’s opened page containing a bar graph; the unopened bottle of water standing between the almost-finished cup of iced coffee and the black pouch-like thing, presumably the case for the abovementioned laptop.

Said woman returned and did not acknowledge us in any way, forgot to thank us, in fact, instead lifting her textbook from the chair, positioning her face in such away as to offer us a perfect profile, displaying a disproportionately large head, her oak-tree-leaf brown hair styled into a sumo wrestler’s absurd coiffure, the sight of which forced us to quickly scan away from her head and down toward her toes, which were covered by her heinous sandals, Birkenstocks, in fact, which we were surprised to discover are still sold and, even more surprisingly, bought.

Someone, a bearded boy, stopped to talk to the abovementioned woman, saying something about the so-called big picture, saying it was a picture without borders, quickly adding something about his abiding belief in the power of love as the guiding and redeeming energy of the Universe, quickly claiming that on some days he was a Gnostic Christian Mystic and other days a Taoist, but most of the time he was neither of these things, just someone enamored of readings and musings about the world around him and within him. The woman, who had tossed requisite oh-my-gods like stones into his meandering river of talk, finally told him that she had to study, after which he embraced her, whispering something in her ear, from which hung an enormous earring, which used to be referred to as “doorknockers.” We should say that our comment about Birkenstocks was admittedly a flippant one, a flippancy you may find in similar comments we have made about those ridiculous winter boots supposedly from Australia you see all kinds of people wearing, that flippancy, though, coming with an awareness that our own preferences are subject to our own subjectivities, and are therefore tangled with our own biases, blind spots, and whatever other limitations. As we think about this, we find ourselves feeling like we should talk about how one’s sense of “beauty” is arguably more the result of nurture than of nature, how what constitutes what is beautiful, sexy, or whatever is the result of a play of intertwining scripts and discourses, while also registering how difficult it is for women to find clothing, and especially shoes, that are comfortable at all, let alone comfortable and sexy, all kinds of notions of gender, commerce, sexism, and on and on surfacing for me, which should immediately and necessarily cast suspicion on anything we might say about “beauty.” That said (and at the risk of hurting your feelings, which we really do not wish to do, so please forgive us), Birkenstocks have to be the ugliest footwear we have ever seen, displacing the boots we have described above by a wide margin, but also (and by a lesser margin) most of the sportier sandals other companies have produced. They are clunky things that make feet look like they have been bandaged by leather strips and some cardboard and cork-like amalgam used because there was nothing else available, inevitably making said feet look almost exponentially bigger. We have the same critique about most men’s footwear, generally speaking. In fact, when it comes to buying boots, we usually start in the “women’s section”— scare-quoted to highlight that these sections are gendered and therefore constructions. We are silly enough to think that companies prey on the idea that you cannot reconcile “beauty” with comfort, that is, deliberately uglifying über-comfortable products. When it comes to sandals, you will most likely find us wearing Havaianas flip flops, which we find simple, sleek, and comfortable.

What we are suggesting, in other words, is that the Absolute Quiet Room, its surround, is a kind of discordia concors.

—John Madera

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John Madera’s fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other publications. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, and many other print and online venues. Madera edits the forum Big Other.

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Jan 032017
 

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newspaper

I saw my first airplane when I was eight.  Stiff and angular, it growled across the sky, leaving behind it a trail of white shit.  I found Mother cooking porridge and asked her what kind of bird that had been.  She called it a plane and said it carried people from one place to another.

“Can’t the people walk?” I asked.

“Planes go places too far away to walk,” she said.

“Where do they go?” I wanted to know.  “What do the people do when they get there?

“Mapenzi,” Mother said, “can’t you see I’m busy?”

Thus began my fascination with flight.

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As I  was walking home from school a few months later, Grandfather called me over.   He measured my height against his walking stick and pretended to be impressed.

“Doing well with your studies?” he asked.

I shrugged.

“Do you want to work in the yam fields when you grow up?” he asked.

“I want to ride in a plane,” I replied.

“Eh!” he laughed.  “You have to be important to do that.”

“How do I become important?”

“Stay in school,” he said.  “Listen to your Mr.”

But I struggled in school.  I fidgeted and I squirmed.  A million thoughts and ideas flew in and out of my mind, none of which had anything to do with Mr.’s plodding lessons.  He often called me out during the day. “Sit still, Mapenzi!” he would say. “You’re disrupting class again.”

One day he reached into his desk and pulled out a bush yam, which he held in front of me.  “Mapenzi,” he explained, “this used to be a student just like you.  But the boy disobeyed his teacher, so God deserted him. Look at him now.”   The room went silent.  I searched Mr.’s face for some sign he was teasing.  He balanced the yam on my head.  “If it falls,” he said, “you’ll feel my ruler on each ear.”

The yam fell twice that day.  I went home with red ears and a bruised ego.

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Yet there were two things about school that I did like. I had recently discovered the World Atlas, which rested on a five-shelf cabinet that comprised our school library.   I spent my lunch hours leafing through its plastic-coated pages.   The world map captivated me most: candy-colored, cloud-shaped countries, nestled against the pale blue backdrop of our six connecting oceans.  Mr. had inked a small black dot on the map, pinpointing the location of Chisongo.

“Chisongo’s that small?” I asked him.

He nodded.  “Even smaller.”

“That includes the school and the students? The police station and the church and my village and my family, all that?”

I understood now the importance of airplanes.  There were so many places to see that were too far to walk.  I learned the names of the countries.   Some were easier to remember than others: Chad, for example, and Mali.  Some sounded elegant and exotic:  Bolivia and my personal favorite, England.

The other thing I liked about school involved the walk home, which took me through Mazuba’s village. She would greet me in the road, lifting a fistful of peanuts or a dumpling from inside her skirt and placing them, still warm from her skin, in my hand. Mazuba would accompany me for a distance, encouraging my stories of places we would one day visit together.  She knew about my difficulties in school, and I shared with her what Grandfather had said.

“I don’t know what to do,” I confided.  “I am not a good student.”

“Why not ask God?” she suggested.

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That Sunday at church I sat upright and still.  When the priest asked us to bow our heads and pray, for once I had something to communicate.  “Dear God,” I said, “Staying in school won’t help me fly.  Is there something I can do instead?”   I waited for an answer but heard nothing.  When the choir began to sing I opened my eyes and found the priest looking my way. He shook his head as if to say ‘No’, before turning towards the singers.

I spent two more days that week with the yam on my head and multiple welts on my ears.

Mother said she liked to go down to the river and talk with our ancestors when she needed something.   So I took the narrow path through the tall grass to the water and squatted on the sandy bank.  What did it look like to ask ancestors for something?  I picked up a rock and tossed it into the current. It disappeared with a blopp!  “Good evening, Ancestors,” I said.  “I was born to fly in a plane.  I know this like I know a river is a river and the sky is the sky.  Can you help me?”  I left two dumplings on a small plate of leaves, hoping it would further my cause.

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The next day in school I felt particularly restless. I recall someone behind me whispering “Uh, oh, Mapenzi,” then Mr. approaching my desk with the yam and his ruler. I pulled my shirt collar up to protect my ears, and suddenly mayhem broke out. The students around me began to scream. He is going to do something terrible, I said to myself, burrowing further into my clothes. I hid, awaiting a blow that never came. Desks rustled and footsteps shuffled. Someone pulled back my shirt.  Above me the students hovered in a circle.

“Mapenzi has turned into a yam!” a boy yelled. Mr. pushed the students aside, took one look, and fainted.  Eager boys stepped over him to get a better view.  Three students left the classroom and returned with the headmistress.

“Children!” she cried. The students cleared a path to my chair. “This is Mapenzi?” she asked, picking me up.  She turned me around, studied me from up close and far away.  She sniffed my skin, then found the oldest boy in the class: “Have the secretary tend to your teacher,” she instructed, “and tell her I’ll be back.”  She carried me over the red clay schoolyard, past the church, and across the five-block town to the police station.

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“You are telling me this is a boy?” the police officer asked.

“He’ll be safest here,” the headmistress said.

“I have an empty cell,” he suggested.

“You’re going to lock him up like a criminal?”

“Headmistress,” he replied, “this is a jailhouse, not a hotel.”

My parents arrived shortly thereafter: Mother, crying, with my baby brother strapped to her back, my two sisters, older brother, and finally Father, who talked with the police officers outside the cell. Mother spit into her palm and attempted to tame the roots sprouting from my sides like wiry appendages.

“My poor Mapenzi,” she lamented. “Don’t worry, though, Father is talking with the officers about bringing you home with us today.”

I did not go home that day.  The police chief explained to my wailing mother that had he been present when I arrived, he would never have let them book me. But since I was now officially incarcerated, procedures had to be followed.

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Lying on my back in the jail cell, a sense of wellbeing overtook me. Perhaps because I had no way to move, I no longer felt the need to be in motion. No one told me what to do in there. No one punished me for what I seemed unable to do.

Word of my condition spread quickly, and a line began to form outside the jail. One officer wondered aloud why they didn’t charge admission, and so they did. To the “Northern Provincial Jail” sign outside, they added “See Yam Boy — Price 3 Kwacha.” Soon the station also accepted homebrew and cigarettes from would-be gawkers with no cash. I began counting days in faces rather than hours.

Mazuba visited, bringing sunshine into my cell. She waited silently next to my chair, as though expecting a travel story, and it broke my heart that I couldn’t deliver one. When an officer rapped on the bars and called out, “Time’s up,” she set a fistful of peanuts on the chair beside me. For a moment I could almost feel her warmth radiating off of the shells. But then the guard swept them absentmindedly into his pocket as he bellowed his okay for the next customer.

The priest came by. He examined me and asked for the head of police. “What kind of circus are you running here?” he asked. The chief fingered the keys on his belt loop and said nothing.

The congregation built a special receptacle for me inside the church. Mother cradled me in a towel, with the priest beside her as we walked from the police station. A parade of believers followed, praising the Lord for the sign He had given.

The priest soon began expressing concern about the expenses involved in housing a tuber, so entrance fees were reinstated. People arrived from farther and farther afield. They prayed over me, they touched me (an extra fee), they asked for my blessing. Mother visited one day in a new green flowered dress. She hung a map of Zambia on the wall next to me, marking with toothpicks the hometowns of our visitors.

The church expanded to include a café and then a bookshop. Chisongo’s first hotel went up, and then people with light skin and fine, silky hair began to arrive. The Chinese quickly paved a road from our small town to the capital in the south. Mother hung a map of the world next to the one of our country.

Words could not express my delight when the priest hired Mazuba to collect Yam Boy tickets during the day and to sweep the floors after closing. She stayed longer when she could. Together we would listen to the vibrating tymbals of the cicadas and breathe in the fragrances of curbside dinner preparations. One evening when rain had left the air wet and heavy, she sat down on the font pew. “Remember those stories you used to tell me,” she asked, “about all the places we’d fly together?” She sloped onto her side, yawning. “It seems so silly now, but I used to really believe that one day they’d come true.” She closed her lids and slipped gently into sleep. I could not take my eyes off of her curled form, off the delicate flaring of her nostrils with each inhalation. How was it possible feel so utterly miserable in the presence of someone I loved so deeply?

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My body began to transform anew. Dark blotches established themselves on my skin. A crack developed in my side, with a crusty edge that flaked off to reveal more discolored tissue below.

At Mother’s request, Grandfather came by to evaluate my condition. He ran a thickly calloused finger along the fissure.  “Yam rot,” he confirmed.

Mother twined her fingers.  “Can he be saved?”

“My dear Child,” Grandfather put a hand on her shoulder and looked at her fixedly, “I’ve been growing tubers all of my life. Whatever this might have been before, it is now a yam. It has no intelligence, no consciousness, it can’t think or feel.

Mother began to cry.

“You can prolong its life,” he added, “but only if you are willing to treat a yam like a yam.”

Back home I traveled, in the fist of my grandfather. He toted me to the outskirts of our village, repeatedly turning around and telling Mother to scram.

I willed myself to jump and run as he pulled out his knife. He wasted no time lacerating my skin, cutting a deep gash around the fissure and scooping out the damaged tissue. Oh the pain! If only I still had teeth I would have given Grandfather a taste of his own medicine that day. He snipped away the remaining areas of discoloration, then rubbed my weeping, tender flesh with wood ash. He corralled the infected scraps with his foot into a pile and set it alight with a match.

I cured for four days with the harvest’s damaged tubers, sweating and steaming under rice grass and jute bags.   I drifted in and out of sleep as my wounds healed and a new, thin protective outer layer of skin formed.

My family constructed a simple, open-air hut with an elevated grass mat to maximize ventilation. I detected a hint of pride as Grandfather installed me, renewed from curing, in my new home.

Mother eyed me approvingly.  “So he’s all healthy now?” she asked.

“If you want it to last forever,” Grandfather groused, “take it to Solwezi and have it canned.”

Mother began to cry.

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Mother continued to come by, but she no longer sang or brought news of my family.  Folds of skin began to develop beneath her eyes.

My hearing and vision started to dull, and my base softened.  Mother packed healing herbs around me in hopes of preserving what she could of my fading health.  Grandfather confirmed the worst.  “It will not be long now,” he said.

Late one afternoon as the church was preparing to close for the day, a visitor from afar stepped into the room.  She introduced herself as Ashley.  She had flown from Europe after a friend had forwarded her a newspaper clipping about me.  Ashley’s cameraman lifted me out of my receptacle with great care and snapped pictures from various angles.

“My church in England wants you to come visit,” she said.  “You’re famous.”

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For days after Ashley’s visit, Mother informed anyone who would listen that I was not going anywhere.  “He can’t travel,” she said.  “He’s dying.”

The priest dipped his head with understanding.  “A mother’s primary concern is always what’s best for her children,” he said.

Our priest often disarmed congregants by ascribing good intentions to them. As Mother’s mouth softened and her shoulders relaxed, I had a hopeful sense of where he might be taking her.

“And yet,” he said, “Mapenzi’s time on earth is soon ending, whether he stays or goes. Perhaps we ought to ask ourselves what he would want in the short time he has remaining.”

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I was small enough to qualify as a lap child, so the English church paid for Mazuba to accompany me. In her handbag she carried instructions for the packing and transportation of my remains back home to Chisongo.

I wove in and out of consciousness as we taxied over the tarmac to the runway and then slowed to a stop. The deep voooorrrrrr-ing of the engines rattled my insides.

Mazuba held me up to the Plexiglas as the aircraft rolled forward, crawling at first, then picking up speed. The fields and trees shot by, eventually blurring into a solid wall of green. The pilot nudged the plane’s nose into the air, and we were off.

The magic of flying — the pressure of my body against Mazuba’s hand as we gained altitude; the losing and regaining of the horizon as the plane turned once, then a second time; the peculiar sensation of being rooted on solid ground while floating on the air coalesced with the pride of having achieved my goal.

Below us the square roofs of the city gave way to kilometers of forest speckled with occasional clusters of thatched and metal huts. I imagined one of those groupings to be Chisongo, with the students waving from the red clay courtyard; Mother, Father and my brothers and sisters shielding their eyes from the light to catch a glimpse of me, traveling somewhere too far away to walk. I sent my heartfelt thanks to Mr. and to all of the other human and spiritual advocates, for the roles they played in getting me here. We passed into a layer of clouds, then up into the bright sunshine with a sky as blue as the six connecting oceans of my schoolroom atlas.

—Laura Fine-Morrison

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Laura Fine-Morrison has worked in a variety of organizations, largely in a human resources capacity.  She has moonlighted as a freelance journalist and business writer. During college, she was awarded a three-month research fellowship to study community banking among market women in Abidjan, Cote d’Ivoire. She has also volunteered as a French-English interpreter in Mali, raised funds for fistula clinics in Tanzania, started a small business venture with an Ethiopian leather goods manufacturer, and rooted for Ghana in the South African quarterfinals of the 2010 FIFA World Cup. She lives in Seattle with her husband and daughter. This is her first published short story and she is damned pleased about it!

Dec 082016
 

Composer David Smooke and toy piano Composer David Smooke and toy piano.

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The toy piano will be the first thing you notice. (Toy piano? I asked. Yes, I was told. Not miniature. Toy. ) Composer David Smooke (1969) plays the toy piano, inside and out, and in doing so transforms the way you’ll think about sound.

The toy piano, even when it’s played like a piano, doesn’t sound like a piano. It sounds like childhood itself: tender, vulnerable, plastic hammers tapping metal rods, absent the rich overtones that accompany a larger piano’s notes. A typical adult hand looms, enormous over its keyboard. The performer must crouch, knees to chest, on a miniature piano bench, in order to play it.

And then there’s the way Smooke exploits the possibilities of the instrument: removing the piano’s lid, he tears into the metal bars that the piano’s hammers are meant to strike, pulling at them (bowing them) with strings or wire, strumming them gently with the back of his fingernails; or rubbing the soundboard with pieces of metal. In conversation, Smooke is soft-spoken, thoughtful, and quick to laugh. He currently teaches at the prestigious Peabody Conservatory, and has taught on the faculties of Ohio University, the Chicago College of Performing Arts of Roosevelt University, the Merit School of Music, the University of Chicago, Columbia College Chicago, the Birch Creek Music Performance Center, and the Sun Valley Summer Symphony Workshops. It’s clear he has a deep fondness for his work with students, and a gentle gift for supporting them without leading them off their own way.

We’d initially scheduled our conversation for the first week in November, planning to talk by Skype from his office in Baltimore to my own in Western North Carolina. Smooke’s latest CD, “Nutshell Studies of Unexplained Death” had just been released in October, and features the Peabody Wind Ensemble, Karl Larson, loadbang, the Lunar Ensemble, and Mike Parker Harley as well as Smooke himself on toy piano. The title piece is a concerto written for toy piano and a wind ensemble (played here by Smooke with the Peabody Wind Ensemble and its conductor Harlan Parker.)

Smooke had sketched out a preliminary list of discussion topics—interesting, provocative topics posed by the nature of his compositional structure and techniques—but by the time our conversation occurred, the U.S. elections were over and our political landscape dramatically, irretrievably, altered in ways that we’re still struggling to address. As we arranged a time to talk, Smooke wrote “I feel like any conversation needs to revolve around why we’re doing art in today’s world….”

David Smooke: There is really nothing else to talk about these days, is there?

Carolyn Ogburn: I don’t think so. And yet, I couldn’t help but notice when I was preparing that you actually wrote about this back in 2010.

David Smooke: I did?

Carolyn Ogburn: You did! You had a student who came to you asking why, of all things that were going on in Schumann’s time, composers were writing about their individual love difficulties rather than addressing the political upheaval of that time. You wrote: “During a time of intense crisis I find myself questioning the utility of experimental music within society. We spend countless hours honing our craft, and yet we can’t heal an open wound or build shelter. Of course we have Churchill’s famous (yet apocryphal) quote in response to a proposal to cut arts funding during World War II, ‘then what are we fighting for?’ Still, our art appears to pale in the face of a disaster of these proportions.”

David Smooke: That’s really funny! I don’t remember writing about that at all, but it sounds like the sort of thing I would say.

Carolyn Ogburn: And now?

David Smooke: So, I teach class on Wednesday, first-year undergrads, and all of last Tuesday night I was thinking, what do I say to these undergrads in the morning? I really had to think through, what am I doing? What are they doing, what are we doing, and what can I convey to the students, some sense of music being important or not important at this time. If it’s not important we should just get out, and if it is important, how do we talk about it?

And I guess what we ended up with was just the idea I think so much of what’s going on these days is that people just don’t hear each other from either side, and we’re kind of denying the humanity of people they see as the other, that’s clearly what’s happening with the All Lives Matter response to Black Lives Matter….but it also is part of what makes it so easy for people on the left to dismiss the people on the right who do feel abandoned in our society. The arts can allow us to bridge that divide and to communicate with each other in a way that’s meaningful.

David SmookeDavid Smooke

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I think people often mistake accessibility for simplicity.

Carolyn Ogburn: So, one of my own fascinations is communication as a social phenomenon. One person explaining their truth is not communication, at any level. So then, I guess maybe the question comes back to the accessibility of art. Something that’s often said about arts in general is that they’re not relevant, they’re not meaningful. How do we bridge that divide while maintaining that aesthetic that actually says what the artist wants to say.

David Smooke: Yeah, well, when you talk about accessibility…I think people often mistake accessibility for simplicity. Accessibility should be more about making things available. Making the art, literally, accessible. I’ve seen time and again just where people are absolutely moved by difficult art that they have access to, that approaches them, that meets them, in their home.

And especially with music! I mean, look at death metal, punk music, music that plenty of people love, in all sorts of different communities…so how is my music harsher than Metallica? In a way I wish it was! But there’s something about, there are aspects to the rituals around the Metallica concerts that make it more accessible to people without necessarily making it easier.

Carolyn Ogburn: That’s a good distinction. Maybe the frame, the packaging?

David Smooke: In classical music, that’s something we’re always talking about. We have all these rituals that are necessary for silence. I mean, silence is necessary for acoustic music but they (the rituals) really serve to make music inaccessible to most people.

Carolyn Ogburn: Don’t you think there is something about elitism that is not all bad? It allows certain conversations to be had…

David Smooke: Well, there is such a thing as expertise! I think there’s a healthy way of looking at elitism, and there’s an unhealthy way. Where the whole idea of…you know, I would rather be operated on by someone who has a certain amount of training before they open me up. But then where I think the whole idea of expertise can be misused is, a lot of people use it to say, Itzhak Perlman is a better musician than Dr. Dre. And I’m not sure that you can really say this.

Carolyn Ogburn: And in terms of expertise, when confronted with political situations, it seems to me that a political response would be one that’s firmly placed within your area of expertise.

David Smooke: Yes.

Carolyn Ogburn: Did that make sense?

David Smooke: Yes. What you’re saying is that for me to make a salient political response, I can’t sit and argue with people over which climate studies are the best ones, but I can present art in a way that can make a difference.

David Smooke with a tiny birdcage

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On Hierarchy

Carolyn Ogburn: Do you think there’s also something political about the form of music itself? And by that I mean, many times music is presented with various amounts of hierarchy. I think about music in the church in this way…One tone, from which emerged polyphony, then melody with supporting base, reflecting changing power structures. And there’s also a way that music has of allowing, or even demanding, a variety of voices occurring all at once, on a stage.

David Smooke: Well, you just raised two interesting issues.

Carolyn Ogburn: Oh, good!

David Smooke: So hierarchy is everywhere in music, especially in western music, so much of the basis of music is hierarchal. From about 1750 through the 20th century, composers were using a system they called tonality. The first time someone tried to define tonality, the way that he defined it was to say “tonality is hierarchy.” And, of course, meter is also hierarchy.

In the 20th century, going away from those systems was phrased politically. Composers talked about it politically. Composers talked about emancipating dissonance from its function. Its (dissonance’s) function was its need to resolve, so to free it, literally, literally freeing it, was emancipating it from its hierarchy.

So you have hierarchy in the music itself, but you also have hierarchy in the way the music is presented. In an orchestra, you have a conductor, and everyone has to look to the conductor and the conductor’s interpretation. Which also goes to the each member of the orchestra has to bring their own expertise, but they’re subsuming their own expertise under the expertise of the composer and conductor. They think of themselves as servants within the hierarchy.

That’s the sort of thing that my music’s trying to get away from. following that more 20th-century notion of tearing down those walls. I do a lot of improvisation, totally free. I will sit down with a bunch of people, and none of us will have any idea what anyone, including himself, will do. This prompts a whole series of responses which can turn into…anything…which really is the most egalitarian way of making music.

But I’m also a composer, who writes notes and gives those notes to other people to interpret. Which goes back to all of those issues. A lot of music on the CD is music I wrote, give to other people. So other people take the music, they go and learn the music, they come back to me and say, I’ve made this choice, what do you think? And I give them my opinion, I like that or I didn’t like that.

There’s a famous—phenomenal—composer, his name is Haas, who came out in the New York Times as a dominant, and he and his wife talking about their relationship where he’s a dominant, and she’s a submissive. (She’s also a writer and a BDSM educator.) She’s very aware of all the political ramifications of that, and she also happens to be African American, and it happens to be the (white) male that dominates the (black) submissive woman. I guess it kind of goes back to the dominant composer thing of the composer being the one who rules the submissive performers.

So I guess I bring that up only to point out just how fraught all these relationships can be.

Carolyn Ogburn: And in a way, the fact that you’re thinking about this, composing and performing with a certain amount of self-consciousness about the fraughtness of this relationship, does that transform that relationship in some way…

David Smooke: Yes, exactly.

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21 Miles to Coolville

Carolyn Ogburn: I was really struck by “21 Miles to Coolville,” both the music and the video piece you made for it.

David Smooke: The video was taken from an older, live performance. But the piece itself is on the new CD too.

Carolyn Ogburn: I was thinking about what the political statement was in that piece. I think the visual, and how the visual was described, that this was a part of the country that has come under scrutiny in the last few weeks, meaning rural, or Appalachia (which is where I’m from) and the way in the piece, as the wonderful joy of the road trip kind of settles, you get to Coolville and Coolville is not what you expect.

David Smooke: So, I was living right near the sign (21 Miles to Coolville) and of course it’s a joke. I mean, Coolville! But also I was teaching there, and most of my students were from there, from the general area. And they were lovely, just lovely, the sweetest kids, who were so ready to learn and work hard and have their minds blown, and just meet ideas. And we had SO much fun in the classes. And yet in the community—in Athens, Ohio itself—I always felt very much like an outsider. Not among my students, who could not possibly have been more welcoming. But in the community…I mean, I’m skinny. I don’t think there was a single person my height who weighed less than 50 pounds more than me, just like I so stood out in my skinny-ness. And I stood out in my Jewishness. I felt both an outsider, and someone who was very welcome.

I was very aware that this is where these people who I really adore came from, and yet going there it was also clearly a place that had seen better days. So trying to feel, as an outsider, being careful not to be condescending, which is so easy to do and so often felt. Every interview I’ve ever seen with Trump voters has described this phenomenon, this feeling of being condescended to. But also trying to recognize that this town at one point was probably really thriving and that time had passed. And there were still things there that were well taken care of, but other things…so really just trying to see it as it was, rather than idealizing it in some way, poor Appalachia or…

Carolyn Ogburn: Would you call that political?

David Smooke: A year ago I would not have, and now…absolutely. Absolutely. It’s funny because so much of American art is based on this notion of Appalachia. It’s at the center of our idea of America. But when art takes place in Appalachia it seems to take one of two forms. Either an idealized form of America, or “Oh, look at the poor people.” And either way…these are people. I mean, now, just looking at people, Appalachian people, just as regular people seems like a political statement.

Carolyn Ogburn: Is your choice of instrument in any way a political statement? Because it’s kind of punk.

David Smooke: I mean, I grew up a punk and goth, right? So…yeah…Just so you know, I’m kind of looking that way because have a toy piano sitting right there, and I keep looking at it…

So again, it’s one of those things that’s yes and no, I think of it as this kind of idealized childhood that no one I know actually had. It seems representative of childhood possibilities, to take that use it in a way that both recognizes and subverts that. So often with these childhood instruments you see, like, toy piano played slowly and everything becomes eerie, or childhood singing with a lot of reverb becomes a horror trope. But literally, it’s deconstructing the instrument to see what else it has in it. So it’s taking this toy and making it sound like a crying beast, so in that sense, yeah, mining the depths, and I guess that’s mining the depths of childhood, but I think it’s a more roundabout sort of politicism.

Carolyn Ogburn: I don’t know that that’s less political for being roundabout…

David Smooke: Well, I try to be careful. It’s hard in art because there’s a fine line between art and agitprop, or propaganda. When the political statements become too clear or too specific, it can often become less effective because it becomes then very specific to that moment.

Carolyn Ogburn: How did that conversation with your students go, on that Wednesday morning?

David Smooke: It was one of those things where it was absolutely necessary…when I have these conversations, I never try to answer. It’s more raising the questions, put out there, to them, if they have things they want to do, come to me and I’ll help them. I had a similar conversation with my grad students. But I think right now everyone’s trying to think just how they’ll respond. I think it will take a while.

Carolyn Ogburn: It sounds to me to that you’re creating a safe container for people’s feelings, and hinting that music may have a place in this process.

David Smooke: And also recognizing that it’s a question whether or not music has a place in this process. And all these years, I don’t know that. There aren’t any good answers for how to create art that’s political and good art.

Carolyn Ogburn: And yet these conversations are so important to have. Especially, I think, the conversations that don’t have answers. How do you explore that?

David Smooke: So, for me, a lot of it begins at home. My wife is a fiction writer, Elise Levine. She’s absolutely brilliant, and thinks through things incredibly deeply. Her ideas are so important to me and to help me formulate my own ideas, going back and forth with each other on these things. And I have a lot of friends who are not musicians. One of the things I love about Baltimore is the arts community here, so we talk to artists and writers and musicians and everyone brings their own things to the table. And then also I think the key thing is to not to expect to get answers but just to follow through with questions and see where things lead. To help the people who are trying things but also to recognize that there’s never one thing that’s ever going to be an answer.

Carolyn Ogburn: Do you think an individual comes up with an answer for him or herself? Like, maybe these talks are less about a shared response than a manner of working through what an individual response might be?

David Smooke: Absolutely. And that’s also tied to teaching, because in any classroom, everyone will perceive material differently from everyone else. There’s never any single way of looking at things. I have a student that I’m working closely with who is giving concerts where the proceeds all go to food banks. I have another student that I’m working with who did an opera about the youngest person ever executed in the US. And these are all important projects, right? I mean, I would never write that opera, I would never think to do concerts supporting food banks, but food is important, and talking about these issues of American history are important, and we need every one to be doing their own thing and to be finding their own way through it. That’s the thing! There’s just so much work to be done in our own society.

Carolyn Ogburn: There’s so much work to be done and the work needs us all…

David Smooke: Exactly. And it needs people who are going to put their heart and soul into that aspect.

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“Nutshell Studies of Unexplained Death”

Carolyn Ogburn: You’ve just put out a new CD called “Nutshell Studies of Unexplained Death” whose title piece is based on the collection of miniature crime scene models created in the 1940s by Frances Glessner Lee. How did you come across the Nutshell Studies?

David Smooke: So, they’re in Baltimore, and when we moved here, a friend said, “You’ve got to check these out.” I was already working with toy piano by then, and I thought, this is just too good of a title to pass up. But we were here for about 5 years before we actually went.

Carolyn Ogburn: I’m fascinated by the scale. The tiny piano you play, and the tiny models of death…

David Smooke: To me, it goes to everything that’s about what I do with the toy piano. The dollhouses, or dioramas, are children’s things that aren’t for children at all. They serve a very clear, scientific and meaningful purpose. So that very much mirrors the way I try to use the toy piano,

Then the fact that the scenes that are both bucolic and lovely, but simultaneously horrific, depending on what aspect of it you’re looking at. Going back to the way certain sounds on the toy piano are so nice, or then mining these other sounds. And this expansion of…well, you’ve got this very small instrument that has to be amplified, because in this context (the piece is a concerto for toy piano and wind ensemble) it never would have been heard. You’ve got all of these people playing these instruments that have hundreds or even thousands of years of instrumental technology behind them that have been absolutely perfected, and they’re all then put underneath this toy. So it’s expanding the toy, and contracting everything else.

Carolyn Ogburn: Do you think about that as political?

David Smooke: You know, Carolyn, I think these days everything comes back to politics. Everything is vulnerable. I guess it never wasn’t, but I think it’s more important to think through these implications, and to make these implications clear. And so, yes, talking in a visual way, right? It’s very much about perspective and scale, that idea of the small becoming large, the large becoming small, but everyone being unified, working together towards this thing, and dissolving, and all these kind of different interpersonal relationships. It’s exploring interpersonal relationships, which these days feels very political.

Carolyn Ogburn: Yes…

David Smooke: I mean, I keep coming back to this idea of agitprop. There are certainly great examples of political art.…this composer David Little, who has been writing Soldier Songs, Dog Days, absolute political statements that certainly has meaning that goes beyond it. And then there is art that we wish were outdated! Like, Guerrilla Girls and Feminist Uprising should feel outdated, but art institutions are slow to change and it doesn’t feel outdated. So I don’t want to go against the idea of making clear political statements. I mean, Bertolt Brecht still works.

But for me, I guess it goes to what I like in art. I tend to like things that are a bit more obtuse, they give up their secrets a bit more slowly. Where you might get one thing at first, and it might lead to another thing and another thing. One person will look at it and say, it’s clearly making this statement, and another may say, No, I think it’s making this statement. Ideally, it’s making both.

Carolyn Ogburn: I wanted to ask you about structure.

David Smooke: Ooooh! I love talking about structure.

Carolyn Ogburn: So music is a temporal form, and you talked about using the trail. and then you’ve got the alphabet series…you’ve got these restraints, that are not the sonata form or the 12-tone series or the fugue. So, tell me about structure.

David Smooke: (laughs) Tell you about structure.

Carolyn Ogburn: Sorry, yeah, I guess that’s a bit broad…

David Smooke: No, no. I just, it’s just that we could be here until morning and I could still be going another five days…So going back that question you raised earlier about hierarchy. Tonal music is all about exploring the hierarchy in a very specific way. You mentioned sonata form: sonata form is based on the drama of having this pitch that you begin with, dramatizing the motion away from the pitch, and dramatizing the return. It’s very much a journey away from and back to that note as being the drama. So when we get into more recent music, we don’t have that idea of dramatized motion toward or from that note anymore. When I was younger I really very much liked that idea of linear structure, having a structure that begins somewhere and would take a listener through from point A to point B…C….D…., and I could pull you along, walk you along that line. And that’s just not as interesting to me anymore. The same way I like ideas that can be interpreted many different ways, I like structure that has something that can be held onto but that doesn’t feel inevitable, but instead it feels surprising. A lot of movies I like have that sort of structure. Gus Van Sant, these experimental works, My Own Private Idaho, or Gerry, which are formally all over the place, and that idea in a movie or fiction, that it’s not necessarily linear. And so my music plays with that. Even without tonality, there can still be a sense of climactic moments, or music that goes to a specific spot.

But sometimes that gets boring. Not everything needs to build to something, or go to somewhere. So with structure these days I’m trying to explore various ways of moving through time and space with the idea that yes, things are related and interconnected, and the interconnections don’t necessarily don’t need to go from A-Z and if they do, it might be for a reason that’s placed on top of it.

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‘A Baby Bigger Grows Than Up Was’

.Carolyn Ogburn: One of the pieces you’ve included on this new recording (‘A Baby Bigger Grows Than Up Was,’ based on an alphabetized story by the Baltimore-based writer Michael Kimball written under the pseudonym Andy Devine) is a story written entirely in alphabetized words, many of which are repeated multiple times.

David Smooke: That alphabetized story is a great example. I think that there is some sort of extra story structure beneath it. The part on the CD is just a small excerpt; the whole piece is an hour long. When you look at the whole story…for example, the word Dad is only said once, but the word Mom is said 100 times. And so you start to get the sense of these relationships, and it does go somewhere even though the story isn’t linear, but the form of it is absolutely linear, in a way that’s absolutely meaningless.

I have a piece that I’m writing down right now that’s my experience of a trail that’s right near my house. I literally recorded myself running this trail and that will provide the background structure for the piece. The idea of the run is something that I’ve been wanting to do for years, because when you’re running on a trail, on the one hand it’s absolutely linear, you’re literally going from Point A to Point Z. But on the other hand, what happens on the trail, along that path, is unpredictable and random. I guess that’s where the structure comes from; it comes from the experience of the natural world. You’re out on a trail, and you don’t know what kind of bird you’re going to hear when you round the bend, or you don’t know what tree you’ll see. Your experience from moment to moment is entirely predictable, because on the one hand you’re putting one foot in front of the other and you know where you’re going; and on the other, moment to moment, it’s entirely unpredictable. And even when you hear a bird calling, and you know, oh, that’s a mocking bird, and it’s going to make that sound four times, it doesn’t always do it the way you expect.

Carolyn Ogburn: And you don’t know what that means, because we can’t interpret bird song in that way.

David Smooke: And the sounds as you’re moving through it, some birds might be moving towards you, or away from you. And there might be crickets, and you might be moving towards the stream, or away from the stream. And all these things, linear and nonlinear things, we’re okay with that experience. So the constraints, when there are constraints, tend to be very much about here is the path, but in a way that in a moment on the path, anything can happen.

The other thing I’m working on right now, the main focus, is doing more solo performance, creating longer structures so that I can go tour. (Laughs) You know, “Have toy piano. Will travel.” I’ll be playing various places over the next few months, New York, Boston, San Francisco, and I’m working on a few others. It goes back to that whole hierarchal thing. I’ve been feeling more comfortable lately being in the music rather than handing things off to people and saying, Go and do it.

Carolyn Ogburn: Are those two different hats to be the composer rather than the composer/performer?

David Smooke: Well, yes and no. There are ways in which they’re very similar. The structure is very similar, but the way I create the piece is very different, because when I’m writing a piece for other people to play, I’ll write it out with pencil, then put it into a computer, and go back and forth, and each time it feels like the end of the world because it takes so long to craft everything, but when I’m writing something for myself to play a lot of the crafting of it is just exploring the sound and seeing how it feels. There’s a lot more flexibility in the moment.

But, you know, I got to work with great people on the project (Nutshell Studies). It’s amazing to me to live in a world where people spend their lives learning their instruments to such a level where they can do anything, and they want to be part of projects where they have to do things that they don’t normally do. And also Scott Metcalf who recorded all of it was just absolutely amazing. This music that just rolls around in your head for awhile, to then to have it sound as good as it does amazes me. And I hate to say “as good as it does” but I guess the best way to put it is, I don’t like the sound of listening to my own music. Once it’s done it’s done. I just like to get it out of my desk and move on to the next thing. But now every time I listen to it, I’m just amazed by the artistry on it. I feel very lucky to be part of a community where people put their effort into something like this.

—David Smooke and Carolyn Ogburn

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Carolyn Ogburn

Carolyn Ogburn lives in the mountains of Western North Carolina where she takes on a variety of worldly topics from the quiet comfort of her porch. She’s a contributing writer for Numero Cinq and blogs for Ploughshares. A graduate of Oberlin Conservatory, UNC-Asheville, and UNC School of the Arts, she recently finished her MFA at Vermont College of Fine Arts and is currently seeking representation for her first novel.

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Nov 082016
 

I have praise to offer that you can trust if you are looking for something good to read that spins your head in spare American prose that cannot be safely stashed in any genre. —Lawrence Sutin

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My Private Property
Mary Ruefle
Wave Books, 2016
128 pages, $25.00

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As I am a friend of Mary Ruefle, I will not pretend to be an objective reviewer, if there is such a thing. But as I loved her writing before I ever knew her, I am no mere shill. I have praise to offer that you can trust if you are looking for something good to read that spins your head in spare American prose that cannot be safely stashed in any genre. Ruefle kneads imagination and thought together into a delicate yet chewy dough that rises into brilliant little lyric rolls and pastries. The kicker is that, after eating your fill with delight, you may find yourself unsettled. Nothing you think makes sense any more because Ruefle’s language has untamed your mind.

In the two longest pieces in the book, “Pause” and the eponymous “My Private Property,” Ruefle makes use of diametrically different forms. “Pause” is made up of multiple short sections that are sometimes only a single sentence. “My Private Property” is one long paragraph that goes on for fifteen pages. “Pause” is about menopause of which Ruefle writes in bile-filled warnings as one who has moved on to “happy old age” with its “grace and gentle words, and ways that grim youth has never known.” The essay thus encompasses the lifespan of woman, as viewed by Ruefle, with menopause serving as the liminal passage out of the past of human ties, procreative ties, that have inhibited one’s creative evolution—“there are no longer any persons on earth who can stop you from being yourself.” “My Private Property” is about shrunken heads in all senses, not only the fearful physical shrinkings but also the bejeweled, bedaubed and photographed miniatures favored by every human culture as a form of remembrance. Ruefle takes in colonialism at its worst, the sketchy consolations of her own psyche, and the tenderness of loss and death. Having seen the Congo Museum in Brussels as a teenaged student abroad, she recounts in vividly accurate prose the shock of waking up, as an adult, to the history behind the museum’s sanctimonious cultural acquisitions—“wealth acquired by force of so filthy an unspeakable an evil our heads cannot fathom it and have no single word for it, but must resort to endless corridors of words, each corridor turning into another corridor a thousand miles longer than the last in our hopeless search for some inner chamber of understanding that does not exist.”

The inadequacies, the pliabilities, the mutabilities of language are frequent points of exploration for Ruefle, who well knows the roles of both writer and reader in language games. In “Lullaby,” Ruefle sketches in a Daoistic manner the pleasures of succumbing to somnolence, an oft-overlooked effect of artistic receptivity, be it to music, the visual arts, or writing. The examples Ruefle employs are the classical composer Brahms (his Lullabies), the Swiss sculptor Giacometti (his supple elongated figures) and—the surprise choice—the American writer Henry Miller. Ruefle’s portrayal of her hypnagogic psyche taking in Miller is a model of how, languidly and hilariously, to disarm a male language harangue without disturbing one’s composure: “I often fall asleep while reading him. When he uses that hard word cunt again and again, it finally becomes something soft, so very soft, which is startling because a cunt really is soft, it’s a warm, soft, wet-while-young place, a spot really, given the size of the universe, the way a star is a spot, but there are so many of them—I mean cunts—who can keep track?”

Scattered throughout the book (untitled on the pages themselves, though single-word color labels—Blue; Purple; Black; and so forth—are given in the table of contents) are a sequence of eleven short takes on sadness keyed by color—the other shades being gray, red, green, pink, orange, yellow, white, brown. These allow Ruefle to display her gift for imagistic writing as emotionally compelling as Expressionist paintings. Ruefle does not stray into psychological judgments of the natures of her sadnesses. By using precise details that are not strictly tied to color scheme (so as to avoid becoming too matchy-matchy), she rivets the reader by revealing the prismatic secrets of her sadness spectrum. Take, for example, green sadness, which is, among other moments in Ruefle’s imagination, “the funeral silence of bones beneath the green carpet of evenly cut grass upon which the bride and groom walk in joy.” Because vivid, specific details inherently (given the nature of human consciousness) contain multiple emotional valences, Ruefle’s pieces take on a trans quality. Ruefle’s note at the back of the book is astonishingly accurate: “In each of the color pieces, if you substitute the word happiness for the word sadness, nothing changes.”

To be fair, something does change. With the substitution, each piece remains subtle, vivid, and true. But the reader discovers that happiness and sadness happen in the same colors, which we can paint howsoever our minds allow. My one complaint about the design of the book is that I think the color-sadness pieces should have been given a sequential section of their own so as to foster their cumulative impact, rather than be scattered here and there between other writings.

My single favorite piece in My Private Property is a short work entitled “The Sublime.” In it Ruefle employs a trick often employed by poets though relatively seldom by prose writers. One chooses a title that serves, as it were, as the answer to the riddle of the ‘secret’ meaning of the piece. In this case, Ruefle describes a literally hair-raising drive over hair-pin mountain roads. The closing line: “Could see from the corner of my eye that there was an incredible view, but couldn’t look.” Again, as in the color-sadness pieces, Ruefle allows us to see that first-rate writing reveals more than we can possibly expect, which is why we read.

—Lawrence Sutin

N5

Larry Sutin

Lawrence Sutin is the author of a novel, When to Go Into the Water (Sarabande 2009), two memoirs, A Postcard Memoir (Graywolf 2000) and Jack and Rochelle: A Holocaust Story of Love and Resistance (Graywolf), two biographies–of Philip K. Dick and Aleister Crowley, and a historical work on the coming of Buddhism to the West. In addition, his erasure books can be seen at Lawrencesutin.com. In 2014, he and his wife Mab Nulty founded See Double Press, devoted to unique interfusions of text and image.  Its first two titles are Mary Ruefle’s An Incarnation of the Now and his own The Seeming Unreality of Entomology.  An essay written and illustrated by Lia Purpura is coming out in Fall 2016.  For more, check out seedouble.press. Sutin teaches in the creative writing programs of Hamline University and the Vermont College of Fine Arts.

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Oct 092016
 

ra2

Alameddine uses the structure of his novel—as Proust did—to recreate the impression of memory. The Angel of History, with its fragmented, alternating, multiple points of view and multiple plots is a structural triumph, not in spite of these qualities, but because of them. —Frank Richardson

the-angel-of-history

The Angel of History
Rabih Alameddine
Atlantic Monthly Press, 2016
304 pages, $26.00

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What if you were Satan’s chief delight? How chilling, how disturbing, how psychosis-inducing would it be to discover Satan—yes, the actual devil, Mephistopheles, the Morning Star, Lucifer—said that you rejuvenated his jaded heart? Who would want to know that? In The Angel of History, Rabih Alameddine’s newest novel, we learn the answer to this question, for Jacob, a Yemeni-born poet and survivor of the AIDS epidemic, is Satan’s delight, and the fallen angel makes it his mission to rescue Jacob from forgetting his past.

The Angel of History is Rabih Alameddine’s sixth book and fifth novel. Born in Amman, Jordan, he spent his youth in Kuwait and Lebanon. After moving to the United States, he first pursued an engineering career, but gave that up for painting, and then writing. In 1998 he published his first novel, the critically acclaimed Koolaids, a blistering indictment of war and a harrowing examination of the ravages of AIDS. His other novels include the experimental I, The Divine: A Novel in First Chapters (2001), The Hakawati (2008), which draws on the tradition of Arabian fables, and the bibliophile’s delight, the sublime An Unnecessary Woman (2014), which won the California Book Award Gold Medal for Fiction and was a finalist for the National Book Award.

Now fifty-six, Alameddine spends his time between San Francisco and Beirut. Once again exploring the subjects of AIDS and war in the Middle East, with The Angel of History, Alameddine gives us provocative storytelling at its finest, a fabulist tale that explores how we grieve and how we succeed and fail in confronting our most painful memories.

Jacob’s Elegy

Ya‘qub, the protagonist and narrator of two-thirds of The Angel of History, arrives one rainy night at a crisis psychiatric clinic in San Francisco determined to be admitted. The fifty-something Ya‘qub has used the Americanized ‘Jacob’ since moving to San Francisco in the 1980s as a young man. Jacob explains to the triage nurse that he has been suffering from hallucinations again and is depressed. His employer had suggested he seek counseling, but it wasn’t until Jacob saw a report of another U.S. drone-strike on a Yemeni village, this time his mother’s hometown, perhaps the one where he was born, that he finally broke down. He needs an emotional holiday, and his ideal version would be three days in the psychiatric unit of Saint Francis Hospital with a nice Haldol-Ativan cocktail served with a chaser of Lexapro—after all, drugs had helped before—something to quiet the voices, something to deaden the pain, something to turn out the light of memory.

The majority of the 300-page novel is arranged in three titled sections—“Satan’s Interviews,” “Jacob’s Journals,” and “At the Clinic”—each of which is divided into twelve chapters, many with titled subchapters. Alternating in sequence, the three major sections present three parallel plots from multiple points of view providing a nonlinear reconstruction of Jacob’s history.

A poet who earns a living as a word processor for a law firm, Jacob lives alone in his San Francisco apartment except for his large black cat, Behemoth, whom he named specifically after the infernal feline in Mikhail Bulgakov’s The Master and Margarita—another novel featuring a well-tailored Satan. Jacob suffers survivor’s guilt. All of his friends, including his beloved partner Doc, died from AIDS-related diseases twenty years ago during the height of the epidemic in the late 1980s. Overcome with anguish for his lost friends, Jacob hasn’t been able to write poetry for some time, but his old muse, his “angel of remembrance,” Satan, has returned.

The primary plot of the novel, set in the notional present and narrated by Jacob in the “At the Clinic” chapters, covers his breakdown the night he seeks admission to the hospital. Jacob’s narration is often in a stream of consciousness style, mimicking thought, as in this example where he explains the reappearance of Satan in his life:

It has been getting worse, Doc, I don’t seem to be able to cut him off, I am all wound with adders who with cloven tongues do hiss me into madness, it wasn’t always this bad, I went along for years doing rather well, didn’t hear his voice, but then one day he reappeared, and he’s been getting more demanding, more irksome, hissing, hissing, and I get headaches, I fear the return of the great migraine storms, I need a break, Doc, I need a break.

Devastated when his friends died, Jacob spent time as an inpatient in the same hospital to which he is once again applying. He had thought he was stable, he had thought he had escaped the trauma of history: of losing his friends and his mother and the memories of his childhood. As he writes in his journal, always addressing Doc:

While my mind processed the chaos that passes for thought in the early morning, I had cracked five eggs by the time I realized I was about to make you an omelet as well. Decades may have passed and sometimes it feels like only yesterday that we had our breakfast together. . . . I’d had a life since you left . . . I did yoga . . . I went to art openings . . . I watched bad television shows . . . I was living, I thought I was content, I was told I was happy. I did a marvelous impression of a man not crushed by dread.

Moments such as these reveal Jacob’s deep grief and give the impression of a hollowed out life. Jacob’s tender admission evokes the tone of Christopher Isherwood’s A Single Man, another novel that addresses living day-to-day with heartache for a lost partner.

“Jacob’s Journal” is part requiem, part confession, and it is also where we learn what Jacob remembers about his mother, a teenage Yemeni maid who became pregnant by the equally young son of her wealthy employers in Beirut. Kicked out, she becomes a homeless wanderer through squalid desert villages where she is forced into prostitution. Mother and child finally settle in a Cairo whorehouse for the most stable and in many ways happiest time of Jacob’s childhood. But these memories have been repressed, or lost, or ignored for too long. Jacob writes about his childhood:

You, Doc, wait, I need someone to hear this, listen to me. . . . I don’t know why I tell you all this about me, I need to, I guess, but with this need to tell comes the concomitant desire to forget everything . . .

An assiduous Satan has been working against Jacob’s “desire to forget,” and Jacob’s journal and ensuing breakdown have been the result. In an allusion to Walter Benjamin’s commentary on Paul Klee’s Angelus Novus, Jacob tells a bartender, “I am your angel of history”; namely, a being who sees the past as a single, unalterable catastrophe.

Paul Klee: Angelus Novus, 1920Paul Klee: Angelus Novus, 1920

Angels and Ministers of Grace

The most significant subplot of The Angel of History unfolds in “Satan’s Interviews” and involves Satan’s attempt to rescue Jacob from forgetting his past. One of the most entertaining, often hilarious, and clever parts of the novel, “Satan’s Interviews” features third-person omniscient narration, usually limited to Satan’s locus of perception.

Being supernatural, Satan simultaneously coaxes Jacob to leave the clinic and hosts interviews with his son, Death, and a group of Catholic saints at Jacob’s apartment. The devil has a long tradition in literature, with some of the most memorable and most human versions found in Milton, Goethe, and Bulgakov. Alameddine’s Satan is eerily human with a voice as beguiling as one might expect from the personification of temptation. Jacob does a fine job describing Alameddine’s Satan (in a sly metafictional stroke) when he writes in his journal how Doc “endowed the devil with wickedness and perseverance, you made him fun, witty, intelligent, frisky, lively, ironic, and above all, petty, all too human, like us.” But for Jacob Satan is Iblis, Islam’s whispering jinn, a sulking, lonely creature with nothing better to do than torment him.

Satan is a fully realized character, complete with his own conflicts and a clear desire: he wants Jacob back. During Jacob’s first hospitalization he was drugged to near catatonia, and after leaving the hospital he spent many years on antidepressants and a variety of pharmaceuticals, both legal and otherwise. Satan doesn’t want his favorite whipping boy tumbling down that rabbit hole again.

In the first of “Satan’s Interviews” Death—whimsical, mocking, irreverent—asks his father why he is intervening in Jacob’s life now; Satan replies: “Because he has been sleepwalking through life since his friends died, because he has been so lonely without me, because his poems were getting more and more boring, his dreams more banal, and worst of all, he began to write stories.” However, it could be worse, Satan concludes, horror of horrors, Jacob “could write a novel.” Satan’s motivation, ostensibly for the benefit of Jacob’s art, is, not surprisingly, purely selfish: Jacob “rejuvenates my jaded heart” Satan confesses to Saint Blaise. Furthermore, Satan tells Jacob that it was him, not the saints, who saved Jacob from AIDS:

funny you should credit the silly saints with healing you, and not me, Death came for you and I intervened . . . I sat him down, told him your soul was mine, a long time ago I claimed you, you child of pestilence, you squashable worm . . .

And this is part of Satan’s interest in Jacob, namely Jacob’s squashability—most clearly reflected in his sexual history. Jacob’s experience with sex begins violently when a customer of the Cairo whorehouse demands that the ten-year-old paint henna on his penis. In his Lebanese boarding school Jacob is beaten and repeatedly humiliated by bullies. As an adult in San Francisco, jealous of Doc picking up another man, Jacob visits an S&M club where he is whipped—and it will not be his last indulgence in masochism.

Death asks Satan if he is going to interview “the others”—meaning the saints that Jacob prayed to as a child and as an adult until AIDS took everyone from him. In a Catholic tradition dating to the Black Plague, there are a group of fourteen saints—known as the Fourteen Holy Helpers—who are prayed to for specific maladies. Satan doesn’t interview all fourteen, but he does call upon them, remarkably, for assistance. It seems that Satan has done his job all too well in helping Jacob remember and now he needs help in keeping Jacob sane and off memory-impairing medication. Death, whose job is to offer the cup of forgetting, the waters of Lethe, expects Jacob will choose him, and so the dance between remembrance and oblivion begins.

In his depiction of the saints, Alameddine shows us compassionate but weary caregivers, for eternity is long and people exasperating. The interviews also offer humorous, welcomed breaks from Jacob’s somber memories. For example, Satan is unnerved by Saint Denis holding his decapitated head in his lap and insists he return it atop his neck, and Saint Margaret mocks Satan by holding a balloon of a baby dragon, for according to legend, Satan, in the form of a dragon, swallowed her but then choked on her cross. It is Saint Margaret who asks Satan to bring Jacob back to poetry: “A poet is tormented by the horrors of this world, as well as its beauty, but he can be refreshed, reborn even; he can take to the sky once more.” Saint Catherine sympathizes with Jacob’s past choices, she feels he only “did what he had to do during the time of sunder, he girded himself against the dirge,” but in the present she agrees with Satan’s assessment: “We must wake him and hazard the consequence. We must offer the apple.”

14-helpersTilman Riemenschneider workshop, The Fourteen Holy Helpers, c. 1520

War All the Time

In addition to the three major divisions of the novel, there are three sections labeled “Jacob’s Stories,” each containing a single short story independent of (but harmonizing with) the novel’s plot. The elegiac tone of Jacob’s journal changes to bitter resentment when he thinks of the humiliating final stages of his friends’ suffering, and his anger, inflamed by the interminable carnage he witnesses in the land of his birth, is vented in his stories.

Alameddine displays a formidable gift for satire in “Drone” and “A Cage in the Penthouse.” The latter, reminiscent of George Saunders’s equally acerbic “The Semplica-Girl Diaries,” features a wealthy couple who keep a caged Arab as a pet in their Manhattan penthouse. In “Drone” we see U.S. drone strikes through the point of view of a sentient, self-righteous attack drone named Ezekiel.

 Through Jacob’s thoughts and his stories, Alameddine reminds us how easily wars are forgotten. Indeed, one of the epigraphs is from Milan Kundera (a writer who has had much to say about war and memory): “The struggle of man against power is the struggle of memory against forgetting.” War tears through the countries of the Middle East daily, and for Alameddine—who grew up in Lebanon and spends much of his time there—this subject runs through his fiction like a scar.

Finding Time Again

The Angel of History shares more than a few characteristics with that paragon of memory novels, Proust’s In Search of Lost Time, and Jacob’s past is what Satan and the saints are there to help him find and keep. Alameddine’s talent for nonlinear narrative—evident in Koolaids where the Lebanese civil war is starkly juxtaposed with the AIDS epidemic—shines brightest in The Angel of History with its exquisitely interlaced chronology, multiple plots, and points of view.

“Jacob’s Journals” presents a conventional memoir: Jacob thinking about his past. “At the Clinic” is more complex; here Jacob is thinking about his present, past, and future, but the narration feels like an extension of his journal, as if the events of his night at the clinic are added to his journal in the future. Satan’s interviews take place concurrently with Jacob’s night at the clinic but tell the story of Jacob’s mother and his childhood through the saints’ recollections. Satan’s imperative to the Fourteen Holy Helpers is clear: “What I hear he remembers . . . Remind him of himself.” Each interviewee recalls different parts of Jacob’s history which Satan then channels to Jacob. The ingenious conceit of the interview chapters is that, given the supernatural nature of the interlocutors, time is irrelevant and all the interviews can be simultaneous in an eternal moment. Furthermore, in these chapters Alameddine uses third-person, taking advantage of a wider range of point of view. These shifting times and points of view reveal Jacob’s memories in manner much like the actual process of remembering, a process during which we often take two steps back for every step forward.

Alameddine leaves little doubt about his admiration for Proust’s fiction in An Unnecessary Woman. Here as well, Proust informs Alameddine’s novel, from the simple homage—naming Jacob’s roommate Odette—to more direct references. For example, Jacob has moments of involuntary memory, such as in a grocery store where “the mephitic aroma of disinfectant assaulted my senses, and you jumped the levee of my memory. Proust had his mnemonic madeleine, but bleach was all ours, Doc, all ours.” Note, Alameddine doesn’t miss an opportunity to layer his images, here alluding to Mephistopheles. But to emphasize such references, as fun as they are, would be to neglect the genuine beauty of how Alameddine uses the structure of his novel—as Proust did—to recreate the impression of memory. The Angel of History, with its fragmented, alternating, multiple points of view and multiple plots is a structural triumph, not in spite of these qualities, but because of them.

§

In An Unnecessary Woman, Aaliya pleads with writers to “Have pity on readers who reach the end of a real-life conflict in confusion and don’t experience a false sense of temporary enlightenment.” Rabih Alameddine is not a fan of epiphanic endings, and you won’t find one here. The Angel of History asks questions and raising issues for which there are no simple answers. Is ignorance bliss? Can we deny our past? Should we try? The Angel of History tasks us with the necessity of facing our memories, even the most painful ones, for to neglect them is to surrender to Death, to drink from the river Lethe, to become complacent drones (pun intended). Alameddine’s book is a statement on memory, on surviving loss, on war and disease and how we cope with them, and finally on art; and that poetry, or any art, cannot exist in a memoryless (and thus painless) vacuum.

On his walk home from the clinic through the nighttime streets of San Francisco, Jacob stops to write impromptu poems and statements on storefronts he remembers from happier times; on a No Parking sign he writes:

You all dead
I still walk
Therefore I am
I know it is so
For I long
I long for solace
How does one find such
Among so many ashes?

Jacob’s question cannot be resolved in a single moment of enlightenment, and like him, we too must confront our losses, for there is no solution to grief other than learning how to live with a shadow of hell.

—Frank Richarson

N5

Frank

Frank Richardson lives in Houston and received his MFA in Fiction from Vermont College of Fine Arts. His poetry has appeared in Black Heart Magazine, The Montucky Review, and Do Not Look At The Sun.

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Aug 152016
 

Rilke
allan cooperAllan Cooper

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In 1974 I found Rainer Maria Rilke’s Duino Elegies, translated by Stephen Garmey and Jay Wilson. I was twenty and had just begun my first real attempts at writing poetry. I was insecure and hesitant about my own work. What if I couldn’t write? What if my idea of becoming a poet was a sham? I was encouraged by these lines in the Fourth Elegy:

….Look, I’m here, waiting.
And even if the lights are turned down, and someone says
“There’s no more, that’s it”–even if the emptiness
flows toward me like a grey breeze from the stage,
and none of my ancestors
sit beside me anymore, no women,
not even the young boy with the brown squinting eyes–
I’ll stay. I can always watch.

Or I can always read. So I decided to read as much poetry as I could. I searched out North and South American, European, Chinese, and Japanese poets to see if I could  develop a voice that could carry the kinds of images and insights that I found in Rilke’s work.

During the fall of 1975, the Canadian poet John Thompson and I had several long discussions about Rilke. He encouraged me to write English versions of some of Rilke’s shorter poems to see what they looked like. I tried two or three and took them back to Thompson. He liked some of the lines, made several suggestions, and the exercise slowly helped me with my own poems. But for years Rilke haunted me, especially the Duino Elegies. At times, reading various translations was like looking down into roiled ocean water and seeing something moving beneath, but nothing was clear.

It seems to me that the Elegies were something entirely new in the canon of literature, as Tom Thomson’s paintings of Algonquin Park were new to visual art, or Pablo Casals’ interpretations of the Bach Cello Suites were new and astonishing in the canon of musical performance. One of the great risks of translating Rilke, especially the Elegies, is that it’s tempting to bring in the “ohs” and “ahs” and embellishments of the original, but we don’t speak that way anymore. One question that dogged me was what Rilke would sound like if he were writing now. So I began translating Rilke with a contemporary English voice in mind.

The themes of the Elegies are immense and often personal. There are passages in the Elegies either addressed to or about his mother and father that are as moving as anything I have read. He praises the things of the world, cathedrals, children, heroes, young women, animals, catkins, mountain springs, and that list in the Ninth Elegy:

…perhaps we’re here to name things, to say house,
bridge, fountain, wooden gate, water pitcher, apple tree, window–
at the most pillar, tower… But understand, to say them
in such a way that the things themselves
would never think of. Isn’t the secret purpose
of this coy earth to urge lovers on
so that they leap inside with ecstasy?

Rilke’s friend, the pianist Magda Von Hattingberg, said she felt there was a certain dislike of simple joys in the Elegies, but I don’t believe this is the case. In the Ninth Elegy he says we’re here to praise, to transform, to be alive in this world:

Praise this world; don’t try to tell an angel what can’t be said….
Show him how joyful and innocent a thing can be; show him
how much it is ours, how much sorrow and grief become pure
in the end, serve as something, or die into something, and blissfully
escape beyond the sound of the violin. And these things of the world
that live only a short time know that you’re praising them…

Or this the passage from the Seventh Elegy:

To be here is marvellous. Even you young girls
sensed it, you who had nothing, who seemed to sink down
into the filth of city streets, the garbage festering,
open, on display. You had an hour, maybe less, that small
space between two moments when you felt
completely here, your veins filled with being alive.
But we forget so quickly what a laughing neighbour
neither confirms nor envies in us. We want to hold it up
and show it, but even our most visible joy can only reveal itself
when it’s transformed completely inside.

I don’t pretend to understand everything that Rilke says in the Duino Elegies, but working on the poems daily for many months has given me new insights. They feel like long letters to us, letters about what it’s like to live and love and die on this planet. I think of them now as letters to the universe.

§

The Fourth Elegy

Living trees, when do you sense the coming of winter?
We’re not in touch; we don’t have that instinct
the birds feel in autumn. Late, at the last minute
we coax ourselves onto the wind
and fall abruptly into a cold, indifferent pond.
We’re conscious of the blossoming and the withering
at the same time. And somewhere lions are roaming,
unaware of any weakness in them.

And we, who try to focus on one thing,
already feel the lure of another. That conflict
is part of who we are. Don’t lovers
always find the limits of each other?–
although they promised
a certain space, to pursue bliss, to find a sense of home?
They prepare a quick sketch of the other side,
a sort of background of pain
to help us see them, to make
themselves clear. And we don’t even understand
the contours of our own feelings,
only what forms them from outside.
Who hasn’t stood at the curtains of their own heart, shaking?
And when they rose, it was the landscape of goodbye.
That’s easy enough to understand. A familiar garden,
moving slightly in wind. And then a dancer stepped forward.
It wasn’t the beloved. No matter how lightly he danced
he was someone else, a carpenter coming home through the kitchen.
No, a puppet is better. At least it’s complete. I can stand
the limp body, the wires, the face
that’s almost expressionless. Look, I’m here, waiting.
And even if the lights are turned down, and someone says
“There’s no more, that’s it”–even if the emptiness
flows toward me like a grey breeze from the stage,
and none of my ancestors
sit beside me anymore, no women,
not even the young boy with the brown squinting eyes–
I’ll stay. I can always watch.

Am I right? Father, didn’t your life
taste bitter after you’d tasted mine,
the first distillation of what I had to do,
and you kept tasting as I kept growing,
and you, troubled by the aftertaste
of such a strange destiny, tested my lofty vision.
And you, my father, who since you died
I’ve held so often inside me, in my wishes and dreams,
you, concerned and afraid for me,
traded some of the tranquility the dead own,
their kingdoms, for my grain of destiny,
am I right? And all of you
who loved me from the beginning
of my love for you, a love I turned away from,
because when I loved you, the distance in your face
turned into something infinite,
and you were gone… When I’m moved by it
I stand in front of the puppet stage,
or stare at it so intensely an angel appears
to counter-balance my seeing
and make those limp bodies come alive.
An angel and a puppet: now we have a play.
Then the separation created simply by our presence
can come together again. And at last, out of the seasons
of our lives the cycle of everything is transformed. Above us
and beyond us an angel is playing. If no one else feels it,
at least the dying must sense how pretentious
our accomplishments are here.
We won’t let anything be what it is. What I wouldn’t give
for those hours of childhood, when everything was more
than a memory, and what opened out in front of us wasn’t the future.
Our bodies were changing–we felt that–and sometimes
we were in a hurry to grow up, just to please those
who had nothing to show for having grown up.
And yet when we played alone, we were delighted
by what never changed, and we stood in that place
between the world and our toys,
a place where a pure event had been waiting to happen
from the very beginning.

Who can show a child exactly as she is?
Who will place her like a star, and put the yardstick
of immense distances in her hand? Who will make a child’s death
from grey bread, which grows hard, or leave it
inside her round mouth like the core
of a shining apple? What moves a man to murder
is easy to understand. But death,
all of it, completely, even before
our lives have really begun, to hold it gently and not be bitter–
we don’t have the words to describe this yet.

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The Seventh Elegy

This wooing, this courtship won’t be part of your nature anymore,
for your voice has outgrown it. Now your cry is as pure as a warbler’s song
when the abundance of spring lifts him up, and he almost forgets
he’s a small, fretful, anxious thing, not this complete heart
thrown into the clear light of a deep and limitless sky. Like him
you would court the silent one you love,
and she’d begin to feel you, still invisible to her,
and some reply would wake inside her, almost a kind of inner listening.

Even the spring understands this–there’s no place
that wouldn’t carry the sound of your announcement. The first
short questioning notes, and the day, pure, affirms it
and shelters it with more and more silence.
Then the song goes higher and higher, up a stairway of notes
to that dream temple of the future; a trill, a warble, a fountain of notes
that in their rising already know they will fall,
for this is a play of promises… And the summer still to come.

Not only those summer mornings, and the first light breaking,
but the way the light changes and opens up the day;
not only the day, gentle around blossoms,
and the shapes of trees, so solid and strong;
not only the intensity of this unfolding power,
light touching the forest paths, the dusky meadows;
not only the rolling thunder at night, and the air clearing;
then near sleep, and some premonition you finally understood…
But the nights themselves, high summer nights,
and the stars of this earth.
And when you die, to understand that those stars are infinite:
this is something you will never forget.

Look, I’ve called out to the one I love. But she wouldn’t be the only one
who would come. Young women would rise from their insubstantial graves
and stand here. For once you call out, how can you put a limit
on the depth of your cry? The dead are always longing
for the earth again. When children feel something completely
it’s enough to last them for the rest of their lives.
For our destiny is nothing more than the closeness we felt as children.
How often you outdistanced the one you loved
as you ran blissfully, breathing quickly, into the open spaces.

To be here is marvellous. Even you young girls
sensed it, you who had nothing, who seemed to sink down
into the filth of the city streets, the garbage festering,
open, on display. You had an hour, maybe less, that small
space between two moments when you felt
completely here, your veins filled with being alive.
But we forget so quickly what a laughing neighbour
neither confirms nor envies in us. We want to hold it up
and show it, but even our most visible joy can only reveal itself
when it’s transformed completely inside.

Beloved one, the world only exists inside us.
We spend our lives transforming it, and the world outside us
slowly disappears. And where a house once stood
we create an image of that house inside us, board
by board, as if it were still there, complete, in the imagination.
The spirit of our age has built immense reservoirs of power, shapeless
as the intense emotions it draws from everything.
Temples and all sacred places mean nothing. And where one
remains, where we worshipped, and kneeled and prayed,
it lives on in the invisible world.
We can’t see them yet, we
can’t find them inside us, those pillars and columns
that could be so much greater now.

Each hollow change in the world has its forgotten ones,
who don’t belong to the past and aren’t a part of the future.
For even what is closest to them seems distant.
This shouldn’t confuse us, but make us stronger
in our labour to preserve those forms we still recognize.
Once they stood among us, in the middle of a destiny
that slowly destroys things, in the middle
of what we don’t understand; endured there, and made the stars
bow down from the protective heavens. Angel,
this is what I have to show you: it’s in your gaze,
saved at last, rescued, standing there,
those columns, sacred gateways, the sphinx,
the grey domes of cathedrals thrusting up from a strange city.

Angel, wasn’t it a miracle? Be astonished, great one, for this
is what we are. Tell them what we accomplished here; my breath
is too short to praise it. So in the end we didn’t neglect
our abundant allotment, this world space
which is ours alone. (And how terrifyingly immense
that space must be, which hasn’t overflowed
with our feelings after thousands and thousands of years.)
Wasn’t a tower magnificent,
even compared to you? And Chartres was immense, and the music
reached even higher and transcended us. But even
a young woman in love, alone at night by her window,
didn’t she reach almost to your knee?
Angel, don’t think
I’m wooing you, and even if I were, you wouldn’t appear. For my
call is always filled with leaving, and you couldn’t move against
the strength of that current. My call is like an arm stretched out
to hold you back. And my open hand, as if reaching up
to grasp something, defending and warning
at the same time, is something
you will never understand.

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The Ninth Elegy

Why, if the rest of our lives could be spent as quietly
as the laurel tree, a darker green than all
the other trees, with small curves on the edges
of every leaf (like a wind’s smile)–why do we
try to escape our human fate,
and yet long for it…
Oh not because of happiness,
that quick profit we take just before the coming loss.
Not out of curiosity, or to give the heart practice,
which the laurel tree already feels as well…

But because being truly alive is difficult: because the fleeting
things of the world need us, and in a strange way
call out to us. And we’re the most fleeting of all.
Each living thing is here once, that’s it. And we
live once. But to have been here
once, completely alive here–
to have been a part of this world–nothing can take that away.

And so we’re driven to achieve it.
We try to hold it in our simple hands,
in our overcrowded seeing, in our heart which is speechless.
We try to become the world. But who would we give it to? We’d
hold onto it forever…But then what could we take with us
to the other side? Not our seeing, that we learned so slowly,
and nothing that happened here. Not one thing.
Perhaps pain then, and the heaviness of life,
and love that lasted a long time;
and what can’t be said. But later, beneath the stars,
what would we say? There are things better left unspoken.
The wanderer doesn’t bring a handful of earth from the mountain
to the valley, or what can’t be said, but the pure word, the intense blue
gentian. Perhaps we’re here to name things, to say house,
bridge, fountain, wooden gate, water pitcher, apple tree, window–
at the most pillar, tower… But understand, to say them
in such a way that the things themselves
would never think of. Isn’t the secret purpose
of this coy earth to urge lovers on,
so that they leap inside with ecstasy?
How much a threshold means
to two lovers, who wear down their own
threshold, like those who came before them,
and those who are yet to come…light as can be.

This is the hour to say things, and this is its home.
Say it now. For now more than ever
the things of this world are falling away from us,
and in their place there are acts without images,
acts like shells that crack open
as soon as what is inside outgrows it and takes on a new form.
Despite the hammering of our heart,
the heart lives on; and though our tongue is clenched
between our teeth, it continues to praise.

Praise this world; don’t try to tell an angel what can’t be said.
You can’t impress him with your grand emotions. In the universe
he feels more and more, and you are just a beginner. Show him
some simple thing which, passed down over generations,
lives on in our hands and our eyes.
Tell him about things. He’ll be astonished, as you were
standing by the rope maker in Rome, or the potter beside the Nile.
Show him how joyful and innocent a thing can be; show him
how much it is ours, how much sorrow and grief become pure
in the end, serve as something, or die into something, and blissfully
escape beyond the sound of the violin. And these things of the world
that live only a short time know that you’re praising them;
transients, they want us to preserve them, and we’re the most transient
of all. They want us to take them inside our invisible hearts
and transform them into ourselves–whatever it is we finally are.

Earth, in the end, isn’t this what you want: to rise inside us
invisibly? Isn’t your dream
to be completely invisible one day? The earth, invisible!
Isn’t your urgent message to be transformed?
Earth, dearest one, I’ll do it. You don’t need to show me
anymore spring times to win me over; just one
is more than my blood can take.
I’ve belonged to you from the beginning, without saying a word.
You’ve always been right, and your inspiration has always been death,
that friend, that companion.

Look, I’m alive, but what feeds me? Neither my childhood
nor the future grows any less… an infinite presence
rises from my heart.

—Rainer Maria Rilke introduced & translated by Allan Cooper

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Allan Cooper has published fourteen books of poetry, most recently The Deer Yard, with Harry Thurston. He received the Peter Gzowski Award in 1993, and has twice won the Alfred G. Bailey Award for poetry. He has also been short-listed three times for the CBC Literary Awards. Allan intermittently publishes the poetry magazine Germination, and runs the poetry publishing house Owl’s Head Press from his home in Alma, New Brunswick, a small fishing village on the Bay of Fundy.

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Aug 112016
 

Zazil by Mari H. Res+®ndiz

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Zazil Alaíde Collins (Mexico City, 1984) has written four books of poetry: Junkie de nada (a first collection structured around Jarocho musicicans and the well-known Mexican lotería card game), No todas las islas (her prize-winning book that charts the history of her family myths by way of a sort of nautical cartography in verse), El corazón, tan cerca a la boca (in which she weaves together ekphrastic prose and poetry inspired by the photographs of Nora Nava Heymann) and, most recently, Sipofene. Sipofene, maybe her finest book to date, represents a sort of tabula rasa upon which Collins can construct a fragmented vision of the problems of our times. In the words of Javier Taboada: ‘Zazil Alaíde Collins’s Sipofene does not spring from any myth. By way of a journey back to an original state, the poetic voice strips bare the world of our times “los días más oscuros”. The geography of desertion: the pain that stretches out to the four cardinal points.’

In a world of shortening attention spans and click-bait journalism, it is refreshing to find a poet who still believes in the integrity of the poetry collection. Each of Collins’s books to possess their own unique focus and structure. Perhaps it is not surprising that Collins, also a broadcaster with a wide range of musical interests (her co-edited bilingual volume Músicos en la Ciudad de México/Musicians in Mexico City will be launched this August), is drawn to this kind of project: each of her books feels like a concept album in verse.

This interview, in which Collins discusses her wide range of influences and literary obsessions, was carried out via a series of emails between Zazil Alaíde Collins and Dylan Brennan. Included also is a videopoem featuring the opening verses of Sipofene, click CC for subtitles in English. Translations of poems to English by Cody Copeland.

DB: Tell us about your early life, where you were born, grew up, studied… and when and how you first came into contact with poetry.

ZC: I was born in the Roma neighbourhood of the Federal District, now officially known as Mexico City, on Saturday, September 1st, 1984. One year later, after the earthquake of September 19th I moved to La Paz, Baja California Sur, with my paternal family; a desert in which I learned to walk and observe. It’s an essential part of the imagery of my written work, and the place to which I return any time I need to touch base. When the city was reconstructed, I returned to the Roma area and studied my whole life in Mexico City. My university days were spent between political sciences, literature and anthropology.

My introduction to poetry was aural, before any kind of formal reading. There was never any lack of poetry books in my parents’ house, so poetry was always close. My parents even partially named me after a poet, the Guatemalan Alaíde Foppa, who, to this day, remains disappeared…

The first books of poetry that I can remember were popular cancioneros and two collections by Cuban poets (when I was a child my father lived in Cuba and his gifts were books from there): Mundo mondo by Francisco de Oraá, and Con un garabato by José Antonio Gutiérrez Caballero. In my adolescence, I was struck by “Tarumba,” by Jaime Sabines, and I discovered poetry by James Joyce, George Bataille and, by accident, the Mexican poet Mariana Bernárdez—by my reckoning, one of our most outstanding contemporary poets. I became obsessed with the work of Artaud… And I continued discovering authors in our family library, like Nicolás Guillén and César Vallejo. A short time before entering university I bought, also by chance, a facsimile edition of Muerte sin fin, by José Gorostiza, which changed something for me (I can’t say what it changed, but reading it still excites me, just like “Tarumba”).

Although I could go on naming other authors, the aforementioned ones opened up channels of perception for me, and are part of my initiatory journey, along with the internalised expressions of music and dance. When I was a girl, I studied contemporary dance for a few years and one of my ways of registering the choreography was to write down words that, little by little, began to take the form of verses; I would say that these were my first poems, without me knowing they were poems at the time.

DB: Which poets do you read these days? Which ones have influenced you? Which do you dislike?

ZC: Right now I’m reading the recently published books by Ernesto Miranda Trigueros and Javier Peñalosa. A few years ago I realised that I only read work by dead authors and, since then, decided to force myself to read work by my contemporary colleagues; amongst them, ones I definitely try not to lose track of include Mariana Bernárdez, Camila Krauss, Javier Taboada, Jair Cortés, Alejandro Tarrab, Daniel Bencomo, Ingrid Valencia, Daniela Camacho, Tere Avedoy, Fabio Morábito… I’m also reading a book by Coral Bracho, another by Guadalupe Galván, and I’m re-reading Heather Thomas, who I met a few months ago at a poetry reading in Egypt and whose work I enjoy greatly.

I think that I’ve been influenced by reading work by Oliverio Girondo, Wislawa Swymborza, Octavio Paz, Haroldo de Campos, Miguel Hernández, Jorge Guillén, García Lorca, Ángel González, Anne Waldman, Ferlinghetti and Gertrude Stein. While not poets, António Lobo Antunes  and Roberto Bazlen have become something magical for me. At least they are texts that I admire and re-reading them continues to provoke questions. I believe that poetry should consist of a constant questioning, perennial. I also believe that music exerts a permanent influence over me (even more so than poetry); I cannot disassociate from the poetic endeavour the lyrics of composers, from Henry Purcell to Chico Buarque, from Son jarocho to Canto cardenche (a kind of Mexican a cappella form).

I do not like poetry that tires after the first reading; that feels like something tepid. While we all develop our own obsessive metaphors (words, recurring images), I am not attracted to writers who seem to be writing a monopoem. There are poetics that seem overvalued to me, but it’s not for me to mention them. I will limit myself to saying that the poets that I dislike are those who have abandoned a feel for their own body, who have lost the musicality, the spontaneity. I also dislike poetry with the tone of a saviour, of an illuminator.

DB: Forgive if I’m mistaken but I sense more of a gender balance in contemporary Mexican poetry than in prose. Is this true? Do more women write poetry than prose these days or am I wrong?

ZC: It’s strange. I agree. However, in the professional practice, I mean, from so many anthologisers, teachers, editors or editorial committees, it seems to me that female poets remain relegated, while, in the case of female prose writers, things seem a bit different. Female prose writers seem, somehow, “freer” to me, more at ease, less worried about forming part of a power base, which is something healthier, from my point of view. Maybe I’m wrong. I feel that female poets are more protective of their own space, distrustful even with other female poets. In this way, sometimes there is not a gender balance when they act in the same way as those who violate communal liberties and achievements. In other words, there is not always a sense of sorority between female poets; at least not when it comes to my own experience in central Mexico.

DB: I suppose we could talk a great deal about female poets. I still hear people using the word “poetisa” (“poetess”); can you say something about that? Also, is it more difficult for female poets to get published these days? I know it certainly used to be that way.

ZC: I’m amazed that the word poetisa is still used, among poets. I have never liked this mark of differentiation; I subscribe to Anne Waldman’s “Feminafesto”: “I propose a utopian creative field where we are defined by our energy, not by gender.” I believe that it is difficult for women to get published (nowadays I don’t know if it’s easier or more difficult than it is for male poets) because we are not taken as seriously; “Could it be that we don’t go out boozing with the right editors?,” I often ask myself (in an ironic tone, of course). There exists a professional and emotional dialogue that continues to be “restricted” between genders. I have never understood why, but the act of publishing tends to be sectarian in nature, due to a series of factors of public relations, which sometimes spring from motives of class, gender and even sexual orientation. Of course, when I read phrases like “We badly need more Mexican women to write literature of the highest level like the work of Elena Garro, we urgently need them to stop wanting to earn a fortnightly wage and to get down to the business of writing,” though it may just be nothing more than marketing, it is clear to me that the rift still exists. It seems to me that some colleagues have not understood that the problem is not talent, but the conditions and access to certain spaces. For starters, while women earn less than men for carrying out the same job (any job) we cannot begin to start talking about equality. In Mexico people complain about the PRI but many intellectuals (who work in publishing) possess that same PRI mentality, where cronyism and favouritism take precedence over merit, and they are often the people who make decisions about who gets published and who doesn’t. At the publishing houses there also exists a kind of false democratisation: they often don’t even read manuscripts seriously. But, the more autonomous work that is produced, the more this schizophrenia can be challenged.

Sipofene – Zazil Alaíde Collins from Andrea Grain on Vimeo

DB: Is poetry changing nowadays? Is it reinventing itself or is it the same as it ever was? What about the Sipofene videopoem? How did you come up with this idea? Tell us about the process, the director, those who took part, etc.

ZC: New media has caused changes with regard to the way in which readers approach literature, and authors have adapted too; it’s something reciprocal. It’s not that new, really, either; since the avant-gardists there have been textual and discursive explorations, and those who believe that these experimentations, between literature, dance and visual arts, for example, have existed since the beginnings of civilization. My undergraduate thesis dealt with the textual borders of video-poetry, so you can see that I’ve studied the theme for quite a while. However, though I fantasize about directing my own video-poems, my own weaknesses are clear to me: “the cobbler sticks to shoes,” as the saying goes. The reinvention within poetic languages stems from an integral approach to text, audio-visual elements, collective work with photographers, videographers, editors, actors… Literary work can also be viewed as a kind of laboratory. The idea of collectivisation includes working in many fields; at least attempting to initiate dialogues; in this way, creating small mobilisations (this is my idea of activism).

I had already seen photographs and videos made by Adrea Grain Hayton for musical groups, and as she studies literature, I decided to propose that we did something together, without any pretensions, so I just suggested that she could do anything she liked with a few of my poems. She liked the idea and chose just a few sections, as Sipofene is a long poem. She asked me a few questions about the meaning and intention of certain lines, but it was she who visualised and directed the material. For me, poems liven when the readers (not the poets themselves, as authors) perceive them, recreate them, taste them, and, so, I’ve always preferred the readings that others can give to my texts, even when they don’t coincide with my own original ideas. I wanted to know how someone with a visual imagination like Andrea could understand the poem. And in a spirit of making community I decided to invite people who I admire, either because they are friends or because they are poets that I both admire and read (only one poet couldn’t make it).* We met one afternoon at my house, every participant read in front of a camera the complete verses of the first section of Sipofene, called “Bóreas,” and then Andrea cut everything, extracting fragments of each collaborator and combining them. I know that she absolutely associates the visual part with the Greek myth of Boreas and the horses.

*DB: That was me, so sorry I couldn’t be involved.

 DB: Tell us, what books have you written? Tell us a little about each one? What about the process and the reception that your books have received from readers?

ZC: I’ve written four books of poetry: Junkie de nada (Lenguaraz, 2009), No todas las islas (ISC-Conaculta, 2012, City of La Paz State Prize winner in 2011), El corazón, tan cerca de la boca (Abismos-Mantarraya, 2014) and Sipofene (La tinta del silencio, 2016); and,  independently I’ve adopted my thesis on video-poetry as a free e-book: Videopoesía, poíesis fronteriza: hacia una reinterpretación del signo poético. I’ve also participated in some anthologies of essays and, also, poetry, as co-author: Deniz a manzalva (Fondo Editorial Tierra Adentro, 2008), La conciencia imprescindible. Ensayos sobre Carlos Monsiváis (Fondo Editorial Tierra Adentro, 2009) and the major anthology Antología General de la Poesía Mexicana: poesía del México actual. De la segunda mitad del siglo XX  nuestros días (Océano, 2014). I’ve uploaded nearly all my books to Google Books so that they can be looked up online.

Junkie de nada is a sort of compendium of my first poems; I completed it in less than a month with poems that I’d written over a period of five or six years, approximately, and I tried, of course, to give them a sense of unity. At that time I had to hand a set of lotería jarocha (a variation on the Mexican card game resembling bingo, this one featuring figures from Veracruz folklore), from the Canadian printmaker Alec Dempster, and, in a sort of eureka moment I got the idea that I could play around with the idea of a collection of poems that revolve around the cards of a lotería set. It was fun to throw down the cards and to group the poems together, according to a character or emotion. Some friends from university ran an independent publishing house; they liked the material and decided to publish it. I showed them the poems after they’d been rejected by an official publisher (the federal government). A huge plus for me was that they allowed me to suggest authors for an epilogue, and, of course, I thought of the poet that I admire: Mariana Bernárdez. The editors got in touch with her and she accepted their proposal to read my work and to write something. The book deals with metapoetical anxieties; all part of exploring the meaning of life. I was 25…

No todas las islas was conceived as a sort of cartography of my family’s history (and myths); I threw it, like a message in a bottle to the sea, into a competition and I won the Baja California Sur state poetry prize, and so I got to have it published. This made me very happy because, apart from all the rest, I wrote that book thinking of my seniors (my grandparents, mainly), who live there and whose parents were involved in the foundation of that state. During the editorial process, I suggested to the state government the idea of producing a special edition, different from their normal collections. In reality, all I wanted was permission, for them to allow me to print a special limited edition on my own, one in which two friends would help me, one that would include colour and playful typography; but the publishing section of the Instituto Sudcaliforniano de Cultura liked what they saw and decided to take the chance and change their collection style from that book onwards. While Efrén Calleja, a friend and, now, neighbour of mine, was in charge of the edition, and Benito López was the designer, for almost a year the three of used to meet on a weekly basis to discuss colours, typography, meaning, size, corrections, etc. In this way it has been the book with which I’ve been most involved and the one that has caused me most professional delight. That level of communication with an editor and designer is something I’ve yet to replicate. The book is structured like a travelogue, an imaginary journey, but one which can be followed on Google Earth through the suggested coordinates.

El corazón, tan cerca de la boca is an exercise in which I decided to try to write just one poem, one that would weave together strands of poetry and prose, by way of ekphrasis and the photographs of Nora Nava Heymann. Ideally, this book was conceived in conjunction with the images, but the publishers (Abismos) decided not to include the images—they don’t do that kind of publication—so that, in the end, only the text remained. At the same time, I suggested that a jazz singer work with the material and musicalise some poems in free form; in that way, the texts which gave rise to songs were also translated. The music is online and can be downloaded and/or listened to. The book plays with the word “Bardo,” as a concept and state: the poet bard and the Buddhist “bardo” which represents the intermediary state, a state of transition (another one of my obsessions). Many of the metaphors stem from a journey to Ireland, peyote, meditation and nephelomancy (a form of divination based on observation of clouds).

Sipofene is a long poem that I wrote in 2015, which stems from images of a trip to the desert and the feeling of political discontent, after interiorising these lines from Ferlinghetti: “If you would be a poet, create works capable of answering the challenge of apocalyptic times, even if this meaning sounds apocalyptic.” When I thought of the text, I visualised it as a performance, and from there came the desire to make the video, which is free to be seen by the public.

Even today, I still find reviews and new readers of my first book, because, who knows why, they still can be found in some bookstores in outside Mexico City. I think that’s the book that has been reviewed the most, both in print, radio and television. Each of my books, though, has found a distinct audience, I think, because of the playful approach I’ve tried to establish, from the visual to the musical.

DB: What about practical things. When do you write? How often do you write? Where? Any particular process?

ZC: My methodology involves writing a dream diary as soon as I wake up (many of my poems stem from dreams), and keeping notebooks under my pillows, in the bathroom, dining room, in my bag, etc. You never know exactly when that powerful line that can guide a poem or book can appear. I don’t think I have any particular process, but I usually write in the small hours of the night (that is what I most enjoy: the silence), and then closing myself off at home (it doesn’t suit me to be out in the open air); I’m a bit of a hermit but I don’t like to force myself. There’s an intuition which beats in a peculiar manner when I need to sit myself down to write; I try to yield to it.

DB: What is Sipofene?

ZC: Sipofene is a place where death doesn’t exist, from the conception of the indigenous Americans, the netherworld. I knew this a long time after the word had resonated in my head, when the first verse arrived: “When the bones burn, Sipofene,” which motivated me to start the poem. I’ve tried to remember how that word made its way into my imagination, and the surest clue is that I probably heard it in one of the films of the Twilight saga (yes, it’s true, I consume almost anything related to werewolves and vampires)… Or some kind of trick of the subconscious after a reading towards which I was indifferent, what do I know… As the poem advanced, it flowed for two intense weeks, and I found that this world (the world of Sipofene) was an intermediary state, a theme that I had dealt with before in El corazón, tan cerca a la boca. It’s possible that my age is accentuating this anxiety, but this third state that flitters between past, present and future, this third way of being is, for me, the current social, political and human condition. We are living at a time of confrontation between opposing systems, radicalisation, fanaticism, and we need to reconstruct from another perspective, comprehensive and able to accept dissent and diversity. I tried to write while eliminating genre distinction, thinking of a somewhat personified Sipofene that could be something like a muxe (a third gender) that would speak of the search for identity of those who are exiled, for a variety of reasons. There’s an underlying tone of lament, musical, I hope, revolving around our dead and battle-wounded. Sipofene is the others. And the others are all of us who search for, hopeful or resigned, a new world: “another world is possible.”

DB: The published version of Sipofene is something special, tangible, very pretty. Tell us a little about the editorial process. Did the publishers approach you or how did it work?

ZC: I wrote the poem and decided to put it up online, via Amazon, with the idea that some publisher or editor might be interested in it, but, really, so that it could be read online by anyone. I also decided to give away free copies of a paper-bound PDF via social networks and, among my contacts, a former colleague from my master’s program at UNAM read it and told me that she had set up a publishing house and wanted to talk to me. I’m referring to Ana Cruz, editor of La tinta del silencio. And that’s how it all started. I got to know the publisher’s work and I was convinced by her idea to manufacture books by hand, numbered copies, in personalised editions, that suit the text and the author. The publishers were very meticulous with regard to communication and editing. The idea of a prologue and the cover image were left wide open, and so I decided to invite an illustrator that I admire, Alejandra Espino, with whom I’d been wanting to collaborate for a long time, and she agreed to draw the cover image and to make a serigraph. For the prologue I turned to Javer Taboada, a colleague who I also admire for his astute readings and, also is someone who knows my work well since we’ve been reading each other since we were very young. My ideas of publishing involve bringing together talents and disciplines. This is something I’ve been able to accomplish with this book.

DB: To finish up, tell us about contemporary Mexican poetry. Do you like it? Is it in a healthy state? What do you think?

ZC: I like it because I feel that it’s regenerating, like every fabric. Little by little it finds its connections and now it’s difficult to judge it but the debate about whether or not a regeneration exists is growing. We are many voices; for me it’s a restless choir that still hasn’t decided what it’s singing about or, indeed, who is doing the singing. I suppose it’s fairly normal, as it matures. I think of poets such as Homer Aridjis, Ramón Rodríguez and Dolores Castro as completely contemporary voices as well, with solid trajectories free from the false bureaucratic quarrels, with a restless and pointed poetry.  I feel the same about, although he has died, Gerardo Deniz. It may be that Mexico still hasn’t stopped revisiting its modernity and, for that reason, authors such as Los Contemporáneos and Octavio Paz still seem to beat so closely. Poetry prevails thanks to its sincerity; if that continues, as far as I’m concerned, it will never cease to be current.

zazil

—Zazil Alaíde Collins & Dylan Brennan

From No todas las islas

Natural History

Words are crabs
Buried in the deep.

Shipwrecks speak
in seashells.

The wind sings its syllables
of whispered names.

.

The Giant Women

They came from the north,
but no one knows when they were wiped out.

From the cave of music
they made their rounds,

raising their pentagram arms;
they all croaked under lock and key.

The old men claim to have seen them
devoured by the sea.

.

from Boreas

THE DAY LABORERS howl with the sound
of war in the poppy fields,
music for bull calves,
train whistle that carries the breath
of the soldier suckled by Chernobyl.

There’s so much slackening the thread, Sipofene,
such fire in the crotch,
…………humiliated boots,
…………metallic hands,
…………headquarters’ silences.

What will the dust bring,
if we’re always dead in the presence
of the violet stockings’ nudity?
It is a field of iron, Sipofene,
…….a keloid field.

.

from Austral

THE WORLD SHOULD BE A BETTER PLACE,
with more poems and tulips;
no resection of the migrant
who flees in order to survive
the harassment of offices
that are after his right thumb.

Tell us what emporium has robbed you?
How many prisons have you trod?
Who knew the truth of your sandstone?

The cherry and blue meeting houses
were part of the eclipse.
We speculated up until the year of your birth.

NO ONE CLAIMS THE ASHES
of an angel of clay
in the jaws of the common grave,
no one asks for his minimum wage
at the sides of Cadmus’ ships,
and no one deserves to die by stone
on a high tension cliff,
but there go the 50 thousand orphans
who have lost their hunger
walling in the cattle.

.

from Zenith

IT IS CALLED RAGE, Sipofene,
the substance that undermines us
breaks us
deludes us
the exhausted gaze of serfs;

it’s called weariness, Sipofene,
this solitude without a capital
these lead hillsides,
paradise of the dissidents.

—Translations by Cody Copeland

.

Cody Copeland

Cody Copeland teaches English and writes poetry. His work has appeared in Mexico City Lit, The Ofi Press, and The Bogman’s Cannon. He is currently based in Mexico City.

Dylan Brennan by Lily Brennan
Dylan Brennan is an Irish writer currently based in Mexico. His poetry, essays and memoirs have been published in a range of international journals, in English and Spanish. His debut poetry collection, Blood Oranges, for which he received the runner-up prize in the Patrick Kavanagh Award, is available now from The Dreadful Press. Twitter: @DylanJBrennan
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Aug 032016
 

1968Milwaukee, 1968. Milwaukee Journal photo.

Dorothy Day images courtesy of the Department of Special Collections and University Archives, Marquette University Libraries.

1968

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Reading Dorothy Day makes me want to write radically, according to the Latin definition of the word, meaning from the root. Everything she wrote—novels, articles, letters, diary entries—was rooted deeply in her political, social, and spiritual beliefs. And she lived the way she wrote—freely and richly—eschewing convention, however society happened to define it. As Victorian norms still enshrouded America, she moved alone from Chicago to New York to live and work and find love where she might. Yet during the sexual revolution of the 1960s, when a whole generation was challenging traditional marital values, she upheld them firmly. In terms of social justice, her inclinations tended to be years ahead of most of her contemporaries. She fought on the cusp of practically every crucial social movement of the twentieth century—against the war in Vietnam, against the Atom Bomb, on behalf of Civil Rights, labor, and suffrage. She didn’t just live as a Catholic, she lived according to Gospels, stripping herself of her possessions because Christ had commanded it, loving the poor—truly loving them, which was an act of will, because the poor, up close, can be horrifying. As I read through her published works, her type-written notes, and her scribbled manuscripts, I can find nothing that she didn’t do with passion. She lived passionately, again, going to the root of the word, meaning to suffer, and she suffered in living and loving. Dorothy suffered as a lifelong habit, because she believed that to suffer was to understand Christ, and like all mystics, she dreamt of crossing through the mirror and meeting her God face to face. She wrote long rambling letters that journeyed the world and back and always ended with love of God and man alike. “The final word is love,” she copied over and over in her works.

1930sDorothy Day, 1930s.

Before I began this project I was most familiar with the famous Dorothy, the post-conversion Dorothy, the one she wanted us to see, the woman who landed in prison at the age of seventy-five for protesting alongside Cesar Chavez and the California grape workers. I knew less of her earlier commitments to causes and quandaries that have since fallen out of fashion or have, in some sense, been resolved such as socialism, anarchism, free love, New Womanhood. The first time I read The Long Loneliness, her 1952 spiritual memoir, I understood that she had always been radical and had always written with and about passion. When I read her first novel (now out of print) I was shocked at its transgressive nature. Who described the physical effects of abortion in the 1920s? Who even admitted to having one, a fraught subject even today? I resolved to write with honesty, to embrace the uncomfortable, to write as a whole person, both flesh and spirit, but most of all to write passionately, from the root.

Dorothy radically invested herself into every action, whether it was motherhood, journalism, farming, or prayer. Yet she was also a radical in the conventional sense, throughout her life belonging to multiple fringe groups who advocated for extreme social change. After leaving home in 1916 at the age of nineteen, she moved to New York and embarked on an adventurous career in journalism. Her jobs writing for the socialist paper the New York Call and The Masses introduced her to Greenwich Village intellectuals like John Reed, Floyd Dell, Max Eastman, Crystal Eastman, Eugene O’Neil, Emma Goldman, Neith Boyce, and Louise Bryant. In their company as well as that of lesser known cohorts, Dorothy experienced Communist sympathizers, the suffrage movement, Margaret Sanger’s birth control campaign, and wrote, protested, and debated about them long into the night. She wrote her first novel in 1924 and began another (never completed) in 1932.

Her family raised her to be nominally Protestant, but they never practiced or attended services. She converted to Catholicism in 1927 while living on Staten Island, shortly after giving birth to her only child, Tamar Batterham. Her conversion irrevocably changed the trajectory of her life, as it enforced a separation from her partner and father of her child, Forster Batterham, an anarchist who hated organized religion. In 1933, she encountered Peter Maurin, a French peasant philosopher with radical notions about returning the worker to the land, opening houses of hospitality in the cities, and spreading these ideas through a newspaper. And thus the Catholic Worker movement and newspaper was born. The first Hospitality House on Manhattan’s Lower East Side fed, clothed, and housed the poor and unemployed who languished in New York during the depths of the Great Depression.

While she herself maintained a pre- and post-conversion narrative of her life, the values of the Catholic Worker were every bit as radical as those of the Greenwich Village set. Through the newspaper, public appearances, rallies, and protests, Dorothy Day and the other CW members advocated pacifism, non-violent resistance, opposition to capitalism, and support for labor. What she wanted was not just better wages and more reasonable working hours, but an upheaval and transformation of existing society, an entire revolution, but one carried out with love, the only weapons being education and mercy.

Although she remained a committed journalist throughout her life, she never wrote another novel after The Dispossessed and focused instead on spiritual memoir, including her most famous work, The Long Loneliness. Despite the shifts in genre, her writing continued to be informed by radicalism and feminism as much as by orthodox Catholicism. She beautifully articulated contemporary social problems through the tropes of Christian mysticism. She continued to concern herself with the place of women within the family structure as well as with the centrality of sex in human interactions. Moving on from her earlier explorations of free love, she employed the language of desire to articulate her search for the divine that embraced both the spiritual and sensual.

1925ca. 1925.

,ca. 193.

Bohemian Romances

While other cities, including Dorothy’s native Chicago, were experiencing a similar renaissance in gender relations, in the nineteen teens, New York was truly the radical heart of American modernity. Greenwich Village, in particular, attracted intellectuals fascinated by the lure of change, whether it was in the arena of politics, labor, or sex. They wrote novels and plays and started newspapers to disseminate their ideas across the country. Some of the leading figures were immigrants from Eastern Europe like Emma Goldman. Others were scions of prominent families who had attended Harvard and Vassar like Crystal Eastman, Hutchins Hapgood, and John Reed. Most of them found inspiration in the socialist, communist, and anarchist movements in Russia and envisioned the day when a similar revolution would sweep America. If people wanted to write, express themselves, and generally experience life at the turn of the century, they dreamed of Greenwich Village.

Dorothy’s arrival in New York coincided with “a world in which modern women were encroaching on the formerly all-male turf of college, office, and street.”[1] Women were visible in ways their mothers had not been, and at least in Greenwich Village, several of their male colleagues welcomed that visibility as part and parcel of a new social order. Sexual equality was integral to the values of the Bohemian set. As Christine Stansell writes in American Moderns: Bohemian New York and the Creation of a New Century, “Throughout the left intelligentsia, the emancipated woman stood at the symbolic center of a program for cultural regeneration.”[2] Financial independence, free speech, and political activism were all tenets of early-twentieth century feminism. Many of the women Dorothy met in New York were supporting themselves as journalists, playwrights, editors, novelists, artists, and political advocates. She remembered that “everyone on the city desk was writing a play or a book.”[3] Louise Bryant also worked for The Masses and during the war would move to France to work for the wire services. She would publish several books on Russian politics as well as plays. Ida Rauh, the wife of Dorothy’s editor Max Eastman, was a trained lawyer and active suffragist, as was his sister, Crystal Eastman. After the government shut down The Masses, Crystal Eastman would edit a new paper, The Liberator, for which Dorothy would work. Neith Boyce was another journalist who interacted with Dorothy socially at the Provincetown Players, where they were both involved in amateur dramatics.

Sexual freedom was part and parcel of New Womanhood in the teens. Dorothy’s experience was thus different from that of late Victorian female freethinkers and activists like the settlement house workers and the first female college professors. Husbands and children represented the horrors of domesticity they had longed to escape. Marriage and a career were seen as incompatible.[4] “But with the supposed emergence of a sphere where men and women mingled in all sorts of all sorts of meaningful ways, work no longer obviated the possibility of heterosexual love.”[5] For Dorothy and her contemporaries, true equality meant the right to socialize with male coworkers at the end of the day with the possibility of romance later in the evening. As Dorothy remembered of those years, “No one ever wanted to go to bed, and no one ever wanted to be alone.”[6]

The Greenwich Village radicals were tight-knit to the point of being incestuous. Men and women formed passionate friendships and collaborated on artistic endeavors. Dorothy’s co-workers on The Masses, John Reed and Louise Bryant, were the quintessential Bohemian power couple, living together and later marrying. Louise Bryant also had an affair with the playwright Eugene O’Neil. Reed, for his part, had been involved with Mabel Dodge, another writer on The Masses, who had also been romantically linked with Hutchins Hapgood, a prominent writer in the Greenwich Village circle and husband of journalist Neith Boyce. Terry Carlin, a friend of Dorothy’s and Hapgood’s muse for his novel An Anarchist Woman (1909), lived for a time with Eugene O’Neil.

Dorothy formed attachments to various men both inside and outside these circles. She developed a deep friendship with Eugene O’Neil as he was recovering from his tormented relationship with Louise Bryant. He would drunkenly recite poetry for her at a bar nicknamed the Hell Hole, and in The Long Loneliness she credits him with stirring the already deep wells of spiritual hunger in her.”[7] After staying up late all night with him she would occasionally run into a church for a morning mass. Later she fell deeply in love with the adventurer and occasional journalist Lionel Moise. He arrived in New York at the end of World War I having worked as an editor on The Kansas City Star alongside Ernest Hemingway, who described him as a hardbitten and fearless man’s man with an air of legend surrounding him.[8] Hemingway wrote about Moise in 1952 that “what impressed me most in him was his facility, his un-disciplined talent and his vitality which, when he was drinking, and I never saw him when he was not drinking, overflowed into violence.”[9] He furiously countered the argument (originating in Charles Fenton’s The Apprenticeship of Ernest Hemingway and repeated in multiple biographies) that Lionel had taught him how to write while simultaneously mythologizing him. “I remember him as a sort of primitive force, a skillful and extremely facile newspaper man who had his troubles and his pleasures with drink and women.”[10]

Lionel Moise’s rough attractions beguiled Dorothy, who later wrote in a letter to her partner Forster Batterham that “I’ve never loved anyone but you and Lionel.”[11] She remained involved with him on and off through the early 1920s. Although still in love with him, in 1920 or 1921 Dorothy married Berkeley Tobey, the business manager for the socialist paper The Masses. Dorothy’s biograper Robert Coles referred to Tobey as “a strange man about whom little is known beyond gossip.”[12] I found a listing for him in a compilation of notable characters of Haworth, New Jersey, hilariously describing him as “a Greenwich Village rogue and bon vivant, married somewhere in the neighborhood of eight times.”[13] His last wife was the well-known California architect Esther McCoy. The photograph I saw shows a jovial man with a white walrus mustache, and is very much in keeping with the little I know of him, as he was posing next to three much younger attractive women, including Theodore Dreiser’s wife. His marriage to Dorothy lasted less than a year. She rarely mentioned him in her writing and never mentioned her marriage in The Long Loneliness, her memoirs of these years. By then, she had become a public figure due to her activism and was deliberately vague on the specifics of her romantic life before Forster Batterham. She always expressed her disapproved of Emma Goldman’s “tell-all” memoirs that named each of her lovers and recalled being “revolted by such promiscuity.”[14] But while she later insisted upon her personal privacy, her writing in the 1920s quite openly explored the new sexual freedom she was living.

In terms of its honesty about sex and relationships from a female perspective, Dorothy’s novels The Eleventh Virgin and The Dispossessed were very much in sync with the work of her fellow writers and intellectuals, Louise Bryant, Crystal Goodman, Neith Boyce, and even, despite her dislike of her, Emma Goldman. They wrote sexually independent heroines into their novels and plays and they explored its real-life implications in treatises and articles. In her 1908 novel, The Bond, Neith Boyce chronicles the first stormy years of the marriage of Basil and Theresa. Theresa, a sculptor, struggles to maintain her artistic freedom despite the obligations of motherhood and household. She also refuses to accept Basil’s double standard regarding fidelity. After he has an affair with a wealthy widow, she insists on open flirtations with other men, although she never allows them to become physical. She employs the phrase, “balancing the account,” to counter Basil’s anger. Despite their mutual misunderstandings and jealousies, Theresa and Basil remain in love and enjoy a sexually satisfying relationship.[15] Boyce’s 1921 one-act play Enemies picks up these themes. A husband and a wife, named simply “She” and “He,” argue back and forth about the inconsistencies and unhappinesses of their marriage. He complains she cares nothing for housekeeping and pays no attention to his interests. She retorts that he intrudes on her inner space and reveals her anger at his inability to remain faithful. In return, he insists, infuriatingly, that a husband’s infidelity means nothing, although a wife’s fidelity must remain paramount. At the end of the play, the two embrace and declare their mutual love and desire, although they admit they will continue to quarrel over these issues for years to come.[16]

Theresa and Basil’s fictional marriage, as well as the anonymous marriage in Enemies mirrored several key questions of the day for feminists—double standards regarding fidelity in marriage, the availability of birth control, female independence within a marriage, and the possibilities of balancing household responsibilities with domestic duties. Crystal Eastman explored these issues in a series of articles and essays for a variety of periodicals, including Cosmopolitan, The Birth Control Review, Equal Rights, and her own The Liberator, for which Dorothy would also write in the late 1920s. Most notably, in her 1923 Cosmopolitan article “Marriage under Two Roofs,” she proclaimed the merits of wives living apart from their husbands, a practice she insisted upon in her own marriage.[17] She advocated as well for husbands who took on housework, and for short hair, short skirts, legalization of prostitution, and ready access to birth control. As she wrote in a 1918 article for The Birth Control Review, “We want this precious sex knowledge not just for ourselves, the conscious feminist; we want it for all the millions of unconscious feminists that swarm the earth, —we want it for all women.”[18]

Neith Boyce, Crystal Eastman, and other Greenwich Village women writers were exploring untrodden territory. As Christine Stansell explains,

American Victorian culture had bustled with sex talk in its own segregated, covert ways. But nineteenth-century women’s ability to speak as sentient sexual beings had been limited by a melodramatic vision of decent women’s victimization by men’s lust. Outside pornography, the words were literally lacking to speak of female desire. Now, the garrulous exponents of free love broke with the asymmetrical pattern by according women a voice and transforming the male soliloquy into a conversation between the sexes.[19]

Dale Bauer terms this language as sex expressionism. “As sexuality became more public, the rhetorics of both the body and language could express sexual desire . . . women writers began to treat sex, once considered an urge or impulse, as a conscious act and a choice, deliberated, enacted and embodied.”[20] Dorothy employed “sex expressionism” to describe both the chaotic internal life and the free-spirited external life of her heroine in The Eleventh Virgin.

The Eleventh Virgin chronicles the sexual awakening of June Henreddy. It begins with her first feelings of desire as a teenager for an older married neighbor and ends with her abortion and the painful end of an affair in her twenties. June’s body stirs, shivers, and shudders with desire. Later it spasms in pain while rejecting the fruit of those desires. The discourse surrounding desire is just as important as the act itself. June is only sexually active in the ending chapters; but the expression of her desire permeates the entire book. First comes the adolescent crush on a neighbor. The relationship exists entirely in June’s imagination, but Day is clear about the physical effects on the young girl. “Her mind had never seemed to be connected with her body and it was strange and wonderful that a thought, a glance, could make a little shower of delight run through her.”[21] The delight is both emotional, physical, and entirely welcome, as June admits that “she loved to be bitten by fierce emotion.”[22] All nature seems to June to be in harmony with her desires. “A breeze sprang up as the sun settled on the sky line, and stirred the wisps of hair around their [June’s and her sister’s] hot faces. It was like a caress and June thought of Mr. Armand’s long fingers.”[23] Mr. Armand’s presence awakens June to the sensual possibilities of her body, but the experience is isolated and predictably, goes nowhere.

Over the next few years, June enjoys platonic friendships with any number of men at college and in the newspaper offices where she finds employment. She even moves in with three jovial co-workers, to the horror of her mother. Despite the constant male companionship, however, she is quite clear that she feels nothing to compare to the physical effects of Mr. Armand. She avoids romantic relationships, insisting that sexual attraction as well as emotional sympathy be present. June is a quintessential New Woman, in that her relationships with men are solely a matter of preference. Since she supports herself through writing, marriage possesses no financial incentive for her and thus she literally can afford to wait.

When she does meet a man who attracts her, Dick Wemys, she is frank about her sexual hopes. “He gave himself three months to stay in the hospital. June gave him three months in which to seduce her.” Dick works as an orderly at the hospital where June trains during the influenza epidemic. With no intentions of marring June, he would have been termed a rake had the book been written fifty years before. In the frank sexual expressionism of June’s world, however, he admits his devious plans up front. “”I love you, June. I love you more than anything in the world, today. But I can’t say how I’ll feel tomorrow.”[24] June accepts his lack of commitment and plunges ahead with the relationship. She doesn’t just love, she flirts, engaging in playful talk about sex. “I’m a demi-vierge,” she informs Dick coyly.[25] When they discuss the future, it is in terms of her physical submission to him, rather than any plans for marriage, children, or future adventures. After he announces he is leaving the hospital, he invites her to live with him temporarily—the temporary is emphasized, as is the physical nature of the request, when he shoves a card with his address in between her breasts. June’s arrival at his apartment signals to both of them the end of her virginity, which is subsequently lost discreetly, but clearly, in a break between two paragraphs.

He looked as though he were suffering. If he would only take her, push aside this barrier of sex that was between them, he could grip hold of himself again. And [she,she] could     breathe easily once more and her heart wouldn’t ache so in her breast. To get the first pain over with! She bit his neck contemplatively.

He shook her so suddenly that she cried out, started, and then noticed that it was very still and quiet. When he turned town the lamp there was only the painful thumping of her  own heart.

Later in the evening, June sat cross-legged on the bed in a pair of pajamas which were far too big for her and ate with a great deal of relish an anchovy toast sandwich and stuffed olives. She felt very young and childlike.[26]

Despite the frankness of June’s sexual enjoyment, the book harbors no illusions as to the nature of their relationship. June’s sexual freedom does not translate into sexual equality. For the first time since leaving home, she stops working, at his direct request. “‘While you’re mine, you’ve got to be all mine, so you needn’t have any interests outside of me.’”[27] Dick’s love is violent, possessive, and controlling. June finds herself lying to please him, “You’re nothing but a damn little fool so don’t you dare tell me Conrad knows how to write a story. I tell you he doesn’t so you might as well shut up.”[28] She wasn’t even allowed to look as if Conrad could write novels. She secretly goes ahead and reads all she pleases. While it had been up to her to yield her virginity, he dictated the subsequent terms of the relationship, reserving the right to decide alone when it would end. He also warned her that he would leave immediately should she become pregnant, which indeed, he does, even though she has an abortion. Christine Stansell notes, “Paradoxical, self-deluding, sometimes harmful: without question there was a dark edge to sexual modernism.”[29]

June’s abortion is rendered in graphic terms. Day is as frank about June’s bodily reaction to pain as she had been about its receptivity to pleasure.

One pain every three minutes. How fast they came! It seemed that the moments of  respite could be counted in seconds. The pain came in a huge wave and she lay there writhing and tortured under it. Just when she thought she could endure it no longer, the wave passed and she could gather up her strength to endure the next one.[30]

There were few literary precedents for such a description, although the topic was proving to be incredibly popular among young writers, including Ernest Hemingway, and Dorothy’s friends Floyd Dell and Eugene O’Neil. Mr. Durant, a story by Dorothy Parker appeared the same year (1924) as did the incredibly successful novel The Green Hat, by Michael Arlen.[31] Theodore Dreiser’s American Tragedy was published in the following year. Over fifty more novels and short stories would tackle the controversial subject before 1945.[32] While The Eleventh Virgin remains one of the least known of these works, it proves that Dorothy was at the forefront of the significant literary discourse surrounding illegal abortions, a discourse that privileged female bodily experience. The Eleventh Virgin ends shortly after June Henreddy’s abortion, so Dorothy allows her little time to reflect upon it. The morality of abortion nevertheless remained a significant theme in her later essays and articles, as I will discuss later.

Historian James Fisher writes that “The Eleventh Virgin showed that Day was not a novelist,” and Robert Coles calls the plot “wretched.”[33] I actually found The Eleventh Virgin highly enjoyable, if somewhat immature. The most charming aspect of the writing is Day’s own bemused attitude towards the melodramatic excesses of her heroine: “‘I’ve got to have you,’ she [June] told him [Dick]. ‘I love you. I do love you. It’s a fatal passion.”[34] There is a sense of fond reminiscence over June’s willingness to throw everything to the winds in the name of love, tinged with a growing bitterness as Dick’s behavior grows more untenable.

Coles, Fisher, and historian of American Catholicism Jim Forest frequently refer to it as her autobiographical novel and glean its pages for details of her early years. It is certainly tempting to read The Eleventh Virgin as a thinly veiled autobiography of Day’s early years in Greenwich Village, although I am loathe to place experiences in Dorothy’s own life on the sole evidence that they appear in the novel. Certainly June’s adventures in writing and politics mirror Dorothy’s own as she described them in The Long Loneliness. The book also embarrassed her after she became a well-known public figure. “There was a time that I thought I had a lifetime job cut out for me—to track down every copy of that novel and destroy all of them, one by one.”[35] At least some of the book did echo her own experiences. She revealed in letters and diaries that she did have an abortion during her relationship with Lionel Moise and preceding her marriage to Berkeley Tobey. As she related in The Long Loneliness, she sought spiritual solace during this time, and there are also hints of a kindling religious interest in the adolescent June, who rebels against the coldness of her parents by a passionate devotion to God, although once she leaves home she grows absorbed in other pursuits.

The Eleventh Virgin, however, documents sensuality rather than spirituality, and the heroine, at least, sees a clear separation between the two. As the adolescent June writes to a friend,

All these feelings and cravings that come to us are sexual desires. We are prone to have them at this age, I suppose. [The fifteen-year-old intoned piously.] But I think they are impure. It is sensual and God is spiritual. We must harden ourselves to these feelings, for God is love, and God is all, so the only love is of God and is spiritual without taint of earthliness.

Given that the subject of religion is then dropped in the novel, there is no sense that the author had reconciled them either.

1932With her daughter, ca. 1932.

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Conflict and Conversion

Dorothy’s next novel explores both the sensual and spiritual. She wrote the first chapters during 1932, when she had moved back to New York after working briefly in Hollywood as a screenwriter and then traveling for a year in Mexico. She had already converted to Catholicism although she had not yet met Peter Maurin and begun the Catholic Worker. Most of her time was spent writing for Catholic newspapers and magazines and working on the novel she would term both The Dispossessed and This Dear Flesh. As she describes those months in The Long Loneliness:

I was writing a novel. I have always been a journalist and a diarist pure and simple, but as long as I could remember, I dreamed in terms of novels. This one was to be about the depression, a social novel with the pursuit of a job as the motive and the social revolution as its crisis. There was to be the struggle between religion and otherworldliness, and communism and this-worldliness, replete with a hero and a heroine and scores of   fascinating characters. I put my own struggle and dreams of love into the book and was very happy writing it.[36]

The Dispossessed documents the conversion to Catholicism of a young girl named Monica as well as her love affair with a Communist she knows she can never marry. As with The Eleventh Virgin, Day frankly explores the physicality of Monica’s desire. Monica has loved Nick ever since she moved into the apartment next to him as a little girl. But as she reaches adolescence, her love assumes a physical dimension. She doesn’t just love him; she desires him.

At this time Monica began to be obsessed with desire for him. When he was away, she saw him everywhere, in the line of head, the attitude of some stranger. She heard him in a   sudden soft laugh. The river noises and the heavy damp smell of the city those early spring days reminded her of walks they had taken, long wordless hours they had spent  together.[37]

Day employs metaphors of heat and hunger. Monica feels “hot within herself” and is “hungry to love.”[38] Her sexual awakening coincides with an equally passionate religious awakening. The only thing in her life that evokes the same level of emotion and physicality within her is Catholicism, which ironically means that she can never succumb to her desire for Nick. Her experiences of the depths of her faith resonate physically in her body, and Day employs similar language. One morning, Monica impulsively follows a young woman to Mass:

It was almost every Mass in the Italian Churches, and Monica sat during the Gloria in a maze of happiness. She did not know why she was happy, why this sudden glow of joy had come into her life. She felt waves of exalted thankfulness flooding her heart,a sudden intense consciousness of an all-loving God, and the need and hunger of the human   heart in its desire to serve Him to worship Him. The Mass satisfied her as it never had before. And somehow all this sudden realization was linked up with that girl, so still, so breathlessly still and radiant.”[39]

The two desires are intricately connected and spur each other to greater heights. “Monica’s love for Nick made her realize her faith, because young though she was, she recognized that a choice was being put up to her. She could not have him and her Church too.”[40] It is difficult for the reader to form an opinion one way or another regarding her choices, since each option stirs her equally to physical and emotional frenzy.

Monica sought refuge in her religion now, but she distrusted the softness of religious emotion during these hard times. It went hand in hand with the melting tenderness she was apt to feel at the thought of Nick. The joy and the faith which made it forbidden were too closely linked at these times in her mind. She was as unstable as a reed.[41]

Her torment expresses itself in the language of illness as well as yearning. “She felt that she was a woman with a sickness who had to cure herself.” To love is to experience passion. Passion, literally and figuratively equals suffering. It is impossible not to love and thus, not to suffer.

Unlike June Henreddy, Monica is a virgin and never speaks in terms of seduction. Marriage is the forbidden but desired outcome of her relationship with Nick. Although they cling to each other in dark corners, neither proposes going any further. Yet she is caught up in concerns about sin that June never experienced.

There came with this knowledge of her deliberate choice, the question of mortal sin. Even the thought of bodily desire (forbidden as it was in connection with Nick) was an act of unchastity in the sight of God and as such was mortal sin. Yet to have committed mortal sin . . . (it was that, – Oh God – it certainly was that) but it was not due deliberation or full       consent of the will. For blindly she had fought and struggled, praying daily, walking through the misty, fogbound streets, and how could it be full consent of the will when her lips were numb at the remembrance of his kiss, and her lips were stiff as she forced them on in a mechanical round of walking.[42]

Politics also stands in the way of the young couple’s happiness. Nick also desires Monica but feels an equal calling to Communism and believes he cannot distract himself with a wife and family. He dreads the thought of prison but is equally convinced that he must end up there. The two engage in mutual torment. “’Oh, Nick, Nick, I’m so glad to see you,’ Monica cried, her hands behind her back to keep them from clutching at him. He took hold of her shoulders and his hands were trembling. ‘

“‘You know how I feel, and I can’t stand it.’”[43] It is a love that cannot be born but equally cannot be ignored.

In Monica’s yearning for an unattainable love, Dorothy articulates the mystical longings that she would explore later in her spiritual writing. According to the brief plot summary she had drawn up for potential publishers, Dorothy had planned a happy ending for the pair, each with more suitable spouses. Nick would marry the Russian emigre Natasha while Monica would fall in love with and eventually marry Raoul, an upstanding architect and a friend of Nick’s. “All would be happy according to their lights.”[44] It is fitting, perhaps, that she never composed this ending, dropping the novel in 1933 when she began the Catholic Worker. The desire that coursed through Monica’s body could not be stilled in a contented marriage. The only cure for such desire was a lifetime committed to seeking, following the trail of an elusive lover into dark nights and lonely mornings.

Towards the end of the unfinished narrative Dorothy brings in another woman as a rival for Nick’s affections. The Russian emigre Natasha, unlike Monika, is a sexually experienced woman desperately in love with Nick. Despite his earlier disavowal of marriage, he proposes to her, as her loyalties are compatible with his politics. She relates a sad tale of a promiscuous past in Russia with uncaring lovers more devoted to the Revolution than to her, and then in New York living a hand-to-mouth existence working at a cabaret (which seems to be a euphemism for a brothel). Despite her experience, when it comes to desire, she and Monica speak the same language. Her love is starvation, misery, and desperation. Even in love and engaged, she experiences torment. Nick accuses her of enjoying her misery, and she responds in explanation, “It is difficult for a passionate woman to get over the habit of being passionate.” By passion, she means not only love, but the suffering that must accompany it. Monica must renounce Nick and Natasha will marry him, but to truly experience the weight of their choices, they both must suffer in love. We don’t know how the characters will develop but love as suffering and joy in renunciation are both themes that will inform the rest of her work.

19341934 (original in New York World-Telegram and Sun Collection, Library of Congress).

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Love as Mystical Yearning

Dorothy’s post-conversion politics led her to conservative stances on issues such as abortion, birth control, divorce, and pre-marital sex, all of which she firmly condemned in her writings. These attitudes seem to represent a complete break from her earlier radical days when she had attended Margaret Sanger’s speeches, worked for Crystal Eastman, and stayed up nights discussing the merits of free love with John Reed and Eugene O’Neil. They also seem to contradict her own first writings which had expressed sexual desire freely regardless of marital ties and whose heroines had expressed regret only at the loss of love, not the loss of virginity or reputation. Her subsequent writing certainly appears to advocate a more traditional femininity in line with the Victorian family structure against which she had originally rebelled.

Her conversion seemed abrupt to those who knew her, but it followed years of seeking. In the years preceding her conversion, she felt increasingly drawn to the life of the spirit. In The Long Loneliness, she writes, “It seems to me a long time that I led this wavering life . . . . I felt strongly that the life of nature warred against the life of grace.”[45] She had also expressed these anxieties in The Eleventh Virgin when June Hendreddy declares that “the only love is of God and is spiritual without taint of earthliness.” Even though she was happily in love with Forster Batterham, she experienced emptiness and longing. They lived together in her cottage on Staten Island. It was the greatest happiness she had ever experienced but she still felt dissatisfied. In The Long Loneliness (1952), she articulates the idea of God as lover who drew her away from her Forster. She presents her struggle as a love triangle between herself, God, and Forster Batterham, Tamar’s father and the man she refers to as her common-law husband. “I wanted to die in order to live, to put off the old man and put on Christ. I loved, in other words, and like all women in love, I wanted to be united to my love. Why should not Forster be jealous? Any man who did not participate in this love would, of course, realize my infidelity, my adultery.”[46]

On a practical level, her conversion meant sacrificing a life that brought her much delight as well as stability after years of searching. Although Dorothy liked to refer to Forster as her husband, they were not married in the eyes of either the state or the church, and he refused to take those steps. A self-identified anarchist, he abhorred the institutions of both religion and marriage. As a Catholic, she could not live with him outside of marriage. Neither would yield. “To become a Catholic meant for me to give up a mate with whom I was much in love. It got to the point where it was the simplest question of whether I chose God or man.”[47] It is hard not to read Monica’s struggle with a love incompatible with a burgeoning faith as a reenactment of Dorothy’s own. Monica and Nick had begged each other to relent; in similar ways, Dorothy and Forster argued back and forth for almost ten years. She left him and moved to Hollywood and then to Mexico and then to Florida. He visited her occasionally to rekindle their relationship but refused to marry her. She begged him in tones alternating between seduction and despair to marry her and accept her Catholicism. In 1929 from California: “I wish you would give in. I can assure you that I would not bother you and your own opinions as long as you granted me religious liberty—that is, me and the numerous other children we’d have.”[48] In 1932: “Aren’t we ever going to be together again, sweetheart? . . . I do not see why you can’t let me and Tamar be Catholics and be happy with us just the same. You know I love you, and I always think of us belonging together in spite of us being four years apart.”[49] She didn’t give up until she met Peter Maurin and threw herself into beginning the Catholic Worker. When she wrote to Forster in December, 1932 that “I have really given up hope now, so I won’t try to persuade you any more,” she meant it. She wouldn’t write to him again until the 1950s.[50]

After she gave up hope of reconnecting with Forster, she politely but firmly put a stop to any romantic attentions and declared herself a celibate. In the 1940s, Ammon Hennacy, a former Mormon turned Catholic anarchist who had thrown himself wholeheartedly into the Catholic Worker movement became captivated by her. She fended off his advances, writing, “I have a great love for you of comradeship but sex does not enter into it.” [51] And later: “When one is celibate, one is celibate. There is no playing around with sex.”[52] He evidently still thought of her in terms she considered inappropriate when in 1953, he sent her a copy of his memoir (later titled The Book of Ammon) which she returned with pages cut out of it, pleading that such thoughts did not become their age. “It is next to impossible to write about such love of people in their sixties without either seeming ridiculous or revolting.”[53] It is unclearly exactly why she turned towards celibacy, especially considering that she still lived very much in the world. She is clear that she did not do so out of a distaste for sexual love. “It was not because I was tired of sex, satiated, disillusioned, that I turned to God. Radical friends used to insinuate this. It was because through a whole love, both physical and spiritual, I came to know God.”[54]

1938Day at Maryfarm, Easton, PA, ca. 1938.

Although certainly after her struggles with Lionel and Forster, it is conceivable that she could have been fed up with noncommittal men. In 1947, she wrote angrily to a disgruntled Catholic Worker volunteer: “I should be used to men failing me. I’ve had to bring up a child alone and I’ve certainly seen more than my share of the gross and selfish in men. I’ve had many men love me but few protect me.” Although she never explicitly states this, possibly she felt the need to atone for what she considered her early promiscuity. Guilt over her behavior, especially her abortion, haunts her diary entries.

Robert Coles asked her why her she had chosen to end her romantic life at such a young age. For one who positioned sexual pleasure in the heart of the Catholic marriage and who eschewed what she termed Jansenism (a manichean distaste for the physical), why give up such a part of herself and her past? She answered him in a series of roundabout conversations. “When I fell in love with Forster I thought it was a solid love . . . that I had been seeking. But I began to realize it wasn’t the love between a man and a woman that I was hungry to find. . .”[55] In a similar vein, she wrote to Ammon Hennesy that “the whole direction of our thoughts should be to increase in the love of God. It is only in giving up a thing that you can keep it; it is only by such a sacrifice on your part that love can be beautiful and holy.”[56] In much of her post-conversion writing, love becomes directed entirely towards God in a complete mysticism. For Dorothy, nothing but God’s love would suffice.

Yet desire never loses its place in her language, describing both a longing for physical contact as well as the presence of a transcendent force. After her conversion, she reinterpreted her understanding of humanity to include both body and soul conjoined together, per God’s design. Hence the sacral nature of sex: “One cannot properly be said to understand the love of God without understanding the deepest fleshly as well as spiritual love between man and woman. The two should go hand in hand. You cannot separate the soul from the body.”[57] She devoted her whole self to seeking God as she would a lover, and that search took the place of romantic human love. She told Robert Coles: “My conversion was a way of saying to myself that I knew I was trying to go someplace and that I would spend the rest of my life trying to go there and try not to let myself get distracted by side trips, excursions that were not to the point.”[58] A husband or lover would be beside the point in her mystical journey.

In Dorothy’s spiritual writings, she beautifully articulates the sacramental nature of marriage and the centrality of sexuality in marital relationships as “a foretaste of the beatific vision.”[59] “The intense pleasure and delight in the act itself may be like a sword piercing the heart.”[60] Sex is the actual sacrament embodied in matrimony, as opposed to the vows. “It is not the promises that make the marriage. The vows are exchanged at the altar; the marriage is the embrace itself.”[61] On a practical level, she argues, then, that the church needed to emphasize the significance of marital relations and to avoid the “Anglo-Saxon Jansenism,” that caused people to shy away from such discussions. “ . . . It is time indeed that there should be more talk on the subject of sex and marriage on the part of Catholics.”[62] She refused to read the Kinsey report but was nonetheless fascinated by its willingness to bring sex into popular conversations, an inclination she argued that contemporary religious writing lacked.

It is because sex is “the most deeply wounded of all our faculties” since the Fall. In sex, body and spirit are so interwoven, so attuned, so single-minded, so concentrated, and so alive. It is in sex love that people catch glimpses of harmony and peace unutterable. That is why thwarting sex, unfulfilled marriage, is a tragedy often dealt with by physicians and psychiatrists. If the act, which is called by St. Paul “the marriage debt” is not paid generously and to the full people are warped and nerve-wracked, curiously  askew.

The language of desire occupied a permanent place in her writing, but in her post-conversion writing the force of it was directed back to divine union. In On Pilgrimage, The Long Loneliness, and her many letters, diaries, and articles, she explores the theme of Christ as lover, a literary path previously trod by Dorothy’s favorite saints, Catherine of Siena, Theresa of Avila, and Therese of Lisieux as well as other great mystics whom she admired. In Dorothy’s voice, the image takes on a modern and realistic meaning. The joys are not metaphorical, and the bodily effects speak to actual memories. For the medieval mystics, the language of sexual ecstasies only existed on a metaphorical plane. For Dorothy, it as the realistic humanity behind the words that renders them meaningful—“It is because I am not now suffering that I can write, but it is also because I have suffered in the past that I can write.”[63] It was precisely because she had known the sweetness of a whole love, body and soul, that her act of renunciation was so precious. “The best thing to do with the best of things is to give them to the Lord,” she wrote in her diary decades after her conversion, “and note that fleshly pleasure if not isolated from mind and spirit is not here labeled sin, but called ‘the best of things.’”[64] So her bridal mysticism loses the morbid aspect of the medieval saints that she admired and appeals to a twentieth and twenty-first century sensibility. It makes sense that in Augustine of Hippo, another great lover of the flesh who nevertheless turned his heart to God, she found great inspiration and quoted frequently in her Catholic Worker articles. Sexual desire between humans was both a piece of and a reflection of God’s love, not divorced from it. Human love was the overflow of God’s love.

Religious historian James Fisher declared that she “came to espouse one of the most abject brands of self-abnegation in American religious history,”[65] and referred to her religious interpretations as “bleak.”[66] His interpretation denies the joyful earthiness of her spiritual writing. Dorothy never turned away from the reality of flesh, delighting in her body even when it sickened and aged, so that she could write on Valentine’s Day, 1944 in her diary:

But this aging flesh, I love it, I treat it tenderly, but also rejoice that it has been well used, that was my vocation—a wife and mother, I gave myself to husband and children, my flesh well used, droops, my breasts sag, my face withers, but my eyes and lips rejoiced and love and laugh with happiness.[67]

Flesh was both her “enemy” and her “dear companion on this pilgrimage.”[68] Her acknowledgement and appreciation of bodily realities represents one of the strongest continuities throughout her writing. At the age of eighty-two, she declared firmly in her diary, “I am a sensual woman.”[69]

1951Day serving soup to Franciscans at Detroit Catholic Worker, ca. 1951.

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An Unwilling Feminist

She never retired, writing articles until her death at the age of eighty-three. Her continuing engagement with current affairs required her to confront the changing social mores of the 1960s and 1970s. The Catholic Worker could not remain static if it wanted to remain relevant. As its original members aged, the organization relied on a steady influx of younger volunteers. Dorothy treated these younger colleagues with the same mixture of amusement, concern, and bewilderment, that she showed her nine grandchildren. The young girls of the CW attended Woodstock and excitedly reported back to her. “They had a weekend of rain. Sounded like a nightmare to me,” she wrote dismissively. Her perplexity was frequently softened by outpourings of compassion, as she found her bohemian youth reflected in their untempered idealism. “Aside from drug addiction, I committed all the sins young people commit today,” she wrote in 1976.[70] She disapproved of priests who approached the drugs and sex of youth culture with a lack of understanding. “No compassion for the young,” she dismissed an otherwise good sermon that had ended with a censure of Woodstock.[71] The anti-war demonstrators of the 1960s were near and dear to her heart, as they picked up the pacifism the CW had espoused since the 1930s. In 1965 she spoke at Union Square in support of men who burned their draft cards. In 1967 she attended the trials of anti-war demonstrators and helped raise money for their defense. She differentiated them from the young men and women she deemed to be “hippies,” whom she dismissed as spoiled rebels without any causes other than non-conformity. “I felt in view of the blood and guts spilled in Vietnam the soldiers would like to come back and kill these flower-power-loving people. . . . Middle-class affluent homes, they have not known suffering.”[72] In her warmer moments, she judged them foolish but lost, as she had been and as she knew her own progeny to be. “These are my children too, my grandchildren. Having so many grandchildren, I love . . .”[73]

Dorothy firmly maintained during the 1960s that she was not a “women’s-libber,” but she did conceive of marriage, motherhood, and the position of a woman in a family in radical ways, not unlike her Bohemian companions of the 1920s. She meditates on motherhood and marriage in On Pilgrimage, a book based on a journal she kept in 1948. She spent most of the year on a farm in West Virginia with Tamar who was pregnant with her third child, and her writing reflects her domestic setting. “Meditations for women, these notes should be called, jumping as I do from the profane to the sacred over and over. But then, living in the country, with little children, with growing things, one has the sacramental view of life.”[74] On the farm, dealing with no running water, no electricity, no stores, and two small children, she found herself beset by household cares and unable to write, pray, or even think. She writes frankly about the lack of intellectual and creative stimulation mothers endured. On January 20, she writes despairingly, “What kind of an interior life can a mother of three children have who is doing all her own work on a farm with wood fires to tend and water to pump? Or the grandmother either?”[75] In a similar vein, she complains on March 8, “If you stop to read a paper, pick up a book, the children are into the tubs or the sewing machine drawers. . . . Everything is interrupted, even prayers, since by nightfall one is too tired to pray with understanding.”[76]

She compares the relative constraints of young mothers and fathers. Enviously watching her son-in-law exploring the woods, she admits “one cannot help but thinking that the men have an easier time of it. It is wonderful to work out on such a day as this, with the snow falling lightly all around, chopping wood, dragging in fodder, working with the animals. Women are held pretty constantly to the home.”[77] In On Pilgrimage, she raises a theme that would haunt her writings for years to come—Tamar’s isolation and frustration as a young mother with a new baby practically every two years (nine children in eighteen years of marriage) and no intellectual outlets. “It is a lonely life for a woman with many small children. It is a life of solitude in city and village anyway, since a young mother cannot get out, but in town neighbors and friends can at least drop in.”[78] Her correspondence with Tamar is rife with comforts and reassurances that rarely seemed to work. When Tamar longed to move back to New York so she could have more company, Dorothy warns her away because of the polio epidemic and the high rents. “Oh dear. I do know how lonely you are, but I do assure you that a mother with small babies is always lonely.”[79] She titled her book The Long Loneliness in part as a reference to the shared solitude of humanity. But she also meant to pay specific homage to the particular loneliness of women, both as young mothers isolated by the burdens of childcare and then later as older mothers bereft of their children. “Tamar is partly responsible for the title of this book in that when I was beginning it she was writing me about how alone a mother of young children always is.”[80] Dorothy realized, of course, that loneliness and anxiety were the bitter but necessary fruits of motherly love. “It is right for us to love our families, but oh the heartaches. But it is the cross, the saving Cross. We cannot have Christ without His Cross.”[81]

Tamar’s experiences, both her loneliness and her restlessness, paralleled Dorothy’s own as a young mother. She remembered herself as a young mother traveling from New York to Hollywood to Mexico and back again. “I was lonely, deadly lonely. And I was to find out then, as I found out so many times, over and over again, that women especially are social beings, who are not content with just husband and family, but must have a community, a group, an exchange with others.” That loneliness can stem from specific circumstances—Dorothy knew almost no one in Hollywood and likewise, Tamar lived in the country miles from a neighbor. But it also derives from social pressures and biological realities that isolate women in households. In a statement that stunningly echoes Betty Friedan’s work of the following decade, she continues by declaring that, “ A child is not enough. A husband and children, no matter how busy one may be kept by them, are not enough.” Women needed to create and seek outside the family structure. Even flush with love for her new baby, she had still been driven to write. Back in her cottage on Staten Island, still with Forster, her Catholic sponsor Sister Aloyisia had scolded her for sitting at her typewriter while the breakfast dishes piled high. Dorothy’s own conversion, for all that it that it represented a more conservative social stance, actually entailed an assertion of autonomy, radical in every sense.

Dealing with birth control, abortion, and free love were the most troubling aspects of the 1960s and 1970s for her, both because they conflicted directly with Catholic family doctrine and because they reminded her uncomfortably of her own youth. Her disapproval of birth control brought her into conflict with her sister Della, who volunteered at Margaret Sanger’s clinic and openly declared she would only have children she could afford to bring up and send to college. Dorothy writes in Della’s obituary: “When she went on to exhort me . . . that I should not urge, as a catholic, Tamar, my daughter, to have so many children, I got up firmly and walked out of the house, whereupon she ran after me weeping, saying, ‘Don’t leave me, don’t leave me, We just won’t talk about it again.’”[82] Her advocacy of marriage without birth control continually warred with her championing of female independence. Had she remarried and given birth to more than one child, her ability to travel the country and write would have been greatly curtailed. In 1973 she wrote to Sidney Callahan, a professor of psychology at Mercy College, “I feel badly at seeing formerly happy women friends bitter and angry at all they have suddenly discovered they have suffered. And they get angry at me for not being angry.”[83] Yet even though she disliked the label of feminist, she continued to be attracted to the ideals they championed. She disapproved of bishops who were “more concerned about [birth control] than war.”[84] By 1979, after hearing Dr. Marian Moses speak, she admitted there was validity to the feminist critique of the papal stance on birth control and abortion. “She is a strong feminist. I am not, tho I can see all the problems.”[85]

Interestingly enough, while her disdain for birth control seems like mere unquestioning acceptance of Catholic dogma, on a few occasions she expresses her belief that birth control harmed women in particular, as it allowed men to escape marriage and responsibility. “Sex is a gigantic force in our lives and unless controlled becomes unbridled lust under which woman is victim and suffers most of all.”[86] The sexual revolution seemed to give men license to leave their wives, which she witnessed frequently in the CW. Divorced women with small children took refuge as part volunteers and part boarders. “Dear God, help me not to judge people harshly. But men certainly take advantage of women more than ever these days.”[87] Her critique of the sexual revolution sounded a familiar feminist note. As Ruth Rosen explains in The World Split Open, men happily exploited women’s newfound sexual availability. “If sex was free, where did you draw the line?” She related the tale of one woman in a Washington D.C. consciousness-raising group who lamented that “the sexual revolution is making me miserable,” because “I’m not supposed to be jealous” when her husband cheated on her with “everything in sight.”[88]

Thirty years prior, Dorothy had angrily accused Forster of just such flippancy in their relationship when he refused to marry her.

You have always in the past treated me most casually, and I see no difference between     [our] affair and any other casual affair I have had in the past. You avoided, as you admitted yourself, all responsibility. You would not marry me then because you preferred the slight casual contact with me to any other. And last spring when my love and physical desire for you overcame me, you were quite willing for the affair to go on, on a weekend basis.[89]

In a roundabout way, she argued that birth control allowed for promiscuity, which created an easy escape from marriage, which was the ultimate sacrament. Given her experiences with Forster and Lionel Moise, perhaps Dorothy assumed most men would avoid marriage if offered sex and most women would choose it. The legalization of abortion after Roe v. Wade in 1973 struck close to home. “Does the changing of laws—the Supreme Court decision—do away with this instinctive feeling of guilt? My own longing for a child.”[90]

The separation of love and sex troubled her, not only because it led to the dissolution of marriage but because of its ubiquity, even in the sanctuaries of the Catholic Worker homes and farms. It overwhelmed impulses for pacifism and charity that she tried to hone in new workers. “What to do about the open immorality (and of course I mean sexual morality) in our midst. It is like the last times—there is nothing hidden that shall not be revealed.”[91] She worried that contemporary thought urged people to succumb to their desires. “[They say] why does God implant in us these instincts and then punish us when we satisfy them? God made all things to be enjoyed. Enjoy! Enjoy!”[92] Her conversion was based on denial of instinct; she relied on discipline and prayer to strengthen her resolve when old temptations beckoned. She had renounced love only to find a deeper love and a greater life. She found something vacuous about those who searched without sacrifice. “My heart aches for them, they are so profoundly unhappy. Their only sense of well-being comes from sex and drugs, seeking to be turned on, to get high, and to reach the heights of awareness, but steadily killing the possibility of real joy.”[93]

Yet Dorothy believed in love, even if it was free. Despite her adherence to Catholic moral teaching, she couldn’t condemn a relationship in which love had sprung up between two people, even if the love lacked sacrality. “Birth control, abortion, free love—all in the name of love. . . . The hunger for human love, how beautiful in marriage and renunciation, too. But it is always to be respected, even in all these free unions, even in all these sad searchings . . .”[94] As the seventies crawled on, her own and the century’s, the world continued to change, and she insisted on reexamining her priorities and values. Old friends and colleagues started coming out as gay and she strove to understand what the church condemned. When two of her female friends confessed to her they were lesbians, she sought back into her past to remember moments of similar feeling—again, she strove to co-suffer—she remembered a girl in high school who inspired her—”I never knew her name or anything about her but in a way she cast a light about her.” She also recalled a young Polish woman who reminded her of the Virgin Mary whom she met when she first went to Communion (a scene that appears in The Dispossessed). “How contemplation of that Polish girl deepened my faith!”[95] Could love ever be wrong? Without the grace of God, it could lead to temptation and temptation, but that was just as true, she argued, for any kind of love. “Unbridled sex, practiced today in every form or fashion,” was certainly worthy of censure, but love itself could only deepen understanding. “I mean that one must be grateful for the sate of ‘in-love-ness’ which is a preliminary state to the beatific vision, which is indeed a consummation of all we desire.”[96] She seemed to take a particular dislike to drugs, probably because they were unfamiliar, possibly also because they reminded her of her own drinking days, which embarrassed her. Maybe because both of those things were forms of escape from the sorrows of the world, but sorrow was suffering and suffering was love. It was only when she embraced suffering that she found joy. It had happened once, at the great moment of her conversion, and it continued to happen every day in moments of struggle. “To love is to suffer. Perhaps our only assurance that we do love God, Jesus, is to accept this suffering joyfully! What a contradiction!”

1958With grandchildren ca. 1958.

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The Hard Work of Loving

While Dorothy worked out her ideas on feminism, women, sex, and love in her writing, she was also putting her ideas on charity into action. She viewed herself as a writer, frequently declaring that writing brought her the greatest joys in her life. But very little of her day was actually devoted to writing. It couldn’t be. She was the heart of a network that fed, clothed, and sheltered hundreds of people every day. The Catholic Worker was a unique organization in that it operated as a newspaper, a soup kitchen, and a shelter, all within the same few rooms. “The trouble with the CW is that one is so busy living there is no time to write about it.”[97] Dorothy and the other CW volunteers lived and ate alongside the alcoholics, the prostitutes, and the unemployed whom they sheltered. She wrote to support them as much as she did for personal fulfillment, and even then, she wrote only in moments stolen from brewing coffee and boiling soup for the lines of men and women that wove around the block even years after the Depression had ended, not to mention lending them a sympathetic and non-judgmental ear when necessary. She frequently found the latter task the greatest challenge. As she chronicled in her diaries, the poor can be incredibly unpleasant. They vomited in the stairwells, stole money for drugs, swore, cursed, and sometimes screamed late into the night. This indeed was the hard work of loving she wrote about. How to love the unloveable? She knew the answer—she had to see Christ in each one of them. But how difficult that was in practice. She admitted that at times she found the poor “repellant.”[98]How could you look into the dull eyes of an alcoholic or a schizophrenic raging in madness and see God inside them? How could you summon a vision of Christ when you dwelt in Hell? “. . . To be present, to be available to men, to see Jesus in the poor, to welcome, to be hospitable, to love. This is my need. I fail every day.”[99]

She was rarely rewarded, but the moments when she received gratitude must have been incredibly perfectly sweet. Edward Breen was an especially hard case who could and (should Dorothy’s canonization process prove successful) literally did try the patience of a saint. In 1935, she wrote to her friend Catherine, “Will you please pray real hard for a Mr. Breen who is at the present moment my greatest and most miserable worry? . . . He won’t be comfortable . . . and he, after all, is Christ.[100]” He yelled racist epithets at the staff and insisted he hated them all. But he stayed at the house until his death in 1939, and she persisted in her attentions to him. When she went traveling, she wrote him affectionate letters telling how proud she was of his improved behavior.

…..Dear Mr. Breen, This is but a note to tell you to be good and to be happy even though it means a great effort of will. I know you haven’t been feeling well, you poor dear, but take care of yourself, and try to keep calm and peacable in mind, and you will make me happy. I know things become very hard and disagreeable at times, but just offer it up for my intention.”[101]

And the difficult Mr. Breen was just one person of the hundreds she dealt with in the 1930s. Dorothy interacted with his equally stubborn sucessors every day until her death at eighty-three, because she never stopped living at the Catholic Worker shelter. Throughout those years, she frequently gave up even her room to people in need of shelter. She ate whatever they ate, however plain, and found her own clothes in the donation bundles so that she could devote her income to them. From her diary in 1944:

I darn stockings, three pairs, all I possess, heavy cotton, grey, tan, and one brown wool,    and reflect that these come to me from the cancerous poor, entering a hospital to die. For ten years I have worn stockings which an old lady, a dear friend, who is spending her declining years in this hospital, has collected for me and carefully darned and patched.   Often these have come to me soiled, or with that heavy hospital smell which never seemed to leave them after many washings. And the wearing of these stockings and other second-hand clothes has saved me much money to use for running of our houses of hospitality and the publishing of a paper.[102]

Perhaps because of my own love of new clothes, and perhaps too because I know Dorothy shared it, this passage affects me greatly. Whenever I face the hard work of loving, I think about Mr. Breen and the mended stockings and the sacrifices they represented for her. Dorothy’s anguish is my salvation, because if the woman who created the Catholic Worker Movement sometimes found people unendurable, how much hope is there for the rest of us!

DD0049aDay Day reading at farm, ca. 1937 (TIF)Reading at the farm, ca. 1937.

Some of Dorothy’s writing disappoints me. I have wished I could write an essay about how her feminist convictions strengthened over time and only became more radical, in the commonly accepted sense of the word. That she strode seamlessly from New Womanhood to Women’s Liberation. I admire so much her refusal to live her life on any one else’s terms. To me, it is such a shame that she condemned her own courageous behavior as sinful and glossed over everything that didn’t fit into her Catholic moral narrative. She had defied convention by living with Forster Batterham without marrying him, yet later she conveniently decided they had been “common-law” married. That the “common-law” marriage was a later invention is made clear in letters from the 1920s when she described Tamar as his illegitimate daughter. It seems like she was a radical before the world was ready who then retracted by the time the world caught up with her. I suppose my acknowledgement of her faults is important because otherwise I would be limited to hagiography in writing about her. I would rather approach her as she was, which was human, and therefore, flawed. Even in her flaws, however, I find her appealing, because for all her harsh rhetoric, she was uniquely flexible in her ability to adapt, forgive, and accept. Her sister Della, who remained her best friend until the end of her life, worked for Margaret Sanger. Tamar’s marriage ended in divorce and she and most of her children rebelled against Catholicism, so that several of Dorothy’s great-grandchildren were born out of wedlock and most never baptized. Dorothy accepted all of these blows to her faith, sometimes with sadness, but never withdrawing affection. She continued to act as a loving mother and grandmother, supporting Tamar emotionally and financially. And remarkably, in the 1950s she reconnected with Forster and helped nurse his live-in mistress (he had stubbornly adhered to his anti-marriage stance) through cancer. What touches me most is a letter Dorothy wrote in response in 1973 to a young girl in distress because of an abortion:

I’m praying very hard for you this morning, because I myself have been through much of what you have been through. Twice I tried to take my own life, and the dear Lord pulled me thru that darkness . . . My sickness was physical too, since I had had an abortion with    bad after-effects, and in a way my sickness of mind was a penance I had to endure.

But God has been so good to me—I have known such joy in nature, and work—in writing, as you must get in your painting—in fulfilling myself, using my God-given love of beauty and desire to express myself. . . .

Again, I beg you to excuse me for seeming to intrude on you in this way. I know that just praying for you would have been enough. But we are human and must have human contact if only thru pen and paper. I love you, because you remind me of my own youth, and of my one child and my grandchildren.

When I read how tenderly she responded to others, I realize that she reserved her harshest criticism for herself and that the only sins she refused to forgive were her own.

In complicated situations, I actually do ask myself, what would Dorothy do? I don’t mean this in a sentimental way and I certainly don’t think she was perfect or would have all the answers even could I magically commune with her. I ask this question precisely because I know that she was flawed and that she understood imperfection to be the human condition. When I waver in faith or love, I think she would tell me to forgive the flaws in my fellow humans as well as myself and to treasure those flaws as the mark of the divine. A friend of mine, in the process of an unpleasant divorce, told me he had begun to forgive his wife for her years of cruelties, because he started to recognize aspects of her in his daughter, whom he loved wholeheartedly. If he loved the weaknesses of one, how could not love them in the other? Our flaws stem from our creator, and if we love him we must love his designs, which is to love each other. “The final word is love,” Dorothy declared, over and over, in articles and letters. She loved with passion, a habit she could never cast off. “We should be fools for Christ,” she also wrote frequently. Dorothy formed a foolish and passionate love wide enough to embrace the entire body and creation of God. She loved the poor, the tormented, the almost unloveable. She even, bless her heart, loved the non-believers, which includes myself. “For those who not believe in God—they believe in love.” I don’t know if I believe in God but I know I believe in Dorothy—her message, her words, her acts of charity in a dark world.

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Works Cited

Bauer, Dale M. Sex Expression and American Women Writers, 1860–1940. Chapel Hill: University of North Carolina Press, 2009. Print.

Boulton, Agnes. Part of a Long Story: Eugene O’Neil as a Young Man in Love. New York: Doubleday, 1958. Print.

Boyce, Neith and Hapgood, Hutchins. Intimate Warriors: Portrait of a Modern Marriage, 1899–1944, Selections by Neith Boyce and Hutchins Hapgood. Ed. Ellen Kay. Trimberger. New York: The Feminist Press, 1991.

Coles, Robert. Dorothy Day: A Radical Devotion. Cambridge, MA: Da Capo Press, 1989. Print.

Costello, Virginia. Revolutionizing Literature: Anarchism in the Lives and Works of Emma Goldman, Dorothy Day, and Bernard Shaw. Diss. Stony Brook University, 2010. Print.

Day, Dorothy. Dorothy Day. The Dispossessed. 1932. Series D-3, Box 1. Dorothy Day-Catholic Worker Collection. Department of Special Collections and University Archives, Marquette University, Milwaukee, WI.—. The Duty of Delight. Ed. Robert Ellsberg.  New York: Image Books, 2008.

—. The Eleventh Virgin. New York: Albert and Charles Boni, 1924.

—-. From Union Square to Rome. (New York: Orbis Books, 2006). Print.

—-. The Long Loneliness: The Autobiography of Dorothy Day. New York: Harper and Row,  1952. Print.

—-. On Pilgrimage. Grand Rapids: Wm. B. Eerdmans Publishing Co., 1999. Print.

—-. “Reflection during Advent—Part Three, Chastity.” The Catholic Worker 10 December 1966.

—-. Therese: A Life of Therese of Lisieux. Springfield: Templegate Publishers, 1960. Print.

Dearborn, Mary. Queen of Bohemia: The Life of Louise Bryant. New York: Houghton Mifflin, 1996. Print.

Eastman, Crystal. On Women and Revolution. Ed. Blanche Wiesen Cook. Oxford: Oxford University Press, 1978. Print.

Falk, Candace Serena. Love, Anarchy, and Emma Goldman. New Brunswick: Rutgers University Press, 1984. Print.

Fisher, James Terence. The Catholic Counterculture in America, 1933–1962. Chapel Hill: University of North Carolina Press, 1989. Print.

Forest, Jim. All Is Grace: A Biography of Dorothy Day. Maryknoll, NY: Orbis Books, 2011.  Print.

Gillette, Meg. “Modern American Abortion Narratives and the Century of Silence,” Twentieth Century Literature 58:4 (2012) 663–687. Academic Search Premier. Web. 5 March 2015.

Goldman, Emma. Living My Life. New York: Alfred A. Knopf, Inc., 1931. Print.

Hemingway, Ernest. Selected Letters 1917–1961. Ed. Carlos Baker. New York: Scribner, 1981. Print.

LaBrie, Ross. The Catholic Imagination in American Literature. Columbia, MO: University of  Missouri Press, 1997. Print.

Miller, Nina. Making Love Modern: The Intimate Public Worlds of New York’s Literary  Women. Oxford: Oxford University Press, 1999. Print.

Piehl, Mel. Breaking Bread – the Catholic Worker and the Origin of Catholic Radicalism in  America. Philadelphia: Temple University Press, 1982. Print.

Rosen, Ruth. The World Split Open: How the Modern Women’s Movement Changed America.  New York: Penguin Books, 2000. Print.

Stansell, Christine. American Moderns: Bohemian New York and the Creation of a New Century. Princeton: Princeton University Press, 2000. Print.

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Laura Michele Diener author photo

Laura Michele Diener teaches medieval history and women’s studies at Marshall University in Huntington, West Virginia. She received her PhD in history from The Ohio State University and has studied at Vassar College, Newnham College, Cambridge, and most recently, Vermont College of Fine Arts. Her creative writing has appeared in The Catholic Worker, Lake Effect, Appalachian Heritage,and Cargo Literary Magazine, and she is a regular contributor to Yes! Magazine.

Footnotes    (↵ returns to text)

  1. Miller 8.
  2. Stansell 225.
  3. Long Loneliness 53.
  4. Stansell 249.
  5. Stansell 249.
  6. Long Loneliness 84.
  7. Long Loneliness 84.
  8. Forrest 51–52.
  9. Ibid.
  10. Hemingway 774–775.
  11. Day, All the Way to Heaven 38.
  12. Coles 3.
  13. “Haworth’s notable characters.” http://www.haworthnj.org/index.asp accessed 2 March 2015.
  14. Day, Long Loneliness 60.
  15. Boyce and Hapgood 39–132.
  16. Boyce and Hapgood 186–195.
  17. Eastman 76–83.
  18. Eastman 46–49.
  19. Stansell 275.
  20. Bauer 19.
  21. The Eleventh Virgin. The Dorothy Day Collection/The Catholic Worker. n.d. Web. n. pag.
  22. Ibid.
  23. Ibid.
  24. Ibid.
  25. Ibid.
  26. Ibid.
  27. Ibid.
  28. Ibid.
  29. Stansell 267.
  30. Ibid.
  31. I found this website on abortion in American and British literature immensely helpful: www.lesleyahall.net/literaryabortion.htm along with Gillette, Meg. “Modern American Abortion Narratives and the Century of Silence.” Twentieth Century Literature 58.4 (2012): 663–687. Academic Search Premier. Web. 30 Apr. 2015.
  32. Gillette 666.
  33. Coles 6 and Fisher 13.
  34. The Eleventh Virgin. The Dorothy Day Collection/The Catholic Worker. n.d. Web. n. pag.
  35. Coles 37.
  36. Long Loneliness 161
  37. The Dispossessed 65.
  38. The Dispossessed 60–61.
  39. The Dispossessed 61.
  40. The Dispossessed 59.
  41. The Dispossessed 65.
  42. The Dispossessed 65–66.
  43. The Dispossessed 81.
  44. The Dispossessed n. pag.
  45. Long Loneliness 85.
  46. Long Loneliness 148.
  47. Long Loneliness 140.
  48. All the Way to Heaven 40.
  49. All the Way to Heaven 56.
  50. All the Way to Heaven 63.
  51. All the Way to Heaven 216.
  52. All the Way to Heaven 216.
  53. All is Heaven 275.
  54. Long Loneliness 140.
  55. Coles 61.
  56. All is Heaven 275.
  57. Duty of Delight 29.
  58. Coles 64.
  59. On Pilgrimage 132.
  60. “Reflections during Advent” 20.
  61. On Pilgrimage 206.
  62. On Pilgrimage 132
  63. On Pilgrimage 227–228.
  64. Duty of Delight 505.
  65. Fisher, 1.
  66. Fisher, 2.
  67. Duty of Delight 81–82.
  68. Duty of Delight 81.
  69. Duty of Delight 688.
  70. Duty of Delight 602.
  71. Duty of Delight 488.
  72. Duty of Delight 418.
  73. Duty of Delight 411.
  74. On Pilgrimage 110.
  75. On Pilgrimage 91.
  76. On Pilgrimage 110.
  77. On Pilgrimage 95–96.
  78. On Pilgrimage 72.
  79. All the Way to Heaven 222.
  80. Long Loneliness 243.
  81. Duty of Delight 563.
  82. Day “On Pilgrimage” The Catholic Worker, May 1980.
  83. All the Way to Heaven 523.
  84. All the Way to Heaven 378.
  85. The Duty of Delight 673.
  86. The Duty of Delight 409.
  87. Duty of Delight 578.
  88. Rosen 143–195.
  89. Day, All the Way to Heaven 61.
  90. Duty of Delight 564
  91. Duty of Delight, 522–523.
  92. Duty of Delight 525.
  93. Duty of Delight 532.
  94. Duty of Delight 416
  95. Duty of Delight 589.
  96. Duty of Delight 590.
  97. Duty of Delight 268.
  98. Duty of Delight 63.
  99. Duty of Delight 291.
  100. All the Way to Heaven 97–98.
  101. All the Way to Heaven 124.
  102. Duty of Delight 77.
Apr 042016
 

Donald Trump collage

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The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

— W. B. Yeats

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CONTENTS

INTRODUCTION
The Perennial Relevance of “The Second Coming”

PART ONE
The Poem as Response and Anticipation

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS
II. A Vast Image: From Political Genesis to Archetypal Symbolism

PART TWO
Things Fall Apart, Contemporary Crises, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration
IV. Things Fall Apart: The American and European Political Center Threatened
V. What Rough Beast?: Can (Should) the American Center Hold?

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INTRODUCTION

In his 2016 foreword to the 20th anniversary edition of Infinite Jest, novelist Tom Bissell asks how it is that, two decades after its publication and almost eight years after its author’s suicide, David Foster Wallace’s complex and groundbreaking fiction, though “very much a novel of its time,…still feels so transcendentally, electrically alive?” Wallace himself, as Bissell notes, “understood the paradox of attempting to write fiction that spoke to posterity and a contemporary audience with equal force.” In a critical essay written while he was at work on Infinite Jest, Wallace referred to the “oracular foresight” of writers such as Don DeLillo, whose best novels address their contemporary audience like “a shouting desert prophet while laying out for posterity the coldly amused analysis of some long-dead professor emeritus.” But in the case of those lacking DeLillo’s observational powers, Wallace continued, the “deployment” of, say, contemporary pop-culture “compromises fiction’s seriousness by dating it out of the Platonic Always where it ought to reside.” This observation demonstrates the usual disconnect between Wallace’s lucid critical prose and the enigmatic, multi-layered, funhouse of his fiction. For ought is not is. As Bissell observes, Infinite Jest “rarely seems as though it resides within this Platonic Always, which Wallace rejected in any event.”

Infinite Jest, as its Shakespearean title confirms, is the work of a modern Yorick, a man acutely aware of the contemporary world, especially of the play-element in culture. And yet it is “infinite,” a novel transcendent both in its linguistic exuberance (language being Wallace’s only religion) and in terms of its ambition to express “everything about everything,” even if we are left, 20 years later, still unable to “agree [as] to what this novel means, or what exactly it was trying to say.”

Unlike Wallace, W. B. Yeats did believe in the “Platonic Always”: in that “Translunar Paradise” to which he had been initiated by his studies in the occult and by his later immersion in the Enneads of the Neoplatonist philosopher Plotinus. And yet Yeats could, in the same poem (“The Tower,” III) in which he evokes Translunar Paradise, “mock Plotinus’ thought/ And cry in Plato’s teeth.” For the antithetical tension that generated the power of Yeats’s poetry required allegiance as well to the things of this world. Even as he yearned for his heart to be consumed in spiritual fire and gathered “into the artifice of eternity,” he remained “caught in that sensual music,” the very fuel that fed the transcendent flame. These antitheses (cited here from “Sailing to Byzantium”) play out in all those dialectical poems leading up to and away from the central “A Dialogue of Self and Soul” (1927).

In the case of Yeats’s apocalyptic poem “The Second Coming,” written eight years earlier, the “Platonic Always” is present in the poem’s archetypal symbolism: that of a bestial image rising up in the desert. The vision is at once concrete and sublimely vague: timeless, universal, transcendent. Its genesis, however, was thick with particulars. In the process of revision, Yeats deleted (aside from “Bethlehem”) all specific references; but examination of the poem’s drafts reveals that Yeats’s symbolism and apocalyptic prophecy were rooted in his response to contemporary events. In registering details of the moment in time in which he was writing, the immediate aftermath of the First World War, the drafts reveal a poet looking back, into earlier history, and ahead, to our own time, with what David Foster Wallace called “oracular foresight,” and birthing a beast that, a century later,  “still feels…transcendently, electrically alive.”

Written almost a century ago, “The Second Coming” has emerged as the prophetic text of our time, uncannily and permanently “relevant.” The best-known poem by the major poet of the twentieth century, it has become something of a requiem for that century, now carried over into the first decades of the twenty-first. That “The Second Coming” is the most frequently-quoted of all modern poems testifies to its remarkable applicability to any and all crises—not only to the Communist Revolution to which Yeats was initially responding when he wrote the poem in 1919, and to the rise of Nazism, which, almost twenty years later, prompted Yeats to quote his own poem; but to the domestic and international crises we ourselves face in 2016, a crucial election year.

A decade ago, “The Second Coming” was often cited in connection with the Iraq War. The 2007 Brookings Institute report on Iraq was titled “Things Fall Apart”; the following year, Representative Jim McDermott called his House speech demanding a strategic plan for Iraq “The Center Cannot Hold.” These days, the disintegrating “center” evokes the polarization of American politics, or the European economic and migration crises, while Yeats’s slouching “beast,” its “hour come round at last,” portends current eruptions in the Middle East, especially the specter of ISIS rising up in the desert and its exportation of terror within and beyond the region. In addition to substantial ISIS-claimed or ISIS-inspired attacks in Egypt, Yemen, Libya, Turkey, Tunisia, Afghanistan, Saudi Arabia, Kuwait, and Lebanon, European jihadists inspired by ISIS have launched large-scale attacks in France and Belgium. At the moment I am writing, March 28, 2016, there are threats of further, and imminent, attacks on European targets. As noted at the end of Chapter I, ISIS jihadists have announced that Paris and Brussels are “just the beginning of your nightmare,” and that networks already positioned in Europe are ready to unleash “a wave of bloodshed.”  Are “Mere anarchy” and Yeats’s “blood-dimmed tide” about to be “loosed”?  And the fearful prospect of radioactive materials in the hands of radical jihadists is now no longer a nightmare but an approaching certainty.

At home, as the survivors of an increasingly sordid and embarrassing primary campaign, the two remaining principal contenders for the Republican presidential nomination out-bellow each other, each boasting, based on zero experience in foreign or military affairs, that he and he alone is the man needed to utterly defeat and destroy ISIS. Listening to simplistic Donald Trump and Ted Cruz, one is reminded of Pauline Kael’s devastating synopsis of John Wayne’s 1955 anti-Communist propaganda movie Blood Alley: “Duke takes on Red China—no contest.” One way or the other, a rough beast is slouching to the Republican convention in Cleveland.

Such Yeatsian allusions have, of course, become commonplace. In accounting for the extraordinary power and perennial relevance of “The Second Coming,” I will illustrate its near-ubiquity and show how Yeats’s revisions of his original (historically-specific) manuscripts universalized the final poem, making it, oracle-like, applicable to all crises, our own included.

 ↑ return to Contents

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PART ONE: THE POEM AS RESPONSE AND ANTICIPATION

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS

The genesis of “The Second Coming” is to be located in Yeats’s troubled response to contemporary history, specifically, the European political and economic crises attending the immediate aftermath of the First World War. As I noted in an essay published four years ago in Numéro Cinq, the genesis of my own thoughts on the poem’s timelessness, as an ode for all seasons, was my observation—nearing the tenth anniversary of 9/11—of the remarkable frequency with which “The Second Coming” was being applied—in magazines, newspapers, and blogs—to almost every contemporary crisis or division, foreign and domestic.  Centers weren’t holding, conviction was lacking, passionate intensity defined the worst, and rough beasts seemed to be slouching in every direction. It was an old story.

Yeats’s poem in general, and its ominous yet expectant final line in particular, provided, back in 1968, the title for Joan Didion’s “Slouching Towards Bethlehem,” and the iconic collection of the same title. The essay describes an outer and inner de-centering: the ’60s druggy counterculture and the author’s own disintegration as a result of her immersion in the ethos initiated by Haight-Ashbury. The collection as a whole dramatizes the breakdown of order and civility when rough beasts slouch to Los Angeles and New York City. That line continues to inspire allusions. While some found comic relief in Slouching Towards Kalamazoo (the ’60s novel by Peter and Derek de Vries), that judgmental judge, conservative legal scholar Robert H. Bork, titled his grim 2003 projection of an America in cultural and moral decline Slouching Towards Gomorrah. The great Nigerian novelist Chinua Achebe, echoing Yeats’s poem (its first four lines appear as the epigraph), titled his 1958 elegy over the breakdown of Igbo culture Things Fall Apart. In our own contemporary Culture Wars, things continue to fall apart, with communal decency ruptured, on both sides, by political ideology.

Surveying the decline in the quality and civility of specifically conservative discourse, New York Times columnist Ross Douthat, himself a conservative, alluded to Yeats’s poem in observing: “It’s a climate in which the best often seem to lack a platform commensurate to their gifts, while the passionate intensity of the worst finds a wide and growing audience.” Rush Limbaugh, who repeatedly moralizes, though with none of Judge Bork’s civility, comes to mind. Notable among Limbaugh’s many pontificating violations of taste and decency was his public branding of a Georgetown law student (an advocate for women’s health issues seeking inclusion of contraception in her college’s insurance coverage) as a “slut” and “prostitute.” That was in 2012, three years before Donald Trump, out-Rushing Limbaugh, found his wide and growing audience.

That famous line made even more famous by Achebe—“Things fall apart; the centre cannot hold”—has also been aptly applied to the European debt crisis, and its threat to the world economy. In 1919, when he wrote the poem, Yeats was looking out at a postwar Europe torn apart by crippled economies and various national revolutions. Though today we have a “European Union,” it is, economically and demographically, gravely imperiled. Complete financial collapse has been averted by cheap loans from the European Central Bank, and the actions of German Chancellor Angela Merkel (Time Magazine’s 2015 “Person of the Year”). But failure to resolve the underlying problem of the inefficient economic policies of the most indebted nations (Greece, Italy, Spain, and Portugal) means that we may still face the prospect of what some prominent economists were envisaging—to cite the blood-red cover and banner headline of the August 22, 2011 issue of Time—as nothing less than “THE DECLINE AND FALL OF EUROPE (AND MAYBE THE WEST).”

The cover article itself, titled “The End of Europe,” following in the line of Kenneth Rogoff and Carmen Reinhart’s 2009 history of sovereign debt, This Time is Different, noted that Europe was not experiencing a typical, correctable recession or even facing “a double-dip Great Recession.” Rather, wrote Rana Foroohar, “the West is going through something more profound: a second [post-1929] Great Contraction of growth,” with investors “suddenly wary that the European center is not going to hold.”  Doubling down on that allusion to Yeats, Foroohar began her lead article in Time’s October 10 “special issue” on the economy: “If there is a poem for this moment, it is surely W. B. Yeats’s dark classic ‘The Second Coming’.” She compared what the poet faced in 1919—“the darkness and uncertainty of Europe in the aftermath of a horrific war”—with the current situation. After quoting the poem’s opening movement, and connecting the “centre cannot  hold” with the “shrinking” of “the middle class,” Forohoor observed of the poem as a whole,  “It’s hard to imagine a more eloquent description of our own bearish age.” Christine Lagarde, head of the IMF, saw, even after emergency help, “dark storm clouds looming on the horizon.” The resistance to the austerity pushed by Merkel and the stubborn lack of growth had led to violence in the streets and to the emergence of extremist, fringe parties. Coupled with Muslim immigration and the rise of Islamic extremism, that trend has since continued and intensified: in France, Poland, even in Germany, with the emergence of revanchist and authoritarian parties. Politically as well as economically, it would seem, “the center cannot hold.”

 §

Shifting from Europe to the Greater Middle East and beyond, the crises have also intensified, with responses to them participating, rhetorically, in the same pattern: the compulsion to return in times of turmoil to the resonant images of “The Second Coming.” Over the past three years, the poem has been repeatedly quoted in regard to the increasing instability of the international order. Though not the first to consider Yeats’s lines uniquely relevant to their own time, we have a better claim than most. The poem’s opening movement, posted on the website Sapere Aude!, was singled out as the “best description” we have of “the dismal state the world is in right now.” Stephen M. Walt, Professor of International Relations at Harvard, responded to the dangerous “crumbling” of the old “international order” by quoting the whole of “The Second Coming,” a poem that “seems uncannily relevant whenever we enter a turbulent period of global politics.” He concluded “A Little Doom and Gloom” (his sweeping survey of crises in Europe, the Middle East, Iran, and Asia) on a note of foreboding: “I hope I’m wrong, but I think I hear Yeats’s ‘rough beast’ slouching our way.”

Walt’s concerns resonate, and Rogoff and Reinhart may have been right; perhaps “this time” (for, as of March 2016, the European economic crisis is hardly resolved) is “different.” Or it may be that such projections as those sensationalized by that blood-dimmed Time cover were alarmist hyperbole—as charged by one sanguine respondent to the Time issue, who thought “our shifting economies” more likely to be “birth pangs of a new day.” Perhaps; indeed, Yeats’s eternal gyre can be read optimistically, though the birth pangs of his annunciatory rough beast suggest otherwise. When we consider the rise of ISIS and the metastasizing international threat presented by jihadist terrorism, along with Europe’s current immigration crisis, we may conclude that there may be even more terrifying doomsday scenarios in the future. Either way, Yeats’s “The Second Coming” will remain in attendance, ready to supply apt metaphors embodying our sense of an ending: the dying of one age, with another, yet unknown, “to be born.”

This talismanic poem’s projection of cyclical and violent rebirth in the form of a sphinx-like beast rising in the desert eerily foreshadows today’s Middle East, most dramatically, the rise of ISIS out of the wreckage of Syria and Iraq. The once hopeful Arab Spring has long since turned autumnal. Caught up in the region’s cross-current of sectarian, ethnic, and tribal tensions, overwhelmed by military elites and by long-suppressed but well-organized Islamists, the young rebels who actually initiated the Arab Awakening quickly became yesterday’s news. Revolutions devour their own children. History “Whirls out new right and wrong,/ Whirls in the old instead,” to quote Yeats’s “Nineteen Hundred and Nineteen,” a poem originally titled “The Things That Come Again.” As two Middle-East experts, Hussein Agha and Robert Malley, accurately predicted as early as September 2011: whatever the outcome of this struggle, “victory by the original protesters is almost certainly foreclosed.” And so it has turned out. Optimistic anticipations of beneficial change were shattered by what Agha and Malley called, perhaps echoing the Yeatsian widening gyre, “centrifugal forces” (“The Arab Counterrevolution”). Many in the chaotic Middle East are now, as various Islamic sects vie for power, and ISIS galvanizes jihadists, wondering what comes next—or, in Yeats’s stark image of expectation-reversal, what rough beast is slouching their way.

The long-sustained hostility has also intensified between Israel and the Palestinians, with the elusive two-state solution further away than it was when the UN partitioned Palestine 2/3rds of a century ago. That embittered stalemate is epitomized in the title of a recent book, Side by Side: Parallel Narratives of Israel-Palestine. In lieu of advancing any proposals to resolve the issue, the book offers, on facing pages, differing perspectives on the same events. The “sheer reciprocal incomprehension” in these parallel narratives, with “two sides locked in…a dialogue of the deaf,” reminded British journalist Geoffrey Wheatcroft of a famous phrase of Yeats (for once, not from “The Second Coming,” but from “Remorse for Intemperate Speech,” a poem written a dozen years later): “Great hatred, little room.”

Like many lines from “The Second Coming,” this phrase, too, applies throughout much of the Greater Middle East. In Syria, Bashar al-Assad, militarily propped up by Vladimir Putin, continues to barrel-bomb his own people, while we puzzle over how, now that one plan to arm the Syrian “moderate” opposition has ignominiously failed, we might prevent further carnage. In Afghanistan, what began as a justified attack on the Taliban sponsoring al Qaeda now seems a futile counter-insurgency: a struggle hampered by our putative “ally” in the region. Playing both sides in its own self-interest, Pakistan covertly supports the resurgent Taliban it originally created and funds extremist madrassas (now over 1,300) intended to displace Afghan state schools, where secular subjects are taught as well as religion. And Pakistan is itself an unstable nation, its nuclear arsenal partially dispersed and therefore vulnerable to seizure by its own Islamist radicals.

And then there is the nuclear game-playing of a truly paranoid regime. North Korea is already in possession of several nuclear weapons, and its erratic dictator, 33-year-old Kim Jong-un, has become increasingly provocative. North Korea’s nuclear bomb test in January was quickly followed by a rocket-launch, part of a project whose goal is to eventually mount a nuclear warhead on an intercontinental missile. The rocket was launched not only in violation of several UN Security Council resolutions, but even in defiance of the Hermit Kingdom’s powerful neighbor, China, the only nation thought to have the leverage to restrain its unpredictable ally. Apparently not; Kim Jong-un is spinning out of control, threatening, in March 2016, to aim nuclear missiles at Seoul and Washington. A propaganda video released the same month depicted a submarine-launched ballistic missile visiting nuclear devastation on the US capital.

There is a double threat involving Iran: the danger of that theocracy violating the recent accord by surreptitiously working to develop a nuclear weapon, and of the predictable and unpredictable ramifications of an Israeli and/or US preemptive strike. Should our policy be to prevent, to contain, or to attempt to destroy? This issue, politicized in this election year, has become as polarized as the Israeli-Palestinian conflict. And yet, unless the nuclear agreement works, unless reason on both sides prevails and the center holds, we may be careening into yet another, and potentially even more profoundly destabilizing, war in the Middle East.

In Iraq, we have ended our large-scale military presence after a war we should never have started. But in toppling Saddam Hussein, we rid Iraq of a brutal and megalomaniacal dictator whose tyrannical reign had at least one positive aspect: his repression of militant Islamists. As a result we have left behind not only an economically ravished country (35% of those fortunate enough to have survived Operation Iraqi Freedom live in abject poverty), but one divided along predictably sectarian lines. The discrimination against the ousted Sunnis, not yet redressed by Haider al-Abadi, who succeeded Nouri al-Maliki as Prime Minister in 2014, not only affects every aspect of life, but alienates (since they have little incentive to protect the Shiite government in Baghdad) the very Sunni fighters needed to resist ISIS.

The negative consequences of our misguided disbanding of Saddam’s Sunni army after its defeat in 2003 were compounded by our decision to back Maliki over secular Shiite Ayad Allawi, whose party won the March 2010 parliamentary elections, but fell two seats short of a majority. Maliki, pressured by Shiite Iran, broke his pledge to integrate the government and instead institutionalized the repression of the Sunnis. Obama was urged to cease supporting Maliki by, among others, Ali Khedery, who served as special assistant to five US ambassadors to Iraq and as a senior advisor to three CentCom commanders. Khedery concluded a 2014 opinion piece:

By looking the other way and unconditionally supporting and arming Maliki, President Obama has only lengthened and expanded the conflict that President Bush unwisely initiated. Iraq is now a failed state, and as countries across the Middle East fracture along ethno-sectarian lines, America is likely to emerge as one of the biggest losers of the new Sunni-Shiite war, with allies collapsing and radicals plotting another 9/11. (Washington Post, 3 July 2014)

Shortly after we initiated the Iraq War, a Syrian businessman, Raja Sidawi, a friend of Washington columnist and writer David Ignatius, offered a prescient observation. Ignatius cited it, somewhat skeptically, in his July 1, 2003 Washington Post column, “The Toll on American Innocence.” A dozen years later, in October, 2015, he reprised it; and its second coming—in a cover-piece in The Atlantic, “How ISIS Spread in the Middle East”—was far more somber. What Raja Sidawi told his American friend in June 2003 was this: “You are stuck. You have become a country of the Middle East. America will never change Iraq, but Iraq will change America.” Given his cultural and practical knowledge of the region, Sidawi’s remark may not quite match the oracular clairvoyance so many of us have found in Yeats’s “The Second Coming.” But it will do. We stormed into Iraq with “shock and awe”; and with hubris, a mixture of political duplicity and the American confidence of Innocents Abroad—“innocence” indistinguishable from ignorance. We changed; the region didn’t. The result: a variation on the old Sunni-Shiite war, “with allies collapsing and radicals plotting another 9/11.”

§

Principal among those plotting radicals, their brutal implementation of an apocalyptic theology flourishing in the implosion of Syria and Iraq, is of course the Islamic State: ISIL, or Da’esh, best known as ISIS. Confronted by the spectacle of ISIS, commentators from Left and Right, including experts on Islamist terrorism, turned in 2015 to Yeats’s “The Second Coming.”  In a Huffington Post piece titled “ISIL: The Second Coming,” composer Mohammed Fairouz, whose setting of Yeats’s poem premiered in New York City on March 10, applied his epigraph, “The best lack all conviction, while the worst/ Are full of passionate intensity,” to President Obama’s failure to confront barbarous ISIS early on. A June 2015 posting on a West Coast socialist website, titled “Iraq: ‘Things Fall Apart’,” cited the opening three lines of the poem, noting that Yeats “might have written today, and nowhere is this more true than in Iraq.” In a blog posted in August, a former liberal turned Neo-conservative announced, “Read this, and think of ISIS.” The “this” was the full text of “The Second Coming.” The poem had been haunting her, she reported, since 9/11, and “these days it seems more than ever that the rough beast is on the march.”

Between these two, in a July Wall Street Journal essay, “A Poet’s Apocalyptic Vision,” David Lehman, himself a poet, described “The Second Coming,” extrapolating from the moral anarchy of 1919, as a fearful pre-vision of our present anarchy. “If our age is apocalyptic in mood—and rife with doomsday scenarios, nuclear nightmares, religious fanatics, and suicidal terrorists—there may be no more chilling statement of our condition than” this poem, in which Yeats envisages no Christian “second coming,” but “a monstrosity, a ‘rough beast’ threatening violence commensurate with the human capacity for bloodletting.” The accompanying color illustration— a slouching leonine creature with light beaming from mouth and eyes—attempts to visually capture that “gaze blank and pitiless as the sun.” But the image, in this case, is a counter-example to the cliché that a picture is worth a thousand words, or even (if they are Yeats’s) seven words.

Lehman WSJ essay photo by Yao XiaoPhoto by Yao Xiao

After sketching its historical, psychological, and occult contexts, Lehman focuses on the text, celebrating the poem’s “metrical music,” “unexpected adjectives,” and such “oddly gripping” verbs as “slouches,” as well as Yeats’s “epigrammatic ability,” best exemplified in the last two lines of the opening stanza: “The best lack all conviction, while the worst/ Are full of passionate intensity.” The aphorism, says Lehman, retains its authority as both “observation” and “warning.” We may, he suggests (yielding to the irresistible impulse to specify politically), “think of the absence of backbone with which certain right-minded individuals met the threats of National Socialism in the 1930s and of Islamist terrorism in the new century.”  He concludes by recommending that we read the poem aloud to appreciate its “power as oratory,” and then ask ourselves which most “unsettles” us: “the monster slouching towards Bethlehem or the sad truth that the best of us don’t want to get involved, while the worst know no restraint in their pursuit of power?”

Lehman’s question is valid, despite his being unaware that Yeats, interpreting Marxism-Leninism as a second coming of the Jacobin Terror of the French Revolution, initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were vacillating European moderates and liberals who had failed to respond to, much less resist, revolutionary brutality. In its initial drafts, “The Second Coming” reflected Yeats’s response to the violence in Russia in light of the violence in France a dozen decades earlier. But in its final version, the poem also looks, almost clairvoyantly, ahead to the future. And even French and Russian revolutionary brutality can seem tame in comparison with the theologically inspired and politically intimidating barbarism of ISIS, with its mass rape and enslavement, beheadings and crucifixions, and its growing capacity to inspire and ignite terror attacks well beyond the borders of its Caliphate in Syria and Iraq. ISIS is also seeking radioactive materials. As in the past, “The Second Coming” is at hand to supply metaphors. In the final pages of  ISIS: The State of Terror, two noted experts on Islamist jihadism, Jessica Stern and J. M. Berger, quote “The Second Coming,” and then conclude:

It is hard to imagine a terrible avatar of passionate intensity more purified than ISIS. More than even al Qaeda, the first terror of the twenty-first century, ISIS exists as an outlet for the worst—the most base and horrific impulses of humanity, dressed in fanatic pretexts of religiosity that have been gutted of all nuance and complexity. And yet, if we lay claim to the role of “best,” then Yeats condemns us as well, and rightly so. It is difficult to detect a trace of conviction in the world’s attitude toward the Syrian civil war and the events that followed in Iraq….

The double point made by Stern and Berger epitomizes their theme as well as the current crisis, marked by the bloodlust and passionate intensity of the “worst,” and the lack of conviction the civilized world, the “best,” has thus far displayed in fully engaging this religiously inspired death cult. Reviewing this book, and two others on ISIS, Iraq specialist Steve Negus remarks that “only one quotes Yeats’s ‘The Second Coming,’ but the others must have been tempted” (New York Times Book Review, April 1, 2015). Negus was writing before the publication of the latest book-length study, counterterrorist expert Malcolm Nance’s Defeating ISIS: Who They Are, How They Fight, What They Believe (2016). He was also writing five months prior to the publication of perhaps the best of the bunch: The ISIS Apocalypse: The History, Strategy, and Doomsday Vision of the Islamic State, by William McCants. His deep knowledge of ISIS’s political strategy and apocalyptic theology reflects McCants’s immersion in primary Arabic sources. His good-news, bad-news conclusion is that ISIS will be defeated, but that its example will inspire future jihadists. McCants does not cite “The Second Coming.” However, given his richly informed apocalyptic emphasis, it seems safe to imagine that he, too, “must have been tempted.”

In the month I am writing, March 2016, US commandos killed the Finance Minister of ISIS, and, as a result of coalition bombing and Iraqi army advances, ISIS is losing some ground in Syria and Iraq. But even as its Caliphate contracts, ISIS is expanding—geographically into Libya and elsewhere, and exporting terror throughout the Middle East and Africa, and into the heart of an under-prepared Europe. Last November’s coordinated attacks in Paris, which took 130 lives, were replicated by members of the same Molenbeek-based Belgian cell in Brussels on March 22, when two brothers and a third suicide bomber slaughtered 31 and wounded almost 300. Hundreds of alienated European Muslims, radicalized and militarily trained by ISIS in Syria, are now back in Europe, organized in operational cadres. In a video released on March 25, two Belgian ISIS fighters warn that “This is just the beginning of your nightmare.” Promising more “dark days” ahead for all who would oppose them, the terrorists in command of ISIS have threatened that jihadists already positioned in Europe are prepared to unleash a “wave of bloodshed.” Once again, “Mere anarchy is loosed upon the world,/ The blood-dimmed tide is loosed.…”

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II. A Vast Image: From Political Genesis to Archetypal Symbolism

In accord with the mystery of the Sublime, Yeats’s sphinx-like beast slouching blank-eyed toward Bethlehem is a horror capable of many interpretations but limited to none, and, therefore, all the more terrifying. For that very reason, as I’ve just illustrated, “The Second Coming” is perennially relevant. Almost a century after the poem first appeared, pundits in books and essays, newspapers and magazines, routinely draw upon Yeats’s evocation of cultural disintegration and imminent violence, and lines from the poem (the whole poem, in Joni Mitchell’s 1991 riff) riddle popular culture, as we can see by consulting Nick Tabor’s recent compendium of dozens of pop-culture allusions, itself titled “No Slouch.”[1] More gravely, as part of our common crisis-vocabulary, we intone that “things fall apart”; that “the centre cannot hold”; that “the best lack all conviction, while the worst are full of passionate intensity”; that “the ceremony of innocence is drowned”; that we confront forces “blank and pitiless as the sun”; that one era, symbolized by a “widening gyre,” is ending and another imminent, signaled by the loosing of a “blood-dimmed tide” of “mere anarchy,” dreadfully attended by a  “rough beast” slouching towards Bethlehem to be born. How has the poem achieved this Bartlett’s-Familiar status?

sci fi collage

An Endless Source
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In addition to those already mentioned in the text, there are many titular allusions to “The Second Coming.” Canadian poet Linda Stitt considered calling her 2003 collection Lacking All Conviction, but chose instead another phrase for her title: Passionate Intensity, from the line of “The Second Coming” that immediately follows. Describing a very different kind of disintegration than that presented by Judge Bork in Slouching Towards Gomorrah, another law professor, Elyn R. Saks, called her 2007 account of a lifelong struggle with schizophrenia The Center Cannot Hold.
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Detective novels, crime fiction, and pop culture in general have drawn liberally on the language of “The Second Coming.” The second of Ronnie Airth’s Inspector John Madden novels is The Blood-Dimmed Tide (2007). H. R. Knight has Harry Houdini and Arthur Conan Doyle tracking down a demonic monster in Victorian London in his 2005 horror novel, What Rough Beast. Robert B. Parker called the tenth volume in his popular Spenser series The Widening Gyre. I refer in the first endnote to Kevin Smith’s Batman series appearing under that general title.
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Science fiction writers seem particularly addicted to language from “The Second Coming.” Among the episodes of Andromeda, the 2000-2005 Canadian-American sci-fi TV series, were two titled “The Widening Gyre” and “Its Hour Come Round at Last.” But the prize for multiple allusions goes to a project that originally appeared as a six-part e-book in 2006 (marking the 40th anniversary of the original Star Trek series). An omnibus edition, Star Trek: Mere Anarchy, was published in 2009. This “Complete Six-Part Saga” takes from Yeats more than its main title (also borrowed by Woody Allen for his 2007 collection of comedy pieces). All six of the individual novellas in Mere Anarchy (each by a different author) derive their titles from “The Second Coming”: Things Fall Apart, The Center Cannot Hold, Shadow of the Indignant, The Darkness Drops Again, The Blood-Dimmed Tide, and Its Hour Come Round.

A friend, Bill Nack, biographer of the great racehorse Secretariat and an informed reader of Yeats’s poetry, remarked of “The Second Coming” in a letter: “So many lines and images are written indelibly, chipped in stone on that wailing-wall we call the 20th, now the 21st century.” The poem is a mine of incisive and quotable phrases, from the opening movement’s bullet-point declarations (fusing metaphor and abstraction, chaos and order) to that final momentous question. The presentation is cinematic, with the “vast image” looming gradually, and dramatically, into focus:  a mere “shape,” then “lion body,” then “head of a man,” then a zooming in on the creature’s “gaze,” followed by a panning movement back out, since that gaze is “blank and pitiless as the sun.” In addition to the tensile strength of its unforgettable verbs (loosed, troubles, reel, vexed, slouches), the poem’s extraordinary power is attributable to its sources in the occult and the unconscious, its Egyptian and mythological reverberations, and, above all, its alteration of the Bible (Daniel, the gospels, Revelation), culminating in the shock value of the subversion of the Christian interpretation of the “second coming.” “The Second Coming! Hardly are those words out” than the poet envisages, not the return of Christ, but the advent of a sinister rough beast. Apparently moribund for two millennia, it is now, ominously and sexually, “moving its slow thighs,” while “all about it/ Reel shadows of the indignant desert birds.” Indignant because those circling scavengers had mistakenly thought the immobile creature mere carrion; but the beast, imperceptibly stirred into antithetical life by the rocking of Jesus’ cradle two thousand years earlier, is alive. Now, initiating a new cycle, it slouches, provocatively and precociously, towards that infant’s birthplace in order itself “to be born.”

But the poem’s universal relevance, its adaptability, is, above all, testimony to the success of Yeats’s method in revising the original manuscripts. Written in January 1919, first printed in The Dial in 1920, and collected the following year in Michael Robartes and the Dancer, “The Second Coming” had its sociopolitical roots, as the poet’s widow confirmed in the 1960s, in Yeats’s troubled response to the political situation in Europe in 1917-19. And the drafts of the poem, some of the pages preserved by his wife, reveal that Yeats’s apprehensions about the socialist revolutions in Germany, Italy, and, above all, Russia, during and immediately after World War I, were associated, as we’ve seen, with his reading of the Romantic poets and of Edmund Burke, and their responses to the French Revolution: what Shelley called “the master theme of the epoch in which we live.”

As earlier noted, Yeats initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were those who had failed to resist, eventually epitomized, for Yeats, by the British King, George V. As it happens, Kerensky’s Russian Provisional Government had initiated an offer of asylum, promising to send the Tsar and Tsarina and their children to England for safety: an offer rejected by the King (fearful of reaction from the British Labor Party), even though he was Nicholas’s cousin. This cowardice and violation of the family bond, not known to Yeats at the time he wrote “The Second Coming,” surfaced two decades later in “Crazy Jane on the Mountain,” where Yeats’s most famous and least inhibited female persona is revived to bitterly decry the fact that

A King had some beautiful cousins
But where are they gone?
Battered to death in a cellar,
And he stuck to his throne.

Family_Nicholas_II_of_Russia_ca._1914Tsar Nicholas II and family, ca. 1914 (via Wikimedia Commons)

But “The Second Coming” resonates far beyond that old atrocity. It looks back from the Bolshevik to the French Revolution, as filtered through Yeats’s reading of Edmund Burke and the Romantic poets.[2]

Yeats’s natural affinities were with his major poetic precursors, those permanent revolutionaries Blake and Shelley. But in his own political response to revolution, Yeats found himself closer to the great Anglo-Irish conservative statesman Burke, the chief intellectual opponent of the French Revolution and chivalric champion of the assaulted Marie Antoinette. He also found himself aligned with a former supporter of the Revolution (“Bliss was it in that dawn to be alive,/ But to be young was very heaven”): the largely if not completely disenchanted William Wordsworth. At this time, Yeats was reading the French Revolutionary books of Wordsworth’s Prelude as well as Burke’s Reflections on the Revolution in France. His own ambivalent response to catastrophe (horrified and yet strangely exultant), as projected in “The Second Coming,” registers the differing perspectives of Burke and the Romantics on the French Revolution, now refracted through the prism of what Yeats took to be its rebirth in Bolshevism.

An idiosyncratic yet often complex and even profound visionary, Yeats was as much a disciple of Nietzsche as of Blake and Shelley, and an occultist to boot. All of these influences, along with his conservative reverence of Swift, Burke, and of an idealized Anglo-Irish aristocracy, as well as his response to Wordsworth’s Prelude, converge in “The Second Coming,” as in its close relatives, “A Prayer for My Daughter” and the sequence “Nineteen Hundred and Nineteen.” All three reflect, along with the Great War and the Bolshevik Revolution, the beginning of the War of Independence in Ireland. And they all recapture Burke’s elegy over the fall of Marie Antoinette, and his premonition of “the glory of Europe…extinguished forever,” of “all…to be changed.” The sequence’s recurrent “nightmares” and the drowning of “the ceremony of  innocence” in “The Second Coming” echo Burke’s “massacre of innocents” (with the palace at Versailles “left swimming in blood”) and Wordsworth’s “ghastly visions” of “tyranny, and implements of death,/ And innocent victims,” in passages of The Prelude dramatizing his reaction to revolutionary massacre. Such echoes confirm Yeats’s juxtaposition of the excesses of the French Revolution with the postwar turmoil in which he was writing in 1919.

Deciphering Yeats’s handwriting and interpreting his associative connections, we can trace in the drafts of “The Second Coming” his linking of Burke’s lamentation over the assaulted Marie Antoinette with the spectacle of the Russian royal family, including the Tsarina Alexandra, “battered to death in a cellar” (as he would have Crazy Jane later put it). Yeats connects Bolshevik brutality with such French atrocities as the September Massacres and the Jacobin Terror—what, annotating Wordsworth, he characterized as “revolutionary crimes.” In the face of “unjust tribunals,” with admitted royalist “tyranny” replaced by “mob-bred anarchy,” Yeats laments that there’s “no Burke to cry aloud, no Pit[t]”—no one, that is, to “arraign revolution,” as Burke had in the Reflections and in later speeches and William Pitt in ministerial policy. In further noting that “the [G]ermans have now to Russia come,” Yeats seems to combine the 1917 military invasion of Russian territories with the decisive German role in spiriting Lenin, and thus Marxian Communism, into Russia. As a result: “There every day some innocent has died” in revolutionary purges epitomized by the Bolsheviks’ July 1918 slaughter of the Tsar, the Romanov children, and the Tsarina Alexandra: “this Marie Antoinette,” who “has more brutally died.” The crucial point is that, as he continued to revise, Yeats stripped “The Second Coming” of all these particularized references. What prompted him to do this? The drafts themselves offer intriguing clues.

Yeats handwriting collagePages from drafts of “The Second Coming”

Deciphering Yeats’s handwriting
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Despite the conjectures necessitated by the rapid scribbling of a man whose handwriting was maddeningly difficult to begin with, most of the specifics and the gist of what Yeats means are clear in this early draft (page 1., image above):
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Ever further h[aw]k flies outward
from the falconer’s hand. Scarcely
is armed tyranny fallen when
when this mob bred anarchy
takes its place. For this
Marie Antoinette has
more brutally died and no
Burke [has shook his] has an[swered]
with his voice, no pit [Pitt]
arraigns revolution. Surely the second
birth comes near—
x
……….intellectual gyre is thesis to
The/ gyres grow wider and more wide]
The falcon cannot hear the falconer
The germans have now to Russia come
There every day some innocent has died
The [ ? ] comes to [?fawn]…[?murder]
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In other drafts (all Box 3, Folder 39, W. B. Yeats Collection, SUNY, Stony Brook), Yeats confirms his regret that there’s no Burke or Pitt to arraign Bolshevik crimes as they had French Revolutionary terrorism: “—no stroke upon the clock/ But ceremonious innocence is drowned/ While the mob fawns upon the murderer/ And there’s no Burke…nor Pitt….”; and, again, “there’s no Burke to cry aloud no Pit[t].” Astutely analyzing the drafts in 2001, Simona Vannini had no doubt about the coupling of French and Russian atrocities. But, resisting the “scholarly consensus” (she refers to Donald Torchiana, Jon Stallworthy, and myself), she doubts, based on the drafts alone, that Yeats intended an “explicit correspondence between the murder of the French and the Russian royal families.” But one does not live by the drafts alone.
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Finally, as slowly but surely as the rough beast itself, the poem as we know it begins to emerge (pages 2.-4., image above).

§

In the most dramatic of the visions induced in Yeats during some 1890 symbolic-card experiments with MacGregor Mathers (the head of Yeats’s occult Order, the Golden Dawn), the poet suddenly saw, as he records in an unpublished memoir, “a gigantic Negro raising up his head and shoulders among great stones”—a vision transmogrified, in the published Autobiographies, into “a desert and a Black Titan.” Even in this dramatic instance, Yeats continues, “sight came slowly, there was not that sudden miracle as if the darkness had been cut with a knife.” In the drafts of “The Second Coming,” groping for figurative language to introduce the mysterious moment immediately preceding the vision of the vast image rising up out of “sands of the desert” and “out of Spiritus Mundi,” Yeats first wrote: “Before the dark was cut as with a knife.” Whether examining the finished poem or the drafts, we are surely justified in locating one of the principal origins of the rough beast in Yeats’s occult experiments with MacGregor Mathers.

We may also have, in the cautionary example of Mathers himself, a key to Yeats’s abandonment, in the course of revision, of the historical figures and events specified in the drafts. Yeats found his occult friend’s apocalyptic imagination, “brooding upon war,” impressive when it remained “vague in outline.” It was when Mathers “attempted to make it definite,” that “nations and individuals seemed to change into the arbitrary symbols of his desires and fears.” Yeats was aware of the tendency of literalists and cranks to apply the obscure symbols of Revelation to the world-historical crisis of their own particular moment in time. This is what Mathers was in the habit of doing and what Yeats had initially done, as evidenced by the drafts of “The Second Coming.” Of course, it was what the Apocalyptist himself had done in producing a text that was less an inspired prophecy than a coded account of events happening at the time he was writing. But there was one clear prophecy. John insists, following Paul and Jesus himself, that the promised second coming was imminent. Implicit throughout Revelation, that prophecy is explicit and particularly resonant at the end, where John puts the premature parousia in Christ’s own mouth, “Surely, I am coming soon” (echoed by Yeats: “Surely the Second Coming is at hand…”), and concludes by intensifying the urgency in his own voice: “Come, Lord Jesus!” (22:20)

Less interested in correlating specific events with Revelation or in predicting the future than he was in artistically mining Revelation as a rich source of resonant symbolism, Yeats was particularly fascinated by sublime aspects of the apocalyptic Beast: simultaneously menacing, exciting, destructive, and potentially renovative. (In depicting the first coming of Christ, he had referred, in the turbulently sublime final line of his visionary poem “The Magi,” to “The uncontrollable mystery on the bestial floor.”) Above all, Yeats, as visionary, would have had no desire, by binding his prophecy to particular events, to make himself ridiculous—as had many biblical scholars, or MacGregor Mathers. That would be to succumb to what Alfred North Whitehead would later call (in one of Yeats’s favorite books, Science and the Modern World) “the fallacy of misplaced concreteness.”

St. Jerome, aware of the many strained, historically specific misreadings preceding his translation of the Bible, was content to revise previous commentaries on the Book of Revelation rather than venture one of his own. As he observed in a letter, “Revelation has as many mysteries as it does words.” The same might be said of the final version of “The Second Coming,” which retains Yeats’s own “desires and fears” without limiting those generalized (“abstract”) emotions to the specific (“concrete”) historical events that originally provoked them. That the beast slouches, in the single vestige of specificity, towards Bethlehem makes the creature a type of the Antichrist. But Yeats was hardly a conventional Christian pitting sectarian goodness against Satanic and bestial evil. In fact, while the final poem and title refer to Christ’s parousia, the original drafts repeatedly refer, not to the “second coming,” but to the “second birth,” echoing Wordsworth’s “nightmare” premonition in The Prelude that the “lamentable crimes” of the September Massacres were not the end of revolutionary violence in France, but a precursor of the far worse Terror to come: “The fear gone by/ Pressed on me like a fear to come…”

For the spent hurricane the air provides
As fierce a successor; the tide retreats
But to return out of its hiding-place
In the great deep; all things have second birth. (Prelude 10:71-93)

Wordsworth’s image of a malevolent and returning tidal sea may remind us not only of the loosing of “the blood-dimmed tide” in Yeats’s poem of “second birth,” but of another powerful, and no less apocalyptic, prophesy of  “coming” destruction. In Robert Frost’s 1926 couplet-sonnet, “Once By the Pacific,” the water is “shattered,” and “Great waves looked over others coming in,/ And thought of doing something to the shore/ That water never did to land before.” This is an unprecedented rather than repeated act of destruction, but its premeditated “thought” makes Frost’s ocean even worse than Yeats’s “murderous innocence of the sea” (in “A Prayer for My Daughter,” where revolutionary violence takes the form of “sea-wind…/ Bred on the Atlantic”). Though Frost’s shore “was lucky in being backed by cliff,/ The cliff in being backed by continent,” the sea seems backed by God himself, whose creative fiat in Genesis, “Let there be light,” is soon to be superseded by his apocalyptic extinction of light:

It looked as if a night of dark intent
Was coming, and not only a night, an age.
Someone had better be prepared for rage.
There would be more than ocean-water broken
Before God’s last Put out the Light was spoken.[3]

In that final line, Frost moves from Genesis (1.3) to the Book of Revelation (21:1). In reversing Christian expectation (in Matthew 24 and Revelation), the poet of “The Second Coming” echoes the whole of the Prelude passage, which ends with Wordsworth returning to Paris, scene of the worst atrocities of the September Massacres, to find the place “unfit for the repose of night,/ Defenceless as a wood where tigers roam.”[4] Yeats’s “strong enchanter,” Nietzsche, author of The Antichrist, invoked a Dionysian and eternally recurrent “savage cruel beast”: an eruptive force incapable of being “mortified” by what he called, in Beyond Good and Evil, these “more humane ages.” Unsurprisingly, since Yeats believed that “Nietzsche completes Blake, and has the same roots,” and that “Nietzsche’s thought flows always, though with an even more violent current, in the bed Blake’s thought has worn,” Nietzsche’s beast (first trotted out in Yeats’s 1903 play Where There is Nothing) later resonated in his archetypal mind with Blake’s Tyger and his half-bestial Nebuchadnezzar, slouching on all fours (as in Daniel 4:31-33) on Plate 24 of The Marriage of Heaven and Hell.

William Blake Nebuchadnezzar (Tate copy)Nebuchadnezzar by William Blake (via Wikimedia Commons)

The Rough Beast
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The vast image or animated sphinx “out of Spiritus Mundi” has many “sources.” It can be traced back to the most dramatic of the mental images induced in Yeats during the symbolic-card experiments he conducted in 1890 with MacGregor Mathers, the dominant figure in the occult Order of the Golden Dawn. In his most memorable vision, Yeats saw a “Black Titan” rising up ominously from the desert sands. Other components are drawn from Shelley’s stony pharaoh Ozymandias (his wrecked statue almost lost among the “lone and level sands”) as well as from his Demogorgon (in Prometheus Unbound): a nightmare denizen, along with the “rough beast” of “The Second Coming,” of the mysterious “Thirteenth Cone” in Yeats’s occult book, A Vision.
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Around 1902, Yeats “began to imagine” a brazen winged beast “afterwards described in my poem ‘The Second Coming’.” In that same year, in his uncanonical play Where There is Nothing, he envisaged a laughing, destructive beast resembling the eternally recurrent “savage cruel beast” of Nietzsche: a Dionysian, libidinal, eruptive force incapable of being “mortified” by what Yeats’s “strong enchanter” called (in Beyond Good and Evil) these “more humane ages.”
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In perhaps the most momentous of his imaginative fusions, Yeats believed that “Nietzsche completes Blake and has the same roots,” and that Nietzschean thought “flows always, though with an even more violent current, in the bed Blake’s thought has worn.” The rough beast of “The Second Coming” can be seen as a fusion of Nietzsche’s savage cruel beast with (along with the dragons of Revelation and of comparative mythology) aspects of Blake’s Urizen, his Tyger, and his bestial Nebuchadnezzar, crawling on all fours at the conclusion of The Marriage of Heaven and Hell.
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In the 1795 color print reproduced here, Blake returned to the image he had engraved on the final plate of The Marriage. In Daniel 4:33, the Babylonian king, cursed and “driven from men,” ate “the grass as oxen”; his hair “grew like eagles’ feathers, and his nails like birds’ claws.” Blake’s Nebuchadnezzar, his mind darkened, stares, unseeing, directly at us. Though his “gaze” is as “blank” as that of Yeats’s “rough beast,” Blake’s king is more terrified than terrifying. But his bestiality and slouching posture is likely to have contributed to the composite beast of “The Second Coming.”

All precursors of the “rough beast.”  But Yeats’s response to French revolutionary violence, and its rebirth, was at least as powerfully influenced by the bestial imagery and conservative politics of Edmund Burke. For conservative Yeats, the September Massacres and French Reign of Terror foreshadowed the emergence in Bolshevik Russia of that “Marxian criterion of values” he described in a letter of April 1919 as “in this age the spearhead of materialism and leading to inevitable murder”: the same inevitability Burke had early and uncannily prophesied in 1790. In terms of imagery, attitude, and actual verbal details, “The Second Coming” would be a very different poem if it had not had precisely this twin historical genesis. Finally, however, the poem, in its final, published text, is not “about” either the French or the Russian Revolution.

Nor is it about the National Socialist revolution. Many readers have taken it that way, citing a 1936 letter in which Yeats, refusing to politicize the Nobel Prize by recommending a German dissident writer, also condemned Nazism, quoting the most Burkean line in the poem as evidence that he was not “callous”: “every nerve trembles with horror at what is happening in Europe, ‘the ceremony of innocence is drowned’.” While Hitler, with the help of Goebbels, read himself positively into the Book of Revelation, as a secular Aryan Messiah and initiator of the thousand-year Third Reich, Yeats, though a man of the Right, saw the Führer as a type of the apocalyptic beast. In applying to Nazism and the threat of a second world war an image he drew from Burke and applied to the First World War and the threat of Jacobinism reborn as Marxist-Leninist Communism, Yeats was being neither hypocritical nor intentionally misleading. Indeed, he was participating in a tradition of allusion that goes on to this day. And justifiably. For if “The Second Coming” were “about” any one of these historical cataclysms, it could hardly accommodate, as it does, all of them.

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No less a figure than Goethe has said that to be fully understood, works of art must, to some extent, “be caught in their genesis.” The manuscripts of “The Second Coming” serve a legitimate purpose in revealing the original historical counterparts of what became a universalized prophecy of an unleashing upon the world of anarchy and blood-drenched violence. The speaker has had an apocalyptic vision, a “lifting of the veil” (the Greek meaning of Apokalypsis) and the disclosure of something hidden from the rest of us. But when “the darkness drops again” over the manuscripts, as it should, we are left  with what really matters—the public text of the poem, freed of the umbilical cord attaching it to its genesis, and thus  limiting its evocative power.

If, in studying any poem, particularly one responding to contemporary events, we were to focus unduly on generative intention, and on the immediate context of its creation, the poem would inevitably dwindle in meaning and impact as that particular moment receded. Yeats’s realization of this explains his deletion, in revising “The Second Coming,” of specific historical details. In Waiting for Godot, Yeats’s fellow Irishman and fellow Nobel Prize winner, Samuel Beckett, achieved symbolic resonance by avoiding all overt reference to the historical-political matrix of the play: the German Occupation and French Resistance. Similarly, by cancelling allusions to the Irish situation and all specific references to past and contemporary revolutions, to Burke, Marie Antoinette, Pitt, Germany, and Russia, Yeats liberated his poem from those localized events destined to be assimilated like so many grains of sand in the desert of time. As an anti-Marxist, Yeats would have enjoyed the effect, since it is Marxist critics above all who have been disturbed by the autonomy of works of art, by their capacity to outlive their particular hour—what Geoffrey Hartmann has memorably called art’s “aristocratic resistance to the tooth of time.”

Insistent that the power of his images derived in part from their roots, Yeats declared in “The Circus Animals’ Desertion,” one of his late retrospective poems: “Those masterful images because complete/ Grew in pure mind, but out of what began?” As we’ve seen, “The Second Coming” arose out of two sources, particular and universal. The specific events that provided its initial stimulus helped to shape the final poem. But Yeats, who was, like Carl Jung, fascinated not only by the occult but by alchemy, knew what he was doing when he transmuted the base metals of his historical minute particulars into the poetic gold of universally resonant archetypes. The archetypal symbols he received, or evoked, especially that mysterious and bestial “vast image” taking form “somewhere in sands of the desert,” came, he asserts, “out of Spiritus Mundi”: out of the World Soul that Jung—who reported strange beasts troubling the dreams of his own patients during the First World War—called the Collective Unconscious. That storehouse of archetypes causes universal symbols to arise in individual minds. But if the symbols in “The Second Coming” reflect Yeats’s own immersion in what he called the “Great Memory,” it is also, since each mind is linked to it, our Unconscious as well. In the dialectic of Yeats’s symbolic poems, myth is personal and experience is mythologized. In a similar reciprocity, allusions to “The Second Coming” register individual responses to current crises, contemporary forebodings which, simultaneously, resonate with eternally recurrent archetypes transformed by a great poet into “masterful images.”

“The Second Coming” obviously and dramatically transcends the minutiae of its origins. But it is one thing to simply be general and abstract, quite another to universalize after having delved deeply into, and worked through, materials that are concrete and specific. The method of Yeats—who always insisted that “mythology” be “rooted in the earth,” that we must delve “down, as it were, into some fibrous darkness”—falls into this second category. Influenced, as was Joyce, by the cyclical philosophy of Giambattista Vico, Yeats agreed with Vico that “Metaphysics abstracts the mind from the senses; the poetic faculty must submerge the whole mind in the senses. Metaphysics soars up to the universal; the poetic faculty must plunge deep into particulars” (Scienza Nuova, 1725). Yeats has it both ways in “The Second Coming.” The specific details of the poem’s political genesis have been buried; but the poet’s rooting of his fears and cryptic prophecy in contemporary history—significant soil enriched by the conflicting responses of Burke and Wordsworth, Blake and Shelley, to the great upheaval of their era—surely contributed to the unique power of a disturbing poem whose universalized vision of violent transformation haunted the rest of the twentieth century, and shows every sign of haunting ours. Without that rooting in Viconian and Blakean “particulars,” idiosyncratic theories and his obsession with what Joyce mockingly called Yeats’s “gygantogyres” could easily have produced oracular bombast that would be truly “callous” and shapelessly rather than sublimely vague.

What we have instead is a poem in which Yeats has it several ways at once. The seer casts a cold eye on the whirling of gyres beyond our control, yet seems, at least in part, excited by the rebirth of cyclical energy. But the note of boredom-relieving anticipation detectable in “its hour come round at last” is offset, not only by the elegiac Burkean music of the opening movement, but by the poem’s deepest tonality. For the real surprise, trumping the Nietzschean irony that this “second coming” will take a very different “shape” than that expected by naïve, optimistic Christians, is that Yeats’s own expectation will be exposed as a pipe dream. We must trust the tale and not the teller. For the poem itself, less aloofly visionary than human, suggests that the antithetical era being ushered in will not assume the hopeful form of the Nietzschean-aristocratic civilization welcomed (“Why should we resist?”) in Yeats’s long note to the poem. Instead, the newborn age is likely to take the chaotic shape prefigured by its brutal engendering. With that deeper insight, that peripeteia or sudden plot-change and readjustment of apocalyptic expectation, both the theoretician and the cold-eyed oracle in Yeats yield to the poet and man whose vision of the beast truly “troubles my sight.” This troubled vision is also rooted in apocalyptic literature. Yeats is doubtless recalling the response of the prophet Daniel (two hundred years before an echoing John of Patmos) to the final and most “terrifying and dreadful” of the “four great beasts” he sees in a dream: “my spirit was troubled within me, and the vision in my head terrified me….I was dismayed by the vision and did not understand it” (Daniel 7:19-20, 8:15-27; cf. Revelation 13:7).

Yeats’s dramatic plot-change, foreshadowed in the poem’s drafts, is reflected in his final punctuation. Violating the grammatical logic of its own peroration, “The Second Coming” ends in a question, leaving us with an open, apprehensive, awestruck glimpse of imminent apocalypse, or transformation, or the loosing of a blood-dimmed tide of terror that may constitute (to again quote Shelley on the French Revolution) “the master-theme” of the post-9/11 “epoch in which we live.” Yeats was even more honest when, in the drafts of the poem, he explicitly acknowledged that whatever gnosis was involved was not his, but the beast’s: “And now at last knowing its hour come round/ It has set out for Bethlehem to be born.” In the poem as published, we are left with human uncertainty rather than prophetic certitude. The syntactical and vatic momentum that follows “but now I know…” is retained, and yet the poet ends, as Daniel had, with a cryptic, troubling vision he “did not understand,” and therefore with a genuine question: the mark of interrogation that always, according to the unknown Greek author of the great treatise On the Sublime, attends that mystery.

Peering into the dark forward and abysm of time, their sight “troubled,” readers of Yeats’s poem are easily persuaded that something ominous is afoot. But we are left wondering which of our own current crises might emerge as no less transformative than the events Yeats was responding to in the manuscript-drafts of “The Second Coming,” specifically his connection of 1919 with the bloodshed following 1789. As those drafts reveal, Yeats was paralleling the two most momentous events in the history of the modern Western world: the French Revolution, and its blood-dimmed aftermath, with the First World War and its various sequelae. The consequences of the Great War include the global influenza pandemic that swept away at least 10 million more people than the 37 million fighters and civilians lost in the war itself, as well as the slicing of the modern Middle East out of the rotting carcass of the Ottoman Empire. Before the 1921 Cairo Conference, which created, ex nihilo, Iraq, Saudi Arabia, and Syria, John Maynard Keynes warned the man who had presided over this division, British Colonial Secretary Winston Churchill: “If you cut up the map of the Middle East with a pair of scissors you will still be fighting wars there in a hundred years’ time.”  Five years from that centennial, Keynes seems no less prophetic, and rather more specific, than the poet who envisaged anarchic disintegration and a beast rising from “somewhere in sands of the desert.”

Though excised by the poet, and partially erased from our collective memory by a historical flood bringing even greater calamities, those World War I-related events sowed the seeds of much that followed. Even Yeats’s stress, in the manuscripts, on the execution of the French queen and its repetition in the massacre of the Russian royal family, were not idiosyncratic choices. Whatever one thinks of Yeats’s politics or of the hapless Romanov dynasty, Yeats was not simply—in Tom Paine’s trenchant critique of Burke’s tear-stained apostrophe to Marie Antoinette—“pitying the plumage while forgetting the dying bird.” Alexandra (“this Marie Antoinette” who has “more brutally died”) was battered and shot to death with her husband and children in the “House of Special Purpose” in Ekaterinburg. Though there was no signed order, the ultimate decision was Lenin’s. Those murders marked a pivotal moment when—in the summation of historian Richard Pipes in his magisterial The Russian Revolution—history made a turn toward genocide, when human beings were placed on a list of expendables and the world entered “an entirely new moral realm.”

Yeats sensed this seismic change and registered it in the drafts from which “The Second Coming” evolved—though he saw it not as “an entirely new” moral phenomenon but as a “second birth” of revolutionary massacre. The execution of the Russian royal family—the barbarous slaughter, in particular, of the children, shot, clubbed, and stabbed to death by drunken incompetents—was Yeats’s contemporary example of the loosing of a blood-dimmed tide and slaughter of the innocents that, for him, hearkened back to the French Reign of Terror and, for us, as readers of “The Second Coming,” prefigures all the horrors of the twentieth century and beyond: war, terrorism, nuclear proliferation, genocide, famine, economic chaos, ecological degradation, melting ice shelves and rising sea levels, and political anarchy—in the form, in our own country, of an ideological and special-interest polarization so intense that the center can no longer hold.

Yeats’s prophetic poem—as open to interpretation as the Beasts and Dragons and Horsemen of the Biblical Apocalypse—envisages, or, rather, can be made to envisage, any and all of these nightmares. Front and center at the moment is ISIS: the apocalyptic cult of fanatics operating out of their medieval Caliphate and able to ignite or at least inspire terror wherever the Internet and the various forms of social media they have mastered can reach. ISIS does not exhaust the legion of threats our own century of stony sleep has vexed to nightmare.  Like Yeats, we are left wondering “what rough beast, its hour come round at last, /Slouches towards” us?

W.B. YeatsW. B. Yeats, 1932 (photo by Pirie MacDonald)

In Part Two, we will revisit the turmoil of the Middle East and the rise of ISIS. Though both have deep causal roots, both are the immediate result of our 2003 decision to invade Iraq: a disaster exacerbated by its antithesis: President Obama’s understandable but consequential decisions and then indecisions regarding the Syrian civil war. The US invasion and occupation of Iraq are the roots of the tree from which most of the poison fruit has fallen, but the carnage and chaos in Syria not only expedited the rise of ISIS but produced the current immigration crisis. It is a tragic history.

When various moderate factions first rose up against the Alawite tyranny of Bashar al-Assad, it seemed part of the hopeful Arab Spring. Obama, who had been criticized for his alacrity in abandoning President Mubarak in Egypt, was now criticized for his reluctance to urge the ouster of Assad. After several months of calibrated diplomacy and sanctions, Western policy shifted to regime change. In tandem with French President Nicolas Sarkozy, German Chancellor Angela Merkel, and British Prime Minister David Cameron, President Obama announced that, for the good of the Syrian people and before his regime was utterly rejected by them, the time had come for “President Assad to step aside.” The policy became distilled to three fateful words: “Assad must go.”

That was in August, 2011, when perhaps 2,000 had been killed in the conflict. Figures differ, but a consensus estimate is that, in the subsequent five years of civil war, well over 300,000 Syrians and non-Syrian combatants have been killed, while another 70,000 have perished because of lack of water, medicine, and other basic necessities. Assad alone is responsible for the slaughter of 10% of his own people, over 40% of them civilians. In 2013, President Obama, in a decision as fateful as the announcement that Assad must go, drew a red line, threatening to attack Assad if he used chemical weapons against his own people. When the Syrian President crossed that line, twice, Obama, on the verge of ordering airstrikes, reversed himself, for reasons, and with consequences, we’ll revisit. Meanwhile, the slaughter continued. In addition to the deaths, nearly two million people have been wounded in the ongoing conflict, and approximately 120,000 are currently starving and freezing in towns besieged by government or anti-government forces, and subject to bombing—from the air by Assad and (until recently) by his Russian ally, and, on the ground, by the various warring factions, especially ISIS, which recently launched its worst bombing attack of the war, killing at least 130 people.

The continuing horror in Syria has also created a wider humanitarian and political crisis. Millions of refugees have inundated not only the region but a Europe already buckling under the burden of debt and demography, and giving rise to right-wing anti-immigrant movements that are now threatening centrist governments. The primaries leading up to our own 2016 presidential election—driven by populism on the Left and, most dramatically, on the Right—exposed a fragile political center that, here as in Europe, may not hold. Thrilling some, dismaying most, a nativist rough beast, Donald Trump, is slouching towards Cleveland to become the presumptive Republican nominee, or to hurl the convention into anarchy.

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PART TWO: THINGS FALL APART, CONTEMPORARY CRISES, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration

Its evocation of imminent yet mysterious catastrophe has made “The Second Coming” the swan song of our time. As the 20th century’s preeminent visionary poet, Yeats, alert to the dangers of hubristic Enlightenment faith in reason and the utopian myth of collective moral progress, was also telepathically attuned to the paradoxically related loosing of the tides of irrational fanaticism. Religion obviously plays a role in a cyclical poem in which the Christian era’s twenty centuries of “stony sleep” are said to have been “vexed to nightmare by a rocking cradle”:  a nightmare that takes the shape of an apocalyptic beast returning to Bethlehem to be born. But in the twenty-first century, there is an even more terrifying twist on the visionary “nightmares” that rode upon Yeats’s sleep in “The Second Coming” and “Nineteen Hundred and Nineteen.” For today, the forces of irrationalism threatening civilization are quintessentially theological and not only committed to terrorism, but, potentially, armed with the most nightmarish, even apocalyptic, weapons.

In part a reaction to Western colonialism and more recent US intervention, militant Islam has deep theological roots in the “sword-passages” of the Quran. Though we have no choice but to confront the threat of jihadist terrorism, our “global war on terror” is both quixotic and often counter-productive. In the Bush-Cheney administration, Neo-conservative hubris joined with the evangelical notion that it is our messianic mission to extend to all cultures, however little we may understand the ethno-sectarian complexities, what President Bush invoked as “the Almighty’s gift of universal freedom.”  The result was the disastrous decision to invade Iraq, worsened when “liberation” became occupation. Worst of all, in the case of such stateless actors as al Qaeda and affiliated jihadists, and now, in the case of ISIS, our global war tends to generate more terrorists than we can kill. We face a metastasizing religious fanaticism impervious to traditional forms of rational or military deterrence and driven by the mad conviction that any and all forms of terror against the infidel West are part of a holy war carried out to avenge past injustices, all under the auspices of their approving God.

President Obama’s anti-terrorist policy, militant but limited, and only partially effective, will doubtless be intensified, whether Hillary Clinton or a Republican is the next President. If the latter, the principal competing visions may once again become apocalyptic, with each side embarked on a sacred mission to eradicate perceived evil. Along with religious-right hawks, we have militants ranging from Rapture-ready End-Timers to apocalyptic Christian Zionists to unreconstructed theoconservatives still clinging to a version of Bush’s Bible-based foreign policy. Despite Ted Cruz’s hyperbolic pledge to make the desert sands “glow,” there is a significant difference between the combatants: a distinction made graphic in the recent nuclear threats by apocalypse-hungry ISIS jihadists, whose suicide belts and Kalashnikovs will seem a quaint memory once they have acquired enough radioactive material to build a divinely sanctioned dirty bomb.

And then there is Iran. Its Supreme Leader, Ayatollah Ali Khameinei, insists that the endlessly reiterated chant, “Death to America,” is aimed, not at the American people, but at the US government and its “arrogant policies.” There is a danger of that distinction blurring should Khameinei—despite the more “moderate” elements in his government and against the majority wishes of the Iranian people, as reflected in the March 2016 elections—choose to resume Iran’s drive to acquire a nuclear weapon. Iran is already defying UN sanctions by testing missiles, tests not covered in the recent US-Iran strictly nuclear agreement. Any cheating on that nuclear accord would invite, well beyond sanctions, harsh retaliation, probably in the form of a massive preventive airstrike on Iran’s nuclear facilities—by the US alone, or in concert with Israel. No one knows what geostrategic repercussions might follow.

A greater nightmare scenario involves actual rather than potential nuclear weapons, with more to come. Pakistan is planning to more than double its arsenal of 100 warheads, including tactical (“battlefield”) weapons, which lower the threshold to nuclear war. And Pakistan, which would then be the fifth-largest nuclear power, is a state (to cite the title of Ahmed Rashid’s recent book) “on the brink” of chaos, perhaps in the form of an Islamist coup. Nine years ago, a matured Benazir Bhutto returned to Pakistan, determined to resist such militants. “Extremism” can be contained, she said, “if the moderate middle can be mobilized to stand up against fanaticism.” Just before the general election, she was assassinated. No Pakistani since has mobilized any “moderate middle,” and there is no prospect of any “center” likely to “hold.” Even if there is no full-scale coup, Pakistan’s arsenal—widely dispersed to deter the perceived enemy, India—will become still more vulnerable with the addition of those smaller, easier-to-steal “battlefield” nuclear weapons. They, or larger warheads, could be seized by a now more globally oriented Pakistani Taliban or by a post-bin Laden al Qaeda still inspired by 9/11: in both cases, terrorists clearly willing to use even these ultimate weapons in the name of Allah.

Though he admired much in the Islamic and Asian traditions, Yeats, who had read Spengler, feared a decline of the West accompanied by the rise of a barbarous fanaticism threatening all civilization. Europe’s debt crisis has now been compounded by Putin’s actions in Ukraine, and, above all, by the potential of the new migration crisis to destroy the European Union, now “on the verge of collapse,” according to Europe’s central figure, German Chancellor Angela Merkel, whose policy of  welcoming Syrian refugees has put even her dominant position in jeopardy. Yeats’s history-based vision of impending European disintegration, a centrifugal blowing apart triggering a decline and fall of the West as a whole, has taken a demographic and terror-haunted form. The problem of Europe’s dramatically declining native birthrates, long accompanied by growing Muslim populations, is, in 2016, exacerbated by the flood of refugees. Many Muslim immigrants, old and new, unassimilated and hopeless, are often hostile to the host countries, with some extremists eager to kill in the name of jihad—as demonstrated by various terrorist plots, culminating in the coordinated attacks in Paris and, three months later, in Brussels. Noting, in the aftermath of those attacks, that the EU has a single currency but lacks a common database to screen terrorists, Die Zeit political writer Jochen Bittner wondered (in the Yeatsian title of his March 24 NY Times op-ed): “Can the European Center Hold?”

Confronting crises in the turbulent Greater Middle East itself—the rise of ISIS, as a “state” and as a generator of jihadist attacks beyond the region; the mass migration produced by the ongoing carnage in Syria; and the apparently irresolvable impasse between Israel and the Palestinians (their contested land the setting for the biblical myth of Armageddon)—we have ample reason to fear that some momentous change is “at hand,” attended by anarchy and violence. Even those of us most skeptical of oracular clairvoyance often find ourselves caught up in the mingled terror and apocalyptic shudder of the Yeatsian Sublime. No matter how novel the specific threats that arise, we can’t seem to find better or, it sometimes seems, other words than those Yeats put on paper almost a century ago.

Responding to “The Second Coming” in our own troubled moment of history, we sense—now more than ever—that “the centre cannot hold.” Like the “falcon [that] cannot hear the falconer,” things seem to be whirling giddily out of human control. The centrifugal forces we have ourselves unleashed—sociopolitical, technological, military, economic, ecological—are now in the saddle and ride mankind. Within the long-term impact of the overarching global climate change we have exacerbated, there may be perfect storms combining nature and technology. Full-time teams are still fighting the radioactive tide at Fukushima, the nuclear plant devastated five years ago by earthquake and tsunami. A full clean up may take the rest of this century, and in the meantime, officials acknowledge, Fukushima remains vulnerable, a Japanese disaster threatening to become a wider catastrophe.

We in America gaze out at what, despite (and often because of) free-market globalization, is an increasingly unstable world: overheated and overpopulated, sporadically wealthy but overwhelmingly impoverished, violent, threatened by terrorism, and by both under- and over-reactions to it; and  groaning for a deliverance that seems never to come. The Arab Spring quickly lost its liberating early bloom, and Afghanistan, Pakistan, Libya, Syria, and Iraq, far from evolving into even semi-stable states, let alone democracies, are well on their way to falling apart: into mere anarchy, or becoming failed states ripe to be dominated by Islamist extremists. China (Napoleon’s sleeping giant) is awake but stumbling; Russia is once again militant under Putin; Iran and North Korea pose future and, in the case of the latter, a present nuclear threat; jihadism is on the march in the Middle East and Africa, its terror networks threatening to unleash a “wave of bloodshed” in Europe. Fresh crises loom everywhere, none more existential than the challenge to the planet itself presented by global climate change, and the threat to Western civilization posed by the apocalyptic savagery of ISIS.

Looking homeward, we wonder about the state of our own democracy. The Democratic Party offers little to rally around, and President Obama, reluctant to get into the trenches, has had a dismal record of working with Congress.  In fairness, it must be added that this President was resisted from the outset by many who, for political, economic, ideological, or racist reasons, never accepted him;  35% of registered Republican voters remain unreconstructed Birthers, and another quarter are “not sure” he was born in the United States. Even so, Obama has been too aloof to be fully effective.

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But the primary blame is located in the very titles of some recent books: The Disappearing Center; Off Center: The Republican Revolution and the Erosion of American Democracy; Rule and Ruin: The Downfall of Moderation and the Destruction of the Republican Party; and It’s Even Worse Than It Looks: How the American Constitutional System Collided with the New Politics of Extremism. The respected bipartisan authors of the latter, Thomas E. Mann and Norman J. Ornstein, formerly critical of both parties, now insist that the core of the current dysfunction and polarization is an inflexible and obstructionist Republican Party. Beginning with the demonization of opponents prescribed by Newt Gingrich, the party’s “center of gravity has shifted far to the right.” Today’s GOP is “ideologically extreme; scornful of compromise; unmoved by conventional understanding of facts, evidence and science; and dismissive of the legitimacy of its political opposition.” Mann and Ornstein concluded by hoping that voters in 2012 would “punish ideological extremism at the polls and look skeptically upon candidates who profess to reject all dialogue and bargaining with opponents.” Only then will “an insurgent outlier party” have “some impetus to return to the center. Otherwise, our politics will get worse before it gets better.” But things have continued to fall apart, with Republicans uninterested in moving toward a “center” that, many clearly believe, should no longer “hold.” The extremism Ornstein and Mann described three years ago is more obvious today. With no sign of getting better, our politics has gotten far “worse,” incarnate in that reductio ad absurdum, Donald Trump.

Even those of us who intend to vote this November have become frustrated by a system not only dysfunctional, but increasingly venal. Mark Twain’s old witticism that “we have the best government money can buy” was never more telling. Our electoral process has been utterly corrupted by “dark money”—to cite the title of Jane Mayer’s brave and brilliant new expose of the Koch Brothers and affiliated billionaires behind the rise of the radical Right. Their flood of filthy lucre was fully unleashed by the Super PAC-producing Citizens United decision—reinforced by the SpeechNow and McCutcheon cases—all thanks to a conservative and “activist” Supreme Court majority. Those decisions have set more beasts a-slouching. In an overheated 2012 essay titled “Beast of Citizens United Slouches Forward,” Charles Pierce described Mitt Romney as “in every way the rough beast” predicted by Justice John Paul Stevens (in his eloquent dissent in Citizens United): a beast “slouching toward Iowa to be born.” (This particular beast in pinstripes would be undone by the secretly taped revelation that he, like the rich donors he was speaking to at the time, believed that 47% of Americans were freeloaders, mooching on government handouts).

Writing in Vanity Fair, Craig Ungar also cited “The Second Coming,” in noting the re-emergence of a discredited Karl Rove, among the quickest to appreciate the SpeechNow decision, which overturned limits on individual contributions to PACs, making it easier for big donors to influence elections. “Proving the Yeatsian verity about the best lacking all conviction and the worst being full of passionate intensity, Rove has created a ruthlessly efficient political operation beholden to no one but himself.” Though dismissed by Donald Trump as a “total moron,” Rove, like Yeats’s irrepressible rough beast, is again heading-up his American Crossroads Super PAC, specifically dedicated to defeating Hillary Clinton in 2016.

The corrupting power of unrestricted money is manifest in the sorry spectacle of politicians pandering to the narrow interests of their party’s base and accommodating an ever-growing army of lobbyists, the most influential representing corporate interests. The result is legalized bribery, and, under the aegis of supply-side economics and an antipathy to government, a breakdown of that balanced public-private partnership epitomizing the genius of the American system at its best. Today, competing in a global market, Western democracies must engage as never before in strategic economic planning. Public investment in jobs, infrastructure, education, and research will be required to restore economic competitiveness. But such federal prescriptions are disdainfully rejected by Republicans, who have turned Ronald Reagan’s mantra about the federal government being the “problem” rather than the “solution” into Ayn-Randian economic dogma, referring to Washington as if it were an enemy capital and indulging the fantasy that the “socialist” federal government, which has supposedly “never created a job,” should just “get out of the way” and let the infallible free market work its trickle-down magic.

In this ideologically polarized context, those of a Keynesian bent, who still wish President Obama’s initial stimulus package back in 2009 had been larger, more innovative, and tied to financial regulation of the bailed-out banks, and who see a positive role for an activist federal government in economic crises, can expect no compromise (now a dirty word) from those committed to the deregulated market forces of the private sector. Hence, the persistent clamor of Republicans, who have virtually all signed on to Grover Norquist’s Pledge, for lower taxes on the most wealthy—the “job creators.” That remains a priority even in the face of an accelerating disparity between the many and the very few: a concentration of private and corporate wealth that translates into political power since laws tend to get written in accord with the interests of those (say, the Koch Brothers) writing the checks. Democrats, when they are not complicit in corporate power, bow to their own special interests, fostering divisiveness in the form of identity politics.

Either way, little constructive gets done. Despite the abysmal approval ratings of Congress, partisan confrontation blocks progress on any measure aimed at healing our economy and repairing our crumbling infrastructure. Three years ago, two liberal commentators drew on Yeats’s “The Second Coming” to deplore the gridlock. Addressing the political “failure” to grasp the “urgency” of the labor-market crisis, economist Paul Krugman decried (in his New York Times column in September 2012) Republican opposition to any plan likely to reduce unemployment. “These days,” charged Krugman, “the best—or at any rate the alleged wise men and women who are supposed to be looking after the nation’s welfare—lack all conviction, while the worst, as represented by much of the G.O.P., are filled with a passionate intensity.” Five months earlier, Bill Clinton’s former Labor Secretary announced his fear that the US economy was “Slouching toward a Double-Dip.” Playing a variation as well on “the center cannot hold,” Robert Reich observed that the top percent or two have now accumulated “so much of the nation’s total income and wealth that the middle class no longer has the purchasing power to keep the economy going full speed,” and that Republican resistance to tax increases had drained funds required to finance important public investments depended upon by that collapsing middle class. With Washington paralyzed by the divide between dread of mounting debt and the need to invest in infrastructure, education, and job retraining, our economy is still “slouching toward” potential disaster.

Krugman and Reich (and Bernie Sanders) notwithstanding, debt, deficits, and burgeoning entitlement spending certainly matter, and must be addressed, as fiscal conservatives rightly insist. On the other hand, most Republicans seem ideologically incapable of acknowledging the opposite danger: that deep retrenchment in public spending is likely to have the same effect here as in Europe, where fiscal austerity, even when it has arrested the downward slide, has failed to produce growth. Yet, as Israeli political scientist Shlomo Avineri has said, “market fundamentalism, radical privatization, and a universal fear of state power are overly simplistic answers to the question of how to sustain a modern, globalized economic order.” His focus is European and global, but Avineri is not forgetting the private-enterprise purists of the Republican Party in the United States.

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Political tension, even partisanship, is not only inevitable but desirable; as William Blake reminds us in The Marriage of Heaven and Hell, “Without Contraries is no progression.” Blake also notes in the same text that “Opposition is true friendship,” that differences can be dialectically fruitful, and need not sour into enmity.  But our current political divide is less dialectical than rancorous; and it transcends “politics as usual” because the widening gap is not only economic and ideological but often cognitive. Senator Moynihan’s reminder that “everyone is entitled to his own opinion, but not to his own facts,” has been trumped by political expediency and, often, by actual or willful ignorance. This phenomenon has been exacerbated by a polarized and polarizing media that caters to those who prefer to have their own prejudices confirmed and amplified rather than to actually think. In the cable war, CNN tacks to the center, but the conservative audience addicted to Fox News has little in common with the liberal audience addicted to MSNBC; and in that war, the clear victor has been Fox, the supposedly “fair and balanced” organ of Rupert Murdoch and Roger Ailes.

In the 1960s, historian Richard Hofstadter devoted two books to Anti-Intellectualism in American Life and The Paranoid Style in American Politics. One needn’t accept every nuance of what conservatives might consider his “elitist” condescension to conclude that Hofstadter’s fears are, today—when the political spectrum in the United States has shifted dramatically to the right—far more justified than they were when he was writing a half-century ago. What would he make, for example, of venomous, pseudo-populist right-wing radio or of the dominance of the Fox News Network? What of fundamentalist resistance, not just to ACLU excesses, but to the very concept of a constitutional separation of Church and State? Or of the Religious Right’s self-congratulatory challenge to the validity of science; most notably, dismissal of the scientific consensus on a partial but manifest human impact on global climate change and, most mind-boggling to the rational, the faith-based denial of the demonstrable truth of evolutionary biology? What would Hoftadter have to say, if he wasn’t rendered mute, by the spectacle of Ben Carson, a physician who is also an evolution-denying biblical literalist; of Ted Cruz, a sanctimonious, inflexible ideologue who deems everyone who demurs from his religio-political absolutism a far-left extremist; of insult-monger Donald Trump, who is—well—TRUMP.

At times we seem to be re-fighting the Civil War. During that defining national tragedy, both sides, equally immersed in the wrathful sword-and-vintage imagery of Revelation that dominates “The Battle Hymn of the Republic,” saw themselves engaged in an apocalyptic struggle, each on God’s side and fighting against perceived evil. The Confederacy may have been defeated by the Union armies, but the old ideological struggle persists between central government and states’ rights, between a concept of the common good and unfettered individualism. And once again, though with considerably less justification, what ought to be a public-private partnership is turned into a conflict hyperbolized and sanctified by conservatives and libertarians as a fight to the death between federal “tyranny” and individual “liberty,” now intensified by the guns-and-God identification of the former with all that is reprehensibly “coercive” and “secular,” the latter with stridently libertarian and evangelical concepts of “freedom of religion.”

Faced with the acrimonious divide in our current religio-political Culture War (another example of a “dialogue of the deaf”) and attuned to the language of Yeats’s apocalyptic poem, we readily concur that “Things fall apart; the centre cannot hold.” Ross Douthat, the conservative columnist earlier cited, returning to “The Second Coming” in Bad Religion: How We Became a Nation of Heretics, lamented the “disappearance of a Christian center.” This “polarization is a sign of what happens” to a deeply religious country when “its theological center cannot hold.” However persuasive or dubious Douthat’s specific claim, his citation of Yeats’s famous line helps rhetorically by locating his argument within a larger and resonant context.

More than a quarter-century ago, in a 1988 “On Language” column, William Safire noted that Yeats’s line about the “center” failing to hold “is quoted whenever polarization takes place and centrists disappear.” That observation is even more germane today, when most centrists have fled Washington in frustration or been driven out by their own party’s more extreme elements. Six-time Indiana Republican Senator Dick Lugar, a notably civil and nuanced Republican with almost unparalleled expertise in foreign policy, was defeated in the 2012 primary by a Tea-Party challenger funded by massive outside spending.

The House situation worsened with the 2010 mid-term elections, when the Republican State Leadership Committee, deploying over $200 million from Republican-aligned “independent groups,” achieved the Redistricting Majority Project (REDMAP) dream, giving the GOP control of the redistricting process until the new census in 2020. By assuring right-wing Republicans safe seats, gerrymandering underwrites obstinacy, reducing the Congress to a partisan, obstructionist combat zone, with opponents demonized and compromise replaced by mutual contempt and deadlock. When, in December 2015, Donald Trump, touting flexibility, criticized the relentlessly uncooperative Senate behavior of his main rival, Ted Cruz, he was furiously attacked by right-wing bloviators Rush Limbaugh and Mark Levin for so much as suggesting he would be willing to work across the aisle. In response, a Cruz spokesperson, back when her man was still relentlessly buttering up The Donald, regretted only that Trump, in accurately noting Cruz’s rejection of any compromise, had resorted to “Democrat talking points”! No wonder centrists leave in frustration. What moderate Republican Olympia Snowe described, in announcing her retirement, as the Senate’s “crumbling center” epitomizes our larger cultural breakdown. When things fall apart, no center, religious or political, can hold.

The 2012 Republican primary debates were filled with fevered, self-righteous, semi-theological rhetoric about “taking our country back,” and “saving the soul of America.” Obama was still elected to a second term, to the dismay of Republicans who, from the outset of his first term, never intended to be a “loyal opposition.” Mitch McConnell flatly stated that the “priority” was to make Obama “a one-term president.” Even now, most Republicans put partisan politics ahead of cooperation, then complain when Obama resorts to executive actions. The old adage that politics ends at the water’s edge is long gone with the wind. Republicans adamantly resist, or ridicule, the nuclear deal with Iran, and would rather criticize a president they despise than find common ground in confronting the danger of ISIS.

Though there are thoughtful individual Republicans, their Party has become ideologically extremist and anti-intellectual, hostile to “elites” and to science. No Republican presidential candidate (even when there were seventeen of them) felt free to publicly accept the fact of biological evolution, let alone acknowledge the crisis of global climate change, resorting to denialism based on reports covertly funded by fossil-fuel interests. In December 2015, the Obama administration helped bring together in Paris 195 nations in an accord committing them, for the first time, to lowering planet-warming carbon emissions to help stave off the most drastic effects of climate change. The modest reductions are tailored but voluntary, making this an executive agreement, not a treaty, which would have been rejected by the Senate, controlled by Republicans who, beholden to the Kochs and their affiliates, either deny established climate science, pronounce the cost of combating the problem prohibitive, or are simply out to thwart the President’s agenda.

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The 2012 Republican primary was temperate compared to the 2015-16 anti-establishment circus, initially starring a pious, clueless neurosurgeon (who would later flame out and endorse Trump), then dominated by a talented but absentee junior senator; an articulate but hyper-ambitious ideologue loathed on both sides of the aisle; and, above all, by a reality-TV huckster and hyperbolist. After losing to Ted Cruz in Iowa, Donald Trump crushed Cruz and Marco Rubio in the next three primary states, becoming—against all predictions from pundits left and right—the prohibitive frontrunner for the nomination. He has continued to cleverly exploit the national frustration at the polarization and dysfunction of Washington, as well as the growing (and justifiable) annoyance with “political correctness.” But in the process, building on and exacerbating the growing fear of all, not just radicalized, Muslims, the Birther-in-Chief (who later played that card on Canadian-born Cruz) has tapped into the nativist zeitgeist and Know-Nothingism of a substantial slice of the American electorate—whose fears, frustrations, and left-behind fury he adroitly channels and fuels.

Republican leaders, having long ginned up their base but caught off guard by the consequences, are now terrified at the looming prospect of Trump becoming their nominee. But he is the untethered Frankenstein’s monster they created—liberated from the Establishment, from Fox News, even from the Koch Brothers! The GOP’s strongest ticket would include John Kasich. But in an extremist milieu, victors tend to be those who appeal to voters “full of passionate intensity,” rather than to the “best”—the better-informed and less absolutist, who don’t expect simple answers to complex questions. Hoping Trump (and Cruz) would fade, the Establishment sought to anoint, as the Party’s “savior,” the more “electable” Rubio, whose initially upbeat campaign quickly darkened into the same old fear-mongering, religious pandering, and strident hawkishness. Since Bernie Sanders, despite his victories and virtual ties, seems unelectable in a center-right country, the Democratic nominee will be a self-wounded, baggage-laden Hillary Clinton.

We can be sure that both sides will be full of passionate intensity. We can also be sure that the Democratic and Republican candidates will be equally supported by their respective Super PACS. Hillary Clinton is flush in PAC money, Cruz is second only to her, and even Donald Trump (closing in on the nomination) will eventually come to the trough. Before his departure, Rubio’s cash cows included three multi-billionaires, who also happen to be pro-Israeli zealots. Despite differences (especially over the West Bank settlements), Israel is our ally, to whom we are bound by history and culture. But must loyalty be obsequious? The Republican nominees (even Trump, who caught hell for saying he would try to be a “neutral” negotiator in the Israeli-Palestinian impasse) are tripping over each other vowing unconditional support of Israel. But 2016 began with primary emphasis on the terrorist and refugee crisis emanating from Syria and Iraq.

This was the subject of President Obama’s rare Oval Office Address in late December (a speech prompting emails from two old Fordham college friends, a Democrat and a Republican, but both foreign-policy hawks). In his Address on the terrorist threat, the President said that we should continue our current policy: working with international partners, using targeted airstrikes and special forces to attack terrorist networks. But he also warned against an expansive ground war in Iraq and Syria, calling for a “sustainable” victory using a minimal number of US ground forces. ISIS (or ISIL, as he prefers) would only grow stronger as an insurgency against an occupying power. “We will prevail by being strong and smart, resilient and relentless.” But alliterative rhetoric is no substitute for a specific strategy.

Until recently, almost everyone (aside from John McCain and Lindsay Graham) agreed with the President that substantial (tens of thousands) of American ground forces would be counterproductive. Trump’s characteristically crude and crowd-rousing alternative—to “bomb the shit out of ISIS”—was bested by Cruz’s lunatic and illegal proposal to “carpet-bomb” their “troops,” to make the desert sands “glow,” presumably with radioactivity.  Given the jihadists’ proximity to the civilians they terrorize and use as shields in the places they occupy, how many tens of thousands of innocents would we have to vaporize to destroy the Caliphate? Besides, even as ISIS loses territory in its Syrian-Iraqi base (down by more than a third from its apogee), the cancer metastasizes—to Yemen, Libya, elsewhere in Africa; and it retains the ability to inspire and coordinate terror attacks far beyond.

There was a shift, to include substantial “boots on the ground,” in the March 10 Republican debate. In calling for a large-scale injection of US troops into the region, the Republicans are in ironic accord with ISIS, itself the bitter fruit of our misguided invasion of Iraq and, in particular, of our ill-planned, blundering occupation, whose chaos created al Qaeda in Iraq. We want no more of that carnage. ISIS does, committed as it is to its own chiliastic scenario, its version of Armageddon. Based on ancient myth, revived by Abu Musàb al Zakhari, founder of al Qaeda in Iraq and the godfather of ISIS, and reiterated by the “Caliph” himself, Abu Bakr al-Baghdadi, the ISIS apocalypse calls for a final battle on the plain outside the small village of Dabiq (north of Aleppo, in Syria). This unlikely place has long been prophesied as the site of the ultimate victory of the Islamic Caliphate over the armies of the infidel—nowadays, those of the United States. Much ISIS propaganda is devoted to luring us into that land war.

Dabiq Burns Cursader ArmiesImage from Islamic State video, in Dabiq (issue one) (via Clarion Project)

It is a lure we should resist. We can target, provide intelligence and special ops; but the main anti-ISIS ground force must eventually be made up, as the President says, of other Sunnis. At least for now, those Sunnis are divided among themselves. The Saudis, the promulgators of fundamentalist Wahhabism and funders of radicalizing madrassas throughout the Greater Middle East, continue their long and sordid double-game—though there are recent signs that they may finally be ready to field anti-ISIS troops. In any case, thus far, President Obama has not displayed the leadership skills (given these divisions, perhaps no one can) required to put together a pan-Arab force, let alone helm or guide the alleged coalition of “sixty-five” partners.

I agreed with some of the substance, though not the “anti-academic” tone, of the response to the Oval Office speech by my Republican Fordham friend. Ridiculing the president’s claim that his plan was “working,” he described Obama as “the ultimate college professor,” couching events that

unfold before his eyes as academic exercises requiring intellectual examination. True, there is a scholarly aspect than can be argued long into the night, but what is really needed is a bold, rousing response like that of George W. Bush, with the megaphone atop the rubble. It’s about looking and acting like a leader, despite the fact that it might not go beyond immediate visceral satisfaction.

Obama may indeed be too “professorial,” but I have no nostalgia for the sort of “bold, rousing response” that led us, hard on the heels of the justifiable attack on the Taliban harboring al Qaeda in Afghanistan, to the duplicitous invasion of Iraq. That 2003 invasion and the subsequent violence and chaos of the occupation triggered a massive increase in worldwide terrorism, an increase British Intelligence has aptly dubbed the “Iraq Effect.” It also engendered much of the current crisis in the Middle East—notably including the abrupt turn, in word and deed, to apocalyptism among Sunnis, not only in Iraq and throughout the Middle East, but in the global jihadist movement. This new End Times appetite among Sunnis, hitherto skeptical of apocalyptic thinking, was fueled by Sunni clerics and by the al-Qaeda precursor of ISIS, Zarqawi, who envisaged the new American “Crusaders” as having joined the Shia and the Jews in a triple union to “destroy” true Muslims. Unlike al Qaeda leaders bin Laden and al-Zawahiri, Zarqawi believed “the Final Hour must be approaching, to be heralded by the rebirth of the caliphate, the Islamic empire that had disappeared and whose return was prophesied.”[5] We now know what rough beast, its hour come round at last, has been slouching to be born in the deserts of Iraq: ISIS.

According to unreconstructed foreign policy hawks who still defend the invasion of Iraq and still fail to grasp the historic complexity of the Sunni-Shia division, that monstrous birth is entirely attributable to Obama, who “abandoned” a “liberated” Iraq made “stable” by the “Surge.” In exploiting the Anbar Awakening, General David Petraeus bought the provisional loyalty of Sunnis even more appalled by al Qaeda than by American forces. But while it was a success tactically and as PR, the Surge, elevated to the status of myth by Republicans, barely affected the underlying realities. Yet the President is incessantly condemned by Neocons, the right-wing media, and the current crop of GOP candidates for “squandering” our “gains” in Iraq by withdrawing “precipitously.” Though he is not without fault, this is far too sweeping, and, of course, characteristically partisan.

Like others, the President was slow to realize the gravity of the threat presented by ISIS (far from the “JV-team” of his glib dismissal), and he failed to heed warnings about the double-dealing of Maliki. The President was eager to get out of Iraq, in accord with his promise during the 2008 campaign, and reflecting the consensus of the vast majority of the electorate. But Republicans tend to pass over that other pledge: the one made by us to the Iraqi government, to completely withdraw US troops by 2011, a pledge made by President Bush. Without the Status of Forces agreement rejected by Maliki (at Iran’s behest), were we to leave in place, in violation of our own agreement and against the express disinvitation of the host government, a residual force of, say, 15-20,000 American troops? The President’s critics on the Right blandly assume that such a force would have prevented the rise of ISIS. General Petraeus recently expressed a wish that we had “tried the experiment,” though he is doubtful “it would have made a difference.”

Opportunities were lost, especially in Syria; today, ISIS entrenched and the Internet at its command, there are no longer any routes to a quick victory without considerable risks and downsides. Any plausible, as opposed to preposterous, plan to defeat ISIS, would not be wildly different from what the President seems to think he can wish into existence, and would involve actual rather than half-imaginary coalitions, Arab and European. But our internally-divided NATO and Arab allies lack the capacity to organize and lead an effective counteroffensive on their own. And Obama may not be the leader required to inspire and implement such a strategy. More hawkish Hillary might be up to the task, more so than Trump, Cruz, and the departed Rubio, all of them as inexperienced as they are bellicose. Had he not fallen from grace, the gifted David Petraeus, running as a Republican or a Democrat, might have provided both experience and thoughtfulness.

We should be under no illusion that there is any military silver bullet that could even conceivably resolve a crisis ultimately based on a long-delayed backlash against Western imperialism and economic exploitation, grievances made toxic by the most militant sections of the Quran being fed by radical clerics to alienated young Muslim men, ripe for revenge. But understanding the causes does not eliminate the need to confront the consequences. Given the deep sociopolitical, economic, cultural, and religious context, and the endless supply of hopeless young men susceptible to the siren call to jihad, eager to spill blood for the glory of Allah and to advance the End Times, there may be no way to avoid a protracted struggle. One would be more satisfied with a multi-pronged, gradual degradation of ISIS leading to eventual defeat were it not for the immediate dangers presented by sleeper cells, and by the ultimate nightmare: the acquisition by ISIS or its affiliates of a dirty bomb or, worse yet, a full-fledged nuclear weapon. Time is no more on our side here than in the need to confront the challenge of global climate change. So, what to do?

In Europe, intelligence has to be much better shared and the EU borders made less porous. Thousands of European Muslims have traveled to Syria and back, now thoroughly radicalized, militarily trained, and ready to wage jihad in their home countries. One such man, Salah Abdeslam, who helped orchestrate the attacks in Paris, slipped easily out of France and into Belgium. Four months later, he was found, by sheer luck, hiding out in jihadi central, Molenbeek, the Brussels neighborhood where he grew up. Though Belgian authorities announced that another attack was “credible and imminent,” Abdeslam’s questioning, apparently perfunctory, yielded no information. Within days of his capture, members of his cell launched their lethal attacks on the Brussels airport and metro station.

In the struggle against ISIS in the Middle East itself, we should counter Iran by pressuring al-Abadi to re-enfranchise the Sunnis, incentivizing the “Iraqi” army to fight, as it has started to do by recapturing Ramadi. We should also inform Turkey that we’re going to intensify our arming of the Kurds—and directly, not through Baghdad. Even then, we can hardly be confident that Sunni forces, themselves radical (foolishly disbanded but left armed by the US in 2003, they became the insurgency against us), would produce eventual stability. And the Kurds, willing and demonstrably able to fight ISIS, are primarily interested in their own independence: understandably, but a further source of regional instability. In fact, in the final week of 2015, Turkey’s increasingly authoritarian President, Recep Tayyip Erdogan, resumed a fierce battle to “annihilate” the Kurdish Workers’ Party (PKK), militants who have long sought Kurdish autonomy.

In the immediate future, Iran and Russia have to be accepted as in fact what they are: major players in the region. This will outrage most on the Right and, when it comes to our policy in Syria, undermine what’s left of the “Assad-must-go” position of the Administration. The more pragmatic assessment of the President’s own Joint Chiefs is that any vacuum left by the removal of Assad will be filled with Sunni extremists rather than largely non-existent Syrian “moderates.” Even a provisional alignment with the supporters of the murderous Assad regime is repellent. But the principal goal we have in common with Iran and Russia is defeating ISIS. For now, along with preventing Iran from developing a nuclear weapon (the one other goal we share with Putin), confronting ISIS must be a strategic priority. In December 2015, a UN Resolution, jointly sponsored by the US and Russia, united many nations in an overdue effort to cut off the sources of ISIS funding. But that cooperation was dwarfed by the impact of Russia’s continued and intensified bombing of Syria, little of it targeting ISIS.

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Caught up as we are in the struggle with ISIS in particular and jihadism in general, there is a related tension: between Islamophobia and a realistic assessment of the facts. In the wake of the large-scale Paris attack (preceded by the Charlie Hebdo murders and followed by the events in San Bernardino; Brussels was yet to come), President Obama sought to avoid demonizing Islam, while acknowledging that the Muslim community needs to grapple with the issue of radicalization and political violence. In his Oval Office Address, he urged Americans “to see Muslims as neighbors, friends, and countrymen, and to avoid bigotry and discrimination. If we’re to succeed in defeating terrorism, we must,” he said, “enlist Muslim communities as some of our strongest allies, rather than push them away through suspicion and hate.” But, the President added, that “doesn’t mean denying the fact that an extreme ideology has spread within some Muslim communities,” a “real problem that Muslims must confront without excuse.”

The latter is a problem that also needs to be confronted by those who, like the President, want to accept, if not the 65,000 recommended by the UN High Commission for Refugees (UNHCR), at least 10,000 Syrian refugees. Donald Trump’s blatantly unconstitutional proposal that we ban all Muslims until we can figure out “what’s going on” is outrageous, but not, for many, much more so than the Administration’s plan to take in refugees whom even the Director of the FBI acknowledges we cannot properly vet. Tens of thousands of Syrians are starving in besieged towns, and almost all refugees have suffered horribly and deserve compassion. But ISIS would be derelict in its terrorist duty if it didn’t seek to infiltrate and radicalize some of those masses. Syria’s Middle Eastern neighbors—Turkey, Lebanon, and Jordan—have taken in almost four million refugees, and Iraq and Egypt between them another 400,000. Even after the Paris attacks, up to the turn into 2016, Sweden and Germany (having already accepted over a million refugees) were absorbing very high numbers per capita. That ended abruptly in the final week of 2015. Since then the sexual attacks in Cologne and elsewhere on New Year’s Eve, by Arab and North African Muslim men, have challenged Merkel’s admirable welcoming policy and fueled legitimate concern, as well as xenophobia, erupting in street violence between right-wing opponents of immigration and leftist advocates of asylum.

Since our own Muslim population is far better assimilated it seems inhumane and craven for us to resist welcoming a mere 10,000 more, two-thirds of them (as referred to us by the UNHCR) women and children. But many Americans of good will, even those aware that the refugee problem has become a humanitarian crisis on a scale not seen since World War II, nevertheless fear, when it comes to Syrian war refugees, the radicalizing reach of ISIS. Of course, that is just one more aspect of the ISIS strategy of inculcating fear, turning victims seeking to escape from barbarism and lethal violence into potential security threats. The record suggests otherwise. According to an October 2015 Migration Policy Institute report, of the 784,000 refugees we’ve taken in since 9/11, only three have been arrested on terrorism-related charges. But recent events have intensified our concern. Having accepted fewer than 2,000 Syrian refuges since 2012, and now, with many Americans (and virtually all Republicans) opposed to the President’s plan regarding the 10,000, the United States runs the risk of fueling—across the European continent—the sort of anti-immigrant (and anti-American) far-right populism represented in France by Marine Le Pen and her National Front party, and, in Hungary, by Putin buddy Prime Minister Viktor Orbán.

Worse yet, our resistance to accepting refugees further destabilizes such frontline states as Jordan, Lebanon, and Turkey, and strains relations with Germany, which has borne the brunt of the flood into Europe. We have contributed $450 million to alleviate the crisis in Syria, yet appear to be sitting it out, though we are hardly blameless in terms of responsibility. An increasing number of Germans believe, with good reason, that while they are shouldering the consequences of the collapse of Syria, it is America that bears much of the responsibility for the causes of that collapse.  Even former British Prime Minister, Tony Blair, Bush’s war partner, though still proud of the ouster of Saddam, admitted (on CNN in October 2015) that “mistakes” were made. Indeed, “the rise of ISIS and the disintegration of Syria figure among the catastrophic consequences of the US invasion of Iraq in 2003.”

That accurate conclusion was drawn by Michael Ignatieff, playing off but going beyond Blair’s admission. The Murrow Professor at Harvard’s Kennedy School observed in his November New York Review of Books essay “The Refugees & the New War,” that the refugees present not only “a humanitarian crisis,” but “a national security challenge,” though not the one stressed by those unnerved by the possibility of importing terrorists. US strategy in the final year of Obama’s presidency should start, he concludes, from the understanding that helping Europe deal with the refugees is

critical to the battle against jihadi nihilism. If Europe closes its borders, if the frontline states can no longer cope, the US and the West will face millions of stateless people who will never forget that they were denied the right to have rights. In a battle against extremism, giving hope to desperate people is not charity, it is simple prudence….In a war against jihadi nihilism, in a world of collapsing states and civil war, a refugee policy that refuses to capitulate to fear belongs at the center of any American and European strategy.

This openness—at once strategic and in accord with the Universal Declaration of Human Rights and subsequent confirmations of the rights of stateless refugees—is currently complicated by the sheer scope of the crisis; while hesitance is propagandized by jihadists as anti-Muslim hatred. Trump’s “total ban” feeds that narrative, yet appeals to some annoyed by Obama’s attempt to recognize distinctions. With jihadism expanding and growing more savage and dangerous with the emergence of the apocalyptic and ruthless Islamic State, many have wearied of the President’s nuanced language, especially his apparent inability to utter the phrase “radical Islamist terrorism.”

This semantic sensitivity, though diplomatically defensible and admirably intended to avoid turning combat with jihadist terrorism into a war on Islam itself, nevertheless seems misguided, unnecessary, and patronizing—to the vast majority of Muslims and to those capable of distinguishing between them and jihadists. His stubbornness on this point (adhered to by Hillary) also leaves Obama, once we get beyond the lunatic Right’s delusion that he is himself a covert Muslim, vulnerable to the charge of politically correct reticence—and worse.

In a discussion of foreign policy during the December Republican primary debate, Chris Christie contemptuously dismissed the President as a “feckless weakling.” None of the other Republicans on the stage objected to this depiction of a sitting President, whose reputation affects national security. The prime example of this “weakness” for most of his critics, even for many of his supporters, remains Obama’s pivotal rethinking of his initial decision, in the summer of 2013, to militarily enforce the chemical-weapons “red line” he had drawn in Syria, cancelling the airstrikes intended to punish Assad for crossing that line. While the President should never have laid down that red line, he did have valid reasons, military and political, to rethink the airstrikes. His reversal was influenced by David Cameron’s failure to get parliamentary authorization, Angela Merkel’s reluctance, and Obama’s own second thoughts about the danger, in blowing up chemical depots, of poisoning the very civilians he was trying to save.  But the price was not only a loss of US “credibility,” but a perception of Obama himself as vacillating, indecisive, “weak.”[6]

Though Obama’s reluctance to intervene in the cauldron of the Middle East should be appreciated as wisdom rather than dismissed as weakness, he can also be frustratingly overcautious. He can also appear casual, as in his decision, after Brussels, to continue his visit to Cuba and Argentina rather than rush back to Washington. (Despite the baseball-and-tango “optics,” he was also ordering the commando operation that took out the ISIS Finance Minister.) Better Obama’s cool and restraint than the reckless hubris of Cheney and Bush, whose “bold, rousing response” led to the catastrophic invasion and occupation of Iraq. Obama’s restraint is also preferable to the macho chest-thumping of Chris Christie, hailed (three years ago by conservative pundit Bill Kristol) as a much-needed incarnation of Yeats’s “rough beast.”[7] This President’s scrupulous deliberation has its own flaws, but it is sober and rational compared to the half-truths and hyperbole that have marked this Trump-dominated Republican primary in general.

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IV. Things Fall Apart: The American and European Center Threatened

In fact, the more one sees and hears Donald Trump, the more one recognizes in him, far more than in Christie (who later hitched on to Trump), the contemporary political incarnation of Yeats’s “rough beast”—boorish, narcissistic, reckless, given to irresponsible hyperbole and ad hominem bullying. In a January 20 New York Daily News op-ed, “Slouching toward Des Moines,” Harry Siegel deplored the inadequacy of the candidates then gathering for the Iowa caucuses. “The people who would be President are lunatics, liars or both,” he opined. Citing Yeats’s poem in its entirety, he synopsized “the Republican view of the world, and America’s place in it,” by directly quoting Trump, and captioning as a symbol of “passionate intensity” a photo of Trump being endorsed by syntax-challenged flamethrower and nitwit, Sarah Palin. “What rough beast?” Siegel wondered, answering himself: “I’m afraid we’re about to find out.” One day earlier, former Bush speechwriter Michael Gerson noted the intensified conflict between the frontrunners for the Republican nomination: Trump, an “ethno-nationalist wrecking ball,” and Ted Cruz, “more demagogue than ideologue.” Gerson concluded his January 19 Washington Post column: “For Republicans, the only good outcome of Trump vs. Cruz is for both to lose. The future of the party as the carrier of a humane, inclusive conservatism now depends on some viable choice beyond them”—a sentiment echoed by his NY Times counterpart, David Brooks, hoping for Trump and Cruz to kill each other off.

A few days later, National Review, the venerable conservative journal founded by William F. Buckley, weighed in with a special Against Trump issue, featuring twenty-two diatribes denouncing Trump, a “philosophically unmoored opportunist who would trash the conservative ideological consensus.” In varying degrees of panic (the one African-American among them, Thomas Sowell, more exercised by hatred of Obama than fear of The Donald, sounded positively unhinged), the right-wing pundits (plus Glenn Beck) projected the nomination of Trump as a disaster for the Republican Party and a catastrophe for their own “principled,” intellectual conservatism.

Trump characteristically dismissed National Review as a failing, elitist magazine, and announced that his followers’ loyalty was such that if he were to “shoot someone on Fifth Avenue” it would have no effect on his numbers. The outrageous remark was at once offensive and funny. Fears that it might also be accurate were allayed when a suddenly vincible Trump was defeated in evangelical Iowa by a hymn-citing Cruz (“To God be the glory!”), while just edging out a no-less-pious Rubio, praising “Jesus Christ, who came down to earth and died for our sins.”  Better Trump than Cruz, though it’s hard to know which demagogue best embodies the Yeatsian “worst.” As a deal-maker par excellence, Trump seems flexible and pragmatic, but as a candidate on the stump and on TV, he plays a man “all conviction” and “full of passionate intensity,” his certitudes and seemingly spontaneous outbursts cunningly calculated to inflame, while entertaining, the huge crowds he attracts. Media-savvy and freewheeling, a master of the immediacy of reality TV, Trump plays on the frustrations and fears, the anger and alienation, of his core audience: white, non-college-educated, struggling economically—in short, the very “losers” this relentless exponent of “winning” almost certainly despises even as he charms them.

Going into New Hampshire, some attention shifted to Cruz and Rubio, but moderate Kasich beat them both, and all were trounced by Trump, whose decisive victory there, in South Carolina and Nevada (and solid lead in the national polls) left the Republican Establishment reeling. Much of the Religious Right has rallied to Trump, but not Richard D. Land, the former President of the Southern Evangelical Seminary. Dipping into the “maelstrom” of sociopolitical turmoil agitated by the “populist uprising” of 2016, Land, now executive editor of The Christian Post, reported on January 31, that lines of Yeats’s “famous poem” keep “running through my mind.” He quoted a half-dozen lines of “The Second Coming,” beginning, “Things fall apart; the centre cannot hold,” and asked, in conclusion: “Can the political-societal center hold, or has it been hollowed out (center, and increasingly the center-right and center-left) to the point that America and her political institutions have devolved into…ethnic, societal, religious, and electronic tribes (Fox, CNN, and MSNBC)?” Has the “tidal wave of intense populism” surfed by Sanders and Trump left us with a “political tsunami” and an anti-centrism “currently beyond rational constructive consensus?”

This imagery, like the loosing of Yeats’s irrational “blood-dimmed tide,” captures the out-of-control aspect of the 2016 election. The populist appeal of Bernie Sanders, focused on inequality of wealth and opportunity, though anti-establishment, is comparatively benign. But just as Yeats tapped into the Collective Unconscious of  Spiritus Mundi for his images in “The Second Coming,” Donald Trump has, alas, tapped into part of the American psyche—not the Emersonian “Oversoul,” but the darker Under-Soul, or “base,” or id, of the contemporary Republican Party. His appeal, populist-nationalist and pseudo-conservative, though based on himself as the latest embodiment of the Great Man theory, feeds on the facile illusion of simple solutions to complex problems and on what Nietzsche called ressentiment.

As E. J. Dionne noted in an August, 2015 Washington Post op-ed titled “When Yeats Comes Knocking,” Trump “is a symptom of a much wider problem.” Citing the “most cited poem in political commentary,” Dionne observed that we are “definitely in for another ‘Second Coming’ revival,” since “the center is under siege all over the democratic world.” Dionne, a liberal, quoted conservative Reihan Salam, also struck by the similarities between Trumpism and rising movements (to the left and right of centrist European parties) that “manage to blend populism and nationalism into a potent anti-establishment brew.” In a February 24 NY Times op-ed, Jacob Weisberg, author of a balanced new study of Ronald Reagan, noted that unless the Republican Party (which venerates Reagan, but more in the breach than the observance of his pragmatism) “repudiates the inflammatory rhetoric of the primary, it will lose Reagan’s claim to the center and become more like one of Europe’s chauvinistic right-wing parties.”

Trump’s wealth allows him to spurn corporate donors and PACs (appealing to his working-class supporters), and to mock (in tweets) his fellow candidates as “puppets” who (aside from Kasich) flock to palatial meetings to “beg for money from the Koch Brothers.” But he is at one with the Republican Right in fomenting hatred of a federal government allegedly out to “take away our guns” and freedom; and no one has matched Trump in manipulating the festering rage and fear over rapid demographic and sociocultural change that the former fringe but now center of the GOP has been scaremongering for years. That witches’ brew culminates in Obamaphobia: a visceral hatred directed at the ultimate “other”: that alien and Constitution-spurning usurper in the White House whose domestic reign Republicans deem “lawless” and “imperial,” even as they pronounce him “weak” in foreign policy. The hatred is most toxic in Cruz and Rubio, who accused the President of deliberately intending to damage the United States.

In dealing with Syria and ISIS, Obama’s characteristic weighing of every alternative can summon up, even among some of his supporters, the most repeated phrase from “The Second Coming.” I would not myself ascribe to the President a “lack of conviction,” let alone the sweeping “all conviction,” applied (by David Lehman and by the authors of ISIS: The State of Terror) to those who have demonstrated insufficient decisiveness in confronting the terrorist challenge. Cool, poised, and aloof amid the fevered atmosphere of polarizing and extremist babble, Obama may see himself (a colleague, historian Ed Judge, suggests) as the “Man” in Kipling’s “If”: “If you can keep your head when all about you/ Are losing theirs and blaming it on you…” Almost congenitally incapable of expressing and evoking that “visceral” response sometimes required of a leader, Obama can vacillate. Again, his pivotal decision/revision not to enforce with air strikes the red line in Syria brings to mind Yeats’s tragic insight, “The best lack all conviction, while the worst/ Are full of passionate intensity.”

This President may not be the “best,” but he is far better than this year’s Republican alternatives, all (with the only partial exception of John Kasich) critics and haters at once dismissive of Obama’s “weakness” and apoplectic about his exercise of executive power. Finally, however, as it is worth recalling, there are passions even more intense than Obamaphobia. The excellent documentary, “VICE Special Report: Fighting ISIS,” which debuted on HBO on the final day of 2015, ends with Ryan Crocker, former ambassador to Baghdad, lamenting the presence in fragmented Iraq of multiple “passionate intensities,” none boding well for the region, or for us.

§

Like the volatile American primary races, the world doesn’t stop turning and churning. 2016 began with the US stock market’s worst-ever start to a new year, a five-day sell-off reflecting international economic and political turmoil. There are two epicenters this time, Europe and China. In China, runaway economic growth has come to a sudden halt, reflected in the plummeting of its financial markets and fostering a cycle of decline and panic throughout the world, especially in South America and in South Africa, whose economies rely on supplying Chinese manufacturing’s insatiable demand for natural resources. These negative repercussions are compounded by the collapse in the price of crude (at its lowest point in a dozen years), which has already had a devastating impact on petro-states, much of whose oil is sent to China. The dramatic slowdown of the long overheated Chinese economy, the second largest in the world and a main driver of international trade, could conceivably trigger a global recession deeper and wider than the US and Europe-centered financial crisis of 2008.

The European situation is more immediate and more dire. Geoffrey Wheatcroft opened a February 18, 2016 essay in The National Interest: “There are times—and the present moment is very much one of them—when certain great poems, minatory and ominous, force their way into the mind.” He cites Cavafy’s “Waiting for the Barbarians,” Auden’s “The Fall of Rome,” Kipling’s “Recessional.” But his title, “Europe’s Political Center Cannot Hold,” confirms that he really has in mind “that extraordinary, oracular work,” Yeats’s “The Second Coming.” The lines about mere anarchy and the blood-dimmed tide being “loosed upon the world” were (notes Wheatcroft, aware of the poem’s original context) “not meant to be a guide to everyday politics.” Yet the words “the center cannot hold” and “The best lack all conviction, while the worst/ Are full of passionate intensity,” written in 1919, “seemed all the more forceful with every year over the next decades of totalitarianism, total war, and total murder.”

So they do again today. We have witnessed the explosion of the Levant and the implosion of Europe, the rise of demagogues on both the Left and, more notably, on the Right, on both sides of the Atlantic. The internal atrophy of politics in the United States is another question [and one not limited to “Donald Trump’s vulgarity”]….But we Europeans should hesitate before sneering….What has happened in these recent years is not just the near collapse of the European Union, but the demonstration of its complete inadequacy to deal with present dangers, from the self-inflicted and unresolvable crisis of a single currency…to the awful problem of mass immigration [caused mostly by refugees fleeing the horror in Syria]….Beyond that is the acute threat within Europe to political stability. The [the old center-right and center-left consensus] is now being severely challenged from the outside left and outside right by parties and politicians called “extremist” or, much more revealingly, “populist.”

Hungary, Poland, and other Eastern European countries, only free of Soviet imperialism for a quarter-century and in the European Union for a decade, have shown “alarming signs of sliding back into authoritarianism, nativism, racism and corruption.” Even “more perturbing” are events in the nations of Western Europe, recent experience in the largest of which (France, Germany, and Italy) has been “somber.” Consider France, where the National Front founded by neofascist Jean-Marie Le Pen is now headed by his more adroit daughter, who expelled her father from a party whose tone, however, remains staunchly nativist, “anti-immigrant, anti-Muslim.” Wheatcroft’s survey, brief but ominous, provides sufficient evidence to support his grim Yeatsian thesis: “Europe’s political center cannot hold.”

On the humanitarian and political fronts, 2016 arrived accompanied by an intensification of already bad news. The Syrian refugee nightmare continued to worsen by the day, with tens of thousands of Syrian civilians—cut off in towns besieged by pro- or anti-government forces, and bombed from the air—starving and freezing as a harsh winter set in (an ironic reminder of the antithetical crisis: accelerating global warming). Russian airstrikes, especially in and around the rebel-held city of Aleppo, intensified sharply. The February peace talks in Geneva were suspended before they even started, a “temporary pause” essentially attributable to Putin’s bombing, a strategy popular at home and successful in turning the war in favor of Russia’s ally, Assad. In March, that goal achieved, Putin withdrew.

Putin was always seeking a military rather than a political solution in Syria; while the US negotiated but seemed unable to stop him, debating even about airdrops of food and medicine in areas where Russian planes were operating. The agreement reached in Munich on February 11, between John Kerry and Russian Foreign Minister Sergei Lavrov, called for a “cessation of hostilities” on the ground in Syria in order to get humanitarian aid to besieged areas. This tentative step toward a true cease-fire depends on its being honored by the various warring parties and by Assad himself. At the very moment when negotiations to that end were underway, ISIS launched its deadliest attacks of the civil war, bombings that took at least 130 lives. Whatever our role or Putin’s, without a genuine cease-fire, the humanitarian crisis will intensify within Syria and continue to expand throughout the Middle East and Europe as desperate refugees flee starvation and carnage.

At the same time, we have an expanded example of the post-World War I European fragmentation that prompted Yeats to conclude in 1919 that “Things fall apart; the centre cannot hold.” In 2016, beyond the internal collapse of the European “center,” the transatlantic alliance binding the United States and Europe since the end of World War II and anchoring global stability for seven decades seems no longer able to hold. We are still united by shared values, but there is a growing divergence between European and American priorities. Their militaries underfunded, worried about the potential threat of unassimilated Muslim populations, the nations of Europe (and Turkey, also a NATO member) are too divided among themselves to present much of a united front. Insufficiently full-throated in celebrating American “exceptionalism,” and caricatured by jingoists as “apologizing” for America, Barack Obama has been more justly accused of indecisiveness in his vacillation over the Syrian “red line.” We retain—for good or, as we know all too well, for ill—the option to act unilaterally; but  things have fallen so far apart that, whoever is President, the US may no longer be able to lead a coalition of the unwilling, or unable.

This transatlantic division and consequent diminution of resolve and leadership is especially dangerous at a moment when the West is confronted by so many global challenges. The most urgent emanates from the world’s most volatile region, the Middle East, torn by its own divisions: the old and apparently irresolvable breaches between Israel and the Palestinians, and between Shia and Sunni. After three decades of opining about the Middle East, Tom Friedman, in effect, threw up his hands, admitting in his February 12 NY Times column that none of “the many Mideast solutions” are any longer viable. He concluded that the “real,” as opposed to the “fantasy,” Middle East is “a wholly different beast now slouching towards Bethlehem.”

The intra-Muslim rift has been intensified by the recent rupture between Saudi Arabia and Iran, the region’s two most powerful oil-rich states, and the principal defenders, respectively, of the Sunni and Shia branches of schismatic Islam. Triggered by the Saudi execution of prominent Shiite cleric Nimr al-Nimr, and the ransacking and torching of the Saudi embassy in Tehran, the crisis between these regional rivals led, in early January, to a severing of diplomatic relations and to escalating tensions affecting the whole of the Middle East. The breach torpedoed hopes for diplomatically resolving the crises in Syria and Yemen, in which Tehran and Riyadh support opposing sides, and it works to the benefit of ISIS by further destabilizing a region already fractured along ethno-sectarian fault lines. With this Saudi-Iran rupture, we also have the hypocritical spectacle of one barbaric theocracy criticizing the other for behaving—barbarically.[8]

Both autocracies relish the graphic execution of their perceived enemies, and both spread terror: our “ally” through its far-flung madrassas and by permitting its elites to fund jihadists; our opponent, but partner in the nascent nuclear agreement, more directly, and through such proxies as Hamas and Hezbollah. The January 4 New York Times account of the crisis was accompanied by a video of a Tehran mob being whipped into a religio-political frenzy by a cleric ranting that the decapitation of al-Nimr, part of a mass execution (forty-seven in all, mostly by beheading and mostly Sunnis), was carried out at the behest of Islam’s true enemies. According to this turbaned pundit, the Saudis are the “collared dogs” of the Little and Great Satan; thus, the protest climaxed with the usual chants: “Death to Israel,” “Death to America” (even, for good measure, “to England”).

As a fomenter of hatred, unrest, and terror, Iran is second only to ISIS. Offering one glimmer of light, the March 2016 Iranian elections confirmed widespread support for the reformers and those most committed to the nuclear agreement with the US. Whatever the leadership’s internal stresses, and while it remains a theocratic tyranny, Iran seems dynamic compared to its sclerotic regional rival. While revolutionary Iran meddles, propping up the Assad government, bankrolling Israel’s regional opponents, and stirring up Shia minorities in the Sunni-dominated Gulf states, the Kingdom is experiencing its own severe internal tensions. The new dynastic discord within the Saudi royal family has reached the point where open conflict is now a plausible threat, a scenario incomprehensible before the January 2015 ascension of King Salman. Reputedly suffering from dementia, the aging King may have deferred considerable authority to his favorite son, defense minister and Deputy Crown Prince, Mohammed bin-Salman.

Whoever is calling the shots, ailing father or impulsive son, the monarchy’s new and unilateral aggressiveness (pursuing in Yemen a costly, brutal, and indecisive war against the Houthi movement and the Yemeni army, and ordering these recent provocative executions) reflects less strength than fear. Fear of a succession crisis; fear, despite huge cash reserves, of a collapsing oil-based economy; above all, fear of revolutionary Iran and its hegemonic ambitions in the region. The nuclear deal with the US has alarmed not only Israel and Saudi Arabia, but all the Sunni states. Its verification procedures are persistently and deliberately misrepresented by its opponents, but the accord still comes with a cost. Even those of us in favor of the deal— given the unpalatable alternatives—should be as troubled as its opponents are by the prospect of a $100 billion or so windfall attending the unfreezing of Iranian assets in the initial withdrawal of sanctions. Most of that money will be needed to rebuild the sanction-damaged Iranian economy. But some of it will inevitably be used to fund Iran’s proxies. What impact might that influx of cash have on the region?

Bahrain and Sudan joined the Saudis in breaking diplomatic relations with Iran; the Emirates sharply reduced contacts; and Shia militias bombed Sunni mosques in Iraq. Quickly rippling through the Middle East, the decision to behead al-Nimr stirred protests as far away as Pakistan and India. The fact that the United States advised against the execution of al-Nimr and was given no advance notice of the Saudi decision to sever diplomatic relations with Iran suggests that the young Crown Prince may be in charge in Riyadh. With the role of the US diminished, China and Russia both weighed in, urging restraint; Putin even offered to mediate. This political and religious crisis, the most dangerous regional confrontation in decades, threatens, in the language of several Middle-East experts, to “spiral out of control.”  Retired General Mark Hertling, a perceptive CNN military analyst, concerned that a more direct military conflict between Saudi Arabia and Iran could erupt, employed the same imagery: “That’s the key issue. This is spiraling very quickly.” It is hard, in pondering the perennial relevance of “The Second Coming” to contemporary crises, not to think of Yeats’s own spiraling imagery: the poem-opening falcon, no longer under the control of the falconer, “turning and turning in the widening gyre,” its spiraling movement replicated by the “desert birds” whose shadows “reel” about the ominous “shape” moving in “sands of the desert.”

This crisis, on hold but potentially explosive, is part of a recurrent centrifugal pattern. Yeats was responding to specific historical events in “The Second Coming.” If readers were bound by the literary equivalent of judicial “originalism,” the theory espoused by the eloquent but reactionary late Justice Antonin Scalia, many or most of them would be guilty, in endlessly citing and alluding to the poem, of misappropriation, quoting Yeats’s words while inadvertently or deliberately misconstruing his original political intentions. But we are not thus bound, as Yeats also intended. For his deepest and most genuine foresight, as we have also seen, was his decision to delete, in the process of composition, virtually all the specific details that would have tethered his poem to the events of 1919 as seen through the perspective of the worst atrocities of the French Revolution. The result is a universal poem that has resonated with every generation of readers, and from every political perspective, for almost a century.

Whether we have in mind international political and economic crises, the coarsening and polarization of American politics, the metastasizing of Islamist terrorism, the fragmentation of the European Union and of the Middle East, the refugee tide inundating Europe and the Levant, the danger of nuclear proliferation and nuclear blackmail, or the interrelated ecological challenges threatening life on the planet itself in our new “Anthropocene Age,” we may be reminded of John Donne’s disoriented cry early in the 17th century. With “new Philosophy” calling “all in doubt,” sun and earth “lost” and the “Firmament”  itself “crumbled out againe” to atoms, the Metaphysical poet summed up the chaos in a single line: “‘Tis all in pieces, all cohaerence gone” (The First Anniversary, 205-13). That lamentation over the loss of wisdom, cohesion, stability and order was surely recalled by an admirer of Donne, W. B. Yeats, when he wrote the line that has become so familiar to those contemplating the world the modern poet prophesied as he brooded, in excited reverie and dread, over European disintegration, and envisioned, “everywhere,” the loosing of an irrational blood-dimmed tide of “anarchy” and varieties of “passionate intensity” erupting in violence and chaos. To quote it once more: “Things fall apart; the centre cannot hold.”

One recalls that open question from Yeats’s near-parallel poem, the great sequence “Nineteen Hundred and Nineteen”: given all this, “is there any comfort to be found?” If so, it is unlikely, for most readers of “The Second Coming,” to derive from Yeats’s own Burkean political perspective, in which the sociocultural disintegration threatened by centrifugal forces could be countered only by the values of a hierarchical, aristocratic civilization. What comfort there is, if there is any at all, may be inherent in the symbol of the gyre itself: the eternal cycle which, for Blake, was a dehumanizing nightmare, but, for Yeats’s other great mentor, Nietzsche, an eternal recurrence to be embraced with astringent tragic joy. And there is a variation more comic than tragic. That aspect of the recurrent cycle was caught by an anonymous editorial writer in the Christmas Eve 2015 issue of a newspaper, the Memphis Flyer. “Simultaneously looking back and forward,” and proceeding “ahead into the next turning of the eternal gyre,” the editorialist invoked the locus classicus:

That aspect of the eternal gyre is something we of the Western world owe to William Butler Yeats, whose poem, ‘The Second Coming,’ gave us lines to remember through all the cycles, all the turnings of fate that seem to foreshadow an end but merely invite a new beginning. There are times, as Yeats wrote almost a century ago, when ‘the best lack all conviction, while the worst/ Are full of passionate intensity.’ A hundred years later, and it’s still true. It will always be still true. And we will survive and scramble to find our place in a brand new cycle, which itself will seem to be heading to an end but will just be the same old adventure in a new cycle….

The phrasing at its most glib—“merely,” “brand new,” “just be the same old adventure”—is in keeping with the purpose of the editorial, which was to wish its readers a “Happy New Year!” But, mutatis mutandis, this  optimism differs only in tone from Yeats’s own pipe dream, as expressed in his lengthy annotation to “The Second Coming.”  I refer to the vision—influenced by Nietzsche but one that would have repelled Blake—of that new and nobler hierarchical civilization Yeats hoped, and apparently believed, would succeed the democratic and Christian age that was dying.

Introducing his play, The Resurrection, Yeats presents a counter-myth to democracy, Christianity, and that linear “progress” Nietzsche dismissed as a “modern theory, and therefore vulgar.” “When I was a boy” Yeats tells us,

everybody talked about progress, and rebellion against my elders took the form of aversion to that myth. I took satisfaction in certain public disasters, felt a sort of ecstasy at the contemplation of ruin. [Around the turn of the century, after reading Nietzsche], I began to imagine, as always at my left side just out of the range of sight, a brazen winged beast that I associated with laughing, ecstatic destruction.

Yeats goes on in this paragraph to cite his 1903 uncanonical play Where There is Nothing, featuring a Nietzschean beast with the literally hilarious name, “Laughter, the mightiest of the enemies of God”—a beast (he adds in a footnote) “afterwards described in my poem ‘The Second Coming’.”

But is this assertion, this claimed identity, really accurate? Mythically and politically, the apocalyptic “rough beast” of “The Second Coming,” wingless and certainly not laughing, may represent both the end-product of the vision of the “progressive” Left and the first stirrings, life arising out of death, of an antithetical vision of the aristocratic Right. But however “exciting” it may be, the risen and slouching creature, as actually presented in the poem, is far less promising than sinister, its imminent birth less hopeful than horrifying. In terms of its precursors, Yeats’s rough beast resembles Nietzsche’s beasts, cruel or laughing, only peripherally. And it has less in common with Blake’s prophetic Tyger, terrible but beautiful, than with the slouching, bestial Nebuchadnezzar of Blake’s striking illustration. Indeed, as a creature of “second birth,” the rough beast may most resemble one of those “tigers” Wordsworth imagined prowling the bloodied streets of revolutionary Paris, ready to pounce again in the even worse Terror to come: for all things have second birth.

In short, whatever the poem’s original starting point as a response to his juxtaposed Bolshevik and French Revolutions, and whatever Yeats’s own politics and cyclical counter-myth to the vulgar modern myth of linear progress, “The Second Coming” turned out, as a linguistic work of art, to have a momentum all its own, quite aside from authorial intention. Though the tone of the finished poem mingles dread with a vestigial schadenfreude (“I-told-you-so”) exultation, it ends in human incertitude rather than prophetic certainty.

Other readers may differ, but, aside from that breathless and ambiguous phrase, at once cyclical and terminal, “its hour come round at last,” I find—once we’ve turned from the prose glosses to the actual text of “The Second Coming” itself—little or nothing of the anticipatory optimism attending Yeats’s theoretical celebrations of ecstatically destructive beasts. Nor, I believe, at least as poet rather than prose annotator or apocalyptic theorist, did W. B. Yeats—his sight titillated, but, finally, as “troubled” as ours by what he glimpsed before the darkness dropped again.

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V. What Rough Beast?: Can (Should) the American Center Hold?

Re-narrowing the focus, I want to return to the current American political scene, specifically to the 2016 Republican primary race. As mentioned earlier, back in 2012, Bill Kristol, the conservative mastermind who had earlier helped midwife both the Iraq War and the emergence to national prominence of Sarah Palin, welcomed Chris Christie as the “rough beast” the Republican Party needed to win the Presidency. This time around, we have two far more likely Republican contenders for the title of “rough beast”: Donald Trump, obviously, but with Ted Cruz lurking in the wings.

Christie was forced out of the 2016 race after a humiliatingly weak showing in New Hampshire, but not before humiliating Marco Rubio, who, in a campaign-altering meltdown, reiterated a canned accusation that it was Obama’s deliberate intention to damage the US:  “We have to stop saying that Obama doesn’t know what he’s doing; he knows exactly what he’s doing….” Rubio kept robotically repeating this charge of presidential treason, even after Christie had twice ridiculed, not the malice or the mendacity, but the verbatim repetition! In a second coming, Christie, out of the running himself, returned as a revenant the day after the Republican debate in Austen, Texas, to repeat his takedown of Rubio. Having finally been put on the defensive in that debate by Rubio, Trump demonstrated his skill in dominating the news cycle. The next day, in a surprise “Big Announcement,” he trotted out Christie to repeat his ridicule of Rubio while effusively endorsing the “one man” able to provide America “the strongest possible leadership” and insure that “Hillary Clinton will never return to the White House.” In one stroke, this tag team of bullies blunted Rubio’s short-lived post-debate “momentum,” taking the wind out of the sails of the Republican Establishment’s preferred last hope to Stop Trump.

Shortly thereafter, with Christie looking less like a formidable surrogate than a flaccid sycophant, Trump managed (after failing, in response to repeated questions from CNN’s Jake Tapper, to definitively repudiate the support of David Duke and the KKK) to reach a new level of vulgarity. Trump turned Rubio’s innuendo-laden taunt about his allegedly “small hands,” and what that “meant,” into a boastful “guarantee,” in the next debate, of his impressive sexual endowment. The “debates” had deteriorated from mere incivility to schoolyard braggadocio, with “he-started-it” silliness to follow. When a lush photo from Melania Trump’s modeling days was distributed by a group unaffiliated with Cruz, Trump tweeted a threat to “spill the beans” on Cruz’s wife, Heidi. At first Cruz responded with an indignant defense of his wife (its sincerity tainted by the fact that it was plagiarized, verbatim, from the 1995 film, The American President), before bellowing, after Trump had posted an unflattering photo of Heidi, that this “sniveling coward” better leave “Heidi the hell alone.”

In the first Super Tuesday round of primaries and caucuses, Ted Cruz, who had not at that point descended into the Trump-Rubio gutter, did well, crucially holding his own state, Texas, and winning several others. Though Rubio, ironically the first “Tea Party” senator, had briefly become the darling of the Establishment, the attempt to slow down Trump by wrestling with him in the mud had backfired and been to no avail. Trump took seven of eleven states on Super Tuesday. Subsequently, and even more ironically, with Rubio fading (he would never get beyond his two minor victories: the Minnesota caucuses and the Puerto Rican primary), and Trump denounced by Mitt Romney as a fraud, Cruz, in whom everything anti-Establishment was concentrated as in a bouillon cube, emerged as that Establishment’s last desperate hope to keep the blond-maned rough beast from slouching to the convention in Cleveland with the required 1,237 delegates, or with so many fired-up acolytes chanting Trump! Trump! Trump! that it would prove difficult if not impossible to broker him out of the nomination.

It would be a battle between egotistical demagogues, equally capable of commanding an audience, though their oratorical styles could hardly be more different. Silver-tongued Cruz, who can’t say “hello” without sounding as if he’s pontificating from a pulpit or from atop a soapbox, deploys the  elaborately-constructed, orotund sentences of a trained debater, skillfully weaving his points into a coherent argument. Rambling and repetitive Trump rallies his rapt audiences in staccato, non-syntactical bursts, hitting the same few points, and often legitimate grievances, but appealing less to reason than to emotion and prejudice. In a March 8 NY Times op-ed, “Only Trump Can Trump Trump,” Tom Friedman noted the folly of rivals trying to rationally convert Trump “fans” who respond to him on a “gut level” impervious to logical argument. Friedman’s conclusion, that “you can’t talk voters out of something that they haven’t been talked into,” aptly reminded my friend Dennis O’Connor of Jonathan Swift’s advice to a young clergyman in 1720: “Reasoning will never make a man correct an ill opinion, which by reasoning he never acquired.”  In addition, with his base, Trump assumes the ethnic stereotypes he shares with them, and in which, as a businessman, he has trafficked for years. He also possesses a bully’s ability to size up an opponent and skewer him with an ad hominem epithet. “Little Marco” was left, diminished, on the ropes; a single hyphenated adjective, “low-energy,” from which Jeb Bush never recovered, was enough to demolish a dynasty. “Lyin’ Ted,” puffed up with hubris, proved able to take a punch.

The latest avatar of the Religious Right and a purist ideologue—a contemporary right-wing version of Robespierre, the “Incorruptible” of the French Revolution—Ted Cruz is, for many, more frightening even than Trump. An unctuous, sanctimonious ultra-conservative, Cruz thunders apocalyptically about undoing everything done by his hated predecessor on “my first day in office”—“repealing” Obamacare, “ripping to shreds” the nuclear agreement with Iran, getting rid of regulations on corporations, stringently curtailing a woman’s reproductive rights, rolling back environmental protection measures (indeed, terminating the EPA, along with the Department of Education and the IRS); devoutly committing ourselves to Israel, right or wrong; to judicial originalism; and to the extremist agendas of both the NRA and the Koch Brothers.

Hardline conservatives applaud many of these presidential priorities, but Ted Cruz is a zealot and a singularly unattractive one, loathed from the outset by his Princeton and Harvard classmates and later by his Senate colleagues. It is not necessary to consider him (to cite the paired photo of Cruz and Grandpa Munster that has gone viral) “a blood-sucking vampire from a bygone era,” or as “Satanic” (a televised adjective David Brooks later modified to “Mephistophelian”), in order to be turned off by Cruz’s naked ambition, his self-righteousness, his preening arrogance, and the studied artifice of his oratory, as bombastic as it is demagogic. One can admire his verbal skills, but despise the man himself, to say nothing of the hard-right policies he so apocalyptically and inflexibly espouses.

Ted Cruz Grandpa Munster

To observe that Cruz was cursed with a vampiric and (however appropriately) a Joe McCarthy-like visage is to risk joining Donald Trump in belittling a person’s physical appearance. But it’s his facial expressions I find repellent, wincing every time he punctuates his favorite applause lines by chuckling—silently, creepily, barely moving his lips and without anything resembling actual human mirth. Listening to his speech to his followers on the evening of the third Super Tuesday, the Ides of March, I was reminded of Shakespeare’s Cassius, that cunningly ambitious man who thinks too much and has “a lean and hungry look.” As Caesar intuited, “Such men are dangerous.” Though many Republicans, including former rivals Jeb Bush and Lindsay Graham, have now, however half-heartedly, endorsed Cruz as the only way to Stop Trump, others remain no less terrified of the prospect of the reptilian Ted Cruz slouching towards Washington.

Republicans unnerved by Trump and repelled by Cruz are now hoping for an open convention, in which most pledged delegates, committed to the primary and caucus results only through the first ballot, would be free to vote for anyone on a second and subsequent ballots. But that threatened to loose “mere anarchy.” If Cruz or front-runner Trump were to be spurned at a contested convention, their followers might revolt—even, as Trump warned (or threatened), “riot” or launch an independent third party. As March ended, the panicked GOP, having long nurtured its radical right wing, seemed on the verge of disintegration. Party elders feared that neither a detested Cruz nor an unpredictable Trump would be able to defeat a damaged but still formidable Hillary Clinton (they continued to dismiss “that socialist,” Bernie Sanders). In addition to losing the Presidency, with Trump as nominee, Party bosses fretted that some centrist Republicans would either cross over, or not vote at all in November; or that the “Trump Effect” would further radicalize the GOP, strengthening Tea Party challenges to Establishment incumbents, and wrecking what was left of the no longer very grand Grand Old Party.

With no center able to hold, Ayn Randian conservative Paul Ryan, Speaker of the House, now seemed like a moderate. But, however respected, even revered he was, Ryan was unable to get hardliners on his right to endorse his budget, while being threatened, from his other flank, by Trump, who rejected cutting Social Security benefits, and informed Ryan who would be “boss.” Even the Republican center-right, the position represented by all three Bushes, had manifestly collapsed, with Trump having achieved the unique feat of unleashing the furies of both the extreme Right and, for Republicans at least, the populist Left. Ryan himself was privately and publicly urged to become the savior at the convention (a role Kasich hoped to play, in the wake of his March 15 victory in Ohio). But any such convention coup, though infinitely preferable to the extremist alternatives, would leave the ultras committed to Cruz and the devotees fanatically loyal to Trump more convinced than ever that they had been betrayed yet again by the Washington elites: insiders represented, on the Democratic side, by Hillary Clinton, a battered but resilient survivor of Bernie Sanders’ valiant and stunningly popular insurgency from the progressive Left.

The division within the parties reflected, but failed to resolve, the massive discontent in the nation: the very frustration and anger—much of it rooted in the slowly, weakly and, above all, unevenly recovering economy—that had fired up the anti-Establishment Sanders and Trump movements in the first place. Some professed themselves perplexed by voters torn between the apparent extremes of Trump and Sanders. That phenomenon can be explained by their overlapping support from blue-collar workers. Those workers, always a low priority for Republicans, were largely abandoned in the 1970s by the Democrats, who have become—as progressive gadfly Tom Frank argues in Listen Liberal, Or Whatever Happened to the Party of the People? (2016) —more allied with non-union technocrats and other professionals. There are exceptions among individual pundits and politicians (even Hillary Clinton is having second thoughts on trade). But in general, the “party of the people” became less interested in blue-collar workers and thus in economic inequality—which has actually widened under Obama.

Into this vacuum came Sanders and Trump, whose populist blue-collar appeal is based on their protectionist opposition to outsourcing and to international trade agreements that have benefited corporations but taken away thousands of manufacturing jobs, especially in the Midwest rustbelt. American de-industrialization is not attributable to NAFTA, CAFTA and the TPP alone, but unemployed factory workers are understandably less interested in nuanced theoretical discussions of the positive aspects of globalization than in eagerly listening to those who reflect their grievances and promise to redress them. No matter that, as a businessman, Trump does not practice what he preaches when it comes to outsourcing and hiring illegals. No matter, as well, that he (and Bernie) make campaign promises, many of which they would not be able to fulfill as President. Both create hope, much of it false. But the desperation is real, and the appeal powerful.

Though the American economy under Obama has created 4 million private sector jobs since 2010, many without a college education or lacking the skills required in a new economy have been left behind. Unemployed and underemployed whites are at the core of Trump’s constituency. But these painfully real socioeconomic conditions do not fully explain the phenomenon of Trump, who is also, as David Remnick observed in the March 14 New Yorker, “the beneficiary of a long process of Republican intellectual decadence” (the assault on science, the elevation of Sarah Palin, etc.) and years spent “courting the basest impulses in American political culture,” beginning with  Richard Nixon’s “Southern strategy” and including, more lately, “a birther movement and the Obama Derangement Syndrome.” Birther-in-Chief Trump, flaunting endorsements by the barely coherent Palin and the evolution-denying Doctor Carson, occupies a prominent position at the populist epicenter of this intellectual decadence.

Unlike that of Sanders, Trump’s populist insurgency is spiked by a toxic dose of nationalism and xenophobia. Something short of a fascist or a racist himself, Trump assumes and fuels the resentment and racism of many of his followers: a visceral hatred evident in the outbreaks of violence at recent Trump rallies. As usual, there are two, if not quite equivalent, issues in tension. Sarah Palin, eloquent as ever, has dismissed the protests as “punk-ass little thuggery” cheered on by a leftist media. It is true that Black Lives Matter activists intend to disrupt more than protest, undermining the free-speech rights of Trump supporters. What matters is how Trump has responded to this double “tension.” Unsurprisingly, he has not made it a “teachable moment.” While he does “not condone” the violence against the various protestors (some carrying “Sanders” signs), Trump most certainly does not condemn it. Instead, he incites or incentivizes it, announcing from the podium that he himself would like to “punch” protesters, and waxing nostalgic about the days when such dissidents would be “carried out on stretchers.” When one of his fans did in fact sucker-punch a black protestor as he was being led away, Trump offered to pay any legal fees incurred by the assailant—who was immediately afterward taped, not only expressing pleasure at having punched his victim in the face, but adding ominously that he was “not one of us,” and that “next time we may have to kill him.”

Such behavior and such an attitude are obviously extreme even in the most raucous Trump rally. But the “passionate intensity” of the “worst” is often allied with prejudice and ignorance. One is therefore unsurprised by Trump’s professed “love” for the “poorly educated,” and by the enthusiastic willingness of “my people” to follow their Leader. Even Vladamir Putin, that poster boy for virile masculinity, has been impressed by the same quality in Trump—who returned the compliment (“at least,” in contrast to Obama, “he’s a leader”). The exception among foreign heads of state, Putin also pronounced Trump “brilliant and talented,” leading to an official endorsement by the head of Russia’s state-owned news agency.

No Putin, let alone Hitler, Trump has been more engagingly compared to Mussolini. The Donald recently, if unwittingly, re-tweeted a favorite maxim of Mussolini (“It is better to live one day as a lion than 100 years as a sheep”), and his neo-fascist tendencies extend beyond the jutting jaw he shares with Il Duce.[9] But even this alignment is overblown. More apt is the comparison with a later Italian leader, plutocrat turned prime minister Silvio Berlusconi, with whom Trump shares a megalomaniacal and vulgarian cult of the Self. Like all his buildings and projects, Trump’s private Boeing 757 airliner, the backdrop at outdoor rallies, is emblazoned with his name in huge letters. Each step of the plane’s airstair has two “TRUMP” signs; every bath-fixture and seat-buckle is 24-karat gold; every leather seat is stamped with the Trump crest. Asked recently who he consults on “policy,” he responded, as a narcissist would, “I talk to myself. I have a great brain.” The machismo and self-aggrandizement are grotesque, but to his fans, such displays project their leader’s confidence, strength, and authority.

Trump Mussolini

Jonathan Weiner, co-author of Authoritarianism and Polarization in American Politics (2009), recently described Donald Trump’s core voters as driven by their attraction to authority, to plain-spoken solutions to problems and the promise of decisive action in defense of their traditional values. In “Why Trump?,” an online essay published on March 6, cognitive scientist George Lakoff interpreted the nation’s politics, and Trump’s in particular, “metaphorically,” in familial terms. The “conservative and progressive worldviews dividing our country” can be encapsulated in two common but antithetical forms of family life: “The Nurturant Parent Family (progressive) and the Strict Father Family (conservative).” Inculcating “discipline” and “strength,” the Strict Father model produces “winners,” who deserve to win, not only in life, but in electoral contests. Thus, a “formidable candidate’s insults that stick are seen as victories—deserved victories.” For those whose attitudes and prejudices have been deemed outmoded and stigmatized as “politically incorrect,” Trump “expresses out loud everything they feel—with force, aggression, anger, and no shame.” By supporting and voting for Trump, they make him their voice, and their views are made “respectable” by “his victories.” He is “their champion. He gives them a sense of self-respect, authority, and the possibility of power.”

Donald Trump photo by Tony WebsterPhoto by Tony Webster (via Flikr Creative Commons)

Lakoff sketches out a conservative worldview embracing distinctions  Trump adroitly straddles.[10] But it is the distinction between “direct” and “systemic” causation that most illuminates Trump’s appeal to the wide following he has attracted. According to Lakoff, empirical research has shown that conservatives “tend to reason with direct causation,” and to deal with a problem by “direct action,” whereas progressives are more in their element engaging the “complex” interactions involved in “reasoning with systemic causation.” If it sounds like Trump vs. Obama (he of the unenforced “red line”), it is.

“Many of Trump’s policy proposals,” as Lakoff notes, “are framed in terms of direct causation.” Immigrants are flooding in from Mexico: build a wall to stop them. Many have entered illegally: deport them, even if 11 million are working and living throughout the country. Jobs are going to Asia: slap a huge tariff on the goods produced there. ISIS profits from Iraqi oil: send US troops to Iraq to seize it (in fact, coalition bombing is now taking a serious toll on ISIS oil production). Want to defeat ISIS?—“bomb the shit” out of them, and threaten (even if it’s a war crime) to kill the families of jihadists. Seeking information from terrorist suspects?—water-board them, or worse. Afraid a few terrorists might slip in among Syrian refugees?—ban all Muslims from entering the country.  To add the latest: tired of funding NATO and providing a nuclear umbrella in the Far East?—declare NATO defunct and let Japan and South Korea develop their own nuclear capability. “All this makes sense to direct causation thinkers, but not [to] those who see the immense difficulties and dire consequences of such actions due to the complexities of systemic causation.” Trump’s can-do machismo (including his insulting of the way a woman “looks”) will be less effective in a general election than it has been on this rowdy campaign trail.[11]

§

Contemptuous of Trump’s penchant for simplistic solutions to complex problems, and stunned by his colossal egotism, skeptical observers of his campaign were initially incredulous, even amused. But their sides stopped shaking in mirth as he piled up victories. With his near sweep on the third Super Tuesday (March 15), his delegate count became virtually insurmountable. Crushing Rubio in his home-state, winner-take-all Florida, Trump drove the Senator from the race, collecting a bonanza of 99 delegates. Kasich held on in his home-state, denying Trump Ohio’s 66 delegates. Cruz won nowhere, but continued to collect delegates, slouching toward Cleveland with a number sure to be second only to the front-runner,  whom he planned to defeat at a contested convention. Needless to say, if he fails to reach the nomination-clinching 1,237 prior to the convention, Trump will not go gently in any floor fight; there are arms to be twisted, and there’s always that threat of a “riot.” Quite aside from his own fierce will to “win,” The Donald has repeatedly told us that what he is leading is not a mere political campaign, but a “movement.”  He’s right, and he’s not alone.

Such anti-centrist movements, driven by right-wing authoritarianism and galvanized by Europe’s even greater immigration crisis, are proliferating throughout the West. In France, Marine Le Pen has slowed her activities as president of the right-wing National Front, but only because she is preparing to run next year for the Presidency of France. (Her father, the party’s ousted neo-fascist founder, having tweeted in January that if he were an American, he “would vote for Donald Trump,” accurately described Trump in March as “an independent candidate with populist language; this is what has made him successful.”) In Germany, Angela Merkel’s centrist coalition is under threat because of her (no longer welcome) welcoming policy toward migrants. That policy, controversial within her own party, is challenged by right-wing opponents, most prominently by Frauke Petry, the efficient and determined leader of the AfD (Alternative for Germany), a populist, anti-immigration party she led to victory in several mid-March elections. Going beyond even Marine Le Pen, Petry has proposed that police “shoot, if necessary,” at migrants attempting to enter the country illegally.

In impoverished Greece, over 100,000 migrants have arrived since the beginning of the year; in late February, police clashed with asylum seekers at the Macedonian border. Politically, demographically, and economically, the culminating moment came on the night of March 7, when Europe officially closed its borders. The leaders at the summit convened in Brussels, the EU capital (also, ironically, the central nest in Europe of unemployed, unassimilated jihadists in the making), proclaimed the end of “irregular flows of migrants.”[12] Henceforth, refugees fleeing from war-ravaged Syria and Iraq would no longer be able, in the typical scenario, to escape to the Turkish coast, board a raft to Greece, and travel on, seeking refuge in Germany or elsewhere in Western Europe. Instead, the EU pledged billions in aid to Turkey in exchange for a commitment to take the migrants back. It was a drastic step, but the alternative seemed to be the continued fracturing of Europe, with centrist governments, burdened by debt (with the exception of Germany) and besieged by refugees (and here Germany is no exception), battling against “energized movements from right and left.”

I am quoting a February 25 Washington Post column by Fareed Zakaria, repeated three days later on his GPS Sunday-morning television program on CNN. Zakaria’s title and theme are a modestly hopeful variation on Yeats: “In the West, the Political Center Holds—but Barely.” He begins:

“Things fall apart; the centre cannot hold;/ Mere anarchy is loosed upon the world.” It’s time to quote W. B. Yeats’s famous poem again. But this time, it really does seem that the political center is under intense pressure—from left and right—all over the Western world….Across Europe, governments that occupy the center ground find themselves struggling against [extremist] movements….Centrists are under siege in the United States as well….Why are centrists so vulnerable?

Zakaria notes that moderate politicians and governments have performed rather well in recent decades, steering their countries through many difficult challenges. But while they may be competent, “centrists are dull, practical types,” and “there is always a search for romance in politics.” Even amid centrist success, there are still problems, many of them, often outnumbering the successes, stemming from the same force: globalization. Whatever their ultimate source, there are “enough problems to galvanize the romantics who believe that the answer is a revolution.” And, in contrast to traditional politicians, “outsiders,” a Donald Trump for example, “promise easy answers.” Zakaria turned again to “The Second Coming”:

“The best lack all conviction,” Yeats wrote, “while the worst are full of passionate intensity.” The simple solutions are, of course, non-solutions. And they mostly won’t happen.…But what is happening is political paralysis. The romantics and the radicals might not have the power to overturn the centrist consensus, but they can place it under relentless pressure….In the United States, the country and its political leaders have spent months debating fantasies [building the wall, deporting 11 million people, banning all Muslims]. Meanwhile, there is no discussion of the important issues and the actual, plausible policy options to deal with them—regarding the global economic slowdown, massive infrastructure deficits, growing inequality and climate change, among others.

Yeats was wrong. The center can and does hold, but just barely.

Even that tempered and terminally caveated hopefulness—though a far cry from the optimistic interpretation of the eternal gyre as “just the same old adventure in a new cycle”—may or may not amount to whistling in the dark. Just one day after Zakaria’s reassurance on television, provocative social critic James Howard Kunstler also repaired to “The Second Coming,” painting (in a March 1 blog titled “Yeats’s Widening Gyre is Upon Us”) a dismal picture of the United States as the two parties slouched toward their 2016 conventions. The “sinking global economy,” igniting “cluster-bombs of default through the financial system,” would centrifugally “effloresce,” Kunstler surmised, right around the time of those conventions. He foresaw both front-runners “lumbering inevitably toward their respective nominations,” with the GOP likely to split into “warring factions” in a probably futile attempt to derail Trump at the convention: a split reflecting, and exacerbating, the nation’s economic and cultural fissure. On the Democratic side, Bernie Sanders’s campaign has sparked a revolt that could spawn a liberal version of the Tea Party, which might, in turn, become a truly revolutionary movement were Trump or Cruz to win the presidency. Kunstler concluded: “Yeats’s widening gyre is upon us, and the second coming will not be the reappearance of the celebrity known as Jesus Christ, but rather of the event called the American Civil War.”

The optimistic God’s-eye interpretation of the eternal gyre seems, in the present circumstances, far too cheery to be persuasive. We may hope that Fareed Zakaria’s less dramatic projection of a threatened “center” holding, “but barely,” proves more accurate than James Kunstler’s vision of a second Civil War.  And yet, the American political “center” richly deserves to be challenged, as it now is—powerfully from the left, even more powerfully from the right. In his 1925 poem “Shine, Perishing Republic,” Robinson Jeffers brooded, “sadly smiling,” as “this America settles in the mould of its vulgarity, heavily thickening to empire.” Prophesying coming decay, this austere, almost survivalist poet of rock and hawk held out one Nietzschean-Yeatsian hope. There will always be “noblest spirits,” for whom “corruption/ Never has been compulsory.” When “the cities lie at the monster’s feet there are left the mountains.” So, “shine, perishing republic./ But for my children, I would have them keep their distance from the thickening center.”

The Jeffers poem, written at the same time as Robert Frost’s earlier-quoted sonnet of impending disaster, “Once by the Pacific,” was only one of three darkly prophetic poems cited by readers responding to a March 2016 essay, “Donald Trump and the Remaking of America.”[13] The essay was by military historian and retired colonel Andrew J. Bacevich, whose critical history, America’s War in the Greater Middle East, would be published in April. He has long condemned the Iraq War as a catastrophic decision—as has Trump, though Bacevich otherwise dismisses The Donald as a reckless celebrity performer who has, dangerously and all-too-effectively, adopted a bellicose “attitude or pose that feeds off, and then reinforces, widespread anger and alienation.” At once less interventionist and more hawkish than Hillary, Trump was aligned by Bacevich with Cruz and Rubio, in that all are “unabashed militarists,” each claiming that, as commander-in-chief, he would take no “guff from Moscow, or Pyongyang or Beijing or Tehran.” Each has asserted that, once in office, he “will eradicate ‘radical Islamic terrorism,’ put the Mullahs back in their box, torture terrorists, and give Bibi whatever he wants.” (In this same month, Trump pronounced all of Islam motivated by “hatred of us,” and threatened to kill the families of terrorists—though conceding that if, as president, he could not “expand” the laws, he would, reluctantly, abide by the Constitution and the Geneva Convention.)

Responding to the Bacevich essay online, “John T” summoned up the famous “centre” that “cannot hold” and the loosing of “the blood-dimmed tide,” recalling as well that “the worst / Are full of passionate intensity,” and that a “rough beast, its hour come round at last,” is slouching to be born. After quoting eight lines of “The Second Coming, John T observed that the emergence of Donald Trump marks “the fulfillment of a half-century’s considered and deliberate emasculation of the underlying sense of social responsibility that once held this country together in a fragile balance.”  But, as it turns out, John T is no fan of the contemporary American center.

“The centre cannot hold,” as Yeats said long ago, but it is the corporate center itself that created and unleashed the monster of Trumpism that is tearing the Republican Party apart and that, in the end, will put an end to the corporate institutions that… have so successfully controlled and undermined the very social contract that made their dominance possible. Donald Trump and what he so gleefully represents is a cancer metastasizing through the Republican Party, but what the Democratic pundits who are so joyfully pouncing on the wounded beast fail to understand is that it is a cancer that will bring the Democratic Party down in the same manner….[The followers of Bernie Sanders] expect and demand real and fundamental reform. [They are] not going to have it,…and are not going to accept the lies and pretense that Hillary Clinton is attempting to market. Donald Trump may be the rough beast slouching towards Washington, but the coming fragmentation of the two parties quarrelling over the prize he is seeking is the only hope for real long-term reform that we have left—if we can weather the storm.

Responding, “Ikallitres,” a poetry-lover aware of Matthew Arnold as well as of Robinson Jeffers, observed that “quoting Yeats’s ‘The Second Coming’ has become passé because it can be used to describe any and every one of the disasters that our politics has become.” (From my perspective, the second part of that sentence at once demonstrates and rebuts the first.) The same was true, he continued, of Arnold’s “Dover Beach” (locating us “here as on a darkling plain/ Swept with confused alarms of struggle and flight,/ Where ignorant armies clash by night”). Though grateful to have been reminded of the finale of “Dover Beach,” John T responded to the criticism of his having cited Yeats in words I’ve been employing throughout this essay, though, unlike Ikallitres, I do not find “The Second Coming” outmoded: “Yeats is so passé precisely because his poem was so very prescient at the time he wrote it and so very relevant today.”

Will the Western “center” hold? Should it? The “centre” celebrated by Yeats (a Romantic drawn to both Burke and Nietzsche) was cultural, steeped in ceremonious tradition: not our moderate political center, which he would have doubtless found as “vulgar” as the “thickening center” deplored by Jeffers, a fellow Nietzschean. And yet Yeats, in revising, purged his poem of particulars that restricted it to his own moment in time and reflected his own political perspective. As I have stressed throughout, in so doing, he universalized the poem, making it perennially relevant, applicable to the crises not only of his time but of ours. Reading “The Second Coming” in 2016, we lament the collapsing of the center and the falling apart of things in our present world of anarchy and blood-dimmed violence. We also dread the emergence—from the chaotic Middle East, from fragmented Europe, from our own polarized politics—of some new incarnation of that rough beast, its hour come round at last, and slouching towards us.

—Patrick J. Keane

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Patrick J Keane smaller

 

Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2008).

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Footnotes    (↵ returns to text)

  1. “No Slouch” (Paris Review, 7 April 2015). Oddly, Tabor’s otherwise thorough gathering omits Mitchell’s “Slouching Towards Bethlehem” (on the Night Ride Home album, 1991). But he lists innumerable pop-culture references, including many book-titles, especially sci-fi and detective novels. My own favorite examples range from the titles of all six volumes in the recent Star Trek compendium, itself titled Mere Anarchy (also a Woody Allan book title) to the 12-issue Batman series, written by Kevin Smith, and gathered together under the rubric The Widening Gyre.
  2. In fact, those crucial lines, “the best lack all conviction, while the worst/ Are full of passionate intensity,” echo Shelley and Wordsworth. According to the last Fury in Shelley’s Prometheus Unbound, the “good” lack “power,” the “powerful” lack “goodness”; and “all best things are thus confused to ill” (1:625-28). But Yeats, who was reading the French Revolutionary Books of The Prelude, is also recalling a phrase he underlined in Book 11 (“I lost/ All feeling of conviction”), and is verbally close to a passage in Book 10 in which, contrasting the moderate Girondins to the murderous Jacobins, a troubled Wordsworth speaks of “The indecision on their part whose aim/ Seemed best, and the straightforward path of those/ Who in attack or in defense were strong” (130-32). And there is a final parallel. In Wordsworth’s Excursion, which Yeats read in 1915, the “bad” earn “victory o’er the weak,/ The vacillating, inconsistent good” (4:298-309).
  3. Frost’s poem is riddled with more-than-biblical echoes, though the poems alluded to all have apocalyptic implications. In “Once by the Pacific,” the “clouds were low and hairy in the skies,/ Like locks blown forward in the gleam of eyes”: a fusion of the “insolent fiend” who, in the phantasmagoria at the climax of Yeats’s evocation of  “the things that come again” (the original title of “Nineteen Hundred and Nineteen”), “lurches past, his great eyes without thought/ Under the shadow of stupid straw-pale locks,” itself a negative echo of the primary passage Frost has in mind: “the locks of the approaching storm,” in Shelley’s “Ode to the West Wind,”  where the wind-blown clouds are “Like the bright hair uplifted from the head/ Of some fierce Maenad.”
  4. Prelude 10:92-93. Almost eleven hundred victims suspected of Royalist plotting were butchered during the September Massacres. Among those dragged from prison in September, sentenced to death by tribunals, and killed instantly by small squads of executioners was the Princess de Lamballe, maid of honor to Marie Antoinette. Notoriously, her body was mutilated and its sexual parts paraded before the windows of the prison that held the royal family.
  5. McCants, The Isis Apocalypse, 146. For evidence that “most modern Sunni Muslims viewed apocalyptic thinking with suspicion before the United States invaded Iraq,” and on the “triple-union” now helmed by the American “new Crusaders,” McCants (145-46) cites Apocalypse in  Islam (2011), 121-40, by the French scholar Jean-Pierre Filiu.
  6. For details, see Jeffrey Goldberg’s “The Obama Doctrine,” The Atlantic (April 2016), 70-90.
  7. Following a Republican 2012 presidential primary debate and registering both the on-stage verbal meltdown of then front-runner Rick Perry and the continued right-wing lack of enthusiasm for Mitt Romney, Kristol fired off a Weekly Standard “special editorial,” titled simply “Yikes!” Kristol—who then wanted the outspoken New Jersey governor to get into the race—ended by quoting an email from a fellow-Republican equally dismayed by the caliber of his party’s candidates. Concurring with the emailer’s allusion—“The best lack all conviction, while the worst/ Are full of passionate intensity”—Kristol couldn’t “help wondering if, in the same poem, Yeats hadn’t suggested the remedy: ‘And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born?’ “Sounds,” he concluded, “like Chris Christie!”
  8. Reviewing a study of the Iran-Iraq War in January, 2016, Graeme Wood cited Henry Kissinger’s observation at the time that it was “a pity both sides can’t lose.” Given the horrific death-toll, the remark was (as Wood says) not only “famous” but “fatuous.” Nevertheless, in contemplating the potential of a larger Iran-Saudi conflict, one might be forgiven if, for an irresponsible moment, Kissinger’s realpolitik remark came to mind—along with then-Senator Harry Truman’s observation, in June 1941, when Nazi Germany had invaded the USSR: “If we see that Germany is winning, we ought to help Russia, and if Russia is winning, we ought to help Germany, and that way let them kill as many as possible.” Brutal; but, Truman thought, in the best interest of democracy.
  9. See Fedja Buric’s “Trump’s not Hitler, he’s Mussolini: How GOP anti-intellectualism created a modern fascist movement in America,” Salon (11 March 2016) accessed April 1, 2016.
  10. As in the old Chain of Being (or the Elizabethan World Picture diagrammed decades ago by E. M. W. Tillyard), this conservative worldview is hierarchical, extending from God to man to nature. Conservative “family-based moral worldviews run deep,” and, Lakoff argues, “Conservative policies” are inflected, even shaped, by this Strict Father hierarchy. Your moral worldview defines for you what the world should be like; “when it isn’t that way, one can become frustrated and angry.” Lakoff notes variations and the split among white evangelical Christians, laissez-faire free-marketeers, and pragmatic conservatives bound by no evangelical beliefs. Winning among all three groups, Trump himself is “a pragmatic conservative, par excellence.”
  11. Trump, already opposed by almost three-quarters of women polled, finally suffered what may be genuine damage. On March 30, pressed hard by MSNBC’s Chris Matthews on the question of abortion, Trump said, not only that it should be illegal, but that any woman who had an abortion should be subject to criminal “punishment.” Here is the exchange, verbatim:

    Matthews: Do you believe in punishment for abortion, yes or no, as a principle?

    Trump: The answer is there has to be some form of punishment.

    Matthews: For the woman?

    Trump: Yes, there has to be some form.

    A more deft politician would never have let himself be cornered by this cable-news version of Socratic dialogue. For Rush Limbaugh, who quickly sped to Trump’s defense, Chris Matthews was no Socrates but a “Democratic Party hack,” whose gotcha question came “out of left field.” Of course, Limbaugh has no problem when the same relentless badgering is employed in the form of questions coming “out of right field,” as they incessantly are in the habitual technique of his fellow right-winger Sean Hannity. In any case, however it was educed, Trump’s astonishing statement, which goes beyond even the extremist anti-abortion positions of Rick Santorum and Mike Huckabee, was quickly walked back by Team Trump. But the damage was done. The Donald’s freewheeling, unscripted style had finally cost him. How much remains to be seen; but some backlash was quickly evident in his falling well behind Ted Cruz in the polls leading up to the next important primary, in Wisconsin, on April 5.

  12. The Brussels agreement, finalized on March 18, went into effect on March 20. Two days later, three suicide bombers (two of them brothers) killed 31 people and wounded some 300 in Brussels, striking at Zaventerm airport and Maelbeek metro station. A fourth terrorist, whose device remained undetonated, escaped, becoming the subject of a widespread manhunt. Anti-terrorists raids and searches occurred in France and Germany as well as Belgium; and ISIS threatened more “waves of bloodshed,” especially in Europe.
  13. The Jeffers poem has a more direct connection to another poem by Frost. “Our Doom to Bloom,” one of Frost’s late—serious yet light-hearted—assaults on the US welfare state, has as its epigraph Jeffers’s “Shine, perishing republic.”
Mar 122016
 

Agualusa_by_Lara_Longle-1

Ludo’s central role—a forgotten and then unnoticed eye in the sky spying on others, later thought of as an invisible goddess—and her predicament as an outlier figure who is part myth, part creature, and part human (something stemming, perhaps, from Agualusa’s love of South American fiction and its magical realism tradition), affords Agualusa distance from what he want to depict.  —Jeff Bursey

AGeneralTheoryofOblivion_CatCvr_2

 

A General Theory of Oblivion
José Eduardo Agualusa
Trans. Daniel Hahn
Archipelago Books
Paper, 249 pp., $18.00

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I. José Eduardo Agualusa (b. 1960) often treats the troubled past of his native Angola, a former Portuguese colony, in an ostensibly light manner, the hints of violence, treachery, conflicted identity, and desperation communicating the meanness of life during the War of Independence (1961-1974) and, especially, the civil war that followed (1975-2002).

In his International Foreign Fiction Prize-winning novel The Book of Chameleons (2004, English translation published in 2007) Agualusa mixes the tale of a gecko infused with the spirit of Jorge Luis Borges with the daily life of his owner, Félix Ventura, a man who reinvents the histories of clients eager to cover over their civil war activities. Several characters Ventura has dealings with serve to fill in the picture of a country undergoing an uneasy and fragile transition from hostilities to peace. There is menace in this tightly wrapped story to both main parties, from different sources, and without giving anything away, it can be said that the atmosphere around the amusing or profound thoughts of the Borges gecko act like a lantern held up against a darkness that could swallow everything.

My Father’s Wives (2007, English translation published in 2008) examines racial issues and mediums that people choose to share stories: music, oral history, and literature. Agualusa undercuts their truthfulness (emotional and factitious) by mingling the tales of characters who seem real with those we are told, almost assured, are not. Well before the end of this clever, poignant novel we are becalmed in a sea of lies, half-truths, and possible realities, forced, like those we’re reading about, to adapt to ever-changing conditions. Where we land depends on what we choose to believe. Here, as in The Book of Chameleons, there is a fine degree of control over a debilitating existence lived under almost constant strife and mayhem.

II.

Many of the same themes are present in A General Theory of Oblivion (2013; English translation published in 2015), which is set between the mid-1970s and the early 2000s. (It would be wrong to regard or dismiss the persistence of Agualusa’s themes as obsessive or tiresome sifting and resifting of material. Aleksandr Solzhenitsyn, John Dos Passos, and William Vollmann, along with many more, have rescued important and hidden facts from historical oblivion and worked to keep alive the memory of incidents that plunged entire peoples into despair or periods of ferocious activity, and they have contributed new angles from which to analyze obscure and well-known events. Similarly, Agualusa is mining a rich and deep national memory and has much to tell readers.) The cast recalls those from the previous books: strong women, women praised for their beauty, ignorant men, thick-headed and greedy men, victims of tragedy, and the kind-hearted. Above them all is Ludovica (Ludo) who has accompanied her sister, Odete, and her new brother-in-law, Orlando, from Portugal to Angola just before independence is brought about. She is the figure Agualusa focuses on. Through her, despite her isolation in an apartment building, we are given an overview of Angolan history and society.

Well before leaving for a new life in Africa, Ludo could not stand being outdoors (she “never liked having to face the sky”), which means she is drugged for the flight to Luanda, the Angolan capital. When unrest first breaks out in the city streets, with demonstrations preceding armed warfare, followed by the overthrow of a government, a brief cessation of complete hostilities, and then the decades of factional fighting involving Angolan, Cuban, South African, and other soldiers or insurrectionists, she stays, as she always has, in her missing relatives’ apartment—they attend a party one night and never return—fending off robbers with a pistol before erecting a wall that seals off the apartment entrance from the rest of the building. As conditions throughout the capital and the nation deteriorate and people flee the country, the other tenants vanish until Ludo is, perhaps, the only one remaining. Her company is an albino German shepherd (perhaps a sly allusion to German South-West Africa, an older, colonial name for Namibia, Angola’s southern neighbour) she christens Phantom. She has many books to read and, for a short period, a working telephone, radio, and phonograph. For food she at first relies on a stuffed pantry and crops from seeds Orlando had planted in his terrace. Covered in a cardboard box with eye and armholes to protect her from the sky, she attends to this tiny, life-sustaining garden, catching water from rainfalls when the municipal systems start to fail. But it is often dry, electricity dies, and supplies eventually run out:

The hunger came. For weeks, weeks as long as months, Ludo barely ate. She fed Phantom on a flour porridge. The nights merged into the days. She would wake to find the dog watching over her with a fierce eagerness. She would fall asleep and feel his burning breath. She went to the kitchen to fetch a knife, the one with the longest blade there was, the sharpest one, and took to carrying it around attached to her waist like a sword. She, too, would lean over the animal as he slept. Several times she brought the knife to his throat.

Over the course of the many years spent without other human company that she wishes to contact—for after a while the apartment building attracts new residents—the window is her sole connection with the outside world. It is also a protection against it, and an apparatus to help her eat, for with the appliances long dead Ludo can only cook on sunny days, thanks to Orlando’s magnifying glasses that focus the sun’s heat. When a monkey enters her garden she is ruthless. Eventually the crops she planted assist with her and Phantom’s food needs.

Ludo writes her thoughts down in a series of notebooks, and Agualusa gives us some of those entries, as well as later ones using other surfaces (always presented in italics):

The days slide by as if they were liquid. I have no more notebooks to write in. I have no more pens either. I write on the walls, with pieces of charcoal, brief lines.

I save on food, on water, on fire, and on adjectives.

Further:

I carve out verses
short
as prayers

words are legions
of demons
expelled

I cut adverbs
pronouns

I spare my wrists[1]

Burning furniture, books, and paintings keeps her warm. Her eyesight is going. Life is getting truly desperate, and then a young boy, Sabalu, begins bringing her food, though he starts as a thief entering her apartment through the window while she sleeps and stealing what looks valuable. His own life story changes once they talk. By the time he shows up, well past the halfway mark, we have met others who, while unaware of Ludo, are linked to her and to each other.

Ludo’s central role—a forgotten and then unnoticed eye in the sky spying on others, later thought of as an invisible goddess—and her predicament as an outlier figure who is part myth, part creature, and part human (something stemming, perhaps, from Agualusa’s love of South American fiction and its magical realism tradition), affords Agualusa distance from what he want to depict. Angola’s almost unremittingly traumatic modern history is an immense and complex set of subjects that here is addressed using Ludo’s panoramic view (but a view, as stated, that is decreasing in ability until she has only “peripheral vision”). While her solitary position doesn’t allow her to become involved with anyone but Sabalu, indirectly, through her family and location, she plays a part in the lives of many others as they, in time, come to do in hers. One of the people who, early in the novel, had been after Orlando’s “‘jewels’,” about which Ludo knew nothing at the time, and a Marxist officer he once was in conflict with, meet just outside the apartment on the same day that others, whose lives we have seen in partial ways, also congregate there. Sabalu had broken through the defending wall, with Ludo’s consent. As in a murder mystery—and there are aspects of the detective novel present—the loose threads are tied up, old wounds are given a chance to heal, mysterious sounds explained, a “sea goddess called the Kianda” finally accounted for, and a long-standing absence is revealed at the midway point.

Many of the other characters—Arnaldo Cruz (a sometime political activist turned businessman, more commonly referred to as Little Chief), Magno Moreira Monte (an intelligence officer), Jeremias (a Portuguese soldier), and Daniel Benchimol (a journalist), to name a few—receive time in the narrative for their stories to be fleshed out. Their lives contribute to the seediness and criminality (societal criminality as distinct from crooks) of Angola, as does advocacy journalism, to dovetail with Ludo’s singular story. It’s by design that she is in an equivalent of a Panopticon overlooking a lawless, somewhat formless state where, as Agualusa has shown in earlier novels, no one feels safe, identities and fortunes are fluid, ideologies (Marxism and capitalism) are opportunistic equally, and outside interests (Cold War powers, smaller countries near and far) and factions work to dismember the nation. Splintering the narrative among these assorted characters helps convey their society’s pandemonium and recklessness.

That centre point is also a symbol for something else. Only a boy can break into the apartment, through the window that is Ludo’s eye; that same orphaned boy, who calls Ludo Grandma, breaks down the wall she constructed as a barrier against the world so he and she can emerge. Windows, walls, and doors can be many things, including hymens, and in a metaphorical sense Sebalu and Ludo are reborn when the wall comes down, this time into a changed world, surrounded by those who are not quite family, but close. At the close of the novel what we hear of Ludo’s childhood might make us reconsider what’s gone before, ponder the multiple meanings residing in the imagery, and appreciate the connection of Ludo’s early life to her acceptance of Sabalu.

III.

In addition to what’s been discussed above, there are other significant features about this book: the first concerns the language of the writing itself, the second Angolan history.

As with other books by Agualusa, each translated by Daniel Hahn, there is attention paid to how to phrase characters’ thoughts and on how to squeeze just the right amount from certain conceits. Trapped and cut off from news, Ludo speculates about what is going on, often in language inspired, perhaps, by the many books she has read: “I’m afraid of what’s outside the window, of the air that arrives in bursts, and the noise it brings with it…. I am foreign to everything, like a bird that has fallen into the current of a river.” In order to explain one man’s disappearance another man invents the tale of his being swallowed by the ground, which matches the vanishing of planes and villages. There is a dancing hippo. People are not recognized for who they are: everyone has an opportunity (and a motive) to be new, or at least camouflaged, in this country that’s a work-in-progress. When Ludo has to convert her library into fuel she feels “…as though she was incinerating the whole planet. When she burned Jorge Amado she stopped being able to visit Ilhéus and São Salvador. Burning Ulysses, by Joyce, she had lost Dublin. Getting rid of Three Trapped Tigers, she had incinerated old Havana.” (This reflects Angola’s own hellish environment.) Descriptions of scenery and nature are used sparingly but effectively: “That afternoon they knocked down the fence and crossed to the other side. They found a bit of water. Good pastures. The wind began to blow. The wind carried heavy shadows along with it, as though it were carrying night, in shreds, yanked away from some other, even more distant desert.” Plain speech used by such people as soldiers and Little Chief is as carefully written:

There were guys locked up for diamond trafficking, and others for not having stood to attention during the raising of the flag. Some of the prisoners had been important leaders in the party. They took pride in their friendship with the President.

“Only yesterday the Old Man and I went fishing together,” one of them boasted to Little Chief. “When he finds out what’s happened, he’ll get me out of here and have the morons who did this to me arrested.”

He was shot the following week.

As in The Book of Chameleons and My Father’s Wives, one feels safely guided by Hahn through the multiple voices and tones of this diverse cast.

The second topic arises from Agualusa’s interest in making sure there aren’t any loose ends: Is history over for Angola? What I mean to suggest is not that the history of a nation can be wrapped up once and for all in narratives (there will always be more stories, and then there are the counter-narratives), but that, to my mind, the conclusion of A General Theory of Oblivion unwittingly indicates that events can come to a neat close. Agualusa’s propensity to connect the actions of his characters, and the characters themselves, as attenuated as they might appear, though it functioned well in the earlier novels, comes off here as overtly predetermined. Ludo, for example, has a background that is useful to link her to Sebalu, but since they become family quickly enough as it is, when the narrative provides us with that story it is, by then, unrequired and in any case too familiar. Certain characters glance off each other and are forever paired, and this happens many times, too many when you dwell on the length of time of the action—decades—and the gigantic sprawl of the canvas, thereby provoking a disbelief, and shutting down critical sympathy. Less reliance on clearing up every mystery could have resulted in a more satisfying novel, especially since there is so much that is bloody and messy. The communal and personal histories combine, as they often can, but more disorder and loss—what Ludo described as being swept along by her adopted country in its long state of turmoil—would have removed the feeling that we are reading something that is artistically schematic and contrived to finish in a burst of sentimentality.

Despite that reservation, one that may be chalked up to personal preference, José Eduardo Agualusa’s A General Theory of Oblivion has much to recommend it. This short novel, written with confidence and poise, contains sharply sketched characters, an evolving and engaging main narrative around Ludo, and years of conflict succinctly summarized and easily understandable.

—Jeff Bursey

NC

Jeff Bursey

Jeff Bursey is a literary critic and author of the picaresque novel Mirrors on which dust has fallen (Verbivoracious Press, 2015) and the political satire Verbatim: A Novel (Enfield & Wizenty, 2010), both of which take place in the same fictional Canadian province. His forthcoming book, Centring the Margins: Essays and Reviews (Zero Books, July 2016), is a collection of literary criticism that appeared in American Book Review, Books in Canada, The Review of Contemporary Fiction, The Quarterly Conversation, and The Winnipeg Review, among other places. He’s a Contributing Editor at The Winnipeg Review, an Associate Editor at Lee Thompson’s Galleon, and a Special Correspondent for Numéro Cinq. He makes his home on Prince Edward Island in Canada’s Far East.

 

 

 

Footnotes    (↵ returns to text)

  1. In the acknowledgements Agualusa thanks “the Brazilian poet Christiana Nóvoa, who at my request wrote Ludo’s poems…”
Dec 112015
 

lescarbot2

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This poem in Alexandrine verses was written by a Parisian lawyer, Marc Lescarbot, who had joined the early French settlement at Port-Royal, near present-day Annapolis Royal on the Annapolis Basin of the Bay of Fundy in Nova Scotia. After a year of active engagement in its development he was obliged to leave again in July 1607, at which time he composed this extraordinary description of the country’s resources as an inducement for continued investment in the venture he so ardently supported. The reason for his departure and the abandonment of Port-Royal was the financial difficulty of Pierre du Gua, Sieur De Monts, and his associates, whose monopoly on the fur trade had been abruptly canceled by the King of France, Henry IV. The poem appears in a collection of similar occasional verse entitled Les Muses de la Nouvelle-France that was added to Lescarbot’s Histoire de la Nouvelle-France, written after his return to France. The writing of the poem was started just before departing the Port-Royal and continued at sea. It is, in effect, the first extensive poetic description of Canada. Whilst there are translations of the Histoire, I have yet to discover an English translation of this poem. The text of this translation is based on the third edition of the Histoire de la Nouvelle-France of 1617, published electronically in 2007 by the Gutenberg Project at www.gutenberg and produced by Rénald Lévesque.

champlain detail3Detail from Champlain map, Nova Scotia, Bay of Fundy, etc.

Why did Lescarbot decide to go overseas in the first place? The reason he gives for wanting to go to New-France is a set-back he suffered as a lawyer in court due to a corrupt judge. He was, therefore, personally predisposed to find a better, uncorrupted world.

The start of the poem (1-12) is highly rhetorical and polemical, with an expression of Lescarbot’s personal regret at having to leave this beautiful place (1, cf. 25, 33, 47, 59) and three indignant rhetorical questions intended to shame his compatriots for their lack of constancy in abandoning the new settlement and the investment and efforts already expended, as well as chiding them for their dishonorable failure in establishing a new province of France (2-12), combining personal, aesthetic, moral, economic, patriotic and imperial motives. The polemical element is raised to the highest level later on, when Lescarbot reminds the King of his duty as a Christian monarch to spread the faith (167-176); he even questions the Lord God directly as to why he left the Native peoples out of his divine plan (293-304). These are themes of the highest order in literature, the duty of Kings and the ways of God to man, typically treated in epic and drama, but here combined with the profit motive. Significantly, the religious mission of the King is linked directly to the bounty of the land specifically created by God, he maintains, to motivate the King and to attract the French to the exploitation of its resources (177-180), thus connecting commerce with the spread of the Christian faith. Moreover, Lescarbot expresses regret that his intended audience, i.e. the French generally but specifically present and potential investors, do not know the attractions of the country (13-16). The actual phrase used in line 14, the “attractive lures”, serves to whet the appetite by introducing the lure of profit to be gained from the exploitation of its resources. Admittedly, these investors had just suffered a great loss due to a Fleming (Flamen = Flamand, 15), who had acquired furs along the St. Lawrence ahead of the French and robbed theirs as well, along with their canon. Lescarbot suggests that the investors will make good on their losses with compound interest (usure, 16). These are the addressees referred as vous in lines 9, 10 and 13, whereas nous in lines 3, 5, and 7 refer to the French collectively, with all of them being accused of a lack of steadfastness (3).

After this highly charged opening aimed at the main addressees of the poem, and following a prayer for safe passage back to France that emphasises the danger of the journey and the physical as well as spiritual distance of the “new peoples”(19-24), Lescarbot launches into a description detailing all the attractive and productive features of Port-Royal and its topography: a secure harbour, protected on both sides by hills and mountains (25-26), alluvial flats along the shoreline providing grazing for the plentiful game (27-30), and springs and streams making for well-watered valleys (31-32), with plenty of rain mentioned later(351-354). The emphasis on the presence of water is significant, suggesting a frame of reference based on the Mediterranean, with a climate perennially short of sufficient moisture in summer. Significant also is the mention of an unnamed island hyperbolically said to be worthy of the greatest king on earth (54-55) and whose commanding role is foreseen through an epic simile (37-41) in that its elevated headland dominates the surrounding plain, again a Mediterranean and, more generally, European ideal for the location of a fortified city or citadel. This city is ready to be built from the rocks supplied by the sea shore (43-44). Lescarbot introduces here (53-56) and throughout a prospective element of development and a potential for growth seen in terms of urbanization and permanent occupation by married settlers (57-58), the physical, economic and social cornerstones of European society.

Next, he invokes the fertility of the place, based on his own experience in developing gardens and working the fields at Port-Royal (61-62). Working the soil seems to have endeared the country to him as well as giving him a sense of –collective- ownership. It is also rather unique for an early visitor-explorer to have actually mixed his sweat with the soil in this way to test its fertility. At the same time, there is an idyllic element in the description (47-52) of a lovely little stream amidst the young greenery of a little valley in the hollow of the island’s bosom to which he “has lent his side” many times because of its beauty. This is a gratuitous detail that escapes the preoccupation with turning nature into culture: it introduces, not just the literary commonplace of the locus amoenus, or plaisance, ultimately based on the description of the Vale of Tempe in ancient Greece, but also a personal and, in fact, sensuous experience. Lescarbot’s originality in this has been noted by the critics. Paolo Carile has pointed out that, whereas in Champlain, beauty of nature is identified with utility, in Lescarbot the natural environment is estheticised from personal experience. He notes other literary innovations as well. The Farewell poem was a known genre restricted to a sentimental good-bye to a woman loved: in Lescarbot’s version, the object of desire changes to a colony in North America, here personified by the lovely island. Similarly, regret at leaving a place is a known literary theme, usually combined with praise of its various features; Lescarbot extends this to the resources of the country and the profit to be gained from them. The new context, colonialism and mercantile capitalism, occasioned a novel and hybrid genre along with a new purpose. In terms of point of view, we may add here the novelty of a poetic eyewitness account based on first-hand experience, rather than an imaginary description of the New World with many fantastic features as we have them in earlier literature. The systematic observation of flora, fauna, and the four seasons, adds a scientific element.

After mentioning the products of nature that grow spontaneously (65-66) he starts his elaborate praise (los= laus in Latin, 63) of the natural resources with a catalogue of the countless types of fish providing nourishment in Spring (73-106), including well-known varieties such as herring (77-79), so plentiful, it alone could make a people rich (78) and, of course, cod, so abundant that it is said to provide sustenance for almost the entire universe (101-108). In all, 27 types are mentioned but there are a thousand more unknown varieties (99). Lescarbot’s catalogues have been linked by past commentators with the Natural History of Pliny the Elder and, more generally, with the encyclopedic tradition of Antiquity, Middle Ages and the Renaissance, with the enumeration of curiosities found in travel narratives, and with the scientific poets of the 16th Century. The catalogues can also be linked to Adam’s naming of God’s creatures (Gen. 2.19) as a form of appropriation, of taking possession of the earth and having dominion “over the fish of the sea and the birds of the air”(Gen. 1. 26, 28). I would like to suggest yet another connection. We are now solidly in the territory of hyperbole and idealisation, recurring stylistic features that elevate this potentially pedestrian description of resources into the realm of the epic paragon or nul-pareil, ultimately serving the promotional purpose of the poem. The association with the epic is suggested as well by Lescarbot’s use of Alexandrine verse which is typically associated with elevated diction and grand and dramatic themes. The poet chose the same verse form for his heroicising account of the raid of the Micmac chief Membertou against the Armouchiquois across the Bay of Fundy also found in Les Muses de la Nouvelle-France.

All the desirable natural wealth enumerated here will make the future settler of this other (promised) land more blessed with a miraculous food supply than the manna of the Hebrews in the desert or the nectar of the blessed spirits of Greek myth (106-12). Throughout, Lescarbot easily mixes mythologies, pagan with Christian, as in lines 167-172 where he invokes the eagles of Jupiter to bring the decree of the King of Kings to the French Monarch, commanding him to spread the Christian faith. God’s omnipotence is demonstrated by the presence of the biggest sea creature of all, the whale (113-119) that comes into the bay daily. Winter provides shellfish, giving nourishment even to the poor and the improvident (125-128), as well as an opportunity for hunting large game and fur-bearing animals, especially the beaver, whose dens Lescarbot finds a thousand times more admirable in their construction than European palaces (135-140). It is remarkable, though, that Lescarbot does not make more of the fur trade at this point. It was the most profitable enterprise, but also the most contentious and problematic because of the competition from the English and the Dutch as well as the opposition from other French merchants to the monopoly of De Monts and his associates. In the final analysis, Lescarbot personally preferred agriculture over trade. This is followed by a catalogue of 37 birds (184-232), including a description of the previously unknown humming bird, seen as another example of God’s omnipotence in creating the smallest bird of all (205-232).

It is not only in his creatures that Lescarbot sees the hand of God. The very bounty of nature and its pleasures have been created by God to attract the French to this land where their labours will be rewarded in proportion to their desires (177-180), in order to propagate the faith which, moreover, is the God-given duty of the French King (173-176). Colonisation is ultimately justified by the religious imperative. Lescarbot himself gave religious instruction on Sundays to le petit peuple, the French workers and artisans of the colony; the leader of the colony, Poutrincourt, likewise instructed the Micmac (305-310). Autumn brings the harvest of the fields and gardens, in particular corn (blé d’Inde) that grows to prodigious heights (251-256), a harvest Lescarbot regrets not seeing because of his premature departure (257-266). Surprisingly, the climate is said to be not as cold as that of NW Europe (269-274), mainly because Lescarbot happened to experience only one mild winter (no snow until December 31, 1606 which promptly melted, and continuous snow cover only in February) and because of the varied impact of the Little Ice Age which saw the river Thames frozen over during the winter of 1607. Incidentally, there is a detailed and delightful recent description of the seasons on Annapolis Basin by Harold Horwood, a Newfoundlander who took up residence there and who mentions surprisingly mild winters, entitled Dancing on the Shore.

After this elaborate praise of the natural resources and the proven potential for agriculture, Lescarbot turns to the native inhabitants, the Micmac, whom he presents as in many respects superior to the French morally (329-340), while asserting their common humanity (297-298). He also makes an argument based on cultural relativism comparing the culture of the native population with that of nations of antiquity elaborated in Bk. 6 of his Histoire de la Nouvelle-France, entitled “Description des Moeurs Souriquoises Comparées A Celles d’Autres Peuples” (M.-C Pioffet, Marc Lescarbot: Voyages 2007, pp. 241-471) and comparing Micmac hospitality with that of the ancestors of the French themselves, the Gaulois. (321-322, 339-340). This comparative approach and the implicit transfer of the prestige of antiquity culminate in the work of the Jesuit Lafitau comparing the Iroquois with the early Greeks, Romans and Hebrews. Lescarbot’s cultural relativism even extends to language when he chooses to retain a Micmac word rather than imposing a “foreign” French name on a creature unknown to him (223-224). And he actually makes the now familiar ethnological distinction between hunter-gatherers and (semi-)sedentary cultivators of the earth, while privileging the latter way of life, as all Europeans did (285-290). The only respect in which their condition is deplorable is the fact that they lack the faith which –he maintains- they are eager to receive (291-314, cf. 166; by contrast, the first Jesuit missionary, Pierre Biard, relates a few years later that the Micmac listened to him politely but did not change their views one iota. The native people he has come into contact with (321-328), in particular the Micmac, are “subtle,” skillful or intelligent, possess good judgement, and are not lacking in understanding (321-324). They only require a “father” to teach them to cultivate the earth and the vine, and to live civilly in permanent habitations(321-328; cf. 287-290), thus combining paternalism with agriculture, viticulture and urbanism, the basis of Mediterranean culture. The main vice that he attributes to them is the desire for vengeance (341-342), a vice actually shared by the poet himself (390-393), and he criticises them for being improvident when it comes to securing an adequate food supply (125-131; 327). Clearly, the hunter-gathers’ apparent pattern of feast or famine appears to him as a moral failing: Lafontaine’s fable of the ant and the cricket comes to mind here. Overall Lescarbot’s presentation reflects, on the one hand, Montaigne’s notion of the bon sauvage unspoilt by civilisation, and, on the other, the largely positive first encounter between the French and the Micmac. It also serves the promotional discourse by stressing the duty of the French king and higher clergy to introduce the faith to these model catechumens. In fact, Lescarbot sees conversion not as a side benefit of colonisation; rather, the prospective harvest of souls is the ultimate goal (162-166), supported by the mercantile venture and the country’s resources. His religious and utopian motives, focused on an agricultural community of French settlers flanked by Native agriculturalists (287-290), become increasingly evident through sheer repetition as the poem progresses ( 59-64; 181-183; 251-264; 287-290; 321-329; 396-411), culminating at its conclusion in lines 423-426.

Significantly, mineral resources are only introduced briefly toward the end of the poem (385-388).   Clearly none of these had been developed (Lescarbot speaks of nurseries or breeding grounds of mines, 385) and the poet only gives a sketchy account of them, mentioning bronze (actually an alloy as he probably meant copper), iron, steel (a man-made product) and silver as well as coal. In an earlier farewell poem, he still expresses the hope that silver and gold will be discovered (Adieu aux François, August 25, 1606), the two most desirable get-rich- quick minerals universally sought after by European rulers and their explorers in the Americas. In the original charter issued by Henry IV in 1603, De Monts was specifically charged to bring home any gold and silver. Clearly, Lescarbot has given up on this prospect, hence the emphasis on agricultural produce and the potential for settlement of French colonists. As if to compensate, he does add, at the very end (412-422), almost as an afterthought, a luxury product, the high quality “silk” worthy of kings and produced by local hemp which could lead to a textile industry manned by Native(?) workers who have chosen to become sedentary.

On balance we can assume that French investors would not have been impressed by this prospectus that mainly emphasises agriculture and settlement. The cod fishery was already established in Newfoundland waters, a location much closer to Europe, and De Monts’ monopoly on the fur trade had been cancelled by the King, although a final one-year extension was granted after the colonists’ return. Lescarbot must have sensed the weakness of his case as he finished his poem by extolling, in compensation, the moral superiority of agriculture as a pure, untroubled way of life far from poverty, the madding crowd of his French homeland, and its deceit (423-426), possibly reflecting his own motives for leaving France in the first place and recalling the idealisation of the simple farmer by the Roman poet Virgil. And the “victory” attributed by Lescarbot to De Monts (363-384) is therefore only a moral victory to compensate for the failure of the enterprise as well as its disastrous first winter on the Ile de Sainte-Croix off the coast of New Brunswick, saluted by Lescarbot in passing on his return journey (363-384).

The Church did not rush in either to fund missionaries. The first Jesuit missionary, Pierre Biard, had to wait for years before he could sail for Port-Royal in 1611, not until a private sponsor was found in the Marquise de Guercheville, who raised funds through a subscription and had to buy into the commercial enterprise in order to secure passage for Biard and his companion, Énemond Massé. She actually had to buy out the two Huguenot merchants from Dieppe who were unwilling to take the two Jesuits on board; similarly Maria de Medici, the widow of the late King Henry, assisted financially in bringing about this first Jesuit mission to Canada. However, financial support was to remain problematic. The actual practice of supporting the missionary activity through profits from the fur trade made the Jesuit missionaries into competitors and led to conflict, in France and in Port-Royal. The whole concept of directly supporting religion through commerce was misguided.

In essence, Lescarbot’s account idealizes Port-Royal, but occasionally, less attractive aspects of the colony do make an appearance: its distance from France (21-22, 381), loneliness (162), the absence of female company (57), the need to improve the agricultural land (249-250), and the dangers of the North Atlantic (6, 21, 358, 380), in particular fog (349-350). Yet, despite these drawbacks, the poem testifies frequently to his profound personal disappointment at its abandonment (1-2, 160-161, 164, 170, 257-264, 344) arising from his own involvement and labour (61-62). The poet is a convert to his own cause. As such, the poem represents a final, almost desperate attempt to “sell” Port-Royal to his fellow Frenchmen by appealing at one and the same time to their financial, patriotic, imperial, as well their esthetic, moral and religious instincts, enhanced by the affective quality of his poetry and carried by the poetic licence of hyperbole in a variety of voices: from lament to praise, and from prayer to adhortation. The purpose is rhetorical, to persuade others of the lawyer’s cause. In terms of genre, we can add polemic, commercial prospectus, natural history and ethnography to the epic and idyllic elements already mentioned. Pioffet and Lachance speak of a “hymn to diversity and abundance” (cf. 106-108, 110-113, 158-159). The modification of the poetic genre of the Adieu from animate to inanimate addressee entails the figure of personification in the direct address of the island (55-57, 61, 109, 111, 158) and of the Earth itself (403-411), suggesting the pronounced symbolic value of the “New World”.

Lescarbot never returned to Canada but his little-known poem marks a unique text in comparison with other French explorers to Canada who all wrote in prose and hence, by definition, are far more prosaic in their ideas and expression, all the more so since they regarded the land purely in terms of its utility, as Carile has pointed out. At the same time, Lescarbot’s text throws into high relief a period of early European colonisation when the motives of imperialism, early mercantile capitalism, religion, and utopian idealism were joined uneasily. What is not unique is the fact that ownership of the land and its resources is not brought up in the poem. Lescarbot does address contemporary criticism of the appropriation of Native land at the end of the chapter “À la France” in the Introduction to the third edition of his Histoire de la Nouvelle-France where he provides the following theological justification: God has created the earth for man to possess; the Natives have not fulfilled this mission; Christians are the privileged children of God and hence, presumably, entitled to take possession. In other words, Native land use is seen as an underutilisation of its resources, creating a God-given opportunity for European colonists. Land and sea are presented as virtually crying out to be exploited. The underlying pattern is one of undervaluing Native culture and overvaluing one’s own claim, along with the local resources, which, even where modest, are presented as fabulous and there for the taking. One is reminded how persistent these attitudes are and how recent the realisation of their consequences.

—Haijo Westra

§

NOTES ON THE TRANSLATION

Only a verse translation would do justice to the rapturous tone and persuasive impact of the French original. The prose translation presented here inevitably falls short in these respects but makes available a unique text that offers some surprises in terms of its own conceptions of language, translation, and authenticity. Specifically, Lescarbot makes a point of maintaining the Micmac words of creatures he is unfamiliar with: Poulamou (= tomcod, line 89); Nibachés (raccoon, 155); and Niridau (=hummingbird, l. 223). In the last case he even considers the imposition of a French name to be inauthentic and he is able to conceive of his own language as foreign in this context (223-4). It should be kept in mind that the French names Lescarbot gives to native plants, birds and fishes derive from the other side of the Atlantic and are not necessarily accurate. For example, the laurier (laurel) of line 67 is not native to North America. The Joubar of line 95 is not a fish but the fin(back) whale, according to Ganong. See also Saunders, Speck, and Wallis in Deal’s bibliography for nomenclature. The Rivière de l’Équille (Sand Eel River, 91-92) already had its name changed to Rivière du Dauphin by Champlain; today, it is called Annapolis River. For a running commentary on all matters of translation, see the footnotes to the edition by Pioffet and Lachance.

§

SELECT BIBLIOGRAPHY

Carile, Paolo.   Le Regard entravé. Littérature et anthropologie dans les premiers textes sur la Nouvelle-France. Septentrion, Sillery (Québec) 2000, pp. 68-82.

Deal, Michael. “ Paleoethnobotanical Research in the Maritime Provinces.” North Atlantic Archaeology 1 (2008) 1-23.

Ganong, W.F.   “The Identity of the Animals and Plants mentioned by the early Voyagers to Eastern Canada and Newfoundland.” Proceedings and Transactions of the Royal Society of Canada, Series 3, vol. 4, section 2 (1909) 197-242.

Lachance, Isabelle.   La Rhétorique des origines dans l’Histoire de la Nouvelle-France de Marc Lescarbot. Thèse de Ph.D. Université de McGill 2004.

Pioffet, Marie-Christine and Isabelle Lachance.   Marc Lescarbot. Poésies et opuscules sur la Nouvelle-France. Editions Nota Bene 2014, pp. 27-37, 99-120.

Pioffet, Marie-Christine.   Marc Lescarbot. Voyages en Acadie (1604-1607) suivis de La Description des moeurs souriquoises compares à celles d’autres peuples. Presses de l’Université Laval, 2007.

§

champlain detail4Detail from Champlain map

MARC LESCARBOT, A-DIEU A LA NOUVELLE-FRANCE du 30 Juillet 1607/ Farewell to New France, July 30, 1607: English translation

  1. Must we abandon <all> the beauties of this place
  2. And bid Port-Royal an eternal farewell?
  3. Shall we then forever be accused of inconstancy
  4. In the founding of [a] New France?
  5. What use is it to us to have borne so many labours
  6. To have battled the assault of the vexed waves
  7. If our hope is in vain, and if this province
  8. Does not bend under the laws of Henry, our Prince?
  9. What use is it to you to have
  10. Incurred useless costs, if you take no care
  11. To harvest the fruit of a long-term expenditure
  12. And the immortal honour of your patience?
  13. Ah! How I regret that you do not know
  14. The attractive lures of this land
  15. And even though the Fleming has caused you damage,
  16. Loss is often made good with compound interest.
  17. So that is why we must leave and get ready <to sail>
  18. And go to drop anchor in the harbour of Saint-Malo.

.

  1. FATHER OF THE UNIVERSE, who commands the waves,
  2. And who can cause the deepest sea to dry up
  3. Grant us to cross the watery abyss
  4. By which you have separated all these new<found> peoples
  5. From those who are baptized, and without shipwreck
  6. To soon see the shore of France’s Kingdom.

.

  1. Farewell, thus, beautiful coasts and mountains as well
  2. Which, with a double rampart, gird this harbor here.
  3. Farewell grassy glens which Neptune’s flood
  4. Bathes generously, twice with every moon,
  5. And to the <wild> game as well, which in order to find pasture
  6. Comes hither from all sides, there is so much vegetation.
  7. Farewell my sweet pleasure, springs and brooks
  8. Which water the valleys and the mountains with your moisture.
  9. How can I forget you, beautiful forested isle
  10. Rich ornament of this place and its basin?
  11. I prize all the sweet beauties of your sister
  12. Yet I prize even more your outstanding features.
  13. For, just as it is fitting for him who holds command
  14. To display a majesty more august and grand
  15. Than his subordinate; just so, to command
  16. You have an elevated headland which allows you oversight.
  17. Around you is an undulating plain,
  18. And the land in the vicinity <is> subject to your dominion.
  19. Your shores consist of rocks <suitable> for your buildings
  20. Or for laying the foundations of a city.
  21. In other places there is a little beach,
  22. Where a thousand times a day my spirit abides.
  23. But amidst <all> your beauties I admire a little stream
  24. Which presses gently the fresh herbage
  25. Of a little valley that descends in the hollow of your breast
  26. Plunging its course into the waves of the sea:
  27. Little stream that has tempted me a hundred times with its waters,
  28. Its charm forcing me to lie down beside it.
  29. Having all that, Island high and deep,
  30. Island worthy dwelling place of the greatest King on earth,
  31. Having all that, I say, what more can be lacking
  32. To create over there the city we need
  33. Except for every man to have his sweetheart by his side
  34. In the manner which God and the Church command?
  35. For your soil is good and fertile and pleasing
  36. And never its cultivator will be displeased with it.
  37. We <ourselves> are in a position to speak of it who, of many seeds
  38. Sown there have had first-hand experience.
  39. What else can I say worthy of the praise of your beauty?
  40. What shall I add here than that inside your domain
  41. One finds in great measure products of Nature:
  42. Raspberries, strawberries, peas, without any cultivation?
  43. Or shall I mention as well your verdant laurel bushes
  44. Your unknown medicinal herbs, your red currant bushes?
  45. No, but without leaving your bounds,
  46. I will touch upon the numerous armies
  47. Of the scaly creatures that come every day
  48. Following the tidal flow to bid you good day.

.

  1. As soon as the season of Spring returns
  2. The Smelt comes in abundance, bringing news
  3. That Phoebus, risen above your horizon
  4. Has chased far from you the wintry season.
  5. The Herring follows after with such multitude
  6. That it alone can make a people rich.
  7. My <own> eyes have witnessed this, and yours as well
  8. Who have had the care of our nourishment
  9. When, occupied elsewhere, your diligent hands
  10. Were unable to cope with the pleasing catch
  11. That the sluice of a mill sent into your nets.
  12. The Bass follows in the wake of the Herring
  13. And at the same time the little Sardine,
  14. The Crab, <and> the Lobster follow the sea shore
  15. With a similar result; the Dolphin, <and> the Sturgeon
  16. Arrive among the multitude together with the Salmon
  17. As do the Turbot, the Tomcod, <and> the Eel,
  18. The Shad, the Halibut, the Loach, and the Sand Eel:
  19. You, Sand Eel, although little, have impressed your name
  20. On that river whose renown I sing.
  21. But that is not all, for you have more
  22. Multitudes that pay you homage every day,
  23. The Pollock, the Finback Whale and the Squid and the Angler Fish,
  24. The Porpoise, The Blower Dolphin, the Sea Urchin, the Mackerel,
  25. You have the Grey Seal which, in a large pod
  26. Wallow in the light of day on your muddy bottom,
  27. You have the Dogfish, the Plaice , and a thousand other fish
  28. Which I do not know, nurselings of your waters.

 .

  1. Shall I not mention the happily fecund Cod
  2. Which abound throughout that sea everywhere.
  3. Cod, <even> if you are not one of those delicate dishes
  4. With which gourmets spice their plates,
  5. I will say nevertheless that by you is sustained
  6. Almost the entire universe. O, how content will be
  7. That person one day who will have at his doorstep
  8. That which a distant world will come to seek from it!
  9. Beautiful Isle, You therefore have that manna aplenty
  10. Which I love more than Taprobane’s
  11. Beauties that they deem worthy of the blessed ones
  12. Who go about drinking the fragrant nectar of the Gods.
  13. And to demonstrate one more time your supreme power
  14. Whales honour you daily, and come of their own accord
  15. To salute you every day, until the ebb leads them
  16. Into the wide Ocean where they have their pleasure.
  17. Of this I will render faithful testimony,
  18. Having seen them many times visit this shore
  19. And consort at their leisure inside this harbor.

.

  1. But all these animals, all these creatures <from> here
  2. Depart when Phebus is about to approach the boundary
  3. Of the celestial mansion, where dwells Capricorn,
  4. And go in search of the shelter of Thetys’s depth
  5. Or often seek out a milder region for their pasture.
  6. In this harsh season there only remain close to you
  7. Clams, Cockles, and Mussels
  8. To sustain the one who will not, in a timely fashion,
  9. (Either poor, or lazy) have done any harvesting,
  10. Such as the people here who take no care to hunt
  11. Until hunger constrains and pursues them,
  12. And the weather is not always favorable for the hunter
  13. Who actually does not wish for the mildness of good weather
  14. But strong ice, or deep snow
  15. When the Sauvage wants to catch from the watery depths
  16. The industrious Beaver (that builds its home
  17. On the lakeshore, where it fashions its lair
  18. Vaulted in a way incredible to man,
  19. And a thousand times more admirable than our palaces
  20. Leaving it only one exit towards the lake
  21. To cheer itself down in the watery element)
  22. Or when he wants to spy in the woods the lair
  23. Either of the Royal Moose or the fleet-footed Deer,
  24. Of the Rabbit, Fox, Caribou, Bear,
  25. Of the Squirrel, the Otter with its silken fur,
  26. Of the Porcupine, <and> the so-called wild Cat
  27. (Which rather has the body of a leopard)
  28. Of the Mink with its soft fur in which Kings clothe themselves
  29. Or the musk Rat, all dwellers of these woods,
  30. Or of that animal which, loaded with fat,
  31. Has the cunning skill to climb on high
  32. Building its lodge on an elevated branch
  33. To discourage the one who goes in pursuit of it
  34. And lives, by that ruse, in the greatest security
  35. Not fearing (as it seems) any violence:
  36. Nibachés <raccoon> is its name. Not that in spring
  37. He does not have occasion for that hunt
  38. But the catch from fishing is more reliable then.

.

  1. Farewell, therefore, I say unto you, Isle of abundant beauty,
  2. And you birds, too, of water and forest
  3. That will be the witnesses of my sad regrets.
  4. For it is with great regret, and I cannot pass over it in silence,
  5. That I leave this place, although rather solitary.
  6. For it is with great regret that now I see
  7. Shaken the subject of introducing our Faith here
  8. And the Name of our Great God hidden in silence,
  9. Who had touched the conscience of this people.
  10. Eagles that inhabit the tops of high pines
  11. Since Jupiter has entrusted his secrets to you,
  12. Go up to the heavens to announce this matter
  13. And how much suffering I have of this inside my soul,
  14. Then return swiftly to the French Monarch of France
  15. To relate to him the decree of the mighty King of Kings.
  16. For to him is given this inheritance from heaven
  17. In order that in his name hereafter <and> forever
  18. The Everlasting One be worshipped in a holy manner
  19. And that his great name be revered by a hundred nations.
  20. And to motivate him more to do this thing
  21. <God> has wanted to attract him by a hundred kinds of profit
  22. Having made our labours commensurate with our desires
  23. And having completed them with ten thousand pleasures.
  24. For the earth here is not as a fool would guess,
  25. <As> she produces copiously for him who has experience
  26. Of the pleasures of gardening and the labour of the fields.

.

  1. And if you want the sweet song of birds as well,
  2. <This land> has the Nightingale, the Blackbird, the Linnet,
  3. And many another not known that sings pleasantly
  4. In Spring. If you want fowl
  5. That go and feed on the water’s edge
  6. <This land> has the Cormorant, the Mallow, the Seagull,
  7. The Canada Goose, the Heron, the Crane, the Lark,
  8. And the Goose , and the Duck. Six types of Duck,
  9. Whose many colours make as many lures
  10. That rivet my eyes. Do you want also
  11. Those birds of prey with which the Nobleman distinguishes himself?
  12. <This land> has the Eagle, the Owl, the Falcon, the Vulture,
  13. The Saker Falcon, the Sparrow Hawk, the Merlin, the Goshawk,
  14. And, in short, all the birds of noble hawking
  15. And beyond these yet another infinite multitude
  16. Which we do not have in common. But <this land> has the Curlew
  17. The Egret, the Cuckoo, the Woodcock, and the Redwing,
  18. The Dove, the Jay, the Owl, the Swallow,
  19. The Woodpigeon, the Green Finch, with the Turtledove,
  20. The Hoopoe, the lascivious Sparrow,
  21. The multi-coloured Ptarmigan, and also the Crow.
  22. What more shall I say? Will someone <at least> be able to believe
  23. That God himself has wanted to manifest his glory
  24. By creating a little bird similar to a butterfly
  25. (That does not exceed the size of a cricket)
  26. Displaying on its back a green-golden plumage
  27. And a red and white colour on the rest of its chest.
  28. Amazing little bird, why then, <as if> envious,
  29. Have you made yourself invisible to my eyes a hundred times,
  30. While passing lightly by my ear
  31. You only left the marvel of a soft sound?
  32. I would not have been cruel to your rare beauty
  33. <Un>like others who have treated you fatally
  34. If you had deemed me worthy to come and portray you.
  35. But although you did not want to hear my wish
  36. I will not give up celebrating your name nevertheless
  37. And make that you be of great renown among us.
  38. For I admire you as much in your smallness
  39. As I do the elephant in its vast size.
  40. Niridau is your name which I do not wish to change
  41. In order to impose one that would be foreign:
  42. Niridau, delicate little bird by nature,
  43. That takes the sweet nourishment of bees
  44. Syphoning the fragrant flowers of our gardens,
  45. And the rarest sweets from the forest edge.

.

  1. To these dwellers of the sky may I add, without offending,
  2. The excellence of a tiny winged folk?
  3. These are fireflies, which at nightfall
  4. Shine with brilliant clarity among the trees
  5. Darting here and there in such great throngs
  6. That the luminous band of starry sky
  7. Itself seems to hold no greater wonder.
  8. Therefore, commemorating here
  9. <All> the beauties of this place, it is indeed reasonable
  10. That you be included and hold a fitting place among them.

.

  1. But since our sails are already set
  2. And <we> are going to see again those who believe us perished
  3. I say Farewell once more to your beautiful gardens
  4. That have nourished us with your medicinal herbs,
  5. Nay also relieved our need
  6. <And> more than the art of Paean have kept us healthy.
  7. You have certainly given back to us in abundance
  8. The fruit of our labours in accordance with our sowing.
  9. So what does it matter if it ever happens
  10. (And which it necessarily will do in the future)
  11. That the soil here needs to be made more appealing
  12. And improved sometimes by human labour?
  13. Who will believe that the rye, and the hemp, and the peas
  14. Have surpassed twice the height of a young man?
  15. Who will believe that the so-called Indian corn
  16. Rises up so high in this season
  17. That it seems to be carried by insufferable pride
  18. To make itself, haughty, resemble a woodland?
  19. Ah! What great sadness it is for me not to be able to wait for
  20. The fruit that in little time you promise to render!
  21. How disturbing it is for me not to see the season
  22. When the squash and the melon will ripen
  23. And the cucumber as well: And <I> also grieve
  24. At not seeing at all come to fruition my wheat, my oats,
  25. And my barley and my millet, since the Sovereign
  26. Has blessed me in this modest effort with his hand.
  27. And yet, here it is the thirtieth day of the
  28. Month that once used to be the fifth in rank.

.

  1. Nations of all parts far away from here
  2. Do not marvel at this
  3. And do not at all consider us as being in a cold region,
  4. <As> this is not at all <like> Flanders, Scotland, nor Sweden,
  5. The sea here does not freeze over, and the cold seasons
  6. Have never forced me to save the half-burnt firewood.
  7. And if in your country summer arrives earlier than here
  8. You experience winter’s inclemency earlier.
  9. But you are staying yet, Poutrincourt, waiting
  10. Until your harvest is ready: And we, nevertheless,
  11. We set sail for Canso where the ship awaits you
  12. Which from there is due to convey all of us to France.
  13. For now, beautiful ears of grain, ripen quickly,
  14. May God the Almighty give you growth
  15. In order that one day his glory may resound
  16. When we shall commemorate his blessings
  17. Among which we will count as well
  18. The care which he will have taken to gather into his mercy
  19. These vagabond peoples one calls Sauvages,
  20. Dwellers of these forests and marine shores,
  21. And a hundred peoples more who are located on all sides
  22. To the south, West and North settled in one place
  23. Who love to work and who cultivate the soil
  24. And who, in freedom, live more contentedly from their produce than we
  25. But their condition is deplorable in this respect
  26. That they have not been instructed about the world to come.

.

  1. Why, o Almighty one, why then have you
  2. Rejected this race from your face until now
  3. And why do you leave to hell to devour,
  4. So many human beings who ought to triumph over it,
  5. Seeing that they are, like us, <of> your work and making
  6. And have from you received our fragile nature?
  7. Open therefore the treasuries of your compassion[s]
  8. And pour out onto them your blessings
  9. In order that soon they may be your blessed heritage
  10. And intone aloud your goodness throughout all the ages.
  11. As soon as your sun will shine on them
  12. Just as soon we will see this people worship you.
  13. Witness be the true conversations
  14. Poutrincourt held with these pitiful people
  15. When he taught them our Religion
  16. And often showed them the ardent desire
  17. He had to see them inside the fold
  18. Which Christ has redeemed by the price of his life.
  19. Clearly moved, they on their part gave witness
  20. With their mouths and hearts of the desire they had
  21. To be more amply instructed in the teaching
  22. Within which it is proper for the faithful make their way.

.

  1. Where are you, Prelates, that you do not pity
  2. This people that makes up half the world?
  3. <Why> don’t you at least give aid to those whose zeal
  4. Transports them so far as if under His wing
  5. To establish here God’s holy law
  6. With so much hardship, care and emotion?
  7. These peoples are not brutal, barbaric or savage,
  8. If you <choose> not to call by such names the men of yore,
  9. They are subtle, clever and of very sound judgment
  10. And <I> have not known a single one who lacked understanding
  11. Only they need a father to teach them
  12. To cultivate the earth, to cultivate the vine,
  13. To live in an organized fashion, to be economical
  14. And to dwell in fixed habitations from here on.
  15. For the rest, in our opinion, they are full of innocence
  16. If <only> they had knowledge of their creator.
  17. <But> because they do not know Him, neither mouth nor heart
  18. Ravishes God’s honour through blasphemy.
  19. They do not know the work of the amorous potion
  20. Nor have they knowledge of the use of aconite,
  21. Their mouths do not vomit forth our curses
  22. Their spirits are not given over to our inventions
  23. For oppressing the other, <and> the cruel avarice
  24. of an all-consuming preoccupation does not torment their souls.
  25. But they have the hospitality of the Gaulois,
  26. Who valued it so highly in their days of old.
  27. Their greatest vice is the love of vengeance
  28. When their enemy has offended them in some way.

.

  1. Farewell unto you, then, poor people, and <I> am incapable
  2. To express the sadness I feel
  3. In leaving you thus, without having seen as yet
  4. One of you made to truly worship God.

.

  1. Let us depart, then, from this harbor, the East wind permitting,
  2. For on these coasts the West wind is prevalent
  3. <And> moreover, this sea is often covered by fog
  4. Which causes the total loss of incautious men.

.

  1. Farewell for the last time, Rocks rearing high,
  2. Proudly raising up your caverns
  3. From whence pour forth without end abundant showers
  4. Which are supplied by the waters coursing down the mountains.
  5. Farewell, then, to you as well, Caves, that have pleased me
  6. When beneath your halls in bright daylight I have seen outlined
  7. The attractive colours of the Rainbow.

.

  1. Now that we are in sight of the awesome waves
  2. Of the Ocean deep, will I be able to pass by
  3. Without saluting from afar, or leaving <without> a Farewell
  4. To the land that received our <country> France
  5. When she first came to establish herself here?
  6. Island, I salute you, Isle of Saint Croix,
  7. Island that was the first dwelling place of our poor <fellow> French
  8. Who suffered major hardships while dwelling with you,
  9. But <it is> our bad habits that often cause us these injuries.
  10. I revere, however, your pure antiquity,
  11. The scented cedars on your side
  12. Your workshops, your lodgings, your superb warehouse,
  13. Your gardens choked by new weeds:
  14. But I honour above all on account of our dead
  15. The place that holds their bodies in its keeping
  16. Which I have not been able to behold without a power of tears
  17. So much did these terrible exploits sadden my heart.
  18. Be at peace, then, and may you one day
  19. Find yourselves in glory in the heavenly mansion.
  20. But nevertheless, DE MONTS, you take with you the glory
  21. Of having obtained victory over a thousand deaths,
  22. A true witness to your great courage,
  23. Be it when you battled the fury of the waves
  24. While coming to visit this faraway province
  25. In order to follow the will of HENRY, our Prince,
  26. Or when in front of your eyes you watched <them> die
  27. Those <buried> there who followed you to that fateful location.

.

  1. Far behind I leave you, mines to be
  2. Which the massive rocks lodge deep in their veins,
  3. Mines of bronze, iron and steel, and of silver,
  4. And of pit coal, in order to salute the people
  5. Who cultivate their land by hand, the Armouchiquois.
  6. I salute you, then, quarrelsome nation
  7. (For you have failed us on account of treason)
  8. To say unto you that one day we will obtain satisfaction
  9. And with greater effect, of your presumptuousness,
  10. Just as your offspring will be accursed among us.
  11. But your earth I want to salute in all its goodness
  12. For she is sure to give us an ample return
  13. When she will experience French cultivation.
  14. For in her provident Nature has already
  15. Implanted the vine so copiously
  16. And with such beauty, that Bacchus himself,
  17. If invoked, would not know how to improve on it.
  18. But its people, unaware, do not know the use of its fruit.
  19. Earth, you also have, with beans and grain,
  20. Your subterranean silos filled in harvest time.
  21. But although you give your produce abundantly
  22. Producing other fruits without human assistance
  23. Such as the hemp, squash and nuts we have seen,
  24. Your beans, nor your grain, in any case, you do not
  25. Produce without work, but your populace, in great number,
  26. <Already> breaks you with a sharp cutting timber, and turns you over
  27. To plant its seed there, in the Spring.

.

  1. But one more thing I must mention
  2. Which obliges me to write about it because of its rarity,
  3. <And> that is the product produced by the stalk of the hemp plant
  4. <A> product worthy of being held precious by Kings
  5. <And> most delicious for the repose of the body:
  6. It is a white, thin and fine silk
  7. Which Nature produces in the hollow of a shell,
  8. Silk which one will be able to employ for many a use
  9. And which workers will turn into cotton
  10. When you <Earth>, inhabited by good artisans,
  11. Will be controlled by a willed sedentarism.

.

  1. May I see that thing arrive soon,
  2. And careful Frenchmen cultivate your fields,
  3. Away from the cares of a life of hardship
  4. Far from the noise of the common crowd, and from deceit.

.

  1. Seeking on Neptune’s bosom rest without rest,
  2. I have fashioned these verses on the swell of his waves.
  3. LESCARBOT

—Translated by Haijo Westra

Based on the Histoire de la Nouvelle-France, 1617 edition, produced by Rénald Lévesque and published by the Gutenberg Project (2007) at www. gutenberg

 §

champlain detail2Detail from Champlain map

A-DIEU A LA NOUVELLE-FRANCE
Du 30 Juillet 1607.

FAUT-il abandonner les beautez de ce lieu,
Et dire au Port Royal un eternel Adieu?
Serons-nous donc toujours accusez d’inconstance
En l’établissement d’une Nouvelle-France?
Que nous sert-il d’avoir porté tant de travaux,
Et des flots irritez combattu les assaux,
Si notre espoir est vain, & si cette province
Ne flechit souz les loix de HENRY notre Prince?
Que vous servit-il d’avoir jusques ici
Fait des frais inutils, si vous n’avez souci
de recuillir le fruit d’une longue depense,
Et l’honneur immortel de votre patience?
Ha que j’ay de regrets que ne sçavez pas
De cette terre ici les attrayans appas.
Et bien que le Flamen vous ait fait une injure,
L’injure bien souvent se rend avec usure.
Il faut doncques partir, il faut appareiller,
Et au port Sainct-Malo aller l’ancre mouiller.

PERE DE L’UNIVERS, qui commandes aux ondes,
Et qui peux assecher les mers les plus profondes,
Donne nous de franchir les abymes des eaux
Dont tu as separé tous ces peuples nouveaux
Des peuples baptizés, & sans aucun naufrage
Du royaume François voir bien-tot le rivage.

Adieu donc beaux coteaux & montagnes aussi,
Qui d’un double rempar ceignez ce Port ici.
Adieu vallons herbus que le flot de Neptune
Va baignant largement deux fois à chaque lune,
Et au gibier aussi, qui pour trouver pâture
Y vient de tous cotez tant qu’il y a verdure.
Adieu mon doux plaisir fonteines & ruisseaux,
Qui les vaux & les monts arrousez de vos eaux.
Pourray-je t’oublier belle ile forètiere
Riche honneur de ce lieu & de cette riviere?
Je prise de ta soeur les aimables beautés,
Mais je prise encor plus tes singularités.
Car comme il est séant que celui qui commande
Porte une Majesté plus auguste & plus grande
Que son inferieur; ainsi pour commander
Tu as le front haussé qui te fait regarder.
A l’environ de toy une ondoyante plaine,
Et la terre alentour sujette à ton domaine
Tes rives sont des rocs, soit pour tes batimens,
Soit pour d’une cité jetter les fondemens.
Ce sont en autres parts une menuë arene,
Où mille fois le jour mon esprit se pourmene.
Mais parmi tes beautés j’admire un ruisselet
Qui foule doucement l’herbage nouvelet
D’un vallon que se baisse au creux de ta poitrine,
Precipitant son cours dedans l’onde marine.
Ruisselet qui cent fois de ses eaux m’a tenté,
Sa grace me forçant lui prèter le côté.
Ayant dont tout cela, Ile haute & profonde,
Ile digne sejour du plus grand Roy du monde,
Ayant di-je, cela, qu’est-ce que te defaut.
A former pardeça la cité qu’il nous faut,
Sinon d’avoir prés soy un chacun sa mignone
En la sorte que Dieu & l’Eglise l’ordonne?
Car ton terroir est bon & fertile & plaisant,
Et oncques son culteur n’en sera deplaisant.
Nous en pouvons parler, qui de mainte semence
Y jettée, en avons certaine experience.
Que puis-je dire encor digne de ton beau los?
Qu’adjouteray-je ici que dedans ton enclos
Se trouvent largement produits par la Nature
Framboises, fraises, pois, sans aucune culture?
Ou bien diray-je encor tes verdoyans lauriers,
Tes Simples inconus, tes rouges grozeliers?
Non, mais tant seulement sans sortir tes limites,
Ici je toucheray les nombreux exercices
Des peuples écaillez qui viennent chaque jour,
Suivans le train du flot te donner le bon-jour.

Si-tot que du Printemps la saison renouvelle
L’Eplan vient à foison, qui t’apporte nouvelle
Que Phoebus elevé dessus ton horizon
A chassé loin de toy l’hivernale saison.
Le Haren vient apres avecque telle presse
Que seul il peut remplir un peuple de richesse.
Mes yeux en sont témoins, & les vostres aussi
Qui de nôtre pature avés eu le souci,
Quand, ailleurs occupez, vôtre main diligente
Ne pouvoit satisfaire à la chasse plaisante
Qu’envoyoit en voz rets l’ecluse d’un moulin.
Le Bar suit par-apres du Haren le chemin.
Et en un méme temps la petite Sardine,
La Crappe, & le Houmar, suit la côte marine
Pour un semblable effect; le Dauphin, l’Eturgeon
Y vient parmi la foule avecque le Saumon,
Comme font le Turbot, le Pounamou, l’Anguille,
L’Alose, le Fletan, & la Loche, & l’Equille:
Equille qui, petite, as imposé le nom
A ce fleuve de qui je chante le renom.
Mais ce n’est ici tout, car tu as davantage
De peuples qui te font par chacun jour homage,
Le Colin, le Joubar, l’Encornet, le Crapau,
Le Marsoin, le Souffleur, l’Oursin le Macreau,
Tu as le Loup-marin, qui en troupe nombreuse
Se vautre au clair du jour sur ta vase bourbeuse,
Tu as le Chien, la Plie, & mille autres poissons
Que je ne conoy point, de tes eaux nourrisons.
Tairay-je la Moruë heureusement feconde,
Qui par tout cette mer en toutes parts abonde?
Moruë si tu n’es de ces mets delicats
Dont les hommes frians assaisonnent leurs plats,
Je diray toutefois que de toy se sustente
Prèque tout l’Univers. O que sera contente
Celle personne un jour, qui à sa porte aura
Ce qu’un monde eloigné d’elle recherchera!
Belle ile tu as donc à foison cette manne,
Laquelle j’ayme mieux que de la Taprobane
Les beautez que lon feint dignes des bien-heureux
Qui vont buvans des Dieux le Nectar savoureux.
Et pour montrer encor ta puissance supreme,
La Baleine t’honore & te vient elle-méme
Saluer chacun jour, puis l’ebe la conduit
Dans le vague Ocean où elle a son deduit.
De ceci je rendray fidele temoignage,
L’ayant veu mainte fois voisiner ce rivage,
Et à l’aise nouer parmi ce port ici.

Mais tous ces animaux, mais tous ces peuples ci
S’écartent quand Phoebus veut approcher la borne
Du celeste manoir, où git le Capricorne,
Et vont chercher l’abri du profond de Thetys,
Ou d’un terroir plus doux vont souvans le pâtis.
Seulement pres de toy en cette saison dure
La Palourde, la Coque, & la Moule demeure
Pour sustenter celui qui n’aura de saison
(Ou pauvre, ou paresseux) fait aucune moisson,
Tel que ce peuple ici qui n’a cure de chasse
Jusqu’à ce que la faim le contraigne& pourchasse,
Et le temps n’est toujours favorable au chasseur.
Qui ne souhaite point d’un beau temps la douceur,
Mais une forte glace, ou des neges profondes,
Quand le Sauvage veut tirer du fond des ondes
L’industrieux Castor (qui sa maison batit
Sur la rive d’un lac, où il dresse son lict
Vouté d’une façon aux hommes incroyable,
Et plus que noz palais mille fois admirable,
Y laissant vers le lac un conduit seulement
Pour s’aller égayer souz l’humide element)
Ou quand il veut quéter parmi les bois le gite
Soit du Royal Ellan, soit du Cerf au pié vite,
Du Lapin, du Renart, du Caribou, de l’Ours,
De l’Ecureu, du loutre à peau-de-velours
Du Porc-epic du Chat qu’on appelle sauvage,
(Mais qui du Leopart ha plustot le corpsage)
De la Martre au doux poil dont se vétent les Rois,
Ou du Rat porte-muse, tous hôtes de ces bois,
Ou de cet animal qui tout chargé de graisse
De hautement grimper ha la subtile addresse,
Sur un arbre elevé sa loge batissant
Pour decevoir celui qui le va pourchassant,
Et vit par cette ruse en meilleure asseurance
Ne craignant (ce lui semble) aucune violence,
Nibachés est son nom. Non que sur le printemps
Il n’ait à cette chasse aussi son passe-temps.
Mais alors du poisson la peche est plus certaine.

Adieu donc je te dis, ile de beauté pleine,
Et vous oiseaux aussi des eaux & des forêts
Qui serez les témoins de mes tristes regrets.
Car c’est à grand regret, & je ne le puis taire,
Que je quitte ce lieu, quoy qu’assez solitaire.
Car c’est à grand regret qu’ores ici je voy
Ebranlé le sujet d’y entrer nôtre Foy,
Et du grand Dieu le nom caché souz le silence,
Qui à ce peuple avoit touché la conscience.

Aigles qui des hauts pins habitez les sommets,
Puis qu’à vous Jupiter a commis ses secrets,
Allez dedans les cieux annoncer cette chose,
Et combien de douleur j’en ay en l’ame enclose,
Puis revenez soudain au Monarque François
Lui dire le decret du puissant Roy des Roys.
Car à lui est du ciel donné cet heritage,
Afin que souz son nom ci-aprés en tout âge
L’Eternel soit ici sainctement adoré,
Et de cent nations son grand nom reveré:
Et pour mieux l’emouvoir à cette chose faire,
Par cent sortes de biens il l’a voulu attraire,
Ayant à noz labeurs fait selon noz désirs,
Et iceux terminé de dix mille plaisirs.
Car la terre ici n’est telle qu’un fol l’estime,
Elle y est plantureuse à cil qui sçait l’escrime
Du plaisant jardinage & du labeur des champs.

Et si tu veux encor des oiseaux les doux chants,
Elle a le Rossignol, le Merle, la Linote,
Et maint autre inconu, qui plaisamment gringote
En la jeune saison. Si tu veux des oiseaux
Qui se vont repaissans sur les rives des eaux,
Elle a le Cormorant, la Mauve, Ma Mouette,
L’Outarde, le Heron, la Gruë, l’Alouette,
Et l’Oye, et le Canart. Canart de six façons,
Dont autant de couleurs sont autant d’hameçons
Qui ravissent mes yeux. Desires-tu encore
De ces oiseaux chasseurs dont le Noble s’honore?
Elle a l’Aigle, le Duc, le Faucon, le Vautour,
Le Sacre, l’Epervier, l’Emerillon, l’Autour,
Et bref tous les oiseaux de haute volerie
Et outre iceux encore une bende infinie
Qui ne nous sont communs. Mais elle a le Courlis
L’Aigrette, le Coucou, la Becasse & Mauvis,
La Palombe, le Geay, le Hibou, l’Hirondelle,
Le Ramier, la Verdier, avec la Tourterelle,
Le Beche-bois huppé, le lascif Passereau,
La perdris bigarrée, & aussi le Corbeau.

Que diray-je plus? Quelqu’un pourra-il croire
Que Dieu méme ait voulu manifester sa gloire
Creant un oiselet semblable au papillon
(Du moins n’excede point la grosseur d’un grillon)
Portant dessus son dos un vert-doré plumage,
Et un teint rouge-blanc au surplus du corps-sage?
Admirable oiselet, pourquoy donc, envieux,
T’es-tu cent fois rendu invisible à mes ieux,
Lors que legerement me passant à l’aureille
Tu laissois seulement d’un doux bruit la merveille?
Je n’eusse esté cruel à ta rare beauté,
Comme d’autres qui t’ont mortellement traité,
Si tu eusses à moy daigné te venir rendre.
Mais quoy tu n’as voulu à mon desir entendre.
Je ne lairray pourtant de celebrer ton nom,
Et faire qu’entre nous tu sois de grand renom.
Car je t’admire autant en cette petitesse
Que je fay l’Elephant en sa vaste hautesse.
Niridau c’est ton nom que je ne veux changer
Pour t’en imposer un qui seroit étranger.
Niridau oiselet delicat de nature,
Qui de l’abeille prent la tendre nourriture
Pillant de noz jardins les odorantes fleurs,
Et des rives des bois les plus rares douceurs.

A ces hotes de l’air pourray-je sans offense
D’un petit peuple ailé adjouter l’excellence?
Ce sont mouches, de qui sur le point de la nuit
La brillante clarté parmi les bois reluit
Voletans ça & là d’une presse si grande,
Que du ciel etoilé la lumineuse bende
Semble n’avoir en soy plus d’admiration.
Faisant doncques ici commemoration
Des beautez de ce lieu, il est bien raisonnable
Que vous y teniez rang & place convenable.

Mais puis que ja desja noz voiles sont tendus,
Et allons revoir ceux qui nous cuident perdus,
Je dis encore Adieu à vous beaux jardinages,
Qui nous avez cet an repeu de vos herbages,
Voire aussi soulagé nôtre necessité
Plus que l’art de Pæon n’a fait nôtre santé.
Vous nous avez rendu certes en abondance
Le fruit de noz labeurs selon notre semence.
Hé que sera-ce donc s’il arrive jamais
(Ce qu’il est de besoin qu’on face desormais)
Que la terre ici soit un petit mignardée,
Et par humain travail quelquefois amendée?
Qui croira que le segle,& la chanve, & le pois,
Le chef d’un jeune gars ait surpassé deux fois?
Qui croira que le blé que l’on appelle d’Inde
En cette saison-ci si hautement se guinde
Qu’il semble estre porté d’insupportable orgueil
Pour se rendre, hautain, aux arbrisseaux pareil?
Ha que ce m’est grand deuil de ne pouvoir attendre
Le fruit qu’en peu de temps vous promettiez nous rendre!
Que ce m’est grand émoy de ne voir la saison
Quand ici meuriront la Courge, le Melon,
Et le Cocombre aussi: & suis en méme peine
De ne voir point meuri mon Froment, mon Aveine
Et mon Orge & mon Mil, pois que le Souverain
En ce petit travail m’a beni de sa main.
Et toutefois voici de ce mois le trentieme,
Mois qui jadis estoit en ordre le cinquième

Peuples de toutes parts qui estes loin d’ici
Ne vous emerveillez de cette chose ci,
Et ne nous tenez point comme en region froide,
Ce n’est point ici Flandre, Ecosse, ni Suede,
La mer ici ne gele, & les froides saisons
Ne m’ont oncques forcé d’y garder les tisons.
Et si chez vous l’eté plustot qu’ici commence,
Plustot vous ressentez de l’hiver l’inclemence.
Mais tu restes encor, Poutrincourt attendant
Que ta moisson soit préte: & nous nous cependant
Faisons voile à Campseau où t’attent le navire
Que de là doit tous en la France conduire.
Cependant beaux epics meurissez vitement,
Dieu le Dieu tout-puissant vous doint accroissement,
Afin qu’un jour ici retentisse sa gloire
Lors que de ses bien-faits nous ferons la memoire.
Entre lesquelz bien-faits nous conterons aussi
Le soin qu’il aura eu de prendre à sa merci
Ces peuples vagabons qu’on appelle Sauvages
Hotes de ces forèts & des marins rivages,
Et cent peuples encor qui sont de tous côtez
Au Su, à l’Oest au Nort de pié-ferme arretez
Qui aiment le travail, qui la terre cultivent,
Et libres, de ses fruits plus contens que nous vivent,
Mais en ce deplorable est leur condition,
Que du siecle futur ilz n’ont l’instruction.

Pourquoy, ô Tout-puissant, pourquoy donc cette race
As-tu jusques ici rejetté de ta face,
Et pourquoy laisses tu devorer à l’enfer,
Tant d’humains qui devroient dessus lui triompher
Veu qu’ilz sont comme nous ton oeuvre & ta facture,
Et ont de toy receu nôtre fraile nature?
Ouvre donc les thresors de tes compassions,
Et verse dessus eux tes benedictions,
Afin qu’ilz soient bien-tot ton sacré heritage,
Et chantent hautement tes bontés en tout âge.
Si-tot que ton Soleil sur eux éclairera,
Aussi-tot cet gent d’adorer on verra.
Temoins soient de ceci les propos veritables
Que Poutrincourt tenoit avec ces miserables
Quand il leur enseignoit notre Religion,
Et souvent leur montroit l’ardente affection
Qu’il avoit de les voir dedans la bergerie
Que Christ a racheté par le pris de sa vie.
Eux d’autre part emeus clairement temoignoient
Et de bouche & de coeur le desir qu’ilz avoient
D’estre plus amplement instruits en la doctrine
En laquelle il convient qu’un fidele chemine.

Où estes vous Prelats, que vous n’avez pitié
De ce peuple qui fait du monde la moitié?
Du moins que n’aidez-vous à ceux de qui le zele
Les transporte si loin comme dessus son aile
Pour établir ici de Dieu la saincte loy
Avecque tant de peine, & de soin & d’émoy
Ce peuple n’est brutal, barbare ni sauvage,
Si vous n’appellez tels les hommes du vieil âge,
Il est subtile, habile, & plein de jugement,
Et n’en ay conu un manquer d’entendement,
Seulement il demande un pere qui l’enseigne
A cultiver la terre, à façonner la vigne,
A vivre par police, à estre menager,
Et souz des fermes toicts ci-apres heberger.
Au reste à nôtre égare il est plein d’innocence
Si de son createur il avoit la science.
Que s’il ne le conoit, sa bouche ni son coeur
Ne ravit point à Dieu par blaspheme l’honneur.
Il ne sçait le metier de l’amoureux bruvage,
De l’aconite aussi il ne sçait point l’usage,
Sa bouche ne vomit nos imprecations,
Son esprit ne s’adonne à nos inventions
Pour opprimer autrui, l’avarice cruelle
D’un souci devorant son ame ne bourrelle
Mais il a du Gaullois cette hospitalité
Qui tant l’a fait priser en son antiquité.
Son vice le plus grand est qu’il aime vengeance
Lors que son ennemi lui a fait quelque offense.

Je vous di donc Adieu, pauvre peuple, & ne puis
Exprimer la douleur en laquelle je suis
De vous laisser ainsi sans voir qu’on ait encore
Fait que quelqu’un de vous son Dieu vrayment adore

Sortons donc de ce Port à la faveur de l’Est,
Car en ces côtes ci est ordinaire l’Ouest,
Puis, souvent cette mer est de brumes couverte
Qui des hommes peu cauts cause l’extreme perte.

Adieu pour un dernier Rochers haut elevés,
Qui orgueilleusement voz grottes soulevés,
D’où distillent sans fin des pluies abondantes
Que leur versent les eaux des montagnes coulantes.
Adieu doncques aussi Grottes qui m’avez pleu
Quand souz votre lambris au clair du jour j’ay veu
Figurées d’Iris les couleurs agreables.

Ores que nous voyons les flots épouvantables
Du profond Ocean, pourray-je bien passer
Sans saluer de loin, ou quelque Adieu laisser
A la terre que a receuë notre France
Quand elle vint ici faire sa demeurance?
Ile, je te saluë, ile de Saincte Croix,
Ile premier sejour de noz pauvres François,
Qui souffrirent chez toy des choses vrayment dures,
Mais noz vices souvent nous causent ces injures.
Je revere pourtant ta freche antiquité
Les Cedres odorans qui sont à ton côté,
Tes Loges, tes Maisons, ton Magazin superbe,
Tes jardins étouffez parmi la nouvelle herbe:
Mais j’honore sur tout à-cause de noz morts
Le lieu qui sainctement tient en depost leurs corps,
Lequel je n’ay pu voir sans un effort de larmes,
Tant mon navré le coeur ces violentes armes.
Soyez doncques en paix, & puissiez vous un jour,
Vous trouver glorieux au celeste sejour.
Mais cependant, DE MONTS, tu emportes la gloire
D’avoir sur mille morts obtenu la victoire,
Témoignage certain de ta grande vertu,
Soit quand tu as des flots la fureur combattu
En venant visiter cette étrange province
Pour suivre le vouloir de HENRY nôtre Prince
Soit lors que tu voiois mourir devant tes yeux
Ceux-là qui t’ont suivi en ces funestes lieux.

Je vous laisse bien loin, pepinieres de Mines
Que les rochers massifs logent dedans leurs veines,
Mines d’airain, de fer, & d’acier, & d’argent,
Et de charbon pierreux, pour saluer la gent
Qui cultive à la main la terre Armouchiquoise.
Je te saluë donc nation porte-noise
(Car tu as envers nous forfait par trahison)
Pour te dire qu’un jour nous aurons la raison
Avecque plus d’effect de ton outrecuidance,
Si qu’entre nous sera maudite ta semence.
Mais ta terre je veux saluer en tout bien,
Car un ample rapport elle nous fera bien
Quand elle sentira du François la culture.
Car en elle desja la provide Nature
A le raisin semé si plantureusement,
Et en telle beauté, que Bacchus mémement
Ne sçauroit invoqué lui faire davantage.
Mais son peuple ignorant ne sçait du fruit l’usage.
Terre, tu as encor de féves & de blés
Tes greniers souz-terrains en la moisson comblés.
Mais quoy que tes biens tu donnes abondance
Produisant d’autres fruits sans l’humaine assistance
Tes qu’avons veu la Chanve & la Courge & la Noix,
Tes féves tu ne veux ni tes blez toutefois
Produire sans travail, mais ta grand’ populace
D’un bois coupant ta brise, & en mottes t’amasse
Pour (sur le renouveau) sa semence y planter,

Mais une chose encor il me faut reciter
Qui pour sa rareté à l’écrire m’oblige,
C’est le fruit que produit la Chanve la tige,
Fruit digne que les Rois le tiennent precieux
Pour le repos du corps le plus delicieux:
C’est une soye blanche & menuë & subtile
Que la Nature pousse au creux d’une coquille,
Soye qu’en maint usage employer on pourra,
Et laquelle en cotton l’ouvrier façonnera,
Quand de bons artisans tu seras habitée
Par une volonté de pié-ferme arretée.

Puisse-je voir bien-tot cette chose arriver,
Et le François soigneux à tes champs cultiver,
Arriere des soucis d’une peineuse vie,
Loin des bruits du commun, & de la piperie.

Cherchant dessus Neptune un repos sans repos
J’ay façonné ces vers au branle de ses flots.

—M. LESCARBOT.

(This eBook excerpt is from Project Gutenberg’s Les Muses de la Nouvelle France by Marc L’escarbot produced by Rénald Lévesque. This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org.)

champlain detail1Champlain map detail

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haijo-sailing

Haijo Westra has taught Classics at the University of Calgary and wrote about topics in Greek and Latin literature. More recently, he has turned to the early accounts of the East Coast written in Latin by the Jesuit Pierre Biard and the role of classical ethnography in the description of Native peoples, in particular the Micmac. The present article is his first venture into a French text of the period.

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Sep 152015
 

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(1) Introduction

Frame

He kissed her, lay down beside her on the bed, his face to her face, and tenderly and slowly and gently took her, moving to and fro between the two passages offered to him, finally spilling himself into her mouth which he then kissed again.

“Before I go I’d like to have you whipped,” he said, “and this time I ask your permission. Are you willing?”

She was willing.

“I love you,” he repeated.

“Now ring for Pierre.”

She rang. Pierre chained her hands above her head by the bed chain. When she was thus bound, her lover stepped up on the bed, kissed her, penetrated her again, told her that he loved her, then stepped back onto the floor and nodded to Pierre. He watched her writhe and struggle in vain; he listened to her moans develop into screams. When the tears had finished flowing, he dismissed Pierre. From somewhere deep within she found the strength to tell him again that she loved him. Then he kissed her drenched face, her gasping mouth, released her bonds, put her to bed, and left. (Story of O, Pauline Réage 46)[1]

STORY OF O IS OBSCENE. It reminds me I am a prude with respect to certain standards, because the text often saddens and horrifies me. But there is no denying that I love it, that I have fallen in love with it. It is structurally intricate, and it enacts a philosophical concept I am, for whatever reason—since the genealogy of my interests is as opaque as anybody’s—deeply invested in. Assujettissement is a French term which designates both the process of becoming a subject, a self, and the process of becoming subjected. The two processes are bound in the word, synonymous and simultaneous. The two processes, in the work of the philosopher Michel Foucault, are one. In what follows, I would like to track this concept’s presence in the pages of a text which horrifies me and which excites me and which I love. This is an ambivalent essay: It gulps down so much poison in the process of its merrymaking. The poison is a necessary condition of its merrymaking. One loves to hate, but even critique, which is devoted to the object it criticizes, which lavishes it with the most intense of its attentions, which parasitizes it and assumes it as a basis for synthesis, is love.

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O is the text’s protagonist. The proper name is visually suggestive. It is a nullity, a zero: nothingness. It is an evacuated figure: ‘empty,’ but also ‘open’ to the outside, a positive feature. It is true that when one considers O, the character, and Story of O, or O, the constitutive text/world that saturates her, allegorically, O’s obscenity eases. In the text, O’s lover presents her for prostitution within the limits of a clandestine, male-run society. O agrees to her prostitution and to the subsequent consequences of her enslavement. Soon torture, which was never supposed to yield pleasure (“[I]f you do tie her up, or whip her a little, and if she begins to like it—then that’s no good either” [Réage 10]), becomes the source of O’s deep subjective satisfaction: “However astonishing it might seem, that she might be ennobled, that she might gain dignity from being prostituted, continued to amaze her. It illuminated her from within…” (Réage 45). It seems as if O’s willed passivity might then be read as having a liberating effect, and that the text could be parsed as an allegory for a liberating form of self-death, or self-overcoming: The self negates itself in order to free itself (perhaps from itself, or perhaps from a power which functions through the self).[2]

It might seem strange to consider self-negation a positive, or necessary, gesture in the first place, but there are a few intellectual frameworks which motivate the idea that it is: Nietzsche, for example, promoted self-death as an anecdote for nihilism; he urged his fellow—though he was loath to call them fellow—nineteenth-century, German subjects to become other than they were, to relinquish their sickliness and become gods. That is to say, he urged them to pull up their pants and make their own values, given that values were nowhere to be found (God was dead, after all). Self-death becomes an even more complicated imperative in light of Foucault’s work.

Foucault, of course, obliterated the difference between the subject and its surrounding social world. The social forces which seem to exist outside the subject actually, in his schema, created its subjectivity in the first place and make use of that subjectivity as a means to their own normalizing ends. No one forces us to behave. We help power along: we regulate ourselves. You are forced to write enough essays as a youth and you might actually come to take pleasure in the process. You begin to write in the absence of an injunction from without. For your own joy. Your joy has been disciplined into you: power enters you and perpetuates itself through you by giving you a skill. In the Foucaultian schema there are different ways that power ‘gets into you’ (though there is no ‘you’ before power generates you, before it sculpts you as an entity with particular capacities and desires).

Disciplinary practices inject themselves into your psyche. For example, in school, you are forced to sit in a certain way, to work in a certain way. You are punished when you deviate from the norms of correctness and appropriateness; you learn how to behave ‘properly,’ which is just to say ‘normally’; you learn how to think ‘well,’ which is just to say ‘normally’; other possibilities are foreclosed.

Social forces are woven into the very texture of selfhood by means of language, or discourse, as well. Language bestows the categories, narratives and logics we use to interpret ourselves and our experience. We are all strangers to language. It precedes us and we ‘pick it up.’ It conditions how we think, what we think, what we can imagine, and in doing so circumscribes what we can be. It was not always possible to be ‘traumatized,’ for example; ‘trauma,’ the category, only came into being at a particular point in history. Sometimes language can pigeonhole us: we need to appeal to a category to be recognized, socially—we need to claim we are ‘depressed,’ say, to get the time off work, to have access to the means of assistance—but the category itself does not quite capture our experience in its particularity and, basically, insofar as we are only what others can recognize or articulate us as, obliterates our particularity (the category is reductive, in other words). My mother was in a rough place, once, and needed help; they wouldn’t let her into the hospital without a diagnosis, without a label of some kind (it’s an administrative thing); they slapped one on (‘bipolar’), and, ever since, my father, who she was in the process of separating from, at the time, has been convinced that she’s ‘crazy’ (at some point, invoking her label, he had convinced all the neighbours to write her off too).

Increasingly, images make up the matter, the texture, of consciousness as well. Think of the anorexic, who experiences her desire for thinness (a social symbol for willfulness and self-control) as the most essential, authentic aspect of who she is. The connections between thinness and willfulness and thinness and self-control have been forged in various cultural documents which are supposedly outside her (glossy advertisements, for example), but she would not be who she is without them; they have laid the ground for the very desires and pleasures which define her, or which she appeals to in order to define herself (these documents are in that sense inside her; they are her).

When the anorexic strives for thinness, understood as a cultural ideal, conformity to which, within certain limits, yields various social rewards, she is acting in ways which further the aims of normalizing social forces; she is subjecting herself to these forces through the very exercise of her agency; social forces have, like a band of bad guys, hijacked her will, have coopted her very pleasures and desires for their own purposes. They can do so because they created these pleasures, these desires, in the first place. Significantly, the anorexic’s agency is nevertheless still her agency. It is precisely because the subject, in Foucault’s story, is thoroughly saturated with subjugating social forces—it is precisely because her agency is just power’s agency—that self-death seems appealing: The anorexic, for example, must literally become another person in order to wriggle out of the particular grip normalizing power has on her: she must stomp out, relinquish, betray her Self, her own desires.

Yet, for Foucault, it is never the case that we fully escape power; power is at all times subjectivity’s necessary condition (if we were not worked over by social forces, we would simply not be selves—we would simply not be). Still, power can function in ways which are more rather than less conducive to flourishing (it might not be so bad, for example, to learn how to write an essay, but it will always suck to starve yourself to the point of death). Social forces, assuming the form of a particular self, manifest as the contents of a particular psyche, mediated and modified by that psyche, can have unanticipated effects. Stated differently, the self, formed by social forces, by power, can, as it exists through time, either sustain these forces or subvert them, can consolidate them or send them swerving off course. Imagine your life as a timeline. You are not the same person over time. You change, and, in the Foucaultian schema (Judith Butler’s version), this means power renovates you, creates you anew. Each time it’s time for a new renovation, each time you die, or teeter on the brink of becoming other than the self you are (or, as Butler would put this, each time you “turn” back on the power that formed you), there is an opportunity: You may come out on the other side of “death” (the self you were is gone, but, biologically, you persist) and it may be the case that you are still power’s bitch, at least as much as you were before. Or it may be the case that you find yourself behaving and experiencing your life in ways which do not seem to simply flow from the self you were or from the particular way you were circumscribed—limited, or delimited, as a subject, a self—by forces beyond you. You’ve swerved. You are still power’s bitch, but to a lesser degree. You’ve hijacked the forces that formed you; they are your calculating and controlling parents and you’ve dashed their dreams, mutilated their vision for you. But, really, it’s not just about you being a rebel (though it doesn’t hurt to be one). Power, mutating as if it had a duplicitous agency of its own, is the same phenomenon—differently described—you’ve reductively recognized as the effect of your will. You didn’t mutilate your parents’ vision; they mutilated their own vision for you. Or: you mutilated it, but they did too.

I mentioned above that Story of O could be read as an allegory for a liberating kind of self-negation (for a subversive kind of assujettissement, or “turn”): O wills her own passivity (or, we might say, dies: she willfully relinquishes her Self); she agrees, at all points in the text, to be a slave, to let her lover’s agency wash over her, and her subjugated state, along with all its accoutrements (pain and more pain), comes to give her great pleasure and satisfaction. On this reading, O “turns” back on the forces that created who she was; she transforms, becoming power’s bitch to a lesser degree. Although I like this idea—Lisa Robertson proposes something like it when, in Nilling, she suggests that O has an anarchic trajectory—in this essay I want to pursue the opposite line of thinking: O still “turns” back on the forces that created her: she “dies” multiple times, or serially becomes a new self, but her transformations do not amount to emancipatory appropriations of power. She comes out on the other side of self-metamorphosis and she’s just as much power’s bitch as she always was. Actually, she’s even more whipped, both literally and figuratively.

As an allegory for a subjugating process whereby selves become selves—as an allegory for a non-subversive kind of ‘assujettissement’—Story of O is meticulously attuned. This is what impresses me about the text, or is the real fulcrum of my fascination with it. I wanted to do a detailed reading that would highlight the ways in which the novel works as such an allegory. My reading hinges on the idea that the presence of pleasure is compatible with the presence of power: Pain might yield pleasure and satisfaction in Story of O, but if power, as a Foucaultian would understand it, produces our very pleasures and desires, then it seems that the fact that we take pleasure in something in no way implies that, with respect to that thing we take pleasure in, we are more, rather than less, free. It is possible to be both perfectly gratified and power’s bitch simultaneously (recall the anorexic, who, after all, is quite pleased with herself; she strives to protect her disease). Pleasure itself, in Story of O, and just in general, is problematic. Agency, in this text, at all points, just is self-subjection. O transforms, again and again, but she transforms stagnantly. That is, O never loses power’s directions; she burns them into her arm and then follows them carefully.

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(2) Discourse, Discipline, Subjects, Bodies

 The ‘Always Already’ of Power

We begin at the beginning, which has always already begun. The temporal structure of O’s inauguration into slavery is similar to the temporal structure of Butler’s ‘turn.’ The ‘turn’ is just a figure Butler appeals to in order to shed light on the process of self-formation, which is irreducibly enigmatic: The self only becomes itself when it “turns” back and takes up the power which is said to form it; power only becomes power when the self relates to it. There is, of course, something fishy about how the process is formulated linguistically: A self is said to ‘turn’ back on power, and this turning back is supposed to make power what it is. But the self is not supposed to exist “prior” to the workings of power: power, in the Foucaultian schema, is supposed to produce the self. The way “the turn” is formulated in language, then, implies that a self turns back on power before that self even exists, or that power pre-exists itself, since power is supposed to form the self, but it is the self which supposedly makes power possible in the first place by “turning back.” The ‘turn’ is haunted by a postmodern version of the chicken or egg question; it has a mysterious, ‘chicken or egg’ temporal-structure (it’s not clear what comes first; it seems as if both the chicken and the egg come first and come later). The subject seems to precede itself and power does too. In Story of O, power similarly precedes any instance at which power is imposed.

Story of O, in fact, has two beginnings. The text as a whole begins as follows: “One day her lover takes O for a walk…” (3). Having read the text in its entirety, one cannot, upon arriving at this sentence a second time, fail to recall O’s final abasement, for in the last chapter her pubic hair is removed and she is led about naked on a leash. The leash, fastened to an iron ring that Sir Stephen, her second owner, has had permanently attached through a hole made in her left labium, is in fact a dog’s leash (196). An inscribed disk has been attached to this ring and, together, these ‘irons’ “dangle a third of the way down her thigh” (166). “[W]ith every step, [they swing] back and forth between her legs like the clapper of a bell” (ibid). Yet, even before O is physically fitted with a leash and irons akin to dog tags, she is being taken for a walk…

Reading the first version of the introduction, one is struck with O’s vacated quality, with her passivity. She says very little, and what she does say only appears in the text indirectly, as reported. The rest of the text is saturated with René, her lover and first owner’s, utterances, most of which take the form of commands: “Get in,” he says. O enters a suspicious vehicle that has been waiting for them on the fringe of the park. “Unhook your stockings” (4). “Undo your garter belt” (ibid.). O similarly obeys. It becomes clear that she has already learned to anticipate René’s desires: Initially thinking that he is about to kiss her, she slips off her gloves (3). After she has been inaugurated into slavery—this is done at the prison/chateau ‘Roissy,’ which is O’s destination now that she is in the car—and she is allowed to return home, we learn that O knows, from pre-Roissy life, “that her lover likes to find her in the living room by the fire when he comes home in the evening” (61-2); she thus curls up there accordingly.[3] Presumably, this is pre-slavery behaviour as well, and we know that it is common for those who are oppressed to be familiar, not only with the language and manners, but with the preferences of those who oppress them. Perspicacity, in the context of oppression, is less a virtue than it is a survival method (compare Lorde 114). We learn that, even before being trained to make herself constantly and in every way sexually available to Roissy men—her “primary task,” her “only significant duty” is, she is told, “to avail [herself] to be used” (15)—O would never wear anything but a nightgown to bed, or if pajamas, then never the bottoms; this is because René “always slept to her left and, whenever he awoke, even in the middle of the night, he would always reach a hand toward her legs” (32). In the vehicle on the way to Roissy, O is in other ways anticipatory: she is silent and motionless (4), qualities the rules and disciplinary practices instituted at Roissy are meant to instil. Though in the vehicle O is aware that René has not actually forbidden her to do anything, she “doesn’t dare cross her legs or sit with them pressed together” (ibid). It is no coincidence that these are actions expressly forbidden to her once she officially becomes a slave. O, the unfolding narrative, is just a concretization, a physicalization, of what has already taken place in O, the character, psychically in advance.

In the vehicle in the first version of the beginning, O “rests her gloved hands on the seat, pushing down; bracing herself” (4). She is bracing herself for something outside the limits of her own will and agency, something to come, and yet something which, in coming, will make manifest an otherness that is already intimate, that is already her. The car stops in front of the Roissy mansion and, once it does, O, having been denuded in ways appropriate to the occasion—for one thing, her underwear, which would otherwise inhibit access to her, has been taken—is directed to get out and walk, in the absence of an usher,[4] to the door where she will receive further instruction. In this version, significantly, she is trusted to obey; she is already—has already been constituted as—the sort of subject who will obey, who will guide herself, willingly, along the trajectory power has placed her on; she is, that is, already the sort of subject who will experience and understand her self-direction along such a trajectory as a free act. The imagery in the first version of the beginning is, in this respect, noteworthy: René cuts away O’s brassiere, such that, under her blouse, “her breasts are free and naked, like her belly and thighs are naked and free, like the rest of her, from waist to knee” (5; my emphases). Contrast this with the second version of the beginning, in which O is blindfolded and bound before being led up the few steps to Roissy. The co-existence of these two beginnings is consistent with the ambivalent, or paradoxical, structure of subjection/autonomy on the Foucaultian model. Although the temporal constraints of written text make it such that the two versions do not exist for the reader simultaneously, I want to suggest that, insofar as both versions nevertheless exist as ‘the beginning,’ they are essentially equivalent, or participate in a ‘this AND this’ logic: O’s autonomy (she walks to the door by herself) is just O’s subjection (she is gagged and led) differently described. This can be the case when a sinister but remarkably economical form of otherness creates a self which can do the work of regulating itself, of subjugating itself. But otherness is various: subjugating power is one form it assumes, but the self can also transform—itself and power—salvifically when open to, or when injected with, otherness.[5] What sort of otherness inhabits O at Roissy, then? What revenant rears its head there, having always already reared it, in the car and well before it was time for her walk?

Bodies and Souls

Disciplinary power, that reticulate form of power coursing between nodes that are subjects, institutions, and constellations of practice and discourse, takes as its point of application, and manifestation, the body. Reinstituting the temporally dubious figure of the turn, and following Foucaultian parlance, we can say that the body “first” worked over by power is what “then” gives rise to the self-subjugating, and so body-subjugating, soul. Butler suggests that ‘the soul,’ in Foucault, is something discursively akin to the psyche spoken of in psychoanalytic discourse (85): it is an internal, subjective space, delimited partially as a result of what objects are made viable for its investments, or are conversely prohibited. Linguistic categories and the social norms they steep in condition the field of viable investments and prohibitions; normative heterosexuality, for example, and the categories that shelter it make same-sex love objects taboo, and this gesture makes possible certain forms of subjectivity. Underlying Butler’s speculations is a Freudian conception of melancholy in which the loss of an object fallen from grace is denied: rather than cease to love the object, rather than reject and eject it, the ego draws the object into its own ambit where it is preserved and where the hatred that would otherwise be directed toward it is turned against the self. This melancholy, which, in Butler, becomes another figure for the turn of assujettissement, is more figural than experiential: it figures the dynamic foreclosure on which the subject is founded, and, as such, is indicative of a prior discursive curtailment of the field of possible subjective investments. Story of O, while verbose on the subject of disciplinary power’s productive grip on the body, is seemingly reticent on the subject of how discourse is implicated in the production of subjectivity. We rarely, for example, hear how others speak of O, and though the moments they do speak of her are telling—in the social world, the condition she finds ennobling is reduced time and time again to that of a mere whore—I want to suggest that the bulk of the discursive labour in producing O, in her subjection, has to do with a normative heterosexuality that is never spoken of but follows O, in the course of her reflections, where it exists as the trace of an order that is never problematized. Roissy is the allegorical space, the space that is, in a pseudo-sense, prior to the subject, where this tacit discursivity enters the flesh through its training.

 

Roissy Panopticon

Bentham’s Panopticon is a model prison and emblematic, for Foucault, of disciplinary power as a functioning mechanism. It is an explanatory model, an allegory for a battery of techniques that, through the distribution of bodies in space, through the control of their time and movements, as well as their visibility, produce docile, self-regulating subjects. The fact of the Panopticon’s existence, or inexistence, is thus superfluous; the Panopticon only figures what has already happened more or less invisibly in the social “outside.” Roissy, which O enters and leaves within the confines of the text’s first chapter, is, likewise, I suggest, superfluous. It is significant that it is situated, as far as the unfolding of the narrative is concerned, and like the Panopticon, “prior” to the subject: O was ‘O’, was subjugated, prior to Roissy and would have been O independent of having gone there, where her enslavement was rendered ‘official.’ Stated differently: before Roissy is Roissy still.

Feminine forms of embodiment, like all forms of embodiment, are produced, only the disciplinary practices that produce them are not identical to those spotlighted in Foucault’s discussion of the Panopticon. Sandra Bartky, redressing Foucault’s gender blindness, outlines a handful of practices geared toward producing specifically feminine bodies. The practices she names produce bodies as ornamented surfaces for display, produce bodies of a particular size and configuration, and produce bodies whose gestures and motions are constrained. Roissy avails itself of both these disciplinary practices and those emblematic of the “original” Panopticon, particularly those relating to spatial partitioning and light. Roissy, then, is a torqued panopticon.

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1. The Body for Display

Immediately upon being admitted to Roissy, O is ‘done up’ by two female slaves; their express purpose is to teach her how, without their assistance in the future, she is to do up herself. They set her hair “just as hairdressers would have” (6), apply her makeup, redden her sex and nipples, and apply a scent to various bodily crevices. The clothing O receives later on is attached to a set of complicated instructions: skirts are to be folded in particular ways and pulled to different heights at different times (a skirt might be tucked up in the back, for example, when she is strolling outside). O is fitted with a collar and wrist bracelets, as well. These are ornamental and instrumental: they are attachable to chains.

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2. Body Re-sized and Re-configured

O’s first body modification comes after one of the Roissy initiates, having plunged himself into her anus, insists that she is too tight. O is subsequently made, “for eight days in succession,” to wear, during a specific interval in the evening, a dildo “held in place by three little chains attached to a leather belt circling her haunches, held, that is, in such a manner that her internal muscles are unable to dislodge it” (43). Once the dildo is no longer required, Réne, her primary owner at this point—other men use O, but, as he explains, they do so only by proxy, as extensions of him—professes that he is happy that she is “doubly open” (44). After O is passed on to Sir Stephen, her waist is also permanently modified via a successively tightened corset. Once she is through with the corset, her waist is so slim that she seems “ready to break in two” (165). Part-way through the tightening process, it is almost possible “to circle [her] waist with…ten fingers” (149), and yet the width of her waist is nevertheless deemed unacceptable (152).

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3. The Body Constrained in its Movements and in Space

At Roissy, as I have already mentioned, O is commanded to keep her thighs parted. She must also, for essentially the same reason (she must remain open/available), refrain from sealing her lips. O soon discovers that conforming to these injunctions outside of Roissy is rather difficult and requires “a constant effort of attention…[which] forever reminds her…of what her condition really is” (57-8). In Roissy, the use of her own hands, unless enlisted for male purposes, is denied to her. Men whip her not so much to “make [her] suffer pain, scream or shed tears,” but in order “to confine [her] to [her] bed for several hours every day” (17). When in bed, O is attached to the wall by a chain linked to her neck collar; the length of the chain makes it such that O can “only move to the right or left of the bed, or stand up on either side of the headboard” (23). Iris Marion Young has suggested that women in Western industrialized societies are taught to conduct their activities within an existential enclosure: The space available to them has a greater radius than the space they would typically inhabit; it is as if there is a bubble around them, beyond which they are not permitted to move (see 13). In Roissy we find this lived bubble in the earliest stages of its inculcation.

In the world beyond the text, there may very well be an ambivalence that attends the bubble’s functioning: Young points out that a woman facing perpetual threats of objectification, violation and rape may avail herself of such an enclosure in order to keep others at bay (read: on the outside), that, in other words, the constricting enclosure is precisely where she can remain free (18). There is another impetus to confect the bubble as well: Whereas men are free to walk loose-limbed with long strides, free to leave these limbs agape on park benches when they recline, women luxuriating insouciantly in the same forms of ‘openness’ are purportedly ‘asking for it’ (ibid.). In O, ‘open’ body comportment in women (e.g., open legs, even while sitting, open lips) is likewise a form of so-called ‘asking for it,’ though a mandatory one founded on mandatory feminine complicity. The ‘bubble’ in the text is equally coopted back into the services of subjection: Roissy makes it semi-permeable, such that masculine forces can move in and out, while feminine forces, always already confined within it, can do neither.

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4. Discipline and Punish: Space, Light/Visibility, Self-Regulation

In Roissy, both the way space and bodies in space are distributed and the way space is ornamented significantly further disciplinary ends. The chateau is a nested, Russian doll of locked wings and hallways. Entry-ways are guarded. The walls in the Roissy hallways are done in red tile. In prisons, and in accordance with certain findings in psychology, blues and greens are deployed on interior surfaces in order to keep prisoners subdued and calm. Red, conversely, agitates, evolutionary theorists speculate because of the connection the colour bears to shed blood.[6] Roissy’s colour scheme, as a disciplinary tactic, then, follows an unconventional prison’s-logic: A psychologically-grating constant, compared, at least, to blues and greens, it is explicitly oppressive. O happens to have the same red tiles in the rooms in her home, a detail which supports the idea that she was steeping in Roissy before she had ever encountered it; seeing the tiles again when she returns home gives her “a shock and makes her heart beat faster” (56).

Roissy also exploits visibility as one of its principle disciplinary techniques, and this despite the fact that the women of Roissy are not scrupulously observed by men at all times. At night, for example, with the exception of a valet who is employed to come in and whip them for a few minutes, they are left chained up alone in their rooms. Even when left to solitariness, however, there is the suggestion that they are, potentially, at any time, being spied on: On page 7, an only quasi-omniscient narrator alerts the reader to the possible presence of peepholes. Peepholes are to Roissy what the central observation tower is to the Panopticon. The observation tower is inhabited either by an all-seeing someone or by no one, though it is impossible, from the prisoner’s location, to determine whether it is one or the other; the prisoner thus finds him/herself pinned to proper comportment: s/he behaves because it is always possible someone is watching. Compared to the Panopticon’s prisoner, the Roissy slave finds herself in an exacerbated predicament: She, like that prisoner, is isolated from other prisoners—she is forbidden to so much as speak to the other women—and she, like that prisoner, is a potential visual constant, positioned so as to never see what is potentially seeing her, and thus located so as to imbibe that potential gaze in such a way that, taken up into her, it forms, “for the first time,” her self-regulating soul or conscience (she behaves too). But there are a number of other ways she is seen without being seen as well: She may be spied on in isolation, is blindfolded when tortured, and, beyond this, is prohibited at all times from looking the men in the complex directly in the eyes. In Roissy, a slave’s gaze is not only directed negatively via prohibition: its range of motion and its corresponding capacity to ‘see back’ is further limited, stream-lined, as it were, toward male members. Literally: The Roissy masters wear ridiculous tights that leave their genitals exposed, O is told, “for the sake of insolence, so that your eyes will look there and nowhere else, so that you will come finally to understand that there resides your master, your lord, to whom all of you is destined, above all your lips” (16).

As Bartky notes in her analysis, the feminine subject produced by power often engages in rituals that produce feminine bodies—she does her makeup, diets, etc.—voluntarily. This is just another way of saying that she has become a self-regulating subject, that her consciousness itself has taken on the structure of the Panopticon: “In contemporary patriarchal culture, a panoptical male connoisseur resides within the consciousness of most women: They stand perpetually before his gaze and under his judgment. Woman lives her body as if seen by another, by an anonymous patriarchal Other” (72). Reading O, one gets the perpetual sense that, conversely, O is regulating herself in the presence of an actual, rather than internalized other, and that, though O does make some effort to refrain from ‘gazing back’ and from crossing her legs—though she is a hopeless recidivist in these regards—for the most part, it is an external agency that is imposing disciplinary rituals on O’s body. Her subjection, in this limited sense, is never converted into an ‘always already subjected,’ and thus vexed, form of agency.

There is a certain sense, then, in which O, the narrative, considered from beginning to end, remains in the allegorical, conditioning space “prior” to the subject, a sense in which Roissy reaches through the text in its entirety, just as the Panopticon, though it is only a figure, is said to permeate society in its entirety. It is no surprise, then, that the Roissy-red tiles show up throughout the text, not only in O’s home, but also in a villa in southern France, where Sir Stephen, once she has passed into his ownership, brings O to vacation, and where the visual economy characteristic of the Panopticon is reinstituted as well[7]: The villa is piece to a larger ploy on the part of both René and Sir Stephen to secure fresh blood for Roissy. They have O bring Jacqueline—a model/actress O knows through work (O is a photographer), whom she also finds irresistibly attractive—so that Jacqueline may be observed and, ultimately, ensnared. Jacqueline’s presence at the villa is also supposed to serve as a means of satisfying Sir Stephen’s desire to see O caress a woman. In line with this, the bedroom O occupies at the villa, and in which she engages sexually with Jacqueline, is separated from Sir Stephen’s “by a partition which looks full but which, behind a trompe l’oeil latticework and trellis, is transparent: by raising a shade on his side, Sir Stephen [is] able to see and overhear everything that [goes] on in the room as if he were standing right next to the bed. Jacqueline, caressed and kissed by O, [is] in full view…” (178). O, in the room, is also fully visible to Sir Stephen, seen by him without seeing (though she hears, senses), and, already invested in her subjection, feels “fortunate indeed to be constantly exposed…constantly imprisoned by his gaze” (194).

~

To be sure, a mix of disciplinary power and sovereign power is at work in Roissy. Or perhaps sovereign power is just enlisted in the service of articulating the allegory of assujettissement via disciplinary power. Sovereign power is a reified power wielded by a subject or some set of subjects over life: it is power to end life. Disciplinary power, in contrast, is faceless, un-wieldable and shelters life, actively producing its signs: if it makes bodies docile, it does so through investiture: it improves them, makes them useful, and in doing so makes them more obedient. We have already come across the suggestion that, in a Roissy-tempered world, the phallus is sovereign; O, subject to this sovereign (through whatever master or owner), dispossessed of her self, is not only, as she insists, “[given] to love,” but also, perhaps, “brought…very close to death” (40). The punishment O is made to suffer (mainly in the form of whip lashings) seems, in some respects, moreover, of the kind a sovereign would mete out: a king quarters the would-be regicide or leaves threatening bodies alive, perhaps lashing them, at any rate marking them publicly so that others know he has the power to bring death, though he refrains from it now. We would expect disciplinary forms of punishment to capacitate rather than scar the body, and although it is true that O and the other slaves are subjected to a ‘corrective’ micro-economy of punishment[8] it is not obvious that they become more efficient, or more skilled, as a result: O tells us that at Roissy she learned “not to be in a hurry” (68). The non-sexual duties women at Roissy perform—“sweeping, putting the books back in place, arranging flowers, or waiting on table” (15)—are, moreover, minimal and undemanding, and this is because their primary, utterly exhausting, and, in the end, ‘only significant duty’ is to make themselves sexually available. Whereas in a Panoptic society a body’s compliance is positively correlated with the level of its induced usefulness, in a Roissy-governed society a body’s compliance increases with use: a docile body, there, is less useful than it is usable. Whatever skill a Roissy slave is imbued with by dint of having to learn new rituals of dress, by dint of having to perfume the body and apply makeup to it, by dint of having to habituate to unfamiliar and uncomfortable modes of bodily comportment are subsidiary to rendering the body visually consumable and physically penetrable. And again, these women, tortured, are possibly brought close to death, and not only the death of the self, “the delirious absence from herself” O insists she is brought close to, in her ecstasy (40). There is a sense, then, in which the power at play in Roissy is negative, annihilating, and yet, it is also conceivable as disciplinary power proper, that is, as productive. It is productive power insofar as it institutes an obedient, self-subjecting, desiring self.[9] This will become apparent as we track O in her subjective development.

Histoire-d-O

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(3) Love and Order

If the subject is made possible by subjection, if subjection is, as it were, the subject’s sinew, does it follow that the subject desires its subjection? If the subject is invested in itself, in perpetuating, in iterating itself—these sinews—as a consistency, is this the same as desiring subjection? It is possible that the subject does not conceive of each iteration, of power’s renewal, as self-subjugation, but then, it might come to. It is possible that some other sociality might be scooped up in the subject’s rolling forward, confecting in the subject some other desire, one to sit alongside and antagonize those always already formed. How else might “the subjection of desire require and institute the desire for subjection” (PL 19), and how else might we think the site, the pseudo-fissure in which this requirement might be discontinued? Butler names another desire—the desire for social existence—as a desire exploited (also created?) by power in its institution of the desire for subjection, particularly the kind of subjection accomplished under the banner of an identity category. Perhaps the peculiar relation of attachment one might have to an acquired skill—peculiar because there is a sense in which we are not attached to our skills but are them—is similarly implemented to be exploited (see Bartky 77). Susan Bordo suggests that culturally-concocted anxieties (such as those having to do with weight or body-image) play a similar role: the subject engages, not in what it sees as frantic attempts to regulate itself or maintain its subjection, but in what amounts to the same: frantic attempts to reduce its anxiety. In the logic governing Réage’s text, it is ‘love’ that functions to keep the subject bound, to bind the subject’s desires to the very notion of being subjugated.

 

Love Logic

O, whipped senseless, then left alone at Roissy, thinks of those engravings in history books in which long-since dead prisoners, having been whipped already, are shown chained to walls. The narrative voice bleeds with her thoughts: “[O] did not want to die, but if torture were the price she was to pay for her lover’s love, then she only hoped he was happy because of what she endured” (27). “Since she loves him,” she has “no choice but to love whatever emanates from him” (33). Since she loves him, she wants whatever he wants, only because he wants it (112). Since he loves her, she consents to torture: “since he loves her, she trembles, acquiescent” (33). These disturbing formulations deserve to be unpacked; they imply that O’s will, O’s consent, though properly her will, her consent, has already been colonized. Her consent is impelled by love, but what is love, and in what respect is it in turn chosen, or not chosen?

René tells O upon her return from Roissy that she must not begin to think of herself as free, “[e]xcept in one sense: she is free to stop loving him and to leave him immediately. But if she does love him, then she is no longer free” (56). This formulation is repeated with an important transmutation at another point in the text: Some time after O is passed on from René to Sir Stephen, the latter tells her: “if you’re mine you have no right to refuse my commands. But you also know you are always free to refuse to be mine” (171). At this point in the text, O does not refuse his commands, for she has come to love him. But between the moment René utters ‘you are free to stop loving me’ and the moment Sir Stephen claims ‘you can refuse to be mine,’ we learn that, within the text’s logic, ‘being owned’ is just what it means for a feminine subject to love: one may not love initially, but once one is owned, one will love. If love is what binds one to one’s ‘being owned,’ then ‘being owned’ is what, in a vicious circle that is not quite tautological, binds one: Not only ‘I am owned, therefore I’m owned,’ but also ‘I am owned therefore I want to be owned.’ ‘I love; I’m owned.’ ‘I’m owned; I love.’ For the masculine subject of Réage’s text, to own, rather than be owned, is what induces love. The narrator reports that René “had so often told [O] that what he loved about her was the object he had made of her, the absolute disposition of her he enjoyed, the freedom that was his to do with her what he wished” (84). In line with this, Sir Stephen, who does not initially love O, comes to love her after he’s abused her body for a time; the more he ‘personalizes’ her body, the more his love grows: he actually only begins to vocalize his love, which O has already detected in non-verbal cues, after he has had her branded with his initials and fitted with custom irons (see 167). The more he loves her, moreover, the harsher his treatment becomes: “insofar as his love and desire for her were increasing, so his demands on her were becoming more extensive, more exacting, more minute” (139). O does not initially love Sir Stephen either, and so when he tells her that she is going to obey him without loving him and without him loving her (89), this gives rise to “a storm of revolt” (89). O fights him, screaming, when he takes her. Resistance to Sir Stephen is possible at this point in a way that, because of the workings of love, it is not possible with René, precisely because she does not love Sir Stephen. And yet, the more he possesses her, the more she finds surrendering to his orders “completely fulfilling” (139) and the more she comes to love him—she is murmuring as much by page 190. By the time René stops loving her—an event that, significantly, caps the gradual cessation of his use of her body (see 147), and a possibility that, before Sir Stephen colonized her body, had caused O great anguish—O no longer cares. O, used all the more brutally by Sir Stephen, has been affectively transferred to him as well:

What was René compared to Sir Stephen? So many ropes of straw, anchors made of cork, so many paper chains: such were the veritable ties by which he had bound her to him…But what reassurance, what delight, this iron ring which pierces the flesh and weighs eternally…the master’s hand which lays you down ruthlessly on a bed of rock, the love of a master who is capable of taking unto himself that which he loves without pity. (185)

In the text, then, it seems masculine love is voluntary in the sense that the masculine subject can choose what it owns, or choose what it wants to own; feminine love, no more the effect of the feminine subject’s will than of her whimsy, is taken. Before Roissy, O was in love with René, and this is because “René threw himself at her like a pirate” (95). More than this, O “revelled in her captivity, feeling…far down into her heart’s and body’s secret recesses, bonds subtler, more invisible than the finest hair, stronger than the cables with which the Lilliputians made Gulliver prisoner” (ibid.), bind her to this pirate. O’s subsequent trajectory with Sir Stephen, then, is only a more torturous recapitulation of O’s trajectory with René, who owns her already but, upon prostituting her for the first time, is “delighted to discover that the pleasure he reaped from [hurting, humiliating, and debasing her] was even greater than he had dared hope, and had increased his attachment to her, as it did hers to him” (33; my emphasis).

 

Melancholy Miasma

‘Love’ in O is thus a vicious circle looping through what I’ve called masculine domination, on the one hand, and what I’ve called feminine submission, on the other. It ropes these poles together, since a vicious circle self-perpetuates its tightening. Recasting Butler’s account of melancholy gender formation, I would now like to contradict myself slightly, to suggest that love, in O, plays out against a mute backdrop of compulsory heterosexuality, but heterosexuality conceived strangely, so that it is bears no salient, or at least straightforward, connection to either sex or gender categories.

 

1. Sex, Gender, Proprietors and Property

Less than the idea that male bodies consort with female bodies, and vice versa, invariably, and less than the idea that masculine subjects consort with feminine subjects, and vice versa, invariably, ‘heterosexuality’ in O implies that dominant subjects relate to submissive subjects, and vice versa. It implies that, invariably, owners, who, with respect to the owned, are only (as in exclusively) owners, relate to the owned, who, with respect to their owners, are owned only. I have been calling ownership ‘masculine love’ and the state of being owned ‘feminine love,’ but the text gives us reason to contest these terms. This is because it confuses stereotypical sex-to-gender designations, and does so partly through a second confusion: it beclouds the very terms ‘feminine’ and ‘masculine,’ sometimes with the help of sex-categories.

O seems ambiguously feminine. She is bisexual—her desire for women is described as “strong,” “real,” and “profound” (100)—and though she engages in stereotypically masculine behaviour with her female lovers, her actions are “carefully calculated” and stem “from a certain childishness [rather than] her conviction” (ibid.). When she courts her female friends, she doffs her beret, helps them out of cabs (99), and, in general, displays “tough-guy manners” (95). Beyond this, she relates to women, when she relates to them sexually, as a hunter—her desire for women, we are told, doesn’t “go a great deal further that the thirst for conquest” (95). She admits that she loves “the perfect freedom” she experiences when she pursues women (ibid.), and that what she enjoys about Jacqueline—that is, once the latter has become her lover—is “the use of a girl’s body, a body with no strings attached” (193). Despite all this, she frequently repeats that what she sees in the women she loves is a reflection of her own submissive self (194). Scrutiny can juice this text: Is it a feminine self that sees a submissive reflection, and is it also a feminine self that engages in carefully calculated dominating behaviours, while at the same time feeling subjectively at odds with them? What is the relationship between the subject, its identifications and its overt behaviour, if identification and overt behaviour are equally performance, and the subject is precisely what is performed? What are the relations these terms bear to the subject’s sexed-body? O dis-identifies with the stereotypically masculine behaviour she executes; she is thus not quite dragged into the field of stereotypical designations that open around her behaviour. She is not quite rendered masculine. But if we take performance theories of self seriously, then her masculine behaviour is not quite controvertible, and O is not quite rendered feminine either.

For deconstructive purposes, say that, before she is prostituted, the O we are given access to through O’s recollections does cling to a certain femininity—or at least, to the obverse side of an uneasy masculinity—when she possesses women. If this is so, then it is not exclusively through owning, it seems, that one becomes masculine; nor is it through being owned that, in the text, one becomes feminine. When O concedes that she loves Jacqueline, that she is “no more and no less” in love with her than she has been with many other women, she is adamant that the term ‘love’ is “the correct one…also a strong one” (102). Love is no doubt the correct term, only it must be qualified: it reflects a “thirst for conquest” (quoted above), and so it is love in the form of domination, ownership; it is the same form René’s love for O, and then later Sir Stephen’s, assumes. Thus, in a way, O, as feminine, owns in the text—she sexually possesses women—both before and when she is owned: both before and during the time she is sexually possessed and ‘actually’ owned by René and Sir Stephen. There is a sense in which she is also owned in her capacity as masculine, since she is a slave but simultaneously carries on with Jacqueline in a ‘masculine’ style. Anne-Marie, the head of Samois, the all-female version of Roissy, also owns women: she literally owns at least one girl, Claire. Anne-Marie is harsher than the men at Roissy, and we are given no reason to think that she is not Sir Stephen’s equal. She is an older woman with grizzled hair; in the culture outside the text-world this might signify that she is somehow ‘less feminine,’ and it is true that the gender-sex confusion performed by the text relies largely on meanings primed ‘outside’ the text (though this is a false exterior). In bed, her short hair pushed up by a pillow, Anne-Marie takes on “the look of some mighty nobleman in exile, some dauntless libertine” (162). Insofar as her appearance, her age, her harshness, her power, and her alignment with Sir Stephen superimpose masculinity, they buttress ‘masculine ownership’ in the insufficiently nuanced sense that I use it above; they seed it with purchase. But Anne-Marie is no more bluntly masculine than O; in some respects, she is also stereotypically feminine: She is “tender and gentle with O” in bed (163), and she is also beautiful (159). In Anne-Marie, then, we find both a form of feminine ownership and, unlike in O, a femininity that is at all times cleaved from states of being owned.

Although it seems that female characters can adopt what we can, for explanatory purposes only, call a masculine subject position (e.g., they can ‘own’ in the broad and strict senses of the verb), it is unclear whether they can adopt this subject position with respect to men. It is true that Sir Stephen relates to Anne-Marie as his equal, though he never relates to her as her subordinate. There is perhaps a sense in which male-sexed bodies function as trumps to the ‘gender’ configurations in the text: The freedom O loves when she is pursuing and engaging with women is not the freedom she possesses in her relationships with men: With women, “[s]he control[s] the game, and she alone,” whereas with men, she “never” controls the game, unless she does so “on the sly” (100). But although O controls the game with women, she also, again, sees in them a reflection of her submissive self: “The power she acknowledged her girlfriends had over her was at the same time the guarantee of her own power over men. And what she asked of women (and didn’t return, or so little), she was happy, and found entirely natural that men should be desperate to demand of her” (101). Irrespective of the fact that she dominates women, men seem to weasel their way past O in the power hierarchy, such that it is unsurprising that she is unable to “conceive of giving herself to a girl, the way a girl gave herself to her” (194), but puzzling that other girls are able to give themselves this way to O. O, unlike her girlfriends, can only conceive of giving herself this way “to a man” (ibid.). And yet, she does give herself to Anne-Marie while staying at Samois, albeit perhaps not in the same way that she would give herself to René or Sir Stephen: Anne-Marie does not own her. But then, could we say she is, like any other man affiliated with Roissy, a proxy for O’s owner(s) (see, e.g., 32)? Does O become fused to submission as soon as she enters into a relation with a male-sexed body (even if only through one of its mediators)? Is she also a gendered body when she is so fused? Or is O fused to submission simply when she enters into a relation with a body that owns? How to account, then, for who owns whom in what situation, given that O, too, has the capacity to own? After she is prostituted, O claims “that the girls she caresse[s] belong…by right to the man to whom she belongs…and that she [is] there only by proxy” (ibid.). The corollary might seem to be that a male-sexed body is at the top of the totem pole again, that women own only by proxy, but then Anne-Marie does not own Claire by proxy; rather, the men who violate Claire when she is sent to Roissy will violate her by proxy, in place of, without supplanting, Anne-Marie

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2. Culturally Doomed

Sex-to-gender-to-owner/property assignations in O prove unfruitful. In Réage’s book, female bodies can own female bodies and ambiguously feminine bodies can possess ambiguously feminine bodies, but whereas in the non-text world a woman-woman relationship that is also parsed as a ‘feminine subject’-‘feminine subject’ relationship might function to confound the dominant, heterosexual regime (i.e., by proposing a homosexual alternative; Butler PL 165), in the text-world a relationship consisting of a feminine subject owning a feminine subject, since it remains premised on a stringent heterogeneity (that between ‘owner’ and ‘slave’), does not, to that extent, gesture towards an alternative erotic paradigm.

In Butler’s account of melancholy gender formation, which she intentionally hyperbolizes, one becomes feminine to the extent that one blocks women as potential love objects and masculine to the extent that one blocks male love objects. The field of possible erotic attachments becomes constricted in accordance with (heterosexual) cultural proscription—such that one desires precisely what one is not—and the ego forms in and through the process of mourning the loss of these possible attachments. Mourning, in this instance, is neither before nor after the ego: it participates in the very ‘turn’ of assujettissement, constituting the ego it at the same time presupposes. Because the prohibition of possible attachments occurs “prior” to the subject’s inception, the subject’s mourning is not properly experiential.[10] Hence a heterosexual-identified woman may not lament the fact that she does not love a woman, may not be able to imagine herself ever loving a woman, and may experience the paucity of her imagination in this regard as ‘natural,’ rather than as a cultural effect. Culture as an effecting agent disappears at the site of the subject’s emergence: ‘I could never love a woman; that is just the way I am’ (see 181 and 138).

This bizarre, affectless melancholy, ‘gender melancholy,’ exists against a backdrop of compulsory heterosexuality: it is symptomatic of the latter, is enforced by, and also enforces it (140). A specific conception of heterosexuality likewise supports and is supported by ‘love’ as it is configured in Réage’s text, or, more specifically, by the subject-positions that underlie ‘love’: O is unable to relate to, to love, or even imagine loving, ‘a dominant subject’ from anything other than a submissive subject position. She is likewise unable to love, or even imagine loving, ‘a submissive subject’[11] from anything other than a dominant subject position: she wants to pin Jacqueline “to the wall like a butterfly impaled” (104). To love in the text one must either own or be owned, dominate or submit. Attachments that assume a form other than ‘submissive-subject’-to-‘dominant-subject’ are foreclosed by the logic governing the text-world and O is culturally doomed in advance: she is a melancholic subject who does not feel ripped off in light of the fact that love, whether with men or with women, has only the one configuration.

cover5

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(4) Clinamen

O’s Consent

So love is rigid and love compels. The ‘monstrous logic’ Robertson refers to in her discussion of Story of O is precisely the continuous solicitation, on the part of her masters, of O’s consent, but ‘consent,’ in this context, is necessitated by a impelled love, and so we must rethink ‘consent’ outside a paradigm in which the will, the self, and otherness are kept tidy and separate. The boundaries between what is internal and external are fraught. Roissy, as a metaphoric space concretized in the text, is caught up in this chaos; it functions within the subject while simultaneously looming on the horizon as a force that could, but need not necessarily, subdue it: There is an O before O is actually taken to Roissy and Jacqueline might be taken to Roissy, or not.

Can O refuse to be Sir Stephen’s? Not if she is Sir Stephen’s; not if she loves him. Is O free to end her slavery? Once she has entered into the contract she has already been entered into, anyone who finds her uncooperative will bring her back to Roissy (17), a stipulation which seems redundant: There is in fact no need for a return to Roissy, since Roissy is embedded in the subject as love (the very state of being owned) and love’s corollary: compliance. The text, then, leaves very little room for uncooperativeness. O tells René that Jacqueline would never agree to go to Roissy, to which he simply replies, “No? Well then,…they’ll end up taking her there by force” (148). Sir Stephen has already told O that, once Jacqueline is in Roissy, “if she wants to leave, she’ll leave” (124); what troubles this formulation, though, is the notion that Roissy (read: being owned) makes it such that the subject would not want to leave, the notion that “once inside, there would be enough valets and chains and whips to teach Jacqueline obedience” (177). In the text, being caught means it is already too late for resistance. Consistent with this, shortly after coming to own her, Sir Stephen tells O that, in all likelihood, she had not understood what she had agreed to when she consented to be his slave, but that “by the time he taught her it would be too late for her to escape” (90). By the time he teaches her it is indeed too late, for, of all abominations, she has fallen in love.[12]

The formulation ‘if you don’t agree, we’ll force you’ only ceases to be redundant at those junctures in the text in which it is the body that resists. O is asked at various points in time to agree, though the disagreeable details of what she is agreeing to are kept from her: because her body will not be able to endure what is to be done to it, consent becomes superfluous. At Roissy, René informs her: “It’s because it is so easy for you to consent that I want something you can’t possibly agree to, even if you agree in advance…You won’t be able to keep yourself from saying no when the time comes…When it does, it won’t matter what you say, you’ll be made to submit” (33). Sir Stephen similarly asks her to consent to wearing his irons, though he keeps her in the dark about how these are to be applied (120), and concedes beforehand that there is no real question of whether she will or will not wear them: “these were still orders, which there wasn’t the slightest question of O disobeying” (120). Of course, O does agree, for she is already bound in a way that compels agreement; refusal does not even cross her mind (see 74). Still, a rift evolves between what she wants for herself and her body’s responses: her body’s memory of the whip—physical fear of the whip that René had not used but Sir Stephen promises, though without specifying how often—makes it impossible for her to consent to the latter’s ownership immediately (78).

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Subjective Developments: The Subject Develops

Although at no point in time does O embrace the feeling of the whip, her attitude toward the whip gradually changes. Sir Stephen is the pivot on which O as already-subjugated-subject turns, the textual threshold that streamlines this attitudinal change, along with other major subjective developments. O’s enslavement to Sir Stephen makes Roissy continuous with her everyday life: After Roissy, but before Sir Stephen, O’s life seemed to carry on as usual in the sense that there were no other men who took advantage of her, only René, and in the sense that she was not subjected to regular corporeal torture. With Sir Stephen’s appearance, however, Roissy, understood as a nocturnal dream-world—or as “reality in a closed circle,” “a private domain”— threatens to “contaminate all the habits and circumstances of her daily life, both upon and within her” (77; my emphasis). At Roissy, though O “agreed” to do as René wished, it was nevertheless simultaneously true that she was chained to her bed, chained to various stations, kept naked, whipped unwillingly and subjected to torture. O, at Roissy, was “the lucky captive upon whom everything was inflicted, of whom nothing was asked” (81). In the ‘outside world,’ and even more so with René’s solicitation of her consent to be Sir Stephen’s, O, conversely, experiences herself as fully complicit in her subjection: “Here it was of her own free will that she remained half-naked” (ibid.). Power, at this point in the allegory, is not just power applied to the body; it is power concentrated as consciousness, power that has produced the self-regulating consciousness it is manifest as. As O’s enslavement to Sir Stephen becomes further entrenched, this subjected consciousness becomes increasingly concentrated. The narrative’s unfolding only corroborates O’s premonition upon being asked to belong to him: “What had formerly only been reality in a closed circle…was no longer to be content with outward signs—naked loins, laced-up bodices, the iron ring—but to require the thoroughgoing accomplishment of an act” (77).

Before she has agreed to belong to Sir Stephen, O recoils at the prospect of being whipped, even enjoins the men to spare her from being whipped: “Oh, have pity,” she says, and, “not again, no more of that” (79). Within pages of belonging to Sir Stephen, however, she finds it “necessary, and agreeable, to be beaten” (109). By the time she has gone to Samois to have his irons applied to her, she admits that she likes “the idea of torture,” that, even though she would give anything to escape torture while being tortured, after the fact of torture she is “happy to a have undergone it, and happier still the more cruel and prolonged it has been” (155).

O’s consolidation as a subjected subject is equally manifest in O’s changing relation to Jacqueline. Upon initially being requested (ordered) to coerce Jacqueline into coming to Roissy, O is mortified. She tells Sir Stephen that it can’t be done. Without quite identifying with Jacqueline, O is nevertheless loyal to her, so much so that she is upset when René regards her as he regards any of the Roissy women: O “views as insulting to Jacqueline an attitude she finds perfectly correct and natural when it comes to [herself]” (129). She feels herself “a traitor, a spy, the envoy of a criminal organization” (134), moreover, while attempting to persuade Jacqueline’s mother to allow her to move out, into her, O’s, apartment, from which it’s one step to Roissy. Upon returning from Samois, pierced with irons and cauterized with Sir Stephen’s initials, the noble O has a change of heart. We might say, recapitulating the fictive temporality that the allegory requires,[13] that by the time she returns she has fully internalized the terms of the master’s world: She “enjoys…thinking about how she is going to betray Jacqueline,” having been “insulted by the scornful manner in which Jacqueline had eyed [a condition of which she is proud, that of] a branded and flogged slave” (178). Whatever anxiety, whatever anguish, whatever shame her condition is initially said to give rise to (see 117) has either dissipated entirely or is simply no longer referred to in the nether parts of the text. O’s “secret pride,” the “harrowing pleasure” she initially experiences as a slave (ibid.) is, conversely, carried over; it is perhaps intensified: she becomes “an ecstatic slave” under Sir Stephen (185).

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Doublings and Uncanniness

1) The Beginning as End

In a way, Sir Stephen’s injection in the text figures a transition point between a body acted upon by power and a body that, having become the prison of the soul, is also a soul that imprisons the body. There are, as I’ve also argued, other respects in which O is always already a subjected subject, or is a subjected consciousness all along, and yet it still makes sense to say that she is a subject whose subjection becomes increasingly intensified as the narrative progresses. The text, in this, and in many other respects, is one of incessant (uncanny) doublings; these doublings nourish the idea that the subject exists iteratively, the idea that it takes up its subjection repeatedly, whether by diverging from it or, as in O’s case, by consolidating it, though in a new, or different way, again.

Roissy, the Panopticon, likewise returns in physical, psychological and phantasmagoric forms to be ‘taken into’ O in new ways, as if it had not been taken into her before: It resurges with Sir Stephen. It resurges with Samois. It resurges in the final scene in which, after midnight, Stephen drives O to ‘the Commander’s’ party, where she is to be put on display: “At Roissy [O] felt herself to be lost as one is at night, lost in a dream one has dreamed before and which begins all over again” (77); en route to the Commander’s party, she passes through yet another nocturnal dreamscape: “there was nothing real in this countryside which night made imaginary” (198). It is not enough, moreover, that she arrives at the party in an owl mask; O must instead metamorphose fully, becoming, in seeming actuality, a mute creature from another world (200-1). The atmosphere at the party is equally oneiric; at the party it is by candlelight that she is ogled at and probed.

The dream space breaks with dawn without breaking, just as Roissy, in the inaugural section of the text, is broken with (O leaves) though it nonetheless sweeps through the rest of text: The men lay O out on a table and possess her “one after the other” (201). Similarly, the narrative does not end. Its ending is instead iterated, perpetually, each time transformed. It is explicitly signalled for the first time midway through the text, with the arrival of Sir Stephen: “Well, here was the end, right here, just where you would have least expected it, and in the most unexpected of all imaginable forms (assuming, of course, as [O] now said to herself, that this was indeed the end and that there wasn’t some other end hidden behind it, or perhaps still a third ending hidden behind the second one)” (76-7), which, as the reader comes to see, there is and are: Beyond the two alternative endings Réage has included, there is an ending each time Roissy resurges, each time O is consolidated: “What distinguished this end [Sir Stephen’s appearance as a potential master] was the way it made recollection topple into the present; and the way, also, that what had formerly only been reality in a closed circle, in a private domain, was all of a sudden about to contaminate all the habits and circumstances of [O’s] daily life” (77). ‘The end,’ it turns out, is, in O, just another figure for ‘the turn.’

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2) Who is Jacqueline?

As O is—indeed, as ‘the end’ is—successively iterated throughout Réage’s text, it seems O is only further consolidated in her subjection: each iteration only institutes a subjugated state even more grotesque and abominable than the last: there is always another ‘low’ hidden behind the ‘low’ the reader, at the time, might well conceive as ‘the all time.’ One hardly even registers that one has given up hope for O—if there had ever been hope for O, and if one had ever even thought to hope for it—so excessive is the doubling over of endings performed by the text, and so habituating this excess is. As a result, the narrative engine in the latter part of the text is transferred onto Jacqueline: what will become of her? I found myself, in my readerly subject- position, wanting her to be spared, spared the humiliations imposed by Roissy, and spared the pain and abasement afforded by a condition like O’s (some, conversely, might have been titillated to see her ensnared). And yet there are problems with, or at least ambiguities that surround, the formulation of Jacqueline as one who might be spared, as one who has not already been ensnared, as a figure, in other words, of freedom, or of an agency that has not already been compromised.

In some respects, Jacqueline, as a figure of freedom, as the swerve away from a trajectory determined by power, or as the clinamen, understood as a deviation from the rule, intersects the figure of Kristeva’s foreigner. ‘Jacqueline’ is, in fact, only a professional name, “a name for forgetting her real name [Choura] and, along with her real name” (132), her dwelling space, a “sordid and heartbreaking gyneceum” (132), in which she is confined, when she is home, with a “tribe,” or “horde” of women: her family (131). Jacqueline abhors these women (she “would [give] half her life” to forget their ‘hissing’ language [132]); hence she abandons them at the first opportunity: O invites her to move in. Kristeva’s foreigner is similarly one who has abandoned her origins and one who, additionally, though there may be a sense in which Jacqueline does this as well, reinstitutes this abandonment over and over: The foreigner remains perpetually transient (TF 4). “Free of ties with [her] own people,” the foreigner feels “completely free” (12), and also—not unlike O whipped to the point of delirious ecstasy at Roissy—dispossessed of herself: “Settled within [herself], the foreigner has no self.” (8). “Available, freed of everything, the foreigner has nothing, [s]he is nothing” (ibid.). It is not entirely the case that Jacqueline has nothing, for she is “passionately attached to whatever belongs to her—to her rose-colored pearl ring, for example—but absolutely indifferent to what [isn’t] hers” (O 136); the notion of ‘complete’ freedom embedded in this initial construction of the foreigner, moreover, needs, as we by now know, to be nuanced, though in a way that is not radically inconsistent with Kristeva’s analysis: Whatever swerving Jacqueline accomplishes, or fails to accomplish, is nonetheless made possible by power, and, as a result, is never completely divested of its historicity (see Butler PL 195). In a sense, Kristeva rhymes with this thought when she insists that the foreigner is fundamentally melancholic, a “lover of a vanished space, [who] cannot, in fact, get over [her] having abandoned a period of time” (9).

Melancholy is reconfigured in the foreigner; it does not align in a perfect way with melancholy of the kind Butler discusses, which is premised not only on ontological and erotic foreclosure, but on a tacitly negative form of affect. In Kristeva’s text, melancholy is connected to the subject’s formative and (in some ways) insurmountable history, and is also characterized in terms of a happiness that is itself happiness newly conceived, newly articulated: The foreigner cultivates an ethos of indifference and detachment, such that, while unable to fully relinquish the past, she nevertheless “retain[s]…of the past only the game” (TF 38). The affective state that emerges out of this ethos, and that reveals the self as ‘unessential,’ ‘a simple passer by,’ is “[a] strange way of being happy, or of feeling imponderable, ethereal, so light in weight that it would take so little to make us fly away” (TF 38). The foreigner is thus one who lets go, and one who is let go of. O experiences herself as relinquished, but the subjective forms she assumes (the self she was, as well as the self she does, in fact, and to the contrary, become) remain tethered to, informed, determined and limited by, a cultural formation premised on dominance and submission all the while. We have seen that this formation also, within the novel’s logic, thoroughly colonizes ‘love,’ so much so that love can only assume, from a ‘masculine’ position, the form ‘I love you because I own you: what I love is the owned object I’ve made you’ and, from a ‘feminine’ position, the form ‘I love you, therefore I’m yours,’ the equivalent of which, as O’s possession by Sir Stephen attests to, is ‘I’m yours, therefore I love you.’ It is precisely love which Jacqueline, as aloof and insensitive as Kristeva’s foreigner (see TF 7), is shielded from.

Jacqueline is fundamentally narcissistic: she has no need for the kind of reassurance O is, in the initial stages of the text, perpetually seeking out in René: reassurance of his desire for her—O is happy he is so hell-bent on exacting proof for himself of “the degree to which he possesses her” (56), and perhaps this is because his actions afford precisely such reassurance. Jacqueline, conversely, relies on no one: all she needs is a mirror (103). As Butler notes: “Narcissism continues to control love, even when that narcissism appears to give way to object-love: it is still myself that I find there at the site of the object” (PL 187). Consistent with this, Jacqueline takes pleasure in being desired if it is someone useful that desires her, or if it flatters her vanity (129): She receives O’s attentions because she derives narcissistic and physical pleasure from them and does not bother to reciprocate. When she begins to engage sexually with René, she remains similarly self-immersed: “She had never behaved like someone in love with him,” and O cannot help thinking that, even if, as is likely, Jacqueline is as abandoned with René as she is with her, “[her] surrender does not involve her emotions” (184). If love, in the text, is what traps, then it seems the possibilities that fall outside of entrapment can only be animated for one who refuses love (or at least the rigid configuration ‘love’ as it appears throughout Réage’s text). It does seem as if Jacqueline’s aloofness inoculates her, to a certain extent, from what we might call the Roissy-effect: For O, torture eventually just becomes a matter of course: necessary and even agreeable, a source of pride. Once Jacqueline, however, learns of O’s markings and lash-marks, and learns of their source, she is horrified (176). As she sees it, if she does consent to going to Roissy, it will only be to have a look, to observe the freak show (see 177).

There is another moment in the text that counterbalances O’s ‘normalized’ response to her condition as well (O is a freak, but in a Roissy-governed world, perhaps freaks are the norm?): The woman who removes her pubic hair for the Commander’s party also reacts to her scars with horror: she is “scandalized” and “terrified” (197). Is Roissy ubiquitous and normal, then, or is it localized and perverse? The text leaves the answer ambiguous: Even Jacqueline’s adolescent sister becomes enchanted with the idea of enslavement, and, at the Commander’s party, a ‘normal’ young couple approaches O, the owl, O the naked, lacerated, perforated spectacle: The “very young girl” is in a “white dress” that has “two tea roses at the waist”; she is “wearing gilded sandals” (201). She is dressed, in other words, to exude middle class innocence, and yet she listens quietly to ‘the boy,’ who tells her he will have her body desecrated in the same way O’s has been. The girl does not appear upset (ibid.). An inebriated American also approaches O at the party, fondles her, and reacts to her irons with “horror and loathing” (200). It is of course slightly odd to ask ‘What are these ‘normals’ doing at a Roissy affiliate’s party?,’ since Roissy itself is populated by ‘normal people,’ and the population is replete, one deduces, with Roissy members. In this, and other ways, the text insists, if not on the strict identity of, then on continuity between, the ‘normal’ and the ‘perverse.’ Is there, as a result, any room for Jacqueline to manoeuvre, or does the possibility of a swerve hinge on something beyond or outside of these poles, as well as the spectrum between?

Jacqueline is one who reacts to Roissy with horror and disgust. Unlike, O, she does not feel bound to René (and so cannot be bound, through him, to Roissy); she falls in love with a man who is directing a film she is in, and makes plans with him without informing René of these (she has abandoned her origins, and now she is shedding another constitutive influence). As far as she is concerned, it is none of O’s business whether or not she is in love with this man, and she tells her as much when she inquires. O purportedly inquires because Jacqueline’s being in love concerns René, but Jacqueline refuses this claim, volleying with: “What also concerns René and Sir Stephen and, if I’ve understood it correctly, a lot of other people too…is that you are badly seated” (187). O is sitting on her dress, whereas she has been commanded to sit bare-assed forevermore. How are we to read Jacqueline’s retort? Is the ‘what also’ component of the phrase to be taken seriously?: ‘Yes my being in love concerns René, but you are being disobedient, too, so shut up.’ But then, it seems that Jacqueline’s being in love would not concern René in the same way that O’s transgression would, for Jacqueline keeps him at arm’s length, whereas, as long as O loves a Roissy affiliate, as she now loves Sir Stephen, she must act in accordance with its members’ wishes. Jacqueline concerns René insofar as she can break his heart, but it does not seem as if she is owned. Should we read her retort as a refusal, then?: ‘René has no claim to me; the only thing that concerns René is what he has proper dominion over, namely, you and the other slaves.’ And yet, Jacqueline has, by this point in the text, also fallen in love. No longer narcissistically aloof, at least, to her new object of affection, does she risk being carried back (carried forward) to Roissy? In this ‘normal’ world in which she has fallen in love with a film director, a normal boy, is she just another unmarred girl at the Commander’s party?

We can pose the question in a different way if we consider that, in the text, Jacqueline functions as O’s uncanny double. Uncanniness, as Kristeva articulates it, is “a destructuration of self that may either remain as a psychotic symptom [think: repetition/stagnation] or fit in as an opening toward the new, as an attempt to tally with the incongruous [think: swerve]” (MNUB 188). The encounter with the uncanny is an encounter with an Other that is nevertheless familiar and shakes the self in the policing of its own boundaries: it is in fact an otherness in the self that has been ejected through the work of the self’s self-sculpting identifications, such that an encounter with it invites a broadening of these identifications, an expansion of the self’s purview (see MNUB 188-9). The uncanny may refer the subject “to an improper past” (MNUB 183). Before falling in love with René, O was Jacqueline: “indifferent and fickle,” she had merely “amused herself tempting the boys who were in love with her” (94). Her fully narcissistic desire to be desired not only shielded her but actively inflicted pain: it was a weapon (ibid). Subsequently, O’s indifferent and fickle behaviour is referred to, by a guilt-stricken O, as part of her ‘wantonness,’ and as such, as part of the constellation of justifications for her (present) punishment: an improper past, it has been ejected from the subject’s identificatory ambit. It is Jacqueline, then, since she is the representative of this past, who has been ejected from this ambit, and it is no surprise when O, by this time fully sympathetic with René (read: Roissy’s world and its order) and with the vision of sexual relations in which he ought not be love-stricken and desperate, but be dominant, comes to hate Jacqueline for the pain she might cause him.

In Freudian melancholy, the rejected object, again, is not actually ejected; it is rather subjected to a fissioning: it is brought into the ego where the hating energies once directed toward it (by the ego) are broken off from it and redirected toward the self. In Butler’s account, in which melancholy is assujettissement, the trace of the Other as feelings of worthlessness (or self-hatred, or even, calling to mind O, guilt) must be read as a “dissimulated sociality” (181): the various foreclosures performed in and through the cultural delineation of the realm of the possible are actually what occasions “the internal violence [and voice] of conscience” (183). O is guilt-ridden—guilty for prior fickle indifference, guilty for continuing wantonness, guilty for something, at one point we find out, she cannot quite put her finger on: “It…seemed to her that her nakedness was an atonement for something…but for what?” (103). Is her guilt, then, with its ambiguous content, precisely the trace of something foreclosed, something uncanny that, in (re-)erupting, might open O toward the new? And, if it is, then why should this something be ‘fickle indifference,’ as embodied by O’s uncanny double, Jacqueline?

For now, I would like to bracket the fact that ‘fickle indifference’ is not a possibility radically foreclosed in the world of the text[14] and simply ask: Does ‘fickle indifference’ nevertheless swerve? On the one hand, it seems to shield Jacqueline from Roissy. In other ways, it does not, however, and perhaps this is because it does not shield her from the desire to be desired: there are social norms that govern what constitutes a proper object of desire, and we might wonder if, within the domain that is the text, these are always already Roissy-inflected. Jacqueline already knows how to behave like a ‘desirable’ (submissive) subject: “No one would ever need to teach this woman anything: neither to be silent, nor to arch her head halfway back” (103-4). So acquainted is she with ‘the rules of the game’ that she warns O about the danger of wearing garters without a garter belt (“you’re going to ruin your legs” [63]) long before Anne-Marie informs her of the same (e.g., in the form of an indirect prohibition) (143). It is perhaps no coincidence, then, that one of the gowns Jacqueline dons at work, and which O photographs her in, is a gala gown “such as brides wore in the middle ages” (64) and such as only Roissy slaves continue to wear (65). Jacqueline’s fixation on O’s ring even causes O to think it is possible that “Jacqueline had been at Roissy,” and then, significantly, to wonder “why didn’t she too have a ring?” (75). Of course, O did not have a ring (read: iron sign of enslavement) prior to Roissy either: it was only bestowed once she had arrived there, and yet this did not stop René from…taking her for a walk…

Jacqueline is O’s uncanny double, an unfamiliar return of the familiar, to be sure, but if she were to interrupt O’s insularity, this “destructuration of self”—a return to fickle indifference—would perhaps best be thought of in terms of repetition/stagnation, or in terms of, as Kristeva puts this, a psychotic symptom (quoted above): an otherness that is more, rather than less, more of the same. If Jacqueline is not, then, finally, a good candidate for the figure of the foreigner, for the clinamen, then what else could serve as such a candidate? What else could swerve? O fills me with despair precisely because the logic inscribed by the text seems impervious to interruption, to change. The configuration of love itself in the text is inflexible, assuming, as it does, the one form. Our consideration of Jacqueline has revealed that resistance, within the logic of the text, likewise assumes a single form: ‘I love only myself: I do not love at all.’ What makes the text depressing, then, is that it not only forecloses the possibility of alternative configurations of love—positive attachments and forms of influence/interruption/inflection that are not founded on the existence of objects with owners, or on the discursive insistence on ‘intruders’ and the ‘intruded upon’— but also points to stagnation as the only model for a sorry and ultimately self-deceived resistance: narcissism: ‘I am never interrupted, for I do not love at all.’ One’s very existence implies that one has been, in some way, interrupted; one’s narcissism may keep one soldered to what one has always already been made into.

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The Swerve

If there is an opening in O, then it is an untapped opening at the point of the text’s closure. The narrative voice marooned in white space on a final, un-paginated page reports:

In a final chapter, which has been suppressed, O did return to Roissy, where Sir Stephen abandoned her.

There exists a second end to O’s story. In that version, O, seeing that Sir Stephen was on the verge of leaving her, preferred to die. Sir Stephen gave his consent.

Recall that the text’s beginning is forked as well: either O is blindfolded and marshalled up to the chateau, or she walks to the door herself. These beginnings are equivalent, for an already subjected self’s autonomy is its subjection all the same. Is a similar equivalence to be found in the proposed “endings”? When O is abandoned, does this mean she is no longer owned, and, if so, in what sense does this signify that she is dead? ‘Death’ is dangerous, a vacuous word: The self dies without dying to become another; the self is said to die at the height of pleasure just as much as at the pinnacle of its debasement; O believed she had lost herself, but instead a subjugated self was only being further consolidated. What reason do we have for reading death at this point in the text as signifying new news? No reason at all. No reason: thus it is appropriate that Kathy Acker taps into the text here and veers.

In Pussy, King of the Pirates, Acker provides her own version of O’s narrative. Acker’s O ends up in China, a name for any city, following W, her lover, who prostitutes her. W inadvertently sells weapons to a band of revolutionaries who undermine patriarchy/capitalism, his enterprise; they also beat him up severely, nearly killing him. (This is power making possible what from power strays.) W has abandoned O. Réage’s premise: ‘If Sir Stephen’s not around, then I want to be no more.’ Acker’s premise: “O speaks: If W’s not around, I don’t want to be a whore” (17). Once the revolutionaries storm the English embassy, O’s ‘health’ returns: she learns that W was part owner of the whorehouse, and thus tells us: “I no longer cared what W felt about me: all I wanted was for him to be absent from me” (21). The patriarchal order crumbles and O “[stands] on the edge of a new world” (23).

In another version (same book), O is in Alexandria and catalyzes the revolution herself: “a revolution of whores” (30) to begin “[t]he only thing in the world that’s worth beginning: the end of the world” (27). Acker’s perseveration, throughout the text, on the prospect of a new world order is significant, given, as we have seen, that it is a rigid discursive/ontological order that fortifies a subjugating form of power in Réage’s text. Acker busts open the order consolidated in that text, displacing the phallus—in Acker’s text ‘Pussy’ is king, pirate, O, treasure—displacing, in fact, many things: reason, identity, certainty, consistency. She populates her text with characters and actions that befit the ambiguity of any brink: patriarchal women, decapitated/castrated fathers, bloodthirsty freedom fighters, graveyard dwellers, men who seem to have overcome themselves, readying themselves for the new order, but who are nevertheless insidious, girl pirates who are just as, perhaps even more insidious, vicious, complicit with power… Acker resolves nothing. Instead, she locks the reader into a bemusement that is also a bewonderment: does everything change, or does nothing? Yet the canny whore-pirates of Acker’s text are one step ahead of the melancholic subject confined to Réage’s pages, since they realize that an ontological order constrains what is possible, and therefore must be interrogated: “The weight of culture: questioned and lost” (31).

Part of this interrogation is discursive: “the whores learned that if language or words whose meanings seem definite are dissolved into a substance of multiple gestures and cries…then all the weight that the current social, political, and religious hegemonic forms of expression carry will be questioned. Become questionable. Finally lost.” (ibid.) Elsewhere, the text gestures toward the transformative potentiality of disjunction: “words apocalyptic and apostrophic, punctuations only as disjunctions, disjunctions cut into different parts of the body or of the world” (36). Disjunction: not just the ‘or’ of alternatives as in Réage’s text, for Acker’s text makes use of narrative disjunction, the occasional Steinean period,[15] and, again, a crafty skewing of logic. The pirate/whores’ insight, then, is not only that they must think, or attempt to think, the very order they’ve issued from, but that thinking might involve linguistic rearrangement.

The whores become pirates precisely to perform this interrogation, to pursue the origin of whoredom (the order it’s emerged from) and to change its course (27). In a way, then, Acker’s text offers another formulation of Foucault’s ‘thought thinking itself’:

Thought does exist, both beyond and before systems and edifices of discourse. It is something that is often hidden but always drives everyday behaviours. There is always a little thought occurring even in the most stupid institutions; there is always thought even in silent habits. Criticism consists in uncovering that thought and trying to change it: showing that things are not as obvious as people believe, making it so that what is taken for granted is no longer taken for granted. To do criticism is to make harder those acts that are now too easy. (SIIITT 172)

Criticism does not settle things once and for all, but problematizes a subject’s previously un-problematical proceedings. The subject engaging with criticism is a troubled, dissatisfied, confused, but nonetheless active subject—a fizzing subject, even zealous, and vertiginous, falling, falling ever short of knowledge. In Réage’s text, the otherness that interrupts the self is concretely cultural; in Acker’s text, the otherness the girls quest for, where ‘quest’ is ‘criticism,’ is an otherness beyond the cultural, or at least an otherness under-determined by the cultural. This otherness is ‘thought.’ Thought is figured once in Acker’s book as a red rat named Ratski, who, elsewhere in the text, interrupts as menstrual blood. It is perhaps the pursuit of this other otherness—‘thought’—it is perhaps thought’s opening to thought—that holds out the possibility of a swerve away from Roissy and what it enables. This pursuit, significantly, occurs beyond the border of O’s original story. Story of O, it seems, has inspired the very myths which seek to double back and destroy it, and which, in doubling back, invest it, preserve it. For their very life, they depend on it. Some of us have never aspired to do anything more than pervert and corrupt, to be anything more than bastards and degenerates.

Ratski is fat because everything in the world sits inside her belly because she never sits inside any belly because, if she did, she’d tear right through it. Her fur is red…

No one ever finds Ratski: she lives inside the interstices of the world. Located between red flowers. The name of each interstice is “intellect.”

Ratski’s always on the rag.

…and so the reign of girl piracy began… (Acker 208)

 —Natalie Helberg

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References

Acker, Kathy. 1997. Bodies of Work: Essays by Kathy Acker. London: Serpent’s Tail. Print.

_____. 1996. Pussy, King of the Pirates. New York: Grove. Print.

_____. 1993. My Mother: Demonology. New York: Pantheon. Print.

Andrews, Betsy. 2004. “The Real Story of ‘O.’” Biting the Error. Ed. Gail Scott, Mary Burger,

Robert Glück, Camille Roy. Toronto: Coach House. 216-19. Print.

Bartky, Sandra. 1990. Femininity and Domination: Studies in the Phenomenology of Oppression. New York: Routledge. Print.

Bök, Christian. 2002.‘Pataphysics: The Poetics of an Imaginary Science. Evanston: Northwestern UP. Print.

Bordo, Susan. 2003. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: U of California P. Print.

Butler, Judith. 2005. Giving an Account of Oneself. New York: Fordham UP. Print.

_____. 1997. The Psychic Life of Power: Theories in Subjection. California: Stanford UP. Print.

Crozier, W. R. 1996. “The Psychology of Colour Preferences.” Review of Progress in Coloration and Related Topics. 21.1: 63-72. Primo. Web. 12 Aug. 2013.

Deleuze, Gilles. 1988. “A New Cartographer.” Foucault. Trans. Seán Hand. Minneapolis; London: U of Minnesota P. 23-44. Print.

_____. 1988. “Foldings, or the Inside of Thought (Subjectivation).” Foucault. Trans. Seán Hand. Minneapolis; London: U of Minnesota P. 94-123. Print.

Foucault, Michel. 2006. Psychiatric Power. Trans. Graham Burchell. Ed. Jacques Lagrange. New York: Picador. Print.

_____. 2003. “So Is It Important To Think.” The Essential Foucault. Ed. Paul Rabinow and Nicolas Rose. New York: New Press. 170-73. Print.

_____. 2003. “The Thought of The Outside.” The Essential Foucault. Ed. Paul Rabinow and

Nicolas Rose. New York: New Press. 423-41. Print.

_____. 1995. Discipline and Punish: The Birth of the Prison. New York: Vintage. Print.

Giordana, Simona. 2005. Understanding Eating Disorders: Conceptual and Ethical Issues in the Treatment of Anorexia and Bulimia Nervosa. Oxford; New York: Oxford UP. Print.

Heyes, Cressida J. 2007. Self Transformations: Foucault, Ethics, and Normalized Bodies. Oxford; New York: Oxford UP. Print.

Kristeva, Julia. 1991. “Might Not Universality Be…Our Own Foreignness?” Strangers to Ourselves. Trans. Leon S. Roudiez. New York: Columbia UP. 169-92. Print.

_____. 1991. “Toccata and Fugue for the Foreigner.” Strangers to Ourselves. Trans. Leon S. Roudiez. New York: Columbia UP. 1-40. Print.

Levinas, Emmanuel. 2006. “The I and Totality.” Entre Nous: Thinking-of-the-other. Trans. Michael B. Smith and Barbara Harshav. London; New York: Continuum. 11-33. Print.

_____. 1969. Totality and Infinity: An Essay on Exteriority. Trans. Alphonso Lingis. Pittsburgh: Duquesne UP. Print.

Lorde, Audre. 2007. “Age, Race, Class, and Sex.” Sister Outsider: Essays and Speeches by Audre Lorde. Berkeley: Crossing. 114-23. Print.

McWhorter, Ladelle. 1999. Bodies and Pleasures: Foucault and the Politics of Sexual Normalization. Bloomington: Indiana UP. Print.

Réage, Pauline. 1993. Story of O. Trans. John Paul Hand. New York: Book-Of-The-Month Club. Print.

Robertson, Lisa. 2012. Nilling: Prose Essays on Noise, Pornography, The Codex, Melancholy, Lucretius, Folds, Cities and Related Aporias. Toronto: Bookthug. Print.

Young, Iris Marion. 1980. “Throwing Like a Girl: A Phenomenology of Feminine Body Comportment and Spatiality.” Human Studies 3.2: 137-56. PRIMO. Web. 22 Jan. 2013.

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helberg pic

Natalie Helberg completed an MFA in Creative Writing with the University of Guelph in 2013. She is currently studying philosophy at the University of Toronto. Some of her experimental work has appeared on InfluencySalon.ca and in Canadian Literature. She is (still) working on a hybrid novel.

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Footnotes    (↵ returns to text)

  1. Pauline Réage is of course a pseudonym.
  2. Lisa Robertson reads Story of O as a similar type of allegory: the self’s agency, in her reading, is accomplished by means of the very passivity it wills for itself. Her essay on Story of O was, in fact, a catalyst for my own thinking on the subject (see Nilling).
  3. I’ve tinkered with tense here, as I have in other phrases drawn from Réage’s book.
  4. “Here is where I leave you,” René says (Réage 5).
  5. In Giving an Account of Oneself, for example, Judith Butler suggests that subjective interruptions of this kind are the crux of ethics, that “our willingness to become undone in relation to others constitutes our chance of becoming human” (136).
  6. See Crozier.
  7. Mirrors are scattered throughout the text as well and signal Roissy’s seepage into O’s everyday existence, where they consistently function to maintain her in her status as ‘object for an Other’: “She saw her reflection: she was naked except for the leather clogs…not much darker than the clogs she had worn at Roissy…and the ring…[S]he was alone, her sole spectator. And yet she had never felt so totally subject to a foreign will, never so a slave” (Réage 60).
  8. Disciplinary power renders and subsequently functions on the premise that a whole series of behaviours—“latenesses, absences, interruptions of tasks…inattention, negligence, lack of zeal…impoliteness, disobedience… idle chatter, insolence…‘incorrect’ attitudes, irregular gestures, lack of cleanliness,” and so on (Foucault DP 178)—are punishable. At Roissy, the women are punished “at night for any infraction of the rules during the day. That is, for thoughtlessness, for being slow to oblige, for having raised [their] eyes on whoever speaks to [them] or takes [them]” (Réage 16), and for speaking to other women (Réage 16 and 36-7),
  9. Notwithstanding the aforementioned idea that, within the allegorical space which is O and which belongs to the pseudo-time of a ‘before subjectivity,’ there is another dimension to the text in which it seems that forces act, continuously and throughout the narrative, on O from without. The text’s various allegorical layers co-exist with, rather than contradict, one another.
  10. In fact, in Butler’s text, the degree to which melancholy is experiential is ambiguous, since she also makes something of the thought that the ego retracts negative, object-directed affect, turning it back on itself.
  11. It is troubling to pre-formulate, or pre-posit ‘dominant’ and ‘submissive’ subjects this way, if, in fact, they only come to be dominant and submissive relationally.
  12. The phrasing here is revealing: “Nothing obliged her to remain a slave, nothing except her love and slavery itself” (Réage 123; my emphasis).
  13. The language of internalization implies that something to be internalized pre-exists the subject, and that the subject pre-exists the act of internalization.
  14. It is a possibility O, in fact, lived: She lived, we can say, ‘fickle indifference’ once, if only to reject it—or if only, through her love for René, to have it stolen (see Réage 94).
  15. Andrews quotes Gertrude Stein on periods: “They could begin to act as they thought best and one might interrupt one’s writing with them that is not really interrupting one’s writing with them but one could come to stop arbitrarily in one’s writing and so they could be used…” (218).
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Kathy Page

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Mitch has been waiting all week for Tara to get back to him. Only when in the water is he separated from his phone. It’s lucky, he thinks, as he punches in the code to disable the alarm and lets himself in, that he has to be here. The pool rested overnight, and now lies smooth, ready to give him a break, to take him elsewhere as it always has. Outdoor, indoor, underground, rooftop, exclusive, inclusive, filthy, sparkly-clean, Olympic, twenty-five metre, salt water, UV – any pool will do. Mitch has his favourites but Fourth Street, with its banner: “Home of the Sharks” is the one he thinks of as his. Twenty-five metres, eight lanes, three metres at the deep end, it’s housed in an ageing and never splendid building, yet still seduces him with that turquoise glow, with those threads of reflected light knitting and releasing themselves in a dance that is both loose and contained. The pool promises buoyancy and escape; it taints the air with a tang of chlorine (fainter these days, due to the UV) to which he has no objection at all.

He pulls off his sweatshirt, dumps his backpack on the floor, and pushes through the door at the back of reception on to the deck. The air is warm and moist. Condensation gathers on the picture windows that look out into the woods. The hum of the ventilation and mechanical systems seems oddly loud when the pool is empty, but it is always there, lurking deep beneath the shouts and splashes that bounce themselves to mush between the water and the walls and mount to a crescendo at about four in the afternoon: it is a kind of silence that you only hear if you’re there first or last thing, when the swimmers have gone and the water is, as now, very nearly still, waiting for a dive to break its surface, for the dive which will connect Mitch to all his other dives, and to all the waters of the world.

For a racing dive, you climb on the blocks, which angle towards the water, one leg at the back one at the front. You keep your back straight, offer your chest and the heart beating steadily inside it to the water. Waiting, you push with your legs and you pull back with your arms so that when the light flashes and the buzzer sounds, you spring forward with doubled force. Your arms come back to your sides but right away you bring them up so that they point your way in. You hyper- extend, tense your core and extend your legs so that once your fingers part the surface, you slice into the water and enter it without wasting any of the power you put in to the spring. You’re looking for horizontal distance. On the other hand, diving for diving’s sake from a platform or a springboard depends on the take-off, but is all about the flight and the entry. Straight, pike, tuck, free: it is, when you get down to it, mainly about being in the air, and that has never interested Mitch.

The water closes behind him. He kicks hard, stays under for three quarters of a length before he surfaces, ready to start the routine that will set him up for the day: practise what you preach. Swim the swim. Well, Mitch likes what he does. Whatever happens with Tara, he’ll hang on to that.

“And whatever she says, you are going to have to be fine with it,” Annette told him last night when he couldn’t sleep and tried to slip out of bed without waking her. They sat up and talked in the dark.

“Yes,” he said, “but still…” He stared straight ahead, out of the window, picking out the shapes of the garden trees he’d planted, but he could feel Annette studying at his face. Beneath the sheets, she put her hand on his leg.

“And either way, it’s just good she agreed to think it over.”

“I know.”

“And it will be fine for Tara, whatever she chooses to do.” Annette took her hand from his leg, touched his face, made him look at her, pulled him into a kiss, offered her body for him to forget himself in. Afterwards, he plunged into oblivion and did not wake until the alarm sounded at five. Her side of the bed was empty, and he found her hunched over her tea in the kitchen downstairs, looking every bit of her age. Five, O! More importantly, five years older than him, which these days she could not forget, whereas, left to himself, he would. A decade ago, when he was thirty-five the gap had seemed like nothing at all. In five years’ time it would be that way again, or even something to celebrate: if the years were laps or miles, you’d be proud of them, for heaven’s sake! But the thing is, they’ve not had kids of their own. They met that bit too late for that.

“So then I started worrying,” Annette said, “but not about Tara. One way or another, Mitch, she’ll be okay.”

“Don’t worry,” Mitch told her, “I promise you, the last thing I want to do is drink.”

“I didn’t mean that,” Annette said. She was worrying about the potential impact on their relationship. It was all connected, she said.

“Please. Just don’t,” he said. Running late, he squeezed her shoulder and hurried to the car.

He’d been with Annette for about a year — they had just bought the house – when Tara first showed up on a Friday, late afternoon. He was teaching a shared lesson and noticed a family come on the deck. The mother, skinny, had thick blonde hair and a pierced belly button; the man stood very tall and fit. A tattooed dragon coiled up his arm. The girl Mitch put at about seven, and they’d dressed her in a turquoise bikini — Why, he asked Annette later, do people do that? He watched as the mother, showing off her own figure in a similar suit, crouched down, felt the water, mock-shivered, stood again. For a moment, all three of them waited in a line at the shallow end, considering the expanse of water ahead of them. Then the little one threw herself in – not exactly a dive, and perhaps the lifeguards weren’t looking, or else they let it go. She surfaced, gulped some air and hurtled towards the deep end, her hands smashing into the water, but fast – and, the thing was, it looked messy as all hell, but she pretty much had the stroke: face in, the arm’s reach coming right from the hip the twist of the neck, the timing. It was all there, ready, and Mitch just had to stop and watch.

He didn’t know it then, but nature versus nurture was a topic he and Tara’s mother would in the coming years return to many times. Of course, he’d tell her, you need to train. But some people start from a better place. Height is good; long limbs and big hands and feet are a tremendous asset (look at Mr Phillips, now!), and some (not necessarily the same ones) just have a better constitution and a more efficient metabolism than others. To some extent the lack of any of these assets can be overcome with hard work and the right mindset… But an understanding of how to move in water, feeling the physics, not knowing it – that’s probably innate, and, he’d tell her, that feeling is worth more than anything and it is the very best place to begin. That’s what he’d say, and certainly it seemed to him as he stood waist deep, watching, that this girl had more than begun. She was halfway up the pool before her mother jumped in after her, breast-stroking along with her head up, arms and legs out of sync, fighting her own efforts every inch of the way.

“Tara,” she shouted, “wait! You’ve got to be able to stand!”

Forget that, Mitch thought, as Tara closed in on the end rail, slowing down a bit, but not much. She was pushing it – another thing not everyone wants or is able to do. The two boys in the water with him, for example, were time-wasters, reluctant to go a hairsbreadth out of their comfort zone, and therefore doomed to progress at a glacial pace, but there were ten minutes of the lesson left so he turned his back on Tara and went back to the drill for the dolphin kick.

“That kid could go a long way, very fast,” he told Annette in the evening. “Could be a great swimmer. I’m absolutely sure of it. And I could help. I feel like I should. It’s weird. I’ve not felt like this before.”

After the lesson, he dried off and pulled on his Coach tee shirt for maximum professional effect. The new family were back in the shallows, and he went right over and squatted down.

“That’s some awesome swimming you do,” he said to Tara, then looked at her parents. “Who taught you, your dad?” The man with the tattoo laughed.

“Afraid not, ” he said. “You’re looking at the world’s worst.”

“Her cousin taught her in the lake,” the mother said.

“You’re a bit of a fish,” Mitch told Tara. “How old are you?”

“Seven and a half,” she said. She was looking right at him, had been ever since he came over. It was clear to Mitch that she very much wanted to hear what he had to say.

“One thing,” he told her, “try keeping your hands like this, and sliding them in forwards without a splash, then you can pull more water… See? Angle them like this. It should feel like you’re pulling and the water’s pushing back. But don’t quite close up your fingers. Like so. You’ll catch more water. Feel it? That’s the way.” He turned back to the mom.

“You know, she might enjoy our swim team.” He kept his tone light, even though he had a very serious feeling about it.

“We’re not really joiners,” she said, and looked away. There was no point in being pushy, and, as he explained to Annette, it was all too easy for parents to think you were some kind of pervert, especially once your hair started to thin: these days, he said, it’s probably better all round to be female, but some things can’t be helped. Thank God, Annette said. So Mitch didn’t ask whether they were passing through or new to the area, or where the kid went to school. He just grinned and backed off.

“Mitchell McAllister,” he told them as he stood up. “Here most mornings, afternoons, and evenings. Enjoy the pool.”

“It’s freezing!” Tara’s mother said. They did keep the water cool. That was what swimmers needed. Management appreciated the needs of the club, plus those few degrees saved a fair bit.

“Oh, it’s not so bad,” he told her, smiling. “You’ll soon warm up.”

“Maybe I’ll never see them again,” he told Annette.

Back then, the house took up all their free time. That night they were painting the lounge in Ivory and Arctic Moss. He was on the ladder, she was cutting in by the baseboard. They each craned their necks to look at the other.

“Well,” she said, “let’s see how it goes,” and there was a feeling that they had agreed to something, though neither of them knew exactly what.

A week or two after their first meeting, he ran into Tara’s mother in the lobby. Her hair was wet, and she had a rolled up towel under her arm; a nice woman, he thought, but a little too thin and too intense, her eyes shiny-bright, the angles and planes of her face more like sculpture than flesh. He was just arriving, she was on her way out.

“Hey, Mitch, right?” she called out. “We chatted the other week. Tara pestered me to bring her back so she can show you her new arms. She’s been practising in the air.”

“Cool!” he said, feeling his heart rate pick up: excitement, self-justification, hope –a cocktail of many things.

“Well,” she shrugged, “it’s a half hour drive, and we have a lot to look after right now. Fencing the yard, keeping the darn chickens alive, re-plumbing up the house. We just can’t make too many trips. And I’m not a fan of your freezing water! So finally we made it – and then we missed you. Sabrina, by the way.” She offered her hand.

“I start later on Tuesday and Thursday afternoons,” Mitch explained as Tara emerged with her dad from the family change-room. Josh: Mitch shook his hand, too. It was cold still from the pool.

“Scoot back in I’ll watch you now,” he told Tara. The parents looked at each other.

“You two stay dry,” he told them. “Get a coffee, tell Chris it’s on me. Five minutes, okay?”

She jumped right in, looked up at him. She was waiting for his say-so, but at the same time he had a feeling she was in charge. Okay, he thought, I’m yours.

“Up to the end and back,” he told her, “but remember, it’s not a race. I want what’s called good form. I’ll walk up on the side here and I want to see you make your hands go in perfectly and pull back the water just as I told you, every single time.” At the end, she was breathing hard which told him she had tried for speed and form, and that her endurance needed work. But the hands were perfect, and her eyes sought his: How was that? What did you see? What next? Show me! They were blue-grey eyes, big, the same as her mother’s, but her gaze was untroubled and they picked up some of the colour of the water. She was all about what came next, about being in the water, about wanting something from him and wanting even more from herself.

“Attagirl,” he beamed back at her. “You got it. Next time I’ll show you the flip turn.” He picked her out a decent pair of goggles from the lost and found and told her to ask her parents to get her a one piece and book her in for a free trial lesson: that way, they wouldn’t have to get wet themselves.

There was another long gap and then over the course of a six week set Tara learned her dive and turn, and the beginnings of a pretty decent fly. They started on her dive.

“It’s like I’m giving her what she’s wanted all her life,” he told Annette. “Amazing. Totally committed. But she needs to be part of something.”

Maybe she needs other kids to swim with, was how he would put it to Sabrina.

“If your folks do say yes, at this time of year you’d practise every day before school and the dry land training Tuesday and Thursday, after school. Meets, that’s the races, are every month or so until the real season starts and you don’t have to come to every single one. Later it gets to be a little bit more. But we do take August off. You need talk it over with your mom and dad.” Take a deep breath, he told himself. Submerge… Hold it. Let it out very slowly. Wait.

Depth is about the water pushing in on you and separating you from the familiar world. Some of those drawn to go deep want none of the careful calculation of pressure and gasses, the attention to time and meticulous checking of equipment that scuba entails; they prefer to extend their innate physical capacities as far as possible and dive free of equipment, with just a lungful of air to sustain them and a dangling rope to help them find their way back up. A free-diver learns his or her body as if it were both friend and enemy: how deep it will willingly go, how to push it further, how to increase lung capacity and oxygen absorption, how to slow the heart beat and move without wasted effort; to evaluate, accept and transcend pain.

Mitch once witnessed a free-diving record. He was on the crew of the Shirley, waiting for Herman Fischmann (could you make up a name like that!) to surface. He held his own breath in sympathy, but managed only two minutes. He burst into tears when the bloke’s shaven head emerged ¬– it was like seeing a baby born ¬– and on top of that he felt a kind of water-man kinship, though personally he was not especially drawn to depth. For him, it’s speed, economy and distance, not depth, not so much. But he certainly understood the dedication involved.

He knew that Sabrina and Jason did not quite got where – who ¬– Tara was, but he had high hopes that they would.

“If you think about it, what I ask of these kids is no different from, say, learning the piano,” he told Annette. They had the new kitchen in by then: granite, gas stove, the lot, and made a point of using it.

“Hmm… You don’t have to play piano at six-thirty, travel half an hour to get to it and pack your breakfast,” she said, which was fair enough.

Annette owned Valley Fitness, the gym in town. She had it first with her ex, then on her own; she was hoping to sell it before too long. She was a keep-fitter, not an athlete, but she understood training and competition.

“I’m not strict,” he continued. “Intrinsic motivation is where I come from, not carrots and sticks. After a year, I expect a little more, and so on. And she’d lift the whole team: it’s not just about the obvious athletes. Some kids are signed up to get a bit of exercise, others for the friendships, but then once they are in, it changes, and some of them suddenly take off. They all get something out of it. But with Tara, I have to tell you, I’m thinking the Nationals in a few years and then looking right ahead to the Olympics in 2016.”

“That’s an awful long way to look,” Annette said. “What about here and now? Could we forget Tara for an hour so?” He grinned back at her and complimented her on the salmon she had cooked, tried to bring his mind back to the two of them and the here and now, but the truth was he could not forget: even when he did not think of Tara she was there, waiting in the back of his mind. And before long it got to the point where both he and Annette dreamed about Tara, her times, her moments of victory, but also things like injuries, forgetting her suit, losing her goggles, or beginning to struggle for her breath. Many times, in his sleep, he dived in and rescued her.

You must do whatever the lifeguard says, Mitch always tells his swimmers, and use your common sense: don’t swim alone. Remember that water, however much you love it, does not love you back. It simply does what it must do according to the laws of physics and the conditions at the time, and while it is essential to life, it can also end it, and swiftly, too. Humans are not amphibious… How can you tell if someone is drowning? he asks. Hardly anyone has ever had the right answer: swimmers in distress splash and shout, but drowning itself is silent and swift. There’s just not enough air to make any noise. The head goes back, the arms spread out and push down on the water until for a moment or two the mouth breaks free of the surface, exhales, gasps – but then it goes under again. With each surfacing the inhalation is smaller, the amount of carbon dioxide in the blood greater, the arms weaker, and in a minute or less it’s impossible to surface at all; water is inhaled and the larynx constricts, sealing the air tube to protect the lungs. The brain, starved of oxygen by now, soon shuts down – though the victim may still be resuscitated, if pulled out of the water and treated before cardiac arrest occurs.

In order to flush the carbon dioxide from their lungs and so delay the breathing reflex triggered by its build-up, some swimmers hyperventilate before a distance or depth dive. It’s a high-risk strategy, since the diver may black out due to oxygen deprivation before they feel the urge to breathe. Typically, these drowned divers are found, too late, on the bottom of the pool. So, no panting and gasping before you dive in, he tells his swimmers, and no breath-holding contests: I know what I’m talking about, believe me. And even though you are going to be excellent swimmers, please wear your flotation devices when you row across the lake or go sailing with your uncle. Suppose the boom swings and knocks you unconscious before you fall in? And by wear I mean buckle it up…

Sabrina and Jason’s overgrown acreage and 1910 farmhouse with authentic shingles came cheap, but they had to install fences and drains, fell trees, extract rocks from the soil, and then plant five hundred grape vines and two hundred lavender bushes, all at the same time as trying to run a web design business, grow their own ultra-healthy food, including chickens, without using chemicals, and raise a family. Eventually they would be showing visitors round on tours and tastings as well, and Sabrina would be making and marketing organic lavender products: oil, hand cream, soap and such. Big dreams and laudable aims, was how Mitch put it to himself. You never knew how things would turn out, but it sounded to him like a miserable amount of work, unless you had money behind you.

“Nice property,” he said when they showed him and Annette around.

“I wish you hadn’t put this team idea in her head,” Sabrina said. “All that time spent on one thing, especially at this age, seems crazy! The reason we chose home-schooling is to avoid competitiveness and peer pressure and have her enjoy her childhood.”

“Well, yes,” Mitch said, and met the eyes fixed on his face, the mottled grey irises darkly ringed and suspended in blue-tinged white. His feeling was that Sabrina desperately wanted to do the right thing, but had no instinct for what it was. Part of her knew this, but another part, the part mainly in charge, did not.

“There is all that,” he said. “And it would be a big commitment. And you’re her mom, so you know best. The club is competitive, but it’s not just about competition. It’s very sociable. They work hard and they have a lot of fun together – that might be a big plus if she’s mainly with you guys. And some people just naturally like to strive. Look at it this way: she’s competing against herself right now. It might be healthier to let her do it with other kids around.” He kept his voice light. “Why not just try and see?” he said.

“Remind me,” Sabrina said, still locking eyes with him, “how on earth did we get to be having this conversation?”

“You showed her the water,” Mitch picked up on her tone and pulled her towards the laugh they’d share, “that’s probably where you went wrong.”

Her whole body softened when she laughed.

“She’s beginning to understand. But I can’t tell her too much at once,” he told Annette.”

In training, the body is pushed beyond its limits. It suffers, then reconstitutes itself. Muscles strengthen and develop a tolerance to lactic acid. Lung-capacity increases. The heart grows in size. At the same time, understanding of the stroke accumulates. Young swimmers begin with a general impression, and move into the detail. As each new element is assimilated, the swimmer reaches a plateau, or even loses ground before progressing further. The mind too must remake itself.

Mitch swims the sets that he’s written on the sandwich board for his faster swimmers: five hundred metre warm up. Pull four times 150. Swim ten times 100 intervals. Kick for 500, then kick fifteen times 25 metres, intervals. Five hundred butterfly, five hundred choice. He’s working his way one stroke at a time towards the finale, towards sprint 100, 75, 50, 25 with a fifteen second recovery. These days, some of his swimmers are faster than he is.

He working hard enough that the air tastes very sweet when he gets to rest. Water rushes past his ears, his breath’s bubbles burst around his face; each time his ears surface there’s gasp of his inhalation, the sudden emptiness of the air above the pool. When his hands meet the tile another turn begins… The hands of the deck timer mark each second as it passes and sometimes, for length after length he thinks of nothing at all, just feels the stroke.

Though not today. He’s remembering that first time he saw the pool at Braeden Manor: no deep end, the water opaque, unused lane dividers tangled together at the far end. The windows along one side were almost obscured by the bushes and creeper growing outside. A faded sign pointed out that students who swam without a qualified life guard present did so at their own risk. He remembers how his heart lifted, how he almost cried when he saw it. Just the sight of the water, the thought of being immersed.

People evolved from fish. In the early weeks of pregnancy, the human embryo develops the beginnings of gills, which later become part of its ears. Air-breathing and lungs evolved in fish as a way of coping with oxygen depleted waters. It makes perfect sense to Mitch that our brains and bodies carry traces of the distant, aquatic past, and this must account for the affinity some feel for water, for individuals with extraordinary skills. Those free divers, for example: no one can really explain how they descend on a single breath six hundred feet below the surface, much less why they are drawn to sink to such lonely and dangerous depths. Yes, their lungs are more capacious than average, but even so, after fifty feet, they’re compressed to all but nothing, and theoretically, after three or four minutes, all those divers should be dead. Some do die in their attempts, but most live… It’s quite possible, Mitch thinks, that this is because they have retained some fishy capacities, some metabolic trick that scientists don’t yet understand – and it’s got to be the same for exceptional swimmers like Tara. They see the water and feel its pull; they know what to do because it’s buried somewhere in the fish part of their brain.

He volunteered for 5.45 pick up in the mornings and said he could find another parent to drive Tara home after practice.

“All right, then,” Sabrina said. Tara’s arms were wrapped around her waist. “It’s very kind of you to help. I can’t promise, but we’ll take you up on the month’s free try-out.”

That was it. A month later Tara formally joined the Sharks: sixty swimmers from six to seventeen, their coach, Mitchell McAllister, assisted by a series of university students and volunteers – brilliant, abysmal and everything in between. Josh, they decided, could manage the evening sessions. He could sit with his laptop and work while she trained. A bit of time out for you, Mitch pointed out to Sabrina.

“I don’t particularly want that,” she told him, but she returned his smile.

At the first meet, both parents leapt to their feet, yelling and cheering. At last, Mitch told Annette, they saw it: how swimming against someone good could take four seconds off Tara’s time; how close to each other, how grateful rivals can feel at the end of a hard race.

Soon Josh was asking questions about interval versus sprint and making up spreadsheets on his computer, to the point that Mitch had to rein him in. Though Sabrina, who had yelled just as loud, once came up to him at the coaches’ bench where he was packing up his things, and said, “Thanks, Mitch. But this whole thing is weird. What the hell is it about?”

“Being in the water,” he told her. He pointed out how Tara liked the fun stuff, too, water polo, the pyjama swim, all that. That she was not full of herself. Just happy. She was learning how to encourage those in the team who weren’t sure they wanted to be there. The training and the competition, he explained as they climbed the concrete steps and finally emerged from the fuggy humid air into the late afternoon sun, would provide her with many life-lessons: how to decide what she wanted and work for it, short and long term. How to deal with setbacks. “Swimming is a way to find out who you are,” he told Sabrina. She seemed to take it on, but she didn’t often come to the meets after that.

Sabrina missed seeing Tara win the 200 breast, a stroke she’d learned from scratch with Mitch. It’s all about timing, he’d told her: the amount of glide, the moment to pull the arms back, getting the kick and the reach to work together. You begin by thinking it through but in the end, you learn to feel when it’s right. In the pool that afternoon, Tara pushed a v-shaped wave of water ahead of her and overtook her rival in the first of eight lengths.

At the end, she gripped the rim of the pool, heaving for breath. Mitch, watching from the coaches’ bench, knew that she’d be disqualified for not touching properly on her second turn. He watched the white-coated official zone in on Tara as she went to pick up her towel. The woman, hugely fat, squatted down to Tara’s level, holding onto the railings for support. Quite a picture, the muscular little girl who knew how to part the water and pull herself through it with the minimum of wasted energy, the woman who had to drag the equivalent of another person wrapped around with her, day in, day out. On the face of it, Mitch thought as he watched the thing play out, you’d say the wrong one is giving advice here, though the fact is a lot of these amazing little swimmers end up as beached whales in middle age. Tara, he thought, would be bright enough to do the math. She was a great kid all round. She stood straight and looked the whale-woman in the eye. He wished he’d brought a camera with him.

Then she was there in front of him. Subdued, but no tears yet.

“DQ’d,” she told him, looking to see how he took it. Her time, 1:22, would have been a meet record.

“Bad luck, great time!” He watched her break into a grin. Later, he’d explain to her that every disqualification is a gift, and that by the end of the season, she would have her time way further down: it was a given, really, if she just did what he asked of her, and kept on growing, which she surely would, and did.

Annette sold her business and began to come along on the meet weekends. She helped pack up the car, took photographs for the website, and looked after the younger swimmers, the girls especially. Once Sabrina had the twins and needed Josh home to help, it was often just the three of them in Mitch’s car, making jokes, talking things over.

But the first two years were in some ways the best, because then all of it was so fresh, so very exciting. Tara qualified for Provincials with times almost two seconds faster than required. She would have been seeded first, but couldn’t go because of a trip already planned to visit to Josh’s parents in Ontario.

“Of course that comes first,” Mitch told Sabrina. They were in her kitchen; she’d invited him in for coffee when he dropped Tara off. “No problem,” he said, raising his mug as if in a toast, and he more or less almost meant it. He saw her jaw relax as she let go of the fight she’d been preparing for, though the next morning at 5:45, Tara red-eyed, was crying up boulders next to him in the car.

“I hate my parents!” she spat out as they turned into the freeway.

“Whoa!” He glanced across, then grabbed her shoulder for a moment. “They didn’t know. And who pays for all this? Who brings you here, who washes your towels? All you’ve got to do is wait until next year.”

“Next year?”

“Next year, you could be six seconds faster. You’re eight,” he told her. “You have nine more years of Provincials. Missing this one will save you from getting bored. And remember, you’re part of a team. All this year, you’ll be pulling the others after you and speeding them up, too.”

Actually, he was sure she’d be in the Nationals by twelve or thirteen. And when she did get to her first Provincials she beat all records and ended up with three gold medals, which she wore to the team dinner that night. The skin on her face looked taut, almost as if it had shrunk, and her eyes were very bright. She looked more like her mother, he thought. There was something other-worldly about both of them.

“I’m starving!” Tara told him as he passed by where she was sitting with her friend Alice and both of her parents. Sabrina had protested earlier about the unhealthy choice of restaurant but now she waved at him and seemed happy enough.

“Good to see you wearing your jewels,” he told Tara.

“Did you get medals like these?” she asked.

“Not at your age, no,” he told her, “I didn’t get any hardware until I was much older than you.”

“Why not?”

“I was never in a team at school,” he said, moving on.

He had not always been Mitch, though there was no need for Tara to know that. He grew up under the name of Sebastian McAllister, in England, the only child of an actress and a history professor who believed that from beginning to end, their son’s school experience should be intellectually stimulating, rigorous yet also creative and free. There was no need for Tara to know Mitch’s story, but Annette had required detailed background information. Comprehensive life-story exchange had been part of the deal. And was quite probably worthwhile, he admitted once it was done.

“They were prepared to pay through the nose,” he told her, “but nowhere was good enough.” Sebastian, as he was then, attended four different elementary schools before ending up at Braeden Manor, a cutting edge progressive secondary based in an Arts and Crafts style mansion in Hampshire. It was famed for its dedicated staff, small classes and picturesque, wooded environment. There were professional quality art rooms, laboratories and a well-equipped theatre, in which, despite or because of his mother being an actress, he had absolutely no interest. Braeden was a boarding school, and by that time, he was happy enough to leave home.

“Would he go for arts, languages, or sciences? Perhaps he’d prefer some middle ground between the two? Philosophy? What about the Law?

Braeden’s teachers were on first name terms with their pupils, who were encouraged to create their own curriculum. There was endless freedom, provided it was something intellectual or artistic that you wanted to do, but the school was too small to field teams for any of the local leagues and sports hardly figured at all. In any case, the feeling was that team games were warlike and suspect; the life of the mind was what they were there to explore and the body figured only as an aesthetic object or the subject of scientific enquiry. Physical Education took the form of recreational tennis and occasional runs over the fields, and, tacked on to the side of one of the older buildings, was a neglected twenty five metre pool which students who knew how to swim were allowed to use provided a waiver had been signed.

“That pool saved my life,” Mitch told Annette, on one of their early dates, a hike up the mountain. “They meant well, but it’s tough having parents who ignore what you are. They wanted me in Oxford, never understood that books bored me, much less how I loved the water. By the time I got into swimming, I’d stopped telling them anything. There was the pool, and I was in it, timing laps, practicing how to breathe, growing my shoulders. I got a book, The Science of Swimming, and worked from that. Can you imagine learning technique from a book? But it was a good book, and taught me everything. The strokes, how to train. I still think it’s the best… I timed myself and kept a log. No one took much notice. Perhaps I’d like to make it into a science project? Well, perhaps.

“Poor grades saved me from Oxford, but university of some kind seemed unavoidable. I picked Bristol for its pool, and persuaded them to let me try out for the swim team. I wasn’t quite good enough. If I’d started proper training and competed earlier, they told me, I’d have had a decent chance. Fuck this, I thought, it’s my life. I went AWOL, took off, for years: Turkey, Thailand, India, Mexico, Australia, New Zealand…”

“I’d love to go to New Zealand,” Annette said. And maybe they would. Because it was getting to the point that he couldn’t go on coaching, year on year forever, and financially, a time would come when he would not have to. For a while now, he had had it in mind that he’d at least semi-retire in 2016. Go watch Tara in Rio and leave it at that, that’s what he had been thinking.

The last part of the mountain trail was steep. They passed through old forest and he’d drifted away from where his story was going… In water, he told Annette, you learn yourself. Who you are. How far, how long you will go, what you think and feel as you set yourself on a course, just you and it. Water is always stronger than you, even when you’re the best you can be, and if you make a mistake, it is waiting to fill you up. And if you’re drunk, you shouldn’t swim, especially in the dark, however warm the water and the air and however beautiful the glittering firmament above.

Between Sebastian and Mitch he went by a variety of names. He had been that tanned guy picking grapes, selling sunglasses on the beach, or fish, or worse; he was the bloke running the little boat over to the island, or taking tourist money to see the turtles hatch. Also, he had been that guy passed out on the beach. He did the necessary to keep moving on from one sweet spot to the next, and at the same time he found his own way down and out of his own head. He sent only occasional postcards home.

By chance Mitch arrived at Lake Taupo at the time of an open water meet: a whole scene he had no idea about. Short haul swimmers wear out fast, but he could still train for distance, and had been, informally, for years. So he took up open water competition and for a while it gave a shape to his life: training, and saving for the race fees and travel from one event to the next. And between times he set out solo, crossed bays and straits, swam to distant islands, rested and returned. Though he still drank. But at least when he came to grief it was the in the Mediterranean, and not the North Sea. A yachtsman who’d done a lifesaving course fished him out.

“Chance in a million. I’d passed out, was probably a minute away from death. I remember him slapping my face then going back to pump my chest some more. I vomited up half the ocean. And after that, I went home. My father was dead by then. Mum put me through detox and rehab: nine months, lord knows what it cost. I changed my name to Mitchell, and I met Laura, who brought me back to Vancouver. We lasted almost six years, and here I am now, five thousand miles away from where I began, on the Pacific rim, coaching the swim-team at the Fourth Street pool.”

“What about your mother?” Annette asked. By then, they were sitting at the summit, the city, fields islands and sea spread out below them; the sky, intense cerulean, wisped with puffy clouds. Not a bad view to be sitting in, not at all.

“Annual visit and talk on the phone. She’s forgetful now, lives in a retirement complex with helpers, and is lined up to move into care. She’s never stopped calling me Sebastian. And the way she puts it is that I’m a teacher… She forgets the divorce and tells everyone including me, that my Canadian wife and I live near Vancouver. Some things just stay out of shape and you have to let it be. It’s about as good as you could expect.” Mitch put his hand on Annette’s shoulder, and she leaned in to him. Her story, which had come first, was simpler: a father no man could live up to; difficulties with men who found her too assertive. One of the many things he liked about Annette was that she did not judge or argue with what he’d made of his own tangled experience. She didn’t try to tell him what it all meant.

By the time the twins were toddlers, Tara’s parents had put the property with its lavender and baby vines up for sale. Bad timing: it was on the market for years, but before Tara got to the Nationals, they’d managed to cut their losses and sell it to another set of hopefuls. They moved to the edge of town. Tara got to go to regular school. Jason had a job in IT but they were struggling financially.

“It sucks, but we just can’t come,” Sabrina told Mitch. Her voice was tight and he guessed she was holding back tears. “It’s what to do with the twins and the cost of the flights out east.” Annette offered to donate her flight to whichever parent most wanted to go; Sabrina said they’d be too embarrassed to accept.

“Really, they’re splitting up,” Tara told them on the way to the airport. She sighed, examined her hands in her lap. Mostly she looked older than twelve, though sometimes it went the other way.

“First Mom was bringing the twins to watch and Dad was staying home, then it was the other way around. Now they’ve sent Charlie and Louie to stay with Aunt Karen so they can take the time to try and talk things through, just the two of them. I don’t care.” She glanced at him in the mirror, her ponytail whipping to the side as she moved her head.

“I guess you’re better off without them around,” Mitch said, “if all that’s going on. That’s probably what they think, too.”

“No,” she said, her voice wavering, “it’s not. They just couldn’t agree.” He gripped the wheel as if to throttle it and managed to say nothing. Annette twisted right around and put her hand on Tara’s knee.

“Well, kiddo,” she said, “that sucks. But you know I have a very loud voice and I’d like your permission to cheer for three when you’re on.”

“Sure,” Tara said. Her shoulders seemed to relax a little; she looked out the window. Planes were taking off and landing, and the runways shimmered in the heat. “Do we get a meal on the flight?” she asked, and Annette said no, but she had brought chicken pasta and banana bread in her carry-on.

At the hotel, Tara and Annette shared, leaving Mitch in a room on his own. Mitch barely slept, could only hope that Tara was drinking enough and visualising as he’d taught her to, each stroke of the race, every breath and every single turn, in real time. The feel of the water and the wall of the pool, the sounds, her time on the clock. It had been proved that the same neurons fired whether you were visualizing or swimming for real. You must make a memory of what you wanted to occur.

“You can either let stuff get to you,” he told her when they said goodnight, “or you can say, none of that comes in the water with me. Just swim.”

A 6:30 warm-up. An hour and a half later, she appeared on deck sheathed in her turquoise and black knee-skin. She looked for him and Annette, gave them her thumbs up salute, then as soon as they’d returned it, looked back at the water and rolled her shoulders. She was about in the middle for height, Mitch noted. There were no real giants, no surprises. But he thought she looked pale. No, ¬¬¬¬Annette said, it was the light, they all did except the black girl from Toronto in lane three. And they were all brilliant – he and Tara had studied the stats. This was where you met your match, which for the hundred free was Josie Georgeson, lane five, next to Tara in four: their times were a whisker apart. Across the board it was tight: the race was down to who wanted it most and had best accepted and nurtured that knowledge, fed and groomed it, let it take residence in their mind, day and night – but also on who had a bad day, not enough sleep, or too much going on at home.

“On your marks.” Eight of them, strong, slim and streamlined in their racing suits, climbed up onto the diving blocks, adjusted their goggles and bent to grip the edge. What was she thinking? Of the water, the strokes ahead of her? Of nothing at all?

When the light flashed and the buzzer sounded the swimmers sprang from the blocks, hung for a split second in the air, then sliced into the pool; they came up together. Buried in the crowd’s roar Mitch was counting her strokes, yelling Ra! Ra! Ra! and praying for the turn, because with this talent, a perfect or an imperfect turn would make the difference: arm, arm, tuck, kick up your butt, stay compact in the roll, feet slam the wall, push, rotate, yes! She surfaced half a length ahead of the rest. Mitch and Annette were on their feet with the worst of them, roaring as she came in almost a tenth of a second ahead. She yanked off her goggles to see her time. Mitch was in tears. It was not her fastest, but it was better than anyone else’s and it had got her through. It was good to keep something in reserve. They worked their way down through the sea of parents and coaches.

“Cool!” she said.

“Very cool. Good work! You’re well in,” he said as Annette handed over the recovery drink; she nudged him and he backed off, managed not to say, in a choked voice, I’m gonna be so proud of you. Though as it turned out he was: Two golds, one silver, and one bronze over a long three days: emotionally exhausting in the very best way. The pool and the hotel, the heats, finals, food, drink – it was as if nothing else existed. After dinner, they returned to the rooms and watched old Disney films. And then it was over, and they cracked jokes and gossiped all the way home.

When they got there, things changed. Josh did not appear. In the hall, Sabrina explained to Mitch and Annette that things had been falling apart since before the twins were born. She and Josh were pulling in different directions, couldn’t agree on anything; it had always been that way to some extent and was even part of the attraction. Now, with the three kids, it wasn’t possible any more, not even bearable. Not for her. Counselling was useless. They were going to split. They were aiming to do everything fairly and with as little pain as possible. The twins would stay with Sabrina. Tara could choose where she wanted to live. Either way, there would be plenty of flexibility.

“I’m very sorry,” Mitch told Sabrina. She grimaced, shrugged, turned away.

“I don’t want to live with either of them!” Tara told Mitch when she called him later that night. “Can I come live with you and Annette? You guys are a such a lot of fun.” And now he wonders: supposing they’d said yes, sure, come right on over, we’ll work it out somehow? Supposing they had taken her in? How might things have turned out then? But instead, he called Sabrina.

“Look,” he said after he’d let her know what Tara wanted, “I’m just letting you know. If we can help in some way, please say and of course we’ll do what we can.”

“I think we’ll be fine, but thank you, Mitch,” she replied. Did “we” include the kids? he asked Annette. Couldn’t they have waited a bit, given how long they’ve waited already?

Tara did not choose. She moved between the two homes. After six months, Josh decided to move to Toronto for work. He pointed out that it would make sense for Tara’s training, if she wanted to come too, and by then, she did.

“She’ll keep in touch,” Annette reassured Mitch. He wasn’t convinced, but she did. She called or Skyped pretty much every week, and wrote Mitch long emails packed with details about her training. They still got to watch her major events. She was in a documentary about young athletes, and on TV several times. Her new team practiced in the varsity pool and at the Olympium, great fifty metre pools. School went well and she was being tipped for college scholarships. She was sixteen, and almost six feet tall, with the perfect swimmer’s build. She kept her hair in a pixie cut, for convenience, she said, but it looked great on her. There had been two boyfriends, both swimmers, but neither relationship seemed intense or disruptive: they were probably too tired to get up to much, Annette thought.

After the move, Mitch found it uncomfortable running into Sabrina and the twins at the grocery store and realizing that in many respects he knew far more about her daughter than she did. There was that on his side, and something else on hers, a distance that seemed like restrained hostility. Did she think it was all his fault? Did she blame swimming for the breakup, or at least for the loss of her daughter? Blame him, in fact? Annette thought it very likely, though he hated to think that way. He’d always liked Sabrina. Still, it was Tara that mattered.

“The coaches here aren’t any better than you. Mitch,” she’d told him. “But the thing is, there are three of them.”

“Well they must be doing something right,” he pointed out. It was all going very well, come 2013.

It’s properly bright outside now, almost time for the lifeguards and then the early swimmers to arrive, dropped off by whichever white-faced parent drew the short straw that day. And Mitch has swum the last sprint; he’s feeling the workout, and he’s had enough waiting. He just wants Tara to call as she promised she would, and he wants to say – well what? He’s said so many things in his head that now he doesn’t know what’s best, or even exactly what he thinks. He just wants to hear her voice. He goes, dripping, straight back to reception, and digs the phone out of his backpack.

Nothing. Doesn’t she owe him some respect?

Kelly the receptionist gives him an odd look as she comes in and turns her screen on: semi-naked colleague dripping in office.

“I’m going to get a coffee,” he tells her, makes for the door, then returns for his shirt. During the five-minute drive he remembers something Tara said when she called a week ago with her news: Suppose I was pregnant, what would you think then? I’d be fucking furious, he’d thought.

“Well–”

“I’m not, by the way.”

“Well, I’d be wanting to know how you felt about it… And to be honest, I’d be thinking, well, babies are great, but that is something you could do anytime over the next two decades.”

He had wanted to say:

Look, sometimes it’s hard to honour your gift, but you’ll feel better for doing it in the long run.

You’ll never forgive yourself if you turn away now.

This is just a blip.

Just hang in there a bit longer and it’ll feel good again.

Hang in three more years.

Get what you came for, then quit.

Why would you not do this?

You are so very, very lucky¬!

How dare you throw your chance away!

“But the thing was to handle it so that she didn’t get backed into a corner. “Look,” he said eventually, “It’s a big decision. Just do this one thing for me. Take a week to think it over every which way one more time, then call me again.”

She said yes.

So where is she?

He should get some breakfast, but can’t decide what. He stirs cream and two sugars into a cup of strong coffee, carefully fits the lid to the cup, then drives back to the pool. He carries the coffee to the little outside area where there are picnic tables and some play-equipment. He places the phone on the table about a foot away. I’ll drink this, he thinks, and then I will either call her and say What the hell? or smash this fucking phone with a rock. He enjoys the idea of the rock: it’s ludicrous but that does not mean that he won’t do it.

The taste of the coffee, its sweetness and temperature are perfect; he drinks slowly, pausing between mouthfuls to look at the pool building, the yellowing rhododendrons sprawled against it, the car parking area with its forlorn planters and lamps. He waits a little before taking the last mouthful. And then it’s gone, and the phone rings.

“Hi, Mitch!” her voice, light and even, gives no clue as to what she’ll say. “You okay? Got a few minutes?” He doesn’t mention that he should be at work.

“So, like you said, I’ve thought it over. “

“Great, Tara.”

“Well, Mitch… I am a hundred percent certain that I’m not stressed. Or in love. And I’ve not over-trained. It’s a fantastic program and they switch things up a lot. And it’s definitely not Max’s or Roxy’s or anyone’s fault that I’ve come to feel this way. They’re great coaches. I talked to them a few weeks ago, and they said to take a break and see if it freshened me up. I’m on my third week of the break now, and I really like it. I really, really like taking a break. And they sent me to a sports counsellor twice a week. Basically, I’m thinking, maybe I’ve swum enough?”

A counsellor once asked Mitch what the water represented for him and when he said nothing, suggested it might be the womb.

“Tara–” he begins, but she doesn’t stop for him.

“Of course, yes, there’s the Big O. And the Pan Am. All these goals I’ve had, we’ve all had, for years. And it’s been great to look forward to, but Mitch, my motivation’s zilch. I’ve lost interest. In winning stuff. In the podium. It’s like, done that.”

But no, Mitch thinks, you haven’t! You’ve got very close, but turned away, which is a completely different thing. He knows he’s right. Also, that it is worse than pointless to say so. Tara’s voice does not waver as she continues: “I don’t hate it, as such, but I don’t feel the pull any more. You just can’t train, you can’t get there unless you really, really want what’s at the end of it… It’s changed. I’ve changed. At first I ignored it, then I freaked out, but now it’s fine, I think. Good, actually. Because why not? Why can’t I be something different? I want to think about new things. The environment, stuff like that. And Mitch, it is so cool to pick up a book and not fall asleep by the end of the second page.”

You have your whole life to read books!

She’s still talking: how she might do volunteer work, and wants to see the world, not just the 50 metre pools in its major cities and the corridors of budget hotels. Could go to Guatemala. Bhutan. Thailand. Peru.

Beware of open water! Wear the life-jacket!

She’s thinking that when she’s earned some money. How? She’ll make some long trips, journeys that include biking, kayaking and camping, but also spend time in cities.

Always learn some of the language. Travel with someone. Buy your own drinks, and watch them!

“I feel awful about disappointing you all. But it is my life. I feel,” Tara says, her voice growing slower and less certain, “like I’ve ended a very long swim. When you climb out of the pool and stand on dry land ¬– you know that soft, heavy feeling while your body adjusts? Odd. And it is scary, because who am I without the water? What’s left of me? I have no idea. But I want to know. And Mitch, I don’t want to fall out over this. I really, really, don’t. Are you hearing me?”

He wants to advise her to at least keep her fitness up – after all, who is he to her if not her coach? He wants to tell her that in six weeks or even six months time, if she changed her mind she could probably still come back. But he takes a deep breath and says none of it.

“Yes,” he says and small as it is, that word comes hard, but then it’s done. The tears that course down his face are a relief. “Loud and clear. Got it, Tara.”

“Cool!” she says, her voice bright and free. “Thanks so much for everything, Mitch. I mean that. I’m heading west in a few weeks time. Guess I’ll visit you guys then.”

“All right, Tara. Take care.”

It’s over. He sits head in hands, alone on the bench outside the pool, his swimmers inside waiting for him, his face wet: it’s a strange feeling, a kind of passionate emptiness, an unexpected calm. Shock? Relief? Release? In any case, the best thing is to keep moving. Mitch stands, slips the cup in the trash and goes back in to the pool.

“It’s just how and what it is, and good luck to her, but I can’t pretend to like it,” he tells Annette later, the pair of them folded into each other, pressed close, rocking back and forth.

“It’s could be the best thing ever for her.” Annette pulls back a little so she can look up into his face. “And now, we have a truly empty nest… Please, Mitch, don’t you dare turn us into a cliché. Let’s go somewhere together, soon. Let’s get away and start thinking about something else.”

He has two weeks coming up. She’s thinking about Iceland. It’s mild and light almost all night long in August. You can cycle right round. It has puffins, geysers, hot springs, black beaches, all sorts of pools. You can scuba dive in the Silfra rift, swim in Viti lake.

Sure, Mitch says. It does sound great, though it’s not cheap, and somehow they don’t make the booking right away.

About a week later, he glimpses Sabrina and the twins in the grocery store, ahead of him in the tea and coffee aisle, and it floods through him: how much she must have been through, how much she has had to let go. He catches up with her in produce, and asks her if she’s heard from Tara. She nods and pulls a quick smile, meets his gaze.

“Apparently Josh took it very badly,” she says. “But she said you were just great… Once she knows where she’s going next, well, we all know she’ll work hard for it.” They’re standing quite close. Her face is open, relaxed. He’s not seen her like this before.

“I worry,” Mitch finds himself saying, “that as time passes, she may miss the training routine itself far more than she expects.”

“You could be right.” Sabrina touches him on the shoulder and her hand rests there a second or two. “Mitch,” she says, “when Tara gets back, we’ll do dinner or something with you and Annette.” Then she gathers up the twins and pushes her cart on towards the baked goods.

It’s such a soft but sudden feeling – something like waking up, something like his first sight of the Braedan Manor pool or of Lake Taupo, something like déjà vu: the sensation of what used to be turning itself, in the space of a breath, into the beginning of something else.

—Kathy Page

.

Kathy Page‘s current love is the short story, but her fiction ranges widely in both form and content. Paradise & Elsewhere, her 2014 collection of fabulist fictions, was nominated for the Giller Prize and short-listed for the Ethel Wilson Prize for Fiction. Her six novels, include the grittily realistic Alphabet (a finalist for the 2005 Governor General’s Award), The Find (a 2010 Relit Award finalist), and The Story of My Face (long-listed for the 2002 Orange Prize). Frankie Styne and the Silver Man, a novel that interweaves realistic and fantastical elements, will see Canadian publication in the fall of 2015. Two more collections of stories are forthcoming.

Jun 132015
 

McKay
My main intention here, anyhow, is simply to say,
Go read the work. — Sydney Lea

McKayBook

Angular Unconformity: The Collected Poems 1970-2014
Don McKay
Goose Lane Editions
584 pages ($45.00)
ISBN 978-0864922403

 

Someone once said of art historian E.H. Gombrich that it seemed pretentious even to praise him. That phrase, whose origin has disappeared from memory, swam back into my ken as I considered the forty-plus years of work contained in Don McKay’s collected poems, Angular Unconformity. While I might not hyperbolize to quite that degree, I do confess to feeling daunted in the face of such unusual achievement as this poet’s, and am somewhat embarrassed that we, his neighbors to the south, seem to know so little of it.

Even if I could adequately consider the whole of this hefty volume, to do so would demand more time, frankly, than I have just now. Though retired, I am all but frantically busy raising funds—against an imminent deadline—to complete a conservation project in a part of Maine dear to my heart. This latest acquisition will be the final tile in a mosaic of protected land—some private, some state, some (in New Brunswick) crown—amounting to 1.4 million acres.

There are many so-called ecological reserves among these holdings. In our own latest case 7100 acres of fabulous wetland are set aside, including a rare domed bog of almost two thousand acres. This zone will be immune from human alteration whatever until the end of time, and will provide nesting and feeding grounds for any number of bird species.

Don McKay, I believe, would approve. Indeed, I first came upon his work over twenty years ago on a visit to Montreal, when I picked up a used copy of his Birding, or Desire (1983), whose principal speaker, like McKay, is an avid amateur ornithologist. (As I indicated in a blog post some time ago, I then unaccountably forgot McKay until lately reminded by another fine Canadian poet, John Lee.)

Not that birds are McKay’s only wild interest. For all its complexity—or perhaps because of it—I highly recommend his philosophical essay collection, Vis à Vis: Field Notes on Poetry & Wilderness (2001), which, far more than I’ll do in this short compass, may provide insights into McKay’s poetics and poetry. Indeed, prior to considering Angular Unconformity, I think it useful to make a brief divagation into Vis à Vis, because McKay increasingly sees himself as one of several fellow Canadian “ecopoets,” keenly attentive both to the natural world and to its crisis in our time.

It’s all very well for the hip, urbanized postmodernists to dismiss such concerns, no matter their own domains will likely be the first and worst to suffer, as appropriate only to bumpkins or sentimentalists. As McKay himself notes in “Baler Twine,” the penetrating initial essay of Vis à Vis, “admitting that you are a nature poet, nowadays, may make you seem something of a fool, as though you’d owned up to being a Sunday painter…. By this time ‘nature’ has been so lavishly oversold that the word immediately invokes several kinds of vacuous piety, ranging from Rin-Tin-Tinism to knee-jerk environmental concerns.”

McKay seeks another path. His acknowledgment of the postmodern stance, however, is crossed by resistance, for reasons that are “merely empirical: before, under, and through the wonderful terrible wrestling with words and music there is a state of mind which I’m calling ‘poetic attention.’ I’m calling it that, though even as I name it I can feel the falsity (and in some way the transgression) of nomination: it’s a sort of readiness, a species of longing which is without the desire to possess, and it does not really wish to be talked about.”

The author distinguishes between his poetic attention and romantic inspiration; in the case of the latter, McKay notes the aptness of the Aeolian harp to the romantic author’s poetry, such poetry yearning for perception to become language. This is less, he points out, a celebration of nature itself than of the creative imagination for its own sake. “Poetic attention,” on the other hand, “is based on a recognition and a valuing of the other’s wilderness; it leads to a work which is not a vestige of the other, but a translation of it.” The author who pays such attention is in search of an awareness released, however incompletely, from the “primordial grasp” involved, say, in building a home; he or she will pay tribute to the wilderness of the other.

No matter its density, Vis à Vis is a joy simply from a stylistic point of view. For example—and I could find scores—“whenever I see (a raven), I feel absurdly gregarious, and often find myself croaking back, hoping it might decide to perch a spell. Yes, there’s a kind of reverence in this. I do imagine receiving wisdom from this creature, but not packaged as wisdom. It’ll come dressed as talk, palaver. And it will have content, unlike, say, the pure lyric of a white-throated sparrow.”

This prose work is not merely to be read; it is to be re-read and re-read. The same can be said, even more emphatically, of Angular Unconformity. I make no claim, as I’ve already conceded, to having considered each of the book’s hundreds of pages: I have, with a sort of willful non-muscularity, roved through it, and I savor the notion that it will always be close at hand, for even to rove here is to encounter abundant pleasure and challenge.

McKay’s “A Note on the Title” defines angular unconformity—savaged as a title term in a smug, self-indulgent, and stupendously wrong-headed rant against the whole book by gadfly Michael Lista (National Post, October ’14)—as “a border between two rock sequences, one lying at a distinct angle to the other, which represents a significant gap—often millions of years—in the geological record… It might also be described as a fissure through which deep time leaks into history and upsets its authority.” The realms that fascinate this poet, then, are so vast and so imponderable that, as in Vis à Vis, no mortal man or woman may dream of containing them, not even in the 554 pages that go into this grand collection.

I mean, therefore, to “review” Angular Unconformity in an entirely unorthodox, even a dilettantish way, but one which may, I hope, indicate certain abiding themes and motifs, not to mention the sustained high quality, of this poet’s oeuvre. Just as if, in fact, the book lay at my bedside, I’ll dip at literal random into portions of the collection, not even responding to every last one, or, in some cases, responding with mere generalities, and ultimately snapping shut in the interest of space.

My main intention here, anyhow, is simply to say, Go read the work.

I preface what follows with a poem from Strike/Slip (2006). In several ways, I believe, it synopsizes a good deal of what I’ve been discussing. The poem’s omni-referentiality, in fact, may account for the publisher’s decision to replicate it on the dust-jacket:

Astonished

Astounded, astonied, astunned, stopped short
and turned toward stone, the moment
filling with its slow
stratified time. Standing there, your face
cratered by its gawk,
you might be the symbol signifying eon.
What are you, empty or pregnant? Somewhere
sediments accumulate on seabeds, seabeds
rear up into mountains, ammonites
fossilize into gems. Are you thinking
or being thought? Cities
as sand dunes, epics
as e-mail. Astonished
you are famous and anonymous, the border
washed out by so soft a thing as weather. Someone
inside you steps from the forest and across the beach
toward the nameless all-dissolving ocean.

Such an utterance, like so many of McKay’s, illustrates (how impoverished a verb!) that radical distinction of poetic attention from Aeolian Harpism, to call it that, in which the natural and the imaginative are presumed to be deeply correspondent—so much so as ultimately to become one. McKay eschews any such notion as Emerson’s “transparent eyeball,” whose possessor dares to say “the currents of the Universal Being circulate through me.” In the moment “translated” by the poem above, otherness is so radically other that it parries even such billowy, Emersonian definitions. True, every “border” is “washed out,” but this leads to no seamless interfusion, to nothing like what Coleridge describes, precisely, in “The Aeolian Harp”:

O the one Life within us and abroad,
Which meets all motion and becomes its soul,
A light in sound, a sound-like power in light,
Rhythm in all thought, and joyance every where…

As one often introduced as a nature poet myself, I equally often hear that I take my inspiration from the natural world. But if I am “inspired” (a term at best equivocal to me anyhow)—if I’m inspired at all, it’s because, like McKay, I contemplate nature as otherness, a dimension in which our fixities and definites are idle, and anthropomorphisms simply Disneyesque. As the poet asks here, “Are you empty or pregnant,” “thinking/or being thought”? And of course these rhetorical questions themselves subside at length into the unanswerable, into “the nameless all-dissolving ocean.”

The trouble is, and none is more aware of it than McKay, the moment we say a thing about that otherness we have at least partially removed ourselves from it. Our “translations,” however hard we try, are always partial and rough. To that extent, the lit-theorists have made much of a truth, usually rendered in inscrutable prose, quite evident to any “nature writer” within the first day of his or her career: as McKay knows full well, to mouth or write the word raven, say, is instantly to depart its mystery for a human construct, to enact what he—again in Vis à Vis—calls our “primordial grasp.”

From this self-evident datum, the theorists elaborate, however variously, perspectives that are ultimately nihilistic. Since the very gesture of articulation compromises some putative, absolute truth, then the world from protozoon to planet is one big carny gig, and absolute truth the silliest sort of pipe dream. The poet, however, or at least the poet who like McKay resists such inclinations, finds beauty and even, yes, meaning in the provisional truth to which he or she is reduced perforce. Wallace Stevens, in a poem aptly called “Of Modern Poetry,” described poetry’s actual subject as “the mind in the act of finding what will suffice.” That nothing will ever suffice entirely is merely a goad to keep trying for that unattainable sufficiency, to write more poems.

I’ve always found it strange that contemporary theory bothers with arguments at all, since those arguments must surely be susceptible of deconstruction themselves; and it’s nearly amusing that it costs so many (cloudy) words to demonstrate the inutility of words. To proceed from that sense of inutility, to go on from insufficiency: that is the mission of so-called creative writing, and not just of the naturalist variety.

Yet of course the natural world is McKay’s principal bailiwick. Notice how he responds, for example, in this excerpt from an early poem in Long Sault (1975” called “Off the Road:”

The kids float sticks
down the creek behind the campsite
while we sip our coffee by the fire.
The moon
hangs over the tent like a neutral traffic light that leaves us
uhh just about to say something that
we don’t–

Dusk is almost better than a word.

I recognize that scene: something as fabulous as the moon may move us to verbal response that, even when lyric or clever or both, seems banal, premised as it is, say, on some simile from our quotidian world, such as “like a neutral traffic light.” It might indeed be the better option, as here, not to “say something” at all, for “Dusk is almost better than a word.”

It is, however, that almost I batten onto, because if dusk—or any other natural phenomenon—were entirely better than a word, then we would have no poetry at all, and in Don McKay’s case, we’d lose something which I’d hate to be deprived of.

I’d be deprived, among other things, of his gift not only as lyric but also as narrative poet. Indeed, had I space, I’d quote sections in many of his volumes that contain marvelous, straightforward prose accounts, which are poetic only in the sense that by his very instincts this author must make them so.

“Along About Then,” again from Long Sault, begins like this:

Along about then this new Mountie, Macmillan,
MacDonald, something like that come down here
Sayin how he’s going to clean up all the stills,
And they was plenty in the township.
…………The others grinning steady, they’ve
…………heard it from uncles or grandfathers
…………in kitchens scrubbed like this one with a Scot’s
…………ferocity…

That is to say that, all through their lives, everyone on hand has heard this story unfold, with various modifications. The cultural studies crowd would call these versions, even the originative one, factitious (or some such), and to that extent, I suppose, lies. But McKay has been exposed to what remains of oral culture in North America. So have I: I know such kitchens or log landings, or campsites, or lumberjacks’ cabins, though in my case the vestiges of those cultures are to be found particularly in northern Maine. McKay is aware that these men (and women?) know the “truth” of a story to be all but irrelevant. What counts is, precisely, its facticity, the degree to which it is a made thing, but one that, almost like a natural organism, has evolved over time and has therefore become, in effect, community property.

It is not the Mountie but the game warden who uncovers the local trade in bootleg booze. The warden walks right up to a deer and touches it, whereupon the animal falls over. Dead drunk.

…old Lalonde and his boys been getting lazy and just
tossed their mash across the fence.
Probably polluted half the game in the township…

Listen to how the poet renders the audience response:

The chuckle’s more a rumble deep down. Everybody
has a sip of beer.
Now the story
will be mulled and tinkered with a rickety
contraption made of names
……………………………..names
……………………………..names like the roads
they cut and stomped and rode…

In recent decades, the very notion of narrative has been viewed with opprobrium by certain scholars, regarded as a vehicle for all the usual suspects (for elitism—no matter the importance of story to all tribal cultures—and racism and colonialism and sexism: ism after ism). Indeed, many a contemporary poet shares that disaffection, for similar reasons or others. And one can’t help thinking that to this poet himself the conversion of experience—especially wilderness experience—to tale-telling is a blasphemy against that revelatory realm that lies beyond words.

But even if they be guilty pleasures for McKay, I, who don’t entirely share such scruples, am happy he makes time to indulge them. His austerer vision is the one for which this poet may remain most remarkable, but praise be, like a health food nut who sneaks to the 7-11 for an occasional Moon Pie, he now and then resorts to this one. Indeed, even in the “new poems” section of Angular Unconformity, and in the latest full volume preceding it, Paroxides (2012), the author persists in including those prose narratives.

The plain fact is that, like an Edward Abbey’s, McKay’s oeuvre exists in an area of tension between his affection for narrative and his propensity toward what is now often called Deep Ecology. The work may stray into one realm now, into the other next, and back again. That’s its very nature.

The volume succeeding Long Sault, it seems to me, explores this tension in a unique way. It is a sustained narrative—which persistently questions the validity of narrative, at least as we understand such a format as westerners. Lependu (1978) is immensely complex, and it would be an insult simply to synopsize, not to mention an impossibility. The historical premise (even if the poem at large pokes holes in the notion of any history that’s authoritative) goes as follows.

In 1829, Cornelius Burley, an illiterate and impoverished citizen of London, Ontario, was convicted of murdering a city constable. He may have been prodded into confession by a Methodist preacher named James Jackson, who may in turn—or so at least McKay insists—have shaped the supposed confession to his own ends, especially a love of publicity. (Jackson read the confession to an assembled crowd and later made it into a handbill, which he sold for considerable profit.) The hanging took place in the courthouse square in the summer of 1830.

A grotesque aspect of the whole affair was that a Yale medical student got ahold of the victim’s skull; a budding phrenologist named Orson Fowler, he displayed it all over North America, showing its various bumps and cracks as indications of Burley’s murderous temperament. What remains of the cranium is now on display in a box at London’s Eldon House, along with other relics.

The poem’s speaker visits that house at the outset of Lependu (French for the hanged man, and the epithet by which McKay usually refers to his protagonist). He sees

Hallways lined with trophies, the skulls and antlers of
………………………………………………………exotic animals:
Hartebeest, Waterbuck, Sable Antelope…
………………………………………………………and (slight pause) Cornelius
Burley.

In “The Confession: notes toward a phrenology of absence,” McKay writes,

Burley, your silence is the wound in our
speech.
We have to climb inside,
into the box we built you, armed with ears
to scavenge and invent…

By way of such scavenging and invention, the poet transforms the pathetic Burley into the mythic Lependu, who comes to epitomize everything in the universe that will not fit into any of our boxes. Various characters throughout the poem, the poet included, will now and then be “inhabited,” however briefly, by his ineffable energy:

When Lependu flu hit Western U
there wasn’t an allusion free from the phlegm
that fell from the air,
Scoffed at profs.
Chalk him not meet blackboard
square but ugh– squawk– sending
shivers of où sont les neiges d’antan
down each individual backbone.

Among other things, Lependu recalls not only a pre-colonial continent (suggested by the pidgin “Chalk him not meet blackboard”) but also a pre-human one. In “Shadow City Shadow City,” the hanged man

lays the absence of his body on the city like a long
black negligee, wakens the buildings
softly, so the bricks remember
being earth.
So in our bones a new
Precambrian weight begins.

The feeling of that weight—which is really a temporary absence of weight—marks, I believe, the typifying moment of McKay’s “poetic attention,” referred to earlier on. Under the influence of Lependu, anyone can experience such moments—and won’t be the same thereafter. There is a prose sector here, for example, called “The Report of an Old Man Whose Life Was Changed After Briefly Becoming Lependu Back in 1946.” The unlikeliness of the title character betokens the omni-availability of these revelations, provided we get out of those boxes of ours; the old man has been on a days-long bender, puking his guts out until “I threw up everything that tied me down… I hung above myself, the zinging moving through like a breeze without a message, asking and making nothing of itself, a time not long but round, still round in my mind when I think back.”

“No message” in the “zinging”—only, as we recall from Vis à Vis, areadiness, a species of longing which is without the desire to possess.” The prospect of such readiness arises over and over in Lependu. It’s the untying that matters. At poem’s end, the author notes that when the hanged man invades our consciousness,

the only writing is the writing of the glaciers on the rocks
the only thinking is the river slowly
knowing its valley

until the city, seen
in a stutter of light between the branches
nests in the river’s crotch
our own tongues
speaking in a slightly different language and our heads
antlered with images

Now here I am, all these pages later, and I have not even made it halfway through McKay’s collected poems. So I will now accelerate, again with the advisory that anyone interested in contemporary poetry of international importance give this book more time than I can allow myself.

So as I warned, I leap ahead—first, to the volume that caught my attention more than two decades ago, Birding, or Desire (1983). I have spoken of the tension in this poet’s sensibility between an affection for story and an attraction to the natural world’s inarticulable vastness. In Birding…, I think, that tension is especially conspicuous. On one hand, the author is a birder in the Audubon Society sense, field guide in hand, seeking identification, a mark of the desire his alternate title names. (There is erotic desire in this collection too, but I’m scanting that, as so much else, for economy’s sake). Yet he simultaneously longs for the natural domain’s pure otherness. In “A Morning Song,” for example, as he drives to his professorial job, he thinks how

Soon I will be erasing Latin declensions left by the night class
while the dog, sleeping in the kitchen
nurtures my huge laziness in dreams
which are deep and cold
and speckled with uninhabited islands.

The poet has his own Latinisms (in a later collection, for instance, he’ll entitle a poem not “Starling” but “Sturnus Vulgaris”) but his further dreams, like his animal companion’s, are wild and uncatalogued. His “laziness” lies in his sporadic refusals to count and to list. As he says in another entry, “Audubonless/ dream birds thrive…/undocumented citizens of teeming/ terra incognita.”

The urge to document and the longing for pure abandonment to the unspeakable will persist, I suspect, so long as Don McKay writes—a long, long time, I pray—even, or especially given the world’s eco-crisis, in which we

…watch the nesting instinct of the Bald eagle weaken
shells grow thin
its brilliant mind go dim with pesticides.
Let’s tell cuckoo eagle jokes, e.g.
“Why did the cuckoo eagle forget where she laid her eggs?”

Let’s train the kamikaze starlings.

Let’s plan the street map of Necropolis
let’s have statues of everybody.

Let’s learn our own
dead weight.

We may well not recover from such crisis, as McKay suggests all through the poems from 45 years ago to now, and certainly won’t until we gain awareness of that Audubonless world, the world personified by Lependu, or by, for instance, the peregrine falcon in “Identification.” On seeing the bird,

I write it down because of too much sky
because I might have gone on digging the potatoes
never looking up because
I mean to bang this loneliness so speech you
jesus falcon
fix me to my feet and lock me in this
slow sad pocket of awe because
my sinuses, those weary hoses,
have begun to stretch and grow, become
a catacomb my voice
would yodel into stratospheric octaves
……………………………….and because
such clarity is rare and inarticulate as you, o dangerous
endangered species.

The speaker “might have gone on digging the potatoes / never looking up” locked in his quotidianness, which includes the desire to possess. But as I remarked at the outset, the very desire to possess is implicit in the very act of writing things down: this makes for the frustration in the process—

I mean to bang this loneliness so speech you
jesus falcon
fix me to my feet and lock me in this
slow sad pocket of awe….

True clarity, truth itself, exists in a realm as “rare and inarticulate” as the soaring falcon’s. Given such a reality, a lesser mind would retreat into silence, or perhaps into what I’ve called the nihilism of many recent literary commentators. McKay knows that an utterance adequate to the monumental world of nature, or perhaps to any world, is beyond him. But he moves on from such awareness of insufficiency. He does so not altogether happily, though we as readers should be more than happy for his persistence.

— Sydney Lea

 

SydneyLea
Sydney Lea
 is Poet Laureate of Vermont. He founded New England Review in 1977 and edited it till 1989. His poetry collection Pursuit of a Wound (University of Illinois Press, 2000) was one of three finalists for the Pulitzer Prize for poetry. Another collection, To the Bone: New and Selected Poems, was co-winner of the 1998 Poets’ Prize. In 1989, Lea also published the novel A Place in Mind with Scribner. His 1994 collection of naturalist essays, Hunting the Whole Way Home, was re-issued in paper by the Lyons Press in 2003. Lea has received fellowships from the Rockefeller, Fulbright and Guggenheim Foundations, and has taught at Dartmouth, Yale, Wesleyan, Vermont College of Fine Arts and Middlebury College, as well as at Franklin College in Switzerland and the National Hungarian University in Budapest. His stories, poems, essays and criticism have appeared in The New Yorker, The Atlantic, The New Republic, The New York Times, Sports Illustrated and many other periodicals, as well as in more than forty anthologies. His selection of literary essays, A Hundred Himalayas, was published by the University of Michigan Press in September, and Skyhorse Publications just released A North Country Life: Tales of Woodsmen, Waters and Wildlife. His eleventh poetry collection, I Was Thinking of Beauty, was published in 2013 by Four Way Books.

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May 082015
 

Gunilla JosephsonGunilla Josephson

.

AN OLD WOMAN in a hospital bed leaks crystal tears.

Behind the windows of stalwart Stockholm houses we spot glimpses of chaos, fragments of high emotion pitching back and forth.

A woman is intently at work, seen only from the shoulders-up, her hair flying, and after a time her head distorts. What is she doing? Playing piano? Maybe. But we worry that she is falling apart or exploding.

“Everything I make is connected with the fibre of my life,” says Swedish-Canadian video artist, Gunilla Josephson. “But I point towards other artists. I’m interested in family– and death, more and more as time goes on.”

After receiving a degree in Sociology, Josephson attended the Stockholm College of Art and Design back in the 1970’s. She recalls a fine arts department dominated by modernist painters and when she declared an interest in experimenting with the then-clunky video equipment, her instructors were appalled: “What do you think you are – American?”

Josephson calls her work “anti-film.” For starters, she rarely uses dialogue. “I hate dialogue, even in books.” We laugh, bearing in mind that her spouse is the novelist, Lewis de Soto. “Dialogue is almost always banal,’ she goes on, being a bit take-no-prisoners in this regard. I flinch, mentally counting up dialogue sections in my own work. ‘Reading is very intense for me,” Josephson says. “I read books that you put down because they are so intense. Lewis in an ex-tensive reader and I’m in-tensive. Very different.”

I’m curious about how they live as artists together. Lewis paints as well as writes and he’s written a biography of painter, Emily Carr. “We talk about film, art and books all the time,” Gunilla says. “And grandchildren.”

Does she offer feedback on her husband’s work in progress?

“Not so much now,” she says, and adds, “to his detriment, if you want to know. I can be a little harsh at times.”

Josephson’s videos evoke feelings of fragility and tenderness in the viewer, yet also, at times, show a playful spirit. One feels an ongoing investigation of  inside/outside;private/public;seen/unseen.

The old woman leaking crystal tears is oblivious to her inside self falling from her eyes. We want to protect her, yet at the same time the viewer might think – “What is there to hide, ever?”

In Josephson’s world, the artist peels back layers to expose what may be alarming or cryptic, or even funny. Can emotions ever be fully contained, or is there always leakage, and if so, why are we so drawn to these moments?

—Ann Ireland

.

Ann Ireland (AI): Can you tell us something about your background and education?

Gunilla Josephson (GJ): I was born and raised in Stockholm, Sweden, except some high school time in Caracas, Venezuela where my father, taught at the university. My mother and grandmother were both Red Cross nurses who when they married, in both generations had to stop practicing their profession. When I understood this fully I took on their indignation which made me a budding feminist.

clip_image004My parents in Stockholm, early 1950s

My dad was a civil engineer/ researcher and also taught at Stockholm University. He worked hard at two jobs, yet when he was with the family he was caring and kind, and never shunned a chore. One day he suddenly quit both his jobs, landed employment at UNESCO and took my mom, my sister and me into the world. We lived in Caracas, Venezuela, but hanging out with ‘radical’ art students after school scared my parents, probably for good reasons, and I was sent back to Sweden to finish High School. Directly after High School followed a year of studying printing techniques at Aquinas University in Colombo, Sri Lanka, where my dad worked at that time. I returned to Stockholm to complete a BA in Social Sciences at Stockholm University. After a few years raising my three children in England in my first marriage and continuing with art studies, we moved back to Sweden and I completed my education with an MFA at [Konstfackskolan] Stockholm College of Art and Design.

AI: Early influences?

GJ: I have an early memory of a yellowed booklet tied with a red ribbon on my Jewish grandfather’s ‘smoking table. It smelled of cigar smoke like everything else in that little room, but I didn’t mind. I opened the booklet and in it were colour prints of paintings, faces, that all seemed alike but and yet different. It said Rembrandts självporträtt. Rembrandt’s self-portraits. Under it I read a dedication Vi tu äro ett [We two are one] written in my grandmother Esther’s beautiful handwriting in blue ink. It touched me deeply and in my young mind my grandparents and Rembrandt van Rijn became one to me that day. I still connect with my paternal grand-parents when I look through the leaflet, now in my book shelf, or when I see one of Rembrandt’s self portraits in a museum.

As a teenager I developed a fascination with Surrealism (not uncommon for teenagers). Perhaps simply because Salvador Dali’s Enigma of Wilhelm Tell and Meret Oppenheim’s Fur tea cup and spoon were in the collection of Moderna Museet in Stockholm and thus were accessible to me. There were no reproductions of art in my family. Art was ‘real’, still held a mystery as the original. If you wanted to see art or know about it you visited museums. Like wine, art must aged to be ‘real art’. Hopelessly Eurocentric, and eccentric.

Later came early feminist artists, Judy Chicago’s iconic The Dinner Table, and Eva Hesse’s skin-like ‘transparencies’. I admired and loved Swedish artists Hilma af Klint and Vera Nilsson, both brave women and pioneers in painting who shaped their own destinies against the consensus of ‘woman as well behaved’ in the mid 20th century.

I took an early interest in films but never dared take the leap, not even in my mind, to apply to Film School. Bunuel and Dali’s Surrealist film Un chien andalou was probably the first art film I saw. It was the tail end of French Nouvelle Vague, and I went to see the films of seminal Belgian auteur Agnes Varda. In1967 Jean Luc Godard’s film La Chinoise hit the cinemas, at least in Northern Europe. It hit me right in the solar plexus and I came out from the cinema a new self, a budding Maoist and completely in love with the film and the actor Jean-Pierre Léaud. I acquired Chairman Mao’s Little Red Book and started ‘my real life’.

It was impossible to avoid Swedish film director Ingmar Bergman, whose looming presence made it almost impossible to get support to make a film in Sweden between 1950 – 1990. I was an extra at SF [Swedish Film Industry], hoping I would either be discovered as a new Bergman actress (I was 15) or somehow become involved in movie making. All in vain.

In 2001 I made a video, HELLO INGMAR, a short 7 minute cultural patricide in which I rearranged certain Bergman films and inserted myself as a character.

Hello Ingmar

It got the Festival Prize at Oberhausen Short Film Festival. Up until Bergman died in 2009 I was hoping the film would catch his attention, at least enough to irritate him, particularly when it showed in a program at Moderna Museet in Stockholm – but this never happened.

AI: What makes video such a compelling medium?

GJ: There are several aspects to why video can be captivating and gripping, both for artists and viewers.I fell in love with my first Digital video camera [1998] and slept with it beside me. I found the tool compelling, generous in its clarity and crispness of image.

I had not wanted to use video as an artistic tool until then, finding the cameras heavy and the striped image dull. Maybe it worked for the political, but not for the aesthetic and poetic aspects of art. It was in the late 1990s when the light-weight and more affordable digital minicams (handycams) appeared on the market. They prompted a new wave of video art, and to my mind there is a ‘before and after’ in the history of video art. This user friendly yet highly developed tool eliminated the need for heavy equipment. The means of production were now in the hands of the artists, significant for female artists who no longer depended on muscular strength. The MiniDV camera became an explorative instrument; ‘it could roam around, shift focus very quickly and go very close to an object and focus in less than a second. Artists could edit at home on their own computer systems.

AI: Do you see yourself as having an overall project that pulls together individual art projects?

GJ: The overall project is to investigate my encounter with the world. All my work is produced under the umbrella of my production company AHEDDA Films. What holds my productions together are the people I have worked with for many years. Most important to me is Swedish artist/painter, friend and comrade-in-arms Anna-Lena Johansson, who runs a farm with her husband in Normandie, and exhibits her paintings regularly at Gallery Hera in Stockholm. She is a frequent solo performer in my productions since 1999. Canadian, Berlin-based artist Benny Nemerofsky Ramsay performed in several works with Anna-Lena e.g. The Blood-Red Heart of Johanna Darke and ART THIEVES.

HAPPY HOUSE. The Id, the Kid and the Little Red Fireman

The Blood-Red Heart of Johanna Darke

ART THIEVES

For sound in my videos I have collaborated with Toronto musician Eve Egoyan since 2003 . She was the performer in E.V.E Absolute Matrixa 48-minute Floor-to-Ceiling Projection that premiered at Trinity Square Video for The Toronto International Images Festival in 2009. (Read about it in the Globe and Mail here.)

E.V.E Absolute Matrix

I have also worked with Canadian visual artist and editor Aleesa Cohene since 2002 and with Toronto – based sound editor Konrad Skreta at Charles Street Video.

Last but not least, my life partner, writer Lewis DeSoto, has worked with me in many different ways: script writing, cameraman, computer wizard and as an excellent cook.

AI: You said to me that you are interested in exploring how NOT to be a well behaved woman. What does this mean to you?

GJ: In hindsight that was a general statement that needs to be developed: Today we are able to deal with feminist subject matter with a more analytical eye. Rebellion as a theme throughout any feminist discourse is an intrinsic part of my work. From the actions of the characters (or performers) to my own use of the video camera and later in the editing process I disrupt the norms, constructing resistances to the tyranny of orthodoxy, or, as in Twinning series 

https://www.youtube.com/watch?v=ikwtgVYfKtITwinning: Wall Flowers from the Twinning series

and How to be a Woman

https://www.youtube.com/watch?v=-lBG0KYp688How to be a Woman

commenting on them. When shooting video and later in the editing process, I work in a way that exploits unbridled emotion and marries it to abstraction. I challenge the accepted conventions of art as an entertainment that is well behaved.

AI: Is there a Swedish sensibility that you share? What might it be?

GJ: There is an intrinsic sensibility that is connected to that land of intense polarities between the extreme summer light and the winter darkness that I share. It manifests as a worship of nature in the warm season and as the cult of the lit candle in the dark and cold season. Swedes celebrate the solstices intensely. There are many pagan rituals in Swedish culture and seasonal shifts are ritualized since Prehistoric time in that forbidding place. This is just a nostalgia for the infinite. The Swedish model is long dead. Sweden is now a European country politically divided by the rise of a small but ultra conservative party whose priority is to stop immigration. The pagan rituals have been usurped by the Neo-Nazis.

I would also say that ingenuity/inventiveness is a Scandinavian trait. Perhaps a people so long in isolation develops ways of surviving which become methods, then inventions. Hundreds if not thousands of hours huddling by the fireplace seem to be conducive to inventiveness. I would also say that Swedes have a social conscience extending far beyond one’s neighbour.

AI: Do you see yourself as fitting into any school or niche in the Canadian or North American art scene?

GJ: I might not be aware of the niches but what struck me soon after my arrival in 1986 was the powerful position of female artists, and writers, in Canada. I experienced a huge artistic thaw shortly after I left the North European tyranny of Modernism. I soon found the world of moving image art and felt at home and welcome there. That might be my niche..

AI:  Which video artists do you pay attention to and why?

GJ: The art market and the art star system bore me, but I pay attention to my contemporaries with whom I move through the world. Probably the most important image of profound humanity and intensity in expression is Mother and Son, a film portrait of a dying mother and her son by Russian filmmaker Alexander Sokurov.

Finnish artist Eila-Liisa Ahtila is known for her psychological videos. Her work is highly intellectual and at the same time has a certain stark beauty. Abel Gance’s film Napoléon from 1927 was intended for more than one screen, which was unheard of at that time, and it ran for more than twice the standard feature length. I think of it as the first Art video. That kind of product was relegated to a category called the Third Cinema and was often feared in Sweden as a possible Communist propaganda tool. My films belong to that category too.

I pay attention to Vancouver artist Stan Douglas, in particular a work called The Sandman where the mise en scene is a German allotment on a partitioned sound stage rotating in two directions. The title comes from a found letter about two children and the Sandman. This is a kind of art piece that can only be experienced and is too complex and mysterious to fully remember. Very interesting and inspiring to me.

AI:  Video artists don’t have ‘objects’, exactly, to exhibit. How do you go about installing your work in a gallery or museum setting?

GJ: I work in two veins. I make a moving image that is placed on the wall, playing on a monitor like a sort of painting, as in Nothing is True, a video diptych exhibited at Ryerson Image Center in Toronto, from January 21 to April 5, 2015.

Or, I envelop the viewer in a totality of images and sounds, usually a more epic video, large format video projection, video installation. Occasionally I exhibit film props from the production in the gallery to animate the space.

AI: In the past you made sculptural objects and paintings. How did the transition to video come about?

GJ: It was a love affair between a first generation digital video camera and me. We met at Vistek in Toronto in 1989. Love at first sight. I shot my first video and I edited it using two VCR players. I was invited to participate in a couple of independent Toronto group shows in 1998-99 and simply showed my video playing on a stripped airplane TV monitor with a large pillar balancing on top. I joined Vtape, an excellent international distributor of art videos in Toronto learned computer editing at Charles Street Video and haven’t stopped since. I have changed camera a couple of times as they develop but I’ll never forget the first love, the Panasonic Digital Mini Camcorder.

AI: How much do you map out a video?

GJ: Most of the mapping out happens in my head during a lengthy gestation period. I make a simple drawing for an idea, a concept, and pin it up on the wall. Occasionally I draw a storyboard, I research. I trust my intellect and my life experience to steer me. We scout for places and spaces as shooting locations. A mise en scène gradually comes to life, working with the same people. I am not interested in control. I don’t have a Director’s chair. I do guerrilla filming. I want to destroy the One Man’s perspective dominating the history of film. For instance if you take the camera into the Catacombs in Paris along with your character in WW2 Resistante costume, you cannot be sure what will happen. The story line/narrative is created, in part, depending upon the material we come away with, but always following the loose narrative, even for my ongoing series of video portraits. There is always some kind of story told. I then go home and write the next scene, often together with my husband, Lewis de Soto. He thinks linearly, which can be useful when you assemble a video for a rough cut. Later you can destroy it. A good example is The Blood-Red Heart of Johanna Darke produced during a four months Canada Council Residency at Cité International des Arts in Paris in 2003.

JD is an anti-narrative feature -length video about a Quebecoise nun who thinks she works as a courier for the Resistance in WW2 Paris, roaming in tourist spots like the Louvre, Père Lachaise Cemetery, the Catacombes, Notre Dame Cathedral, les Quais, etc. The cast were Adrienne Le Coutour as J.Darke, Anna-Lena Johansson as Evil Gestapo Nun and Berlin based Canadian artist Benny Nemerofsky Ramsay as Jean MalreuxResistant.

We collaborated and improvised, discussed, wrote and shot. In the end we did not make a movie, which was my concept, but a strange meandering document where the camera had its own will, sabotaging the story and ultimately turning into itself. It is the story of a video that refuses to become a movie. With this film I am commenting on and parodying the clichés and tropes of the WW2 Resistance Movie genre while consistently pointing to paintings, music, books, and all kinds of histories, as the more important, and fun task. In the last scene when Johanna is in jail I use the text of the last two pages of Albert Camus’ L’étranger. I have always wanted to press those lines into art.

AI: Some of your work is narrative in structure, other pieces focus solely on image and sound. These are two distinct ways of working. Care to comment?

GJ: Every image suggests a narrative, even a still. As much as I would hate to confuse anyone I don’t really see a distinction between a narrative and a slowly moving portrait. The only difference is that the narrative in the portrait is that of the viewer.

AI: There is always an element of mystery in your work, something hidden or half-hidden, or seeking to be exposed. Comment?

GJ: I am seeking. Truths are always hidden or suppressed in our society. A mystery revealed loses its allure. Questions are more interesting than answers.

AI: Role of sound?

GJ: It is good to start with the proposition that sound tracks are the enemy of the moving image. Soundscapes are the antidote to an illustrative sound track. I use sound as a psychological dimension that operates in parallel with the image. Sound in an art video is the opposite of multiple sound tracks in commercial movies. Sound does not illustrate, it comments on and makes a work more intimate, more accessible. Often I create a kind of silence. Silence is quietly noisy. Complete silence hurts the ear. Sound should nor be heard but felt.

AI: The work often evokes a feeling of tenderness in the viewer, a desire to protect the fragility of what is  being looked-at, whether it be a person or an object. Why are these feelings/sensations interesting to explore?

GJ: These feelings are yours. Humanity evokes tenderness.. Both happiness and suffering evokes tenderness. I love life, its cruelty, fragility and beauty.

AI: You said to me, “Everything I make is connected to the fibre of my life.” Can you expand?

GJ: I don’t see a separation between art and life. The art work is the manifestation and the residue of living. It is not interesting to produce art for the sake of producing art.

AI: What are you working on these days? And what shows/exhibitions do you have coming up in the next year or two?

GJ: Dinner in my new kitchen which I will be exhibiting to all my friends. You can come too.

Ok seriously, I have a work in an exhibition at Ryerson Image Centre ANTI GLAMOUR, running until the end of April. I am currently working toward “Ways of Something”; a commission for a one minute video interpreting a segment from John Berger’s 1972 BBC Television series Ways of Seeing”, curated by Toronto artist and curator Lorna Mills. Simultaneously I am producing a commissioned short film with Canadian writer Russell Smith. As well, a lot of thought and research goes toward a solo exhibition in September 2016 at Rodman Hall Art Centre, St. Catharines, Ontario, curated by Stuart Reid.

In process and closest to my heart is a film Pieta, of my mother’s last hours. A difficult but ultimately beautiful process.

—Gunilla Josephson & Ann Ireland

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Ann Ireland’s most recent novel, The Blue Guitar, was published by Dundurn Press in early 2013. Her first novel, A Certain Mr. Takahashi, won the $50,000 Seal-Bantam First Novel Award and was made into a feature motion picture called The Pianist in 1991. Her second novel, The Instructor, was nominated for the Trillium Award and the Barnes and Noble’s Discover These New Writers Award, and Exile was shortlisted for the Governor-General’s Award and the Rogers/Writers Trust Award. She is a past president of PEN Canada and coordinates Ryerson University’s Chang School of Continuing Education, Writing Workshops department. She lives most of the time in Toronto and part of the time in Mexico.

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Apr 122015
 

Last Judgement by Jan van Eyck


“Consider a little, if you please, unmerciful Doctor, what a theater of Providence this is: by far the greatest part of the human race burning in flames forever and ever. Oh what a spectacle on the stage, worthy of an audience of God and angels! And then to delight the ear, while this unhappy crowd fills heaven and earth with wailing and howling, you have a truly divine harmony.” 
Thomas Burnet, De Statu Mortuorum Et Resurgentium Tractatus, (On the State of the Dead and the Resurrection) posthumously pub. 1720

1 

George Coyne, S. J., former Director of the Vatican Observatory and currently McDevitt Chair at Le Moyne College in Syracuse, recently repeated to me in conversation a question posed to him by the late Carl Sagan, of Cornell and Cosmos fame. Sagan’s more-than-rhetorical question, as fellow astronomer and seeker, was a compelling one: “Why should you be given the gift of faith, and not me?” Coyne acknowledged that he had no full answer, though he surmised that his reception of the gift of faith had much to do with his own actions, specifically his having read Augustine and Aquinas.

So have I, but, alas, that reading gradually but permanently shook rather than bolstered my faith. Listening to Fr. Coyne’s report of his response to Sagan, I recalled being disturbed, as a student at Fordham University, by the insistence of Augustine that since humanity is stained with a primal sin, we are utterly dependent on God’s grace, a position that seemed to severely limit human freedom. As Peter Brown notes in his magisterial biography, Augustine of Hippo (1967, updated in 2000), the idea of an ancient transgression as an explanation for present misery was current in both pagan and Christian thought. And Augustine was, of course, steeped in Paul, especially the Epistle to the Romans, and haunted by Paul’s Adamic argument that “sin came into the world through one man and death through sin, and so death spread to all men because all men sinned” (Rom 5:12-13). This is a succinct statement of what would become known as Original Sin, a doctrine we associate in particular with Augustine, who, I couldn’t help feeling, spun it, whatever its pagan and Pauline antecedents, primarily out of his own entrails. Convinced that only divine grace could curb a libidinal drive he often felt personally powerless to control, Augustine, on the basis of his own sexual psychology, extrapolated a universal doctrine of primal sin, inherited guilt, and absolute dependence on the grace of God.

Augustine -Jaume_Huguet_Consecration_of_Saint_AugustineConsecration of Saint Augustine by Jaume Huguet

The result was a biographical-theological mélange that minimized, without utterly excluding, the role of individual free will. Even when he gestures toward free will, the pessimistic Augustine emphasizes the wrong choice, that of the lower rather than the higher. In a notably Neoplatonic passage in Book 12 of The City of God, he observes that “when the will abandons what is above itself and turns to what is lower, it becomes evil, not because that to which it turns is evil, but because the turning itself is wicked.” That wicked turning, which began in Eden, reduces the whole of fallen humanity to what Augustine calls a sinful “lump” [massa]. The allusion is to Paul’s Potter-God molding a “lump” of clay (Rom 9:20-21), but Augustine goes beyond Paul, for whom the lump has no right to question its Maker, who chooses willy-nilly to produce “vessels” reflecting his “mercy,” or “vessels of wrath made for destruction” (Rom 9:22-23). Mere clay is not low enough for Augustine, for whom postlapsarian humanity is a collective “lump” of sinful and damnable filth—massa peccata, massa perditionis, massa damnata (Enchiridion, 98-107). In his treatise “On Grace and Free Will” (426-27), Augustine writes that while “God foreknows what we are going to will in the future, it does not thereby follow that we are not willing something freely” (255). But his emphasis is always less on human than divine will, with salvation a free and foreordained gift of God, given gratis and independent of a person’s individual merit. Reading the newly discovered letters Peter Brown printed in the 2000 update of his biography, I was less than fully persuaded by his claim that they substantiate Augustine’s place as the “inventor of the modern notion of the will.”

On Grace and Free WillSt. Augustine by Antonello da Messina

“Those who love [God] are called according to his purpose,” and “those whom he predestined he also called; and those whom he called he also justified; and those whom he justified he also glorified” (Rom 8:28-30). This passage from Romans clearly contributed to Augustine’s own version of predestination, which intensified in the later phases of his increasingly furious combat with Pelagius and his followers. When I first read Augustine’s anti-Pelagian tracts, I connected them with another obsessive and sustained assault I was studying at the same time in a Fordham history course: Edmund Burke’s protracted attempt (1788-95, the longest trial in British history) to convict the impeached Warren Hastings, Governor-General of India. In the end, though he was financially ruined, Hastings was not convicted: an acquittal, fumed Burke, who had stressed the “moral” dimension of Hastings’s alleged “corruption,” which redounded to “the perpetual infamy” of the House of Lords.

Augustine’s equally fervid confrontation was with the infamy of Pelagianism, embodied in Julian (380-455), the bishop of Eclanum, and the semi-Pelagian monk John Cassian, both of whom, in responding to Augustine, gave as good as they got. Like the British monk Pelagius and Julian, Cassian, an ardent disciple of Origin, emphasized human capability and responsibility in actively co-operating with God: a mixture of optimism and insistence on human agency that provoked the now elderly and crusty bishop of Hippo into angry responses, including his most extreme assertions of precisely what the Pelagians had accused him of: predestination. Or so I saw it; and though my Jesuit professors at Fordham suggested otherwise, I begged (mostly quietly) to differ. When, two years after I graduated, I read Gerald Bonner’s Saint Augustine of Hippo: Life and Controversies (1963, rev. 1986), I felt vindicated. Bonner admires Augustine and the best part of his book is his informed and balanced account of the Pelagian controversy (also discussed at length in Part IV of Peter Brown’s biography), which makes his conclusion, a mixture of admission and dismissal, all the more compelling: “Augustinian predestination is not the doctrine of the Church but only the opinion of a distinguished Catholic theologian” (592).

Bonner

Obsessed with the monstrous transgression of Adam and Eve, transmitted as Original Sin, and by his theology of grace, did late Augustine plunge into the heretical pitfall of strict predestination? Certainly his pessimistic view of fallen human nature, darkened by the contemptu mundi perspective he had inherited from the Neoplatonists and the Stoics and by his own idiosyncratic emphasis on the role of sexual reproduction in transmitting Original Sin, led Augustine to claim that our natural proclivity is toward evil and that all our impulses to good are dependent on God’s grace. What makes his position darker still is Augustine’s post-Pauline insistence that the decision on God’s part as to who receives this grace is, as the word itself suggests, gratis—gratuitous, arbitrary.

According to Augustine (and Aquinas after him), while God wills the salvation of all, certain souls are granted special grace that in effect foreordains their redemption. But “why one is called and the other not” has to do with the “inscrutability” of God. “Why God draws this one and not that other,” Augustine admonishes, “seek not to know or to judge.” And later in the treatise I am citing, in a chapter titled “The Difficulty of the Distinctions Made in the Choice of One and the Rejection of Another,” he concludes that we have no right to question God and that “he who is condemned has no ground for finding fault” (De dono perseverantiae, chapter 16). Augustine is alluding to those “called according to” God’s “purpose” in Rom 8:29-30, and to a passage he specifically cites: Paul’s rhetorical question, “who are you, a man, to answer back to God? Will what is molded say to its molder, ‘Why have you made me thus?’” (Rom 9:20).

Boethius.consolation.philosophyAn early printed version of Boethius’ The Consolation of Philosophy 

In short, Augustine restates rather than responds to the crucial question posed by Carl Sagan to Fr. Coyne: “Why have you been given the gift of faith, and not me?” Though, as with countless others over the past millennium and a half, I found help on this issue in the lucid prose and dialogue form of The Consolation of Philosophy by Boethius, as a sophomore in college, I was hardly equipped to unravel the paradoxical relationship between God’s foreknowledge and human free will. So “Seek not to know”: simply accept the idea that, by means of his mysterious “grace,” an all-foreseeing God—who made his decision before the oceans rolled, indeed before “time” itself— “predestined those he called” to eternal life, leaving others in their sin, but “justly” condemned as a result, paradoxically, of their own “choice.” Wherever one finally comes down on this simultaneously fascinating and repellent issue, Augustine more than flirted with the unspeakably horrible doctrine of predestination as it later culminated in Luther, an Augustinian monk after all, and, especially, Calvin, who claimed he could have written an entire book “out of Augustine alone” to justify his theology, a theology based on the adamant insistence that while “some,” the so-called Elect, are “predestined unto everlasting life,” all “others” are “preordained to everlasting death.” That is to say, hell—about which Augustine himself has much to say.

In The City of God, Augustine distinguished between the Last Judgment and a Particular Judgment (which he illustrates with the story, in Matt. 16:19-31, of poor Lazarus and Dives, the rich man who had turned the beggar from his door and now, dead and suffering in the flames of Hades, begs Lazarus for a drop of water.) There may be hope following the “first death” and the Particular Judgment, but after the “second death” and the Last Judgment, reward or punishment is irrevocable and eternal. Citing scripture, Augustine resisted those who argued, or at least hoped, that hell’s punishment, however fierce, would not be eternal. It would be both, he insisted—basing his position, as always, on the Original Sin in Eden:

Hell, also called a lake of fire and brimstone, will be material fire, and will torment the bodies of the damned, whether men or devils—the solid bodies of the one, and the aerial bodies of the others; [for] the evil spirits, even without bodies, will be so connected to the fires as to receive pain….One fire certainly shall be the lot of both…eternal punishment seems hard and unjust to human perceptions, because in the weakness of our mortal condition there is wanting that purest and highest wisdom by which it can be perceived how great a wickedness was committed by that first transgression. (The City of God, Books 10, 21)

Augustine, writing in 426, is more severe than Yahweh himself, who told the perpetrators of that “first transgression,” Adam and Eve, that they would “die” if they ate of the forbidden fruit, not that they were risking eternal torment in hell. To be as literal as the literalists, an eternity of pain cannot be the fate even of their son, the first murderer, since anyone who killed Cain would suffer punishment “seven times greater” than his own. In fact, from Genesis on, there is no clear reference in the Hebrew scriptures to a place of eternal punishment. Christian preachers often allude to, or actually cite, Old Testament passages. But while they habitually turn “Sheol” and the dark valley of “Gehenna” into figurative equivalents of “hell,” no Jewish translation of the Hebrew scriptures into English does so. The most “hellish” text—handled gingerly by Jewish scholars, but seized on with relish by Christian exegetes eager to prove the eternal punishment of the wicked—is the rhetorically magnificent but horrific climax of the Book of Isaiah. There the Lord says that he will make a “new heavens and new earth” for the faithful, who shall “go forth and look on the dead bodies of the men that have rebelled against me; for their worm shall not die, their fire shall not be quenched, and they shall be an abhorrence to all flesh” (66:23-24).

That final verse, the one Hebrew text on which a doctrine of eternal torment can be based, “is so gruesome,” John Sawyer notes in The Oxford Companion to the Bible (1993), “that in Jewish custom the preceding verses about ‘the new heavens and the new earth’ are repeated after it, to end the reading on a more hopeful and at the same time more characteristically Isaianic note” (327). Countless Christian theologians and preachers went in the decidedly un-hopeful other direction, harping on, and taking sadistic relish in, Isaiah’s imagery as proof of eternal punishment. As we’ll later see, in the unforgettable Hell-sermon at the center of A Portrait of the Artist as a Young Man, Joyce’s Fr. Arnall not only cites Isaiah’s worm and stench, but takes for granted that they are sensuous aspects of eternal anguish, climaxing in that “quenchless fire.” Yet it could be argued that even in his most “gruesome” image, Isaiah refers to rotting and noxious carcasses, “an abhorrence to all flesh,” not to the rebels’ continuing personality—nephesh, the soul or living being—which alone could be subject to eternal torment.

Augustine’s central ideas often had horrible consequences. In an early public debate “Against Fortunatus” (August, 392), he had declared, “There are two kinds of evil—sin and the penalty for sin” (Earlier Writings, ed. Burleigh [1950], 15). Since we are all allegedly stained from birth with Original Sin, what penalty is to be suffered by infants who die before being baptized? The Church, understandably, has long anguished over this issue—beginning as early as the 4th century, with the treatise on the early death of infants (De infantibus praemature abreptis libellum) by Gregory of Nyssa, an early believer in universal reconciliation. To my dismay, I soon discovered that the dilemma persisted long after Gregory’s attempt to humanely resolve it. A millennium later, the great Council of Trent (1545-65), famed for its lucid definitions, concluded, in its fifth session, that, “Infants, unless regenerated unto God through the grace of baptism, whether their parents be Christian or infidels, are born to eternal misery and perdition [perditionis aeternum].”

Council_of_Trent_by_Pasquale_CatiCouncil of Trent by Pasquale Cati

There have been many intellectual efforts, notably including the desperate if humane hypothesis of the now defunct Limbo (on which the theological doors closed in late 2005), to get the babies out of hell. But even the eminent thinkers subsequently gathered in the Vatican to form, in 2007, an International Theological Commission, though reading the “signs of the times,” could offer only a wistful “Hope”—to cite the final subtitle of the concluding section (“Spes Orans: Reasons for Hope”) of their lengthy and learned final document. Their inconclusive Conclusion was that, “there are strong theological and liturgical reasons to hope that infants who die without baptism may be saved and brought into eternal happiness, even if there is not an explicit teaching on this question found in Revelation.”

Such are the fruits of the toxic doctrine of Original Sin, as promulgated, above all, by Augustine, whose preeminence as a theological juggernaut eclipsed all rivals until the advent of Aquinas. For the formidable but bleak Bishop of Hippo, no one was exempt from punishment “unless delivered” by an inscrutable God’s “mercy” and by “grace,” which was “undeserved.” And those delivered will be a minority. Jesus himself distinguished between the narrow-gated road that will lead the “few” to salvation and the broad-gated road that will lead the “many” to destruction (Matt 7:13-14). An echoing Augustine, consigning the bulk of humanity to perdition, writes, “Many more are left under punishment than are delivered from it in order”—he adds, setting up damnation as a grim example even for those who made the cut through no merit of their own—“that it may be shown what was due to all” (City of God, Book 22). In short, because of Original Sin, we are all guilty, and deserving of hell. And when that stain has not been cleansed by the sanctifying grace of baptism, it follows, and Augustine unhesitatingly followed that appalling logic—even if the prospect of babies in hell is more hideous than the doctrine of predestination itself— that unbaptized infants must be damned: a singularly atrocious example of what “was due to all.”

The most gifted and persistent opponent of Augustine on infant perdition, indeed on Original Sin root and branch, was Julian of Eclanum, the most prominent second-generation follower of Pelagius. His writings have been preserved, primarily and ironically, by Augustine himself, who quoted freely from Julian’s attack on the doctrine of Original Sin in his own refutation, contra Julianum Pelagianum. In countering Augustine’s dark view of human nature and sexuality, Julian went to the other extreme, his optimism verging on perfectionism. He also set against Augustine’s emphasis on eternal punishment his own version of ultimate reconciliation: a theory of universal salvation (apocastasis) first fully worked out by Origen (c. 185-254), the most brilliant and radical student of Clement of Alexandria. Origen’s belief that through Christ’s sacrifice even Satan might be redeemed (restored by the refining fires to his original angelic state as Lucifer) led the Christian bishops gathered at the Synod of Constantinople in 543 to condemn anyone who said or thought that “there is a time limit to the torments of demons and ungodly persons,…or that they will ever be pardoned or made whole again.” The target was Origen, posthumously excommunicated at this Synod, and, for good measure, at subsequent synods in 553, 680, 787, and 869.

Keane5Nave of Church of the Gesù by Giovanni Battista Gaulli

Julian was himself excommunicated by Pope Celestine in 430, the year of Augustine’s death, for earlier refusing to sign on to Pope Zosimus’s excommunication of Pelagius. But despite the contemporary and historical triumph of his rival, Julian’s rejection of Augustine’s doctrine of Original Sin and his revulsion from the idea of unbaptized infants roasting in hellfire has always seemed to me a welcome alternative to the somber broodings of the Bishop of Hippo. In Book 6 of his contra Julianum Pelagianum, responding to the final Book of Julian’s treatise, Augustine had reasserted his position that, because of collective guilt stemming from the sin of Adam, the inherited “contagion” of Original Sin, “infants who die without the grace of regeneration [the sole source of which is the sanctification of baptism] are excluded from the kingdom of God.” I continue to share Julian’s humane indignation at Augustine’s presuming to speak for God in condemning infants. By an intriguing accident, the theological and ad hominem attack I quote here survives only because it happened to be among the unfinished work on Augustine’s desk at the time of his death:

Tiny babies, you say, are not weighed down by their own sin, but are burdened with the sin of another. Tell me then, who is this person who inflicts punishment on innocent creatures? …you answer God. God, you say, God! He who commanded His love to us, who has not spared His own Son for us…He it is, you say, who judges in this way; he is the persecutor of newborn children; he it is who sends tiny babies to eternal flames….It would be right and proper to treat you as beneath argument: you have come so far from religious feeling, from civilized feeling, so far, indeed, from mere common sense, in that you think your Lord God is capable of committing a crime against justice such as is hardly conceivable even among the barbarians. (Opus imperfectum contra Julianum, I. 48ff)

As revealed by the final report of the theologians convened in Rome in 2007, the Catholic Church has still not found a definitive way to extricate itself from this grotesque spectacle. The Commission labored, and brought forth a mouse—a “hope” that the babies might be saved, but a hope lacking any “explicit” scriptural basis. What, one wonders, about Jesus, who, indignant at his disciples’ attempt to rebuke those who were “bringing children to him, that he might touch them,” insisted (in all three synoptic Gospels), “Let the children come to me, do not hinder them; for to such belongs the kingdom of heaven” (Mark 10:14; cf. Matt 19:14, Luke 18:16). Or, moving beyond scripture, one wishes these male theologians had been moved by the account of the third-century martyr, Perpetua, who envisioned, in her own prison-cell, her younger brother (who had died as an unbaptized child) liberated from a place of heat and thirst, and now, thanks to her prayers, drinking at a pool and “playing joyously as young children do.” Or, finally, why not take into account Julian’s rebuke of Augustine for lacking “religious” or “civilized” feeling, mere “common sense” and “justice”?

But the deliberations of these 21st-century theologians were dominated and (to my mind) warped by Original Sin, much of its obsessive doctrinal burden to be tracked back to fifth-century Hippo. For all his indisputable greatness, this is part of Augustine’s ambiguous legacy. Historically and officially, the Catholic Church may have denied, downplayed, or backed away from, the more extreme of Augustine’s doctrinal obsessions; but because of his sheer intellectual power and the magnitude of his authority, he has cast a shadow over the past 1,600 years of Western Christianity, for me, a remarkably dark shadow. Augustine’s particular pessimistic vision was shaped by his own sexually-obsessed psychology, the theological controversies in which he engaged, and, of course, by his response to the history he witnessed in an age of barbarian invasions, culminating in the Fall of Rome in 410, and the siege of Hippo itself in the final years of Augustine’s life. But one wishes that readers, especially theologians, who have adopted or succumbed to the Augustinian darkness would also have remembered the following sentence: “Here also is a lamentable darkness in which the capacities within me are hidden from myself, so that when my mind questions itself about its own powers, it cannot be assured that its answers are to be believed” (Confessions, Book 10:32).

An admirable questioning of his own certitudes, but hardly enough to make up for the subsequent damage caused by Augustinian “answers” that were “believed” by far too many for far too long. While the Confessions and parts of The City of God remain indelible in my memory, the reading of Augustine certainly failed to bestow upon me—as it did upon George Coyne, to revert to his response to Carl Sagan—the “gift of faith.”

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Whatever his inclination toward predestination and his insistence on the eternity of punishment (even of the little ones Jesus wanted near him), Augustine seems rather dispassionate about the actual witnessing of that punishment. He does remark that those who enter into the joy of the Lord “shall know what is going on outside in the outer darkness” and that the saints, “whose knowledge is great,” shall be “acquainted…with the sufferings of the lost” (The City of God, Books 20, 22). But he doesn’t seem to have taken sadistic pleasure in the torments of the damned. That ultimate form of Schadenfreude, and another pivotal challenge to my faith, was awaiting me in the pages of the other theologian cited by George Coyne as a pillar of his faith: Thomas Aquinas.

Keane2An image from the Winchester Psaltery (c. 1225)

I learned a great deal from working through the Summa Theologiae, my reading of which began in 1958, the very year George Coyne himself graduated from Fordham. Indeed, for a time I re-oriented my thinking, replacing Augustine’s Christianizing of Plato (or, rather, the Neoplatonists) with Thomas’s Christianizing of Aristotle. Then, one fateful day, I came upon a passage in the Third Part of the Summa, Supplement, Question 94, First Article, titled “Whether the Blessed in Heaven Will See the Sufferings of the Damned.” Here, the good Doctor tells us that “Beati in regno coelesti videbunt poenas damnatorum, ut beatitudo illis magis complaceat [The blessed in the kingdom of heaven will be allowed to see the sufferings of the damned in order that their bliss may be more delightful to them].

More than a half-century later, I can still recall my shock in encountering words I found morally repellent. In the years to come, I would, like all of us, encounter innumerable examples, ranging from the pettiest to the most malicious, of people taking pleasure in the temporal misfortune, even the suffering, of others. And literature provided still more illustrations. I was struck, in reading The Iliad, by those panoramic scenes of the Homeric gods looking down from Olympus, taking pleasure in the entertainment provided by the spectacular carnage of the Trojan War. I was aware, too, of a famous passage in a favorite text, De rerum natura, where Lucretius captures the emotion of Schadenfreude in an extended image: Suave, mari magno turbanti aequora ventus, e terra magnum alterius spectare laborem [It is pleasant to watch from the land the great struggle of someone else in a sea rendered great by turbulent winds]. At the same time I was reading Augustine and Aquinas, I was also deep into the Romantic poets. And so I was familiar with Lord Byron’s moving portrait of the Gothic gladiator, torn from his native land, his children, and his wife, and now about to die in the Coliseum, “Butchered to make a Roman Holiday!” (Though there was a scene outside the Coliseum in the 1953 Audrey Hepburn-Gregory Peck film, Roman Holiday, it seems unlikely that whoever titled this delightful and poignant movie had the full Byronic context of the phrase in mind.)

In light of the very different, but Coliseum-related, passage I will soon be quoting from Tertullian, it is worth noting that this butchery to please the bloodthirsty Roman spectators is not the only Schadenfreude-moment in this famous passage from Canto IV of Childe Harold’s Pilgrimage. The spectacle of the dying German gladiator, a sacrifice that pleased the sadistic Roman crowd safe in their seats, aroused the compassion, and stirred the anger, of the anti-imperialist poet: “Shall he expire, / And unavenged? Arise, ye Goths, and glut your ire!” And the passage ends on a final note of commendable Byronic Schadenfreude: a glimpse of “Rome and her Ruin past Redemption’s skill”—a sort of proleptic vision of vengeance Byron empathetically shares with his coerced and slain gladiator.

Lord_Byron_Childe_Harold's_Pilgimage

But in 1958, for all my delvings into theology, philosophy, and literature as a member of the advanced “A” Class at Fordham, I was still an inexperienced naif from the Bronx and a practicing Catholic. To encounter this passage about the bliss of the blessed being enhanced by delighting in the torments of the damned, coming from, of all people, Catholicism’s central philosopher-theologian, stunned me—especially since elsewhere in the Summa (Second Part, Question 74), Aquinas identifies delectatio morosa [morose delectation] as a sin. In fact, I was still disturbed enough a year later to finally seek out a particularly eminent Jesuit on campus, who referred me to literature on what has been called “the Abominable Fancy.”

farrarFrederick Farrar

The term, coined by the 19th-century cleric and writer, Frederick Farrar, refers to what I learned was a long-standing Christian idea that witnessing the sufferings of the doomed intensified the bliss of the saved. Farrar himself was a believer in universal reconciliation, a position he defended at length in Eternal Hope (1879) and Mercy and Judgment (1881). In his 1963 book The Decline of Hell, D. P. Walker remarks that the idea of eternal punishment in hell (a tradition “almost unchallenged” until the 17th century) was often accompanied by the idea that “part of the happiness of the blessed consists in contemplating the torments of the damned.” He offered a persuasive double-explanation: “The sight gives them joy because it is a manifestation of God’s justice and hatred of sin, but chiefly because it provides a contrast which heightens their awareness of their own bliss.” Nevertheless, echoing Farrar, he describes it as a particularly “abominable aspect of the traditional doctrine of hell” (29).

Advocates of what Farrar and Walker condemn as an abomination cite scriptural roots, some tenuous in terms of eternal vengeance. In Psalms, for example, “the righteous shall rejoice when he sees the vengeance” (58:10) and, in 68:2-3, when the “wicked perish before God,” the righteous shall “be joyful; let them exult before God; let them be jubilant with joy.” In a favorite phrase of devotees of the abominable fancy, the righteous shall “go forth” to enjoy the suffering of the damned, an allusion to the famous finale (Isaiah 66:24), in which the faithful “go forth and look” on the rotting corpses of the rebellious; as earlier noted, the reference may be restricted to mutable bodies rather than eternal souls. But in the more explicit and far more vengeful New Testament Book of Revelation, we are informed not only that, thanks to an avenging God, the saints and prophets” shall “rejoice” over the fallen city of Rome (18:20), but that the vengeance announced by the Third Angel will be eternal and witnessed by the whole of the heavenly host, including Jesus: a gazing-down scene popular in ancient and medieval iconography. Whoever “worships the beast,” thunders the Apocalyptist, “shall drink the wine of God’s wrath,” and “shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment goes up forever and ever” (14:9-11).

This is presumably the passage to which Thomas Burnet was alluding in ironically describing the “divine harmony” produced by the burning of most of humankind in “the presence of an audience of God and angels.” But another text Burnet may have had in mind in satirizing the delight of that “audience” enjoying the agonies of the damned as an infernal “spectacle on the stage,” is the very book to which my Jesuit mentor directed me without further comment: Tertullian’s De Spectaculis, “On the Spectacles,” perhaps the most sustained and sensational illustration of the Abominable Fancy. I repaired to the old Duane Library and found the text, newly translated by Rudolph Arbesmann, and included in Tertullian: Disciplinary, Moral, and Ascetical Works (Fordham UP, 1959). Pagan public spectacles, such as those in the Coliseum, are despicable. Thus far, Tertullian and the Byron who elegized the dying gladiator are in agreement. But their versions of Schadenfreude could hardly be more antithetical.

ByronPortrait of Lord Byron by Thomas Phillips

Rebelling against but haunted by Calvinist indoctrination and harangued by a pious mother and scripture-spouting nurses, Byron was simultaneously shadowed by the fear that he was predestined to damnation and appalled, on humane grounds, by the very concept of eternal punishment. In serious works, like his great closet drama Cain, he identified with the title character and even with rebel Lucifer; and in his jocoserious moments, especially in his two ottava rima comical masterpieces, Don Juan and The Vision of Judgment, Byron mocked aspects of a religion whose catechism he knew more intimately than most believers, praising Jesus but targeting Christian cant and cruelty. In Don Juan, he dealt with the pitiless but pious burning of heretics in a single wittily-rhymed couplet: “Christians have burned each other, quite persuaded/ That all the Apostles would have done as they did” (I.83). And in stanza 14 of The Vision of Judgment, he displays a universalist tolerance and compassion alien to Tertullian’s relish in the agony of the damned: “I know,” says Byron at his ironic best, “this is unpopular; I know/ ‘Tis blasphemous; I know one may be damn’d/ For hoping no one else may e’er be so….”

TertullianTertullian

Here, at last, is Tertullian on Spectacles. The greatest, and by far the most entertaining, spectacle of all, he gloats in Chapter 30, will be the Final Judgment, when the mighty of the world shall be consumed in flame. (In the extraordinary passage that follows I do not adhere to any single translation):

You are fond of spectacles? Expect the greatest of all spectacles, the last and eternal judgment of the universe. How shall I admire, how laugh, how rejoice, how exult, when I behold so many proud monarchs and fancied gods, groaning in the lowest abyss of darkness; so many magistrates, who persecuted the name of the Lord, liquefying in fiercer fires than they ever kindled against the Christians; so many sage philosophers blushing in red-hot flames with their deluded pupils; so many celebrated poets trembling not before the judgment-seat of Rhadamanthus or Minos, but of Christ—a surprise! So many tragedians, more tuneful in the expression of their own sufferings, should be worth hearing! Dancers and comedians skipping in the fire will be worth praise! The famous charioteer will toast on his fiery wheel; the athletes will cartwheel not in the gymnasium but in flames….

The scenes in which he exults, taking “greater delight…than in a circus,” are in the future. “Yet even now,” Tertullian concludes, “we in a measure have them by faith in the picturings of imagination”—just such a topsy-turvy “picturing” as he has here vividly presented. In this reversal, the pagan gods are supplanted by Christ (as in Milton’s “Nativity Ode”), pagan thought and art by the new religion, present suffering by future bliss. Oppressed by prideful pagan masters who tortured and martyred them in public spectacles, Christians will have the last vengeful laugh, looking down, as it were, from the good seats in the Heavenly Coliseum, at the “greatest of all spectacles,” the fiery Hell of the Last Judgment.

Though Tertullian’s fervid and vindictive rhetoric, a masterpiece of Schadenfreude, was reduced by Arbesmann (in a footnote) to “a colorful description of the millennium,” it had been, I soon discovered, singled out by Edward Gibbon for special censure. In his great history of the Roman Empire, Gibbon notes that early Christian hatred of “idolatrous” pagan spectacles and games embraced all pagan art and scholarship—an eternal condemnation, at the very least of those who persisted in their obstinacy after the redemptive sacrifice of Christ on the cross. “These rigid sentiments,” writes Gibbon, “which had been unknown to the ancient world, appear to have infused a spirit of bitterness into a system of love and harmony…[T]he Christians who, in this world, found themselves oppressed by the power of the Pagans, were sometimes seduced by resentment and spiritual pride to delight in the prospect of their future triumph.” After citing at length the “stern Tertullian” of chapter 30 of De Spectaculis, Gibbon adds: “But the humanity of the reader will permit me to draw a veil over the rest of this infernal description, which the zealous African [Tertullian is believed to have been born or at least raised in Carthage, in Roman North Africa] pursues in a long variety of affected and unfeeling witticisms.” (Decline and Fall of the Roman Empire, Chapter 15)

As intended by the Jesuit who had directed me to it, the passage of Tertullian placed Aquinas’s comment in historical and religious context, that of imperial Rome in the 3rd century AD (De Spectaculis was probably written in the second decade of that century, after Tertullian had allied himself with the prophetic Montanist sect). But that context did not make the statement of Aquinas, a millennium later, any less repellent; and Gibbon’s humane rejection of the “resentment and spiritual pride” into which Tertullian had clearly been “seduced” tallied with my own aversion from the echoing passage in Aquinas. Tertullian’s relishing of this one “spectacle” may also be echoed in another passage likely to have influenced Aquinas. The pre-Thomistic scholastic theologian Peter Lombard, in his Sentences (Libri quatuor sententiarum), written in the mid-twelfth century, speaks of the “elect” sallying forth to witness “the torments of the impious, seeing which they will not be grieved,” but rather “will be satiated with joy at the sight of the unutterable calamity of the impious” (Sentences, IV. 50).

But the more I looked into the abyss, the more I realized the extent to which the retributive hell envisioned in the Sentences and in the Summa had been preceded not only by Tertullian, but, minus an emphasis on the gloating bliss of the saved, by Paul and, with wrath rather than sadistic resentment, by Jesus himself. On eternal punishment, Paul goes into less detail than does Jesus and the author of the Book of Revelation. In the remarkably intense opening chapter of his second letter to the Thessalonians, however, Paul foreshadows the apocalyptic fury of Revelation, “when the Lord Jesus is revealed from heaven with his mighty angels in flaming fire inflicting vengeance” on those “who do not know God” or who “do not obey” Christ’s gospel: “They shall suffer the punishment of eternal destruction and exclusion from the presence of the Lord” (2 Thess 1:8-9).

Early in Romans, his longest and most influential letter and the one in which he has most to say about divine wrath, Paul observes that while “God’s kindness is meant to lead you to repentance,” those with hard and impenitent hearts are “storing up wrath for yourself on the day of wrath,” when “there will be “tribulation and distress for every human being who does evil” (2:6-10). As we have seen, the Potter-God analogy (Rom 9:21-23) imprinted itself indelibly on the rather fevered imagination of Augustine, who turned Paul’s “lump of clay” into a sinful, filthy, and doomed “lump”: massa peccata, massa perditionis, massa damnata. Even though he makes it clear that the clay vessels are preordained for either glory or destruction, Paul strikes a better balance than the Bishop of Hippo:

Has the potter no right over the clay, to make out of the same lump one vessel for beauty and anther for menial use? What if God, desiring to show his wrath and to make known his power, has endured with much patience the vessels of wrath made for destruction, in order to make known the riches of his glory for the vessels of his mercy, which he has prepared beforehand for glory…?” (9:20-23)

Paul advises us, still later in Romans (12:17), “Do not repay evil for evil.” But there is a catch; we are to forego personal vengeance in order to “leave room for God’s wrath.” In this way, by refusing to “take revenge” against your enemy, “you will heap burning coals on his head” (12:18-21). Moderate commentators have sought to make the final and most graphic image more palatable, suggesting that it refers to a form of ceremonial repentance or a shaming of one’s enemies. Perhaps. But when, in Paul’s likely source (Psalms 25:21-22), David cries out, “May burning coals fall upon them,” he is not talking about merely shaming his enemies. He is invoking what Paul (in the very epistle in which he has most to say about the subject) has just referred to as “God’s wrath.”

Divine wrath was certainly emphasized by Jesus, who—despite his embodiment of the Love thought to be the very antithesis of the God of Wrath—spoke more, and far more graphically, about Hell than about Heaven. In an unforgettable passage (John 10:7-10), Jesus presents himself as the “door” to salvation, as the “good shepherd” who “lays down his life for the sheep,” as he who “came that they may have life, and have it abundantly.” In the light of such moving and redemptive imagery, one wants to repress the darker side of Jesus’ ministry. My heart and head are with nuanced theologians, yet it seems to me that Jesus is speaking (or being made to speak by the Gospel-authors) literally rather than (as many would prefer) figuratively in those passages in which he opens the mouth of hell.

For the “door” swings both ways. In the passage I earlier suggested was echoed by Augustine in observing that “many more” are punished than are “delivered,” Jesus said: “Enter by the narrow gate; for the gate is wide and the way is easy that leads to destruction, and those who enter by it are many. For the gate is narrow and the way is hard, that leads to life, and those who find it are few” (Matt 7:13-14). The road most traveled by (and Jesus does suggest that most of humanity is on the road to perdition) leads to a hell that is a place of both “darkness” and flame, a “fiery furnace” where (in a phrase attributed repeatedly to Jesus, mostly in Matthew, to describe the torments of the damned) there will be “weeping and gnashing of teeth” (Matt 8:12, 22:17, 25:30; cf. Luke13:27-28). And when Jesus says, “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels” (Matt 25:41), the departure implies more than separation from God and is obviously permanent. The damned are “cast into eternal fire” (Matt 8:18) its flames “unquenchable” (Matt 3:12, Luke 3:17, Mark 9:43). Thus, the “many” depart to a place of agony both intense and “everlasting”—the Greek word for which, aionios, occurs 71 times in the New Testament.

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That the adjective “everlasting” is applied in the New Testament to Heaven as well as Hell points to the Love/Wrath symmetry that ostensibly reconciles the great paradox: that eternal punishment is not inconsistent with the character of God, who is at once loving and benevolent, but also righteous and a God of justice, who metes out punishment as well as reward. The radiance of Jesus shines through the Gospels, despite such passages. But whether or not the hellfire passages accurately depict what Jesus actually said, they are there, and cannot simply be selectively dismissed by those who want a gentler Jesus—a Savior, but not a Sentencer. A major 19th- century theologian tried to do just that. The moderate and much-admired Anglican F. D. Maurice was dismissed from his position as Professor of Theology and Modern History at Kings College, London, when his Theological Essays of 1853 revealed his growing conviction that the notion of eternal punishment was erroneous, and based on a misunderstanding of biblical passages. Others went farther.

Frederick_Denison_Maurice._Portrait_c1865F.D. Maurice

In accord with their optimistic doctrine of apokatastasis, the idea of eternal punishment was rejected by prominent theologians, from Origen through Gregory of Nyssa, Julian, Scotus Erigena, and George MacDonald, whose 1879 rejection of the idea of eternal punishment cost him his post, as it had Maurice—in MacDonald’s case, his Church of Scotland pulpit. Such universalists, right up to the present, believe that divine Love will conquer all. In the words of Rowan Williams, the controversial former Archbishop of Canterbury, “if salvation is for any, it is for all” (The Truce of God [2005], 30). Yet the idea of universal redemption also reminds me rather too much of the Dodo Bird’s response to Alice’s query about how—since the runners in the race they are watching start when and where they want—a winner can be determined: “Everybody has won,” says the Dodo, unconsciously launching a thousand theses on moral equivalence, “and all must have prizes” (Alice in Wonderland, Chapter 3).

Alice_John_Tenniel_Alice and Dodo by John Tenniel

Others, seldom with the resentment-fueled malice of Tertullian, want a judgmental Jesus, since it seems only just that the wicked be punished, if not in this life, then in the next. For those more repelled than awed by the idea of “sinners in the hands of an angry God,” the punishment is justified on the basis of the free will minimized by Augustine. Human beings are free to accept or reject Christ’s offer of salvation. C. S. Lewis is emphatic about this choice. But while he bases his argument on freedom to choose, and wishes hell away, its horrors are presented with all of Lewis’s considerable imaginative power. He also grimly notes, in The Problem of Pain (1940), that our final choice is irrevocable and that “the gates of hell are locked from the inside” (127). Free will is also stressed by prominent Christian philosopher Alvin Plantinga, in God and Other Minds (1990), and elsewhere. Free choice was starkly presented in 2005 by Robert Jeffress, in Hell? Yes!—a cleverly glib title synopsizing his Schadenfreude-dripping certitude that “every occupant of hell will be there by his own choice” (85).

hell-yes-book

The smug, stony coldness of that verdict is intensified by the fact that the hell of the secularist-baiting Jeffress (as well as of Lewis and Plantinga) is “everlasting.” Even if punishment of sin is thought justifiable, surely eternal damnation, Augustine notwithstanding, is disproportionate given the brevity of human life; and grotesque in the case of those for whom history and geography ruled out knowing let alone choosing Christ. I am chilled by the thought that the gates of hell are “locked from the inside” and that every inmate “will be there by his own choice.” Nevertheless, as a professor opposed to grade inflation, I am with Alice rather than the Dodo. I also confess to being oddly stirred by the frisson of a remark the poet and Catholic convert Lionel Johnson, “his tongue loosened” by drink, once made in casual conversation with his friend Yeats: “I wish those who deny eternity of punishment could realize their own unspeakable vulgarity.” My response is precisely that of Yeats, who adds, “I remember laughing when he said it, but for years I turned it over in my mind, and it always made me uneasy” (private note, published in T. R. Henn, The Lonely Tower: Studies in the Poetry of W. B. Yeats [1950], 291). But even in Johnson’s remark we find hauteur and hyperbole rather than the flippant coldness of the author of Hell? Yes!, let alone the sadism and resentment Gibbon condemned in Tertullian’s catalogue of pagans groaning in darkness and liquefying in fire—to say nothing of his other “unfeeling witticisms” at the expense, for example, of the tragic poets now burning in hell, who have grown “more tuneful in the expression of their own sufferings.”

There is no dearth of preachers who take an unseemly pleasure in terrifying, or gratifying, their audiences with fire and brimstone. Celebrated theologians, perhaps most prominent among them Jonathan Edwards, have delivered sermons depicting the terrors of the pit of hell to motivate their flocks to repent and be saved. Edwards was, along with the more flamboyant George Whitefield, the key figure in the Great Awakening of the 1730s and 1740s in America. Speaking softly, he terrified those attending his classic 1741 Enfield sermon, “Sinners in the Hands of an Angry God”:

The pit is prepared, the fire is made ready, the furnace is now hot, ready to receive the wicked! The flames do now rage and glow. The God that holds you over the pit of hell, much in the same way one hold a spider or some loathsome insect, abhors you and is dreadfully provoked. (Works, VII, 499)

And, however intellectually enlightened he may have been, Edwards was an enthusiastic advocate of the abominable fancy. The “view of the misery of the damned,” he proclaims in an April 1739 sermon, “will double the ardor of the love and gratitude of the saints in heaven,” for whom the “sight of hell torments will exalt [their] happiness… forever (“The Eternity of Hell Torments”). A close disciple of Jonathan Edwards, Samuel Hopkins (1721-1803), though a humanitarian activist motivated by disinterested benevolence (indeed, an opponent of the slave trade who envisioned establishing colonies in Africa for liberated slaves), was rather less humane in contemplating the divine design involving hell, and the psychological as well as retributive purpose it served. He was even more explicit than his mentor Edwards about the suffering—specifically, the eternal suffering—of others being required to maximize the happiness of the blessed:

The display of the divine character will be most entertaining to all who love God, [and] will give them the highest and most ineffable pleasure. Should the fire of this eternal punishment cease, it would in a great measure obscure the light of heaven, and put an end to a great part of the happiness and glory of the blessed. (Works, 458)

Of course, to “all who love God,” there was also a “world of love” awaiting. Jonathan Edwards concluded his 1738 sermon, “Heaven is a World of Love,” by conditionally assuring his listeners, “if ever you arrive at heaven, faith and love must be the wings which must carry you there.” He would seem to be echoing the 1708 prayer of his fellow Congregationalist, Isaac Watts, whose hymns were known throughout Protestant Christendom:

Give me the wings of faith to rise
Within the veil, and see
The saints above, how great their joys,
How bright their glories be.

But Watts was also capable, enthusiastically if less characteristically, of attributing the “joys” of those “saints above” to the Abominable Fancy. The following quatrain comes from a hymn that presumably once fired up, or terrified, congregations, but which is seldom sung these days:

What bliss will fill the ransomed souls,
When they in glory dwell,
To see the sinner as he rolls
In quenchless flames of hell.

And what if the sinners rolling in quenchless flames happen to be the nearest and dearest of the ransomed? When asked if the saved will not be saddened by seeing loved ones tortured in hell, Martin Luther responded, “Not in the least.” And Johann Gerhard, the leading Lutheran theologian of the 17th century, observed that “the Blessed will see their friends and relations among the damned as often as they like but without the least of compassion.” Addressing a series of rhetorical questions—“Can the believing husband in heaven be happy with his unbelieving wife in hell? Can the believing father in heaven be happy with his unbelieving children in hell? Can the loving wife in heaven he happy with her unbelieving husband in hell?”—Jonathan Edwards responded quietly but exuberantly, “I tell you, Yea! Such will be his sense of justice that it will increase rather than diminish his bliss” (Discourses on Various Important Subjects, 1738). In his 1924 collection of essays, The Liberty of Man, Woman, and Child, the “Great Agnostic,” Robert Ingersoll, observed of this repudiation of the familial bond, “There is no wild beast in the jungles of Africa whose reputation would not be tarnished by the expression of such a doctrine.”

packer1J.I. Packer photo by Ron Storer

Such heartless theological sentiments persist. As we were recently assured by Canadian minister and theologian J. I. Packer, “love and pity for hell’s occupants will not enter our hearts” (“Hell’s Final Enigma,” in Christianity Today Magazine, April 22, 2002).Two years later, actor Mel Gibson, later notorious for a drunken anti-Semitic rant and various sexual infidelities, surprised an interviewer for the Australian Herald Sun by stating that his wife, Robyn, though “a much better person than I am,” indeed a “saint,” was an Episcopalian, and therefore headed to hell, since he was doctrinally certain that there was no salvation outside the Roman Catholic Church. Gibson, an ultra-conservative Catholic, either didn’t know or didn’t care that the ecumenical post-Vatican II Church had revised the old dogma, extra ecclesiam nulla salus. In any case, as a Catholic, he was going to heaven, from which perch he would ultimately and eternally be looking down on his wife in hell: a woman almost certainly “a much better person” than he—and, in her pre-infernal existence in the temporal world, remarkably well-off, having received 400 million dollars, the largest settlement in Hollywood history, when she divorced Gibson in 2011, less than a decade after he had consigned her to the pit of hell.

That dogma, and the familial heartlessness that turns, in Edwards and others, from wife, husband, and children in the name of theology, was still operative in the late 19th century, when, writing in Spanish, Cuban Archbishop Anthony Mary Claret composed a series of 35 meditations on the Ignatian Spiritual Exercises (translated into English in 1955 as The Golden Key to Heaven). Some meditations are admirable, but in addressing the “Pains of Hell,” Claret noted that “for all eternity,” a condemned “wretch” will be abandoned by friends, without a “kind word.” Rather, “they will be satisfied to see him in the flames as a victim of God’s justice. They will abhor him. A mother will look from paradise upon her own condemned son without being moved, as though she had never known him.”

In my junior year at Fordham, precisely a decade after Archbishop Claret was canonized by Pope Pius XII, we had a retreat that employed Ignatian “composition of place” to evoke the physical and spiritual agonies of eternal punishment: a presentation as graphic and horrifying as the hellfire sermon that sends a terrified Stephen Dedalus scurrying off to confession in A Portrait of the Artist as a Young Man. The sustained double-sermon in Portrait (it takes up most of Part III of the novel) was delivered by Fr. Arnall, Joyce’s fictional name for the priest, Fr. James Cullen, who led the actual retreat Joyce attended as a Belvedere College student. In fact as in fiction, the retreat was based on traditional Jesuit sermons. The main text Joyce used was Giovanni Pietro Pinamonte, S. J., Hell Opened to Christians, to Caution Them from Entering into It, first printed in Bologna in 1688, and frequently reprinted in English translations (though fluent in Italian, Joyce used a late 19th-century translation printed in Dublin).

Keane1Four Woodcuts from Pinamonte’s Hell Opened to Christians, to Caution Them from Entering into It

As I can attest from my own experience, the order, imagery, phrasing, biblical citations, and graphic images to which we were exposed at Fordham in 1960 were virtually identical to the pattern laid down in Giovanni Pinamonte’s uncompromising ur-text, a rhetorical set-piece at once salutary and terrifying. Another model for Fr. Arnall may have been the appropriately-named Fr. Furniss, a sadistic 19th-century Anglo-Irish priest who specialized in terrorizing children with the threat of hellfire. We can catch the flavor of the preaching of both Pinamonte and Furniss in the hell-passages of the sermon in Portrait. Though Fr. Arnall covers in sequence the four “last things, death, judgment, hell, and heaven,” the section of the retreat that struck terror in the soul of Stephen Dedalus, as in mine in 1960, followed the opening of the maw of hell—fusing Pinamonte’s title, Hell Opened to Christians, with the “opening” of the “mouth” of Sheol in Isaiah:

Hell has enlarged its soul and opened its mouth without any limits—words taken, my dear little brothers in Christ Jesus, from the book of Isaias, fifth chapter, fourteenth verse….

—Now let us try for a moment to realize, as far as we can, the nature of that abode of the damned to which the justice of an offended God has called into existence for the eternal punishment of sinners. Hell is a strait and dark and foulsmelling prison, an abode of demons and lost souls, filled with fire and smoke ….By reason of the great numbers of the damned, the prisoners are heaped together in their awful prison, the walls of which are said to be four thousand miles thick…They are not even able to remove from the eye a worm that gnaws it [echoing, like the coming “stench,” that old favorite, Isaiah 66:24]….They lie in exterior darkness…for the fire of hell, while retaining the intensity of its heat, burns eternally in darkness…

—The horror of this strait and dark prison is increased by the awful stench. All the filth of the world, all the offal and scums of the world, we are told, shall run there as to a vast reeking sewer when the terrible conflagration of the last day has purged the world…Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jellylike mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this and you will have some idea of the horror of the stench of hell.

But more and worse was to come: namely, the pain, intensity, and eternity of the fire “created by God to punish the unrepentant sinner”—a litany of tortures that out-Dantes Dante. Earthly fire consumes itself,

but the fire of hell has this property that it preserves that which it burns and though it rages with incredible intensity it rages for ever….The blood seethes and boils in the veins, the brains are boiling in the skull, the heart in the breast glowing and bursting, the bowels a redhot mass of burning pulp, the tender eyes flaming like molten balls…And the strength and quality…of this fire is as nothing when compared to its intensity, an intensity which it has as being the instrument chosen by divine design for the punishment of soul and body alike. It is a fire which proceeds directly from the ire of God, working not of its own activity but as an instrument of divine vengeance….Every sense of the flesh is tortured… and through the several torments of the senses the immortal soul is tortured eternally in its very essence amid the leagues upon leagues of glowing fires kindled in the abyss by the offended majesty of the Omnipotent God and fanned into everlasting and ever increasing fury by the breath of the anger of the Godhead.

Fr. Arnall concludes by praying “fervently to God that not a single soul of those who are in this chapel today…may ever hear ringing in his ears the awful sentence of rejection: Depart from me, ye cursed, into everlasting fire which was prepared for the devil and his angels!” (Portrait, 119-24).

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The emphasis of our retreat-master at Fordham was, as with Fr. Arnall, on repentance and salvation. But even their final prayerful citation of Jesus (Matt 25:41) intensified rather than alleviated the terror of being cast into “the everlasting fire.” There was nothing merely figurative about our preacher’s detailed descriptions of the myriad torments of hell, and, though I knew nothing in 1960 of Pinamonte or Furniss, it was sometimes hard to separate the tone and sensuous immediacy of our priest’s Jesuit rhetoric from the vindictive glee of Tertullian relishing the agonies of the damned.

NietzscheFriedrich Nietzsche

Shortly after I graduated from Fordham, in 1961, I read Nietzsche seriously for the first time. I had earlier responded to the excitement of his literary style and to what W. B. Yeats described with remarkable tonal accuracy as this “strong enchanter’s curious astringent joy.” But in reading On the Genealogy of Morals, arguably the most substantial of his works, I discovered that Nietzsche had responded to the very passages in Aquinas and Tertullian that had so troubled me a few years earlier at Fordham. Quoting both passages in Latin, Nietzsche attributed their sadism—as expressed particularly by that “enraptured visionary,” triumphalist Tertullian—to what he repeatedly condemns (always in French) as the ressentiment characteristic of “slave morality”— here, future “blessedness” as Will to Power in disguise (Genealogy of Morals 1:15). Gibbon’s image of oppressed Christians “seduced…by resentment and spiritual pride to delight in the prospect of their future triumph,” may have helped generate Nietzsche’s crucial concept, first announced in Beyond Good and Evil §260 and fully developed in the Genealogy, of ressentiment as the driving impulse of “slave morality”: the desire of the weak, the “good”, for vengeance against the strong, depicted not merely as “bad,” but “evil.”

The dubiousness of the doctrine of eternal punishment of those condemned as “evil,” let alone the appalling notion that, far from eliciting empathy, their suffering is a source of glee for the saved, becomes even more repugnant when that pleasure is extended from his creatures to the Creator himself. Some Christians claim that the bliss of the saints, enhanced by looking down on the suffering of the damned, is shared by God—as we just saw in quoting Joyce’s version of the standard Jesuit retreat-sermon as well as the sermons of Jonathan Edwards and his disciple Samuel Hopkins. Whatever the values of its spiritual revival, its influence in effecting social reforms, and its often splendid rhetoric, the Great Awakening seems to me more of a Great Nightmare. The God of Jonathan Edwards, whether the “angry God” who abhors the sinners he holds in his hands, or the “just” God who presides over a system in which the happiness of a father who has made it to heaven is increased rather than diminished by the sight of his “unbelieving children in hell,” is obviously a God to fear, but hardly one we would wish to love or to be coerced into worshiping.

Mills_Examination

I have in mind the conclusion of John Stuart Mill’s Examination of Sir William Hamilton’s Philosophy (1865), a book more revealing of Mill’s own philosophy. Putting aside the “glad tidings” of Jesus, Mill aligns himself with Hamilton in denying any “immediate intuition of God.” But some claim that the “infinite goodness ascribed to God” is not “the goodness we know and love in our fellow-creatures distinguished only as infinite in degree,” but is, rather, “different in kind and of another quality altogether.” In concluding, Mill, risking hellfire, defiantly rejects this God of transcendent, ineffable morality in the name of the highest form of morality among human beings, fellow-creatures with whom we interact ethically, compassionately, and, at our best, with love. “If,” Mill writes, “I am informed that the world”

is ruled by a being whose attributes are infinite, but what they are we cannot learn, except that the highest human morality does not sanction them—convince me of this and I will bear my fate as I may. But when I am told that I must believe this, and at the same time call this being by the names which express and affirm the highest human morality, I say, in plain terms, that I will not. Whatever power such a being may have over me, he shall not compel me to worship him. I will call no being good who is not what I mean when I apply that epithet to my fellow-creatures; and if such a being can sentence me to hell for not so calling him, then to hell I will go. (Works, ed. John M. Robson (1963-1991), 10:103.

Of course, human beings are not always “good.” We can, though it would fly in the face of centuries of Christian tradition, dismiss the notion (hardly restricted to Puritan or Jesuit hellfire sermonizing) of an angry and vindictive deity as an anthropomorphic projection, a reflection of human rather than divine cruelty, sadism, and ressentiment. And it is true that, in what Nietzsche called “these more humane ages,” most Christians, other than rigid traditionalists and literalist fundamentalists, think and speak less of a God of Wrath than of Love, and of hell (as even Billy Graham thinks) as separation from God rather than a literal “place.” Against the Great Awakening of Edwards and Whitefield may be set a more significant awakening: the dawning of the American Enlightenment, best personified by those two once-bitter political rivals and later great friends among the Founding Fathers, Thomas Jefferson and John Adams. “I can never join Calvin is addressing his God,” wrote the deist Jefferson to Adams:

He was indeed an Atheist, which I can never be….If ever a man worshipped a false God, he did. The being described in his 5 points is not the God whom you and I acknowledge, the creator and benevolent governor of the world; but a daemon of malignant spirit. It would be more pardonable to believe in no God at all, than to blaspheme him by the atrocious attributes of Calvin. (17 April 1823)

My friend Paul Johnston recently quoted an observation, made five years earlier, by this letter’s recipient. Writing on 14 September 1818 to Jefferson, Adams attacked reliance on miracles and prophecies, the idea of a vain and vengeful deity, and the awful belief that most of humankind is eternally doomed to Hell. He also offered a personal, rational and humane definition of what he believed it meant to be a Christian:

We can never be so certain of any prophecy, or of any miracle…as we are from the revelation of nature, that is, nature’s God….Can prophecies or miracles convince you or me that infinite benevolence, wisdom, and power created, and preserves for a time, innumerable millions, to make them miserable for ever, for his own glory? Wretch!…Is he vain, tickled with adulation, exulting and triumphing in his power and the sweetness of his vengeance? Pardon me, my Maker, for these awful questions. My answer to them is always ready. I believe in no such thing. My adoration of the author of the universe is too profound and too sincere. The love of God and his creation—delight, joy, triumph, exultation in my own existence—though but an atom, a molecule organique, in the universe—these are my religion. Howl, snarl, bite, ye Calvinistic, ye Athanasian divines, if you will. Ye will say I am no Christian. I say ye are no Christians.

After so much hellfire and rejoicing at its torments, we can find respite in the refreshingly unorthodox voice of Enlightenment Reason, blasphemous though it may be to traditionalists. The deist sobriquets for God, civic and civil, have, in contrast to the sound and fury of sectarian conflict and theological hairsplitting, a euphemistic charm. Momentarily setting aside the angry God and loving but wrathful Jesus of historical Christianity, we can join Jefferson in acknowledging the “benevolent governor of the world,” just as we share Adams’s exultation in his own existence, and appreciate his love of the benign “author of the universe.”

Baruch_Spinoza_-_Franz_WulfhagenBaruch Spinoza by Franz Wulfhagen

Jefferson’s insistence on intellectual and democratic freedom from a tyrannous religion, like the skepticism of Adams regarding the reality of “miracles” and his reinterpretation of the nature of “prophecy,” are aligned for me with the earlier and even more profound enlightenment provided by an Amsterdam Jew writing in the 17th-century Dutch Republic: the great Baruch (Benedict) Spinoza. Despite being expelled from his synagogue and condemned as an atheist, Spinoza proved to have immense appeal, exerting an influence that crossed sectarian divisions. Fervently and famously embraced as a “god-intoxicated man” by the German Catholic Romantic poet Novalis (Friedrich Hardenberg) and—by the English Romantic poets Coleridge and Wordsworth—as a pantheist for whom Nature was indistinguishable from God, Spinoza was also profoundly admired by the atheist Nietzsche, an opponent of all other Idealist philosophers, who rightly venerated Spinoza for his simple and sublime nobility of spirit. As did Einstein, who, because of the “God-talk” in which he expressed his sense of awe and wonder in contemplating the beauty, majesty, and ultimate mystery of the universe, was mistakenly thought, by American admirers in his adopted country, to be a believer in a personal God, one who intervened in human affairs and was accessible by prayer. No, explained Einstein, his “religion” was limited to reverence of the order (since “God did not throw dice”) of the cosmos itself, and his only deity was “Spinoza’s God.”

The first serious philosophy paper I wrote at Fordham was on Spinoza’s Ethics, and I still remember that my Jesuit professor, in grading the essay A+, added a remark more gracious than accurate: that I was “farther along than he on the via illuminativa.” But the work of Spinoza I later wished I’d focused on at Fordham was the Tractatus Theologico-Politicus (1670), an immensely influential treatise pioneering the argument that the Bible, written by prophets of superior ethics but vivid imaginations, was not to be read “literally.” Authentic religion had nothing to do with “miracles and prophecies,” church authorities, or divisive sectarian dogma. Instead, “true religion” was based on the moral imperatives to seek the truth, to love one’s neighbor, and to be tolerant. The book’s political chapters, as far in advance of their time as those on theology, were a sustained plea for democratic toleration, especially in defense of “the freedom to philosophize” without interference from religious or political authorities.

For such thoughts, Spinoza was driven from his synagogue in the harshest terms. The cherum (or ritual of expulsion and ostracism) reads in part: because of his “abominable heresies” and “monstrous deeds,” we “excommunicate, expel, curse, and damn Baruch Spinoza, with the consent of God and with all the curses…written in the Book of the Law.” The vicious backlash against the Treatise also came from Christians. Within weeks of its publication, it was denounced by a prominent German theologian as “a godless document” that should be banned in every country. One of Spinoza’s Dutch countrymen described it as an “atheistic book full of abominations…which every reasonable person should find abhorrent.” Another, not to be outdone, called the deeply moral and eminently reasonable Tractatus “a book forged in hell,” written not by the ethical thinker toiling as a lens-grinder in Amsterdam, but by the devil himself.

In short, before and after welcome bursts of Enlightenment, Dutch or American, there remains a long, problematic, and continuing history of religious intolerance and induced terror. Despite being surrounded by and taught by smart and compassionate Jesuits, and despite (perhaps because of) the fact that I was in the advanced theology course, and attended that terrifying retreat, I have always found it difficult, after those impressionable years at Fordham, to glibly dismiss the concept of the vengeful deity fearfully accepted, or sadistically embraced, by so many believers for so long. And, like it or not, and however softened or “symbolic” much non-fundamentalist Christianity has become in these “more humane ages,” the doctrine of eternal punishment—and the concept of a God willing to initiate, approve, and even occasionally take relish in such monstrous cruelty—has defined traditional Christian theology for most of its history.

The widespread phenomenon often described as the “decline” or even “disappearance” of hell—a trickle in the 17th century, a stream in the American Enlightenment (including the Divinity School Address of Emerson), and cresting in England and continental Europe in the later 19th century, first among Protestants, somewhat later among Catholics—is, taken as a generalization, a historical fact. But while hell’s heat has been lowered, its flames a mere flicker in comparison to their former raging in incendiary hellfire texts and sermons, the old time religion is still alive and well, among some televangelists, and in much of Bible-belt contemporary America.

As for Catholicism: A tonal and gestural sea-change has recently occurred. The election of Pope Francis, an Argentina-based Jesuit, signaled a dramatic double-shift: from Eurocentrism and from dogmatic harshness to compassion and tolerance. That shift seems decisive, but is it permanent, and how far can tone take us in tempering let alone altering doctrine? It was, after all, just seven years earlier that Francis’s conservative predecessor, Benedict XVI, strenuously reaffirmed traditional Church teaching on hell. Benedict’s own predecessor, John Paul II, had referred to damnation vaguely as an “eternal emptiness.” Reacting to the “decline of hell,” especially in Western Europe, Benedict complained that the place of everlasting torment was no longer much talked about. He went on to describe Satan as a “real, personal and not merely symbolic presence” and proclaimed that hell, far from being a mere state of mind, or a condition of separation from God, is an actual place, one that “exists and is eternal.” We were spared fire-and-brimstone details, but listening to this March 2007 proclamation on the radio, I was transported back almost a half-century to that Fordham retreat.

Having lost my faith while remaining fascinated by the figure of Jesus, attractive despite his apparent consignment of most of humankind to eternal punishment, I sometimes want to cry out with the boy’s father in Mark 9:24: “Help thou my unbelief.” But the theological Problem of Suffering goes beyond the posthumous torments of hell to pain right here on earth, with the undeserved suffering of the innocent presenting the single greatest challenge to my own ability to “believe” in a God simultaneously omnipotent, omniscient, and all-loving. As David Hume has “Philo,” the more skeptical of his two spokesmen, note in Part 10 of his posthumously-published Dialogues Concerning Natural Religion (1779), “Epicurus’ old questions are yet unanswered”—questions we may apply to the presence of evil and suffering in a world “groaning” for “deliverance” (Rom 8:19-22), or to the groaning of hopeless souls in hell. Simplifying Epicurus, Hume has Philo ask, “Is God willing to prevent evil, but not able? Then he is not omnipotent. Is he able, but not willing? Then he is malevolent. Is he both able and willing? Whence then cometh evil? (75).

Nothing I read in Augustine or Aquinas about God’s “justice,” or about the constrained freedom that makes eternal punishment the “choice” of sinners, enabled me to answer those questions. And my subsequent immersion in the pornography of the Abominable Fancy only deepened my alienation from the faith I was raised in, and problematized the beliefs I had brought with me as a Freshman entering Fordham. Beginning college was hardly the time to abandon reason; and, in fact, as my classmate and lifelong friend Bill Baumert has often noted in retrospect, we received a first-rate and rigorous education at Fordham—far superior to what generally passes as education these days at colleges and universities where the canon has been “exposed,” the curriculum softened, and demands on students drastically eased, as their prose deteriorates, tuition costs soar, and the party goes on.

But I’ve also had other thoughts in retrospect. Being shocked into intellectual as well as emotional resistance by my reading of that fateful passage in Aquinas, I may have betrayed my own growing commitment to the Romantic poets by embracing a too-narrow intellectualism when it came to theology. Not that I was willing, then or now, to honor Imagination by a descent into irrationalism, any more than the great Romantics did. Neither, for that matter, despite some of the words by which we best remember them, did Luther (for all his distrust and frequent condemnation of “that whore, reason”), nor even Tertullian, the passionate evoker of that circus-scene in which Christians would posthumously join him, exulting in the spectacle of pagans writhing in hellfire. Tertullian is even more famous for having said he “believed because it was absurd,” but it isn’t quite that simple.

In arguing, in de Carne Christi 5:4, that the resurrection of Christ’s body, crucified and buried, was certain because impossible [credibile est, quia ineptum es, et sepultus resurrexit, certum est, quia impossibile]—Tertullian may not have been relying on blind faith (the fideism of the oft-misquoted tag, credo quia absurdum est), but following, as James Moffatt suggested a century ago, “in the footsteps of that cool philosopher Aristotle” (Journal of Theological Studies 17 [1915-16], 170-71). Since, in lines he quotes from the tragedian Agathon, “what is contrary to probability sometimes occurs,” it can be argued, says Aristotle, that “the improbable will be probable” (Rhetoric 2.24.9); even that some stories are so improbable that it can become reasonable to believe them. For Tertullian, the most improbable story is that of the incarnate, crucified, buried, and risen Jesus—which is, paradoxically, what makes it credible. This is the very point made by Shakespeare’s Hippolyta in an exchange in the final act of A Midsummer Night’s Dream, a riposte to her soon-to-be husband, Theseus, that would have delighted Agathon and Tertullian—and, perhaps, Aristotle.

In the opening of that final act, Theseus, a self-assured rationalist, dismisses (“more strange than true”) the lovers’ tales of their adventures in the moonlit wood. They are “fantasies, that apprehend/ More than cool reason ever comprehends,” and thus to be grouped indiscriminately with the merely imaginary constructions common to “The lunatic, the lover, and the poet.” But we in the audience know to be “true” what Hippolyta shrewdly intuits: that however individually fantastic the tales may be, they are part of an over-all consistency that makes each of them credible. To Theseus’ cool skepticism and reductive characterization of “imagination,” she responds:

But the story of the night told over,
And all their minds transfigured so together,
More witnesseth than fancy’s images
And grows to something of great constancy,
But howsoever strange and admirable. (5.1.23-27)

A similar case has often been made, certainly in one of my Fordham theology courses, to demonstrate the “historicity” of the gospels. Tertullian would concur, since those gospels tell the story, “howsoever strange and admirable,” of Christ, a man who is God and a God who is a man, who died in the flesh and rose from the sepulcher: a story “certain” because “impossible.” And yet Aristotle, it is worth recalling, was quoting a playwright, and Hippolyta, though wiser than her betrothed, is, like him, merely a character in a play, even if it is a play by Shakespeare. Tertullian’s central figure, on the other hand, is non-fictional, not only a dying and resurrected God, but a Savior and Sentencer, a loving Good Shepherd and harsh Judge, with the divine power to deliver on his threat: “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels.”

That was the “awful sentence of rejection” our retreat-master at Fordham, and Joyce’s at Belvedere, prayed we would never hear “ringing in our ears,” but which has never completely stopped ringing in mine—even years after I had rationally concluded that the real absurdity was the doctrine of eternal punishment itself, to say nothing of the abominable fancy that witnessing the endless agony of “many” of our fellow human beings could enhance the pleasure of the “few.” For Paul, Tertullian, Augustine, Peter Lombard, Aquinas, Luther, Calvin, Jonathan Edwards, Samuel Hopkins, Archbishop Claret, and, last and least, Mel Gibson, this privileged audience may have been the “blessed,” the “saved,” even the Elect. But if its members were consigning most of humankind to hell, some even taking pleasure in that horrible prospect, it seemed to me—to alter Milton, who also had a few things to day about hell—an “unfit audience though few.” And just to cap my blasphemy: to the extent that the God of infinite Wrath (preached, along with the God of infinite Mercy, by Jesus and Paul) seems eager and willing to act in ways which, however ineffable and transcendent, seem petty, vindictive, and everlastingly punitive—alien, as Mill puts it, to “the highest human morality”—he, too, seems less a Father than a Tyrant.

So, while I am fond, and in part envious, of George Coyne, my final question is not the one posed to him by Carl Sagan (“Why should you be given the gift of faith, and not me?”), but, rather, is this a “gift” I want? And yet, George Coyne is more than a foil in these ruminations. Obviously, we took very different religious paths as a result of our exposure to Augustine and Aquinas at Fordham. But we’ve become friends, and we agree on many things, among others, that Intelligent Design, while an engaging surmise, is not a scientific theory to be taught in biology or physics classes. We agree, too, that kindness and consideration matter crucially, among friends and in the way a professor interacts with students. And we concur on the greatness of the poetry of Gerard Manley Hopkins, S. J., a handsome edition of whose poems and letters I gave George in first welcoming him to Le Moyne.

In the month I am writing, November 2014, we participated together in an event, held in Le Moyne’s Panasci Chapel, to commemorate the 125th anniversary of Hopkins’s death in 1889. I introduced the keynote speaker, Hopkins expert Joseph J. Feeney, S.J., author of The Playfulness of Gerard Manley Hopkins (2008), and the scholar who had, a decade earlier while working in the Jesuit Archives in London, unearthed an unpublished poem written by Hopkins in 1875-76, displaying that “playfulness” and the delight Hopkins took in the companionship of his fellow-Jesuits at St. Bueno’s College in Wales. The poem George read that evening, his favorite, was “God’s Grandeur,” a magnificent, breathtaking celebration of God and God’s Nature. I read the exuberant “Hurrahing in Harvest.” If I were ever to regain my faith, it would have more to do with engaging Hopkins—poems both ecstatically celebrating and darkly “wrestling with (my God!) my God”—than with revisiting the gospels and Paul, let alone Augustine and Aquinas, who led me away from Christianity in the first place.

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Coda

A widely read friend and believer to whom I sent this essay responded that he wasn’t sure what the “story” was primarily “about”–was it autobiographical or theological? about my own “personal loss of faith” or a disquisition on “salvational schadenfreude“? He also asserted that the God in whom I had lost faith was a sadistic deity that “virtually all [my] believing associates would also repudiate.” He further wondered if, in my unbelief, I had become an “atheist,” bereft of all “sense (feeling) of something infusing the material, Hopkins’s glory in dappled things.” He concluded by suggesting that he was “not the right audience” for this essay because he had had spiritual “experiences” that allowed him “to hope that there is something beyond dead, contingent materialism.”

The paradigm for such dramatic spiritual experiences is Saul-Paul’s conversion-moment on the Road to Damascus, which, remarkably enough, Paul himself never mentions (we hear of it in Acts, a particularly corrupt text). Though they’re often life-transforming, I have never had such an experience myself, perhaps because I have not been “given” the “gift of faith,” and thus have no way of judging their ontological, as opposed to their subjective, significance. In thanking my friend for reading the essay and raising probing questions, I assured him that, while I hadn’t had the sort of epiphany he mentioned…

I have had “experiences”—in love, in nature, with animals—that rule out at least “reductive materialism.” Such experiences have long been enhanced by my reading of the Romantic poets and of Hopkins, so I most certainly do have “a sense (feeling) of something infusing the material”—not just Hopkins’s Christ-haunted glory in dappled things, but (in the passage you seem to allude to) Wordsworth’s Spinozistic and (in 1798, when he wrote these lines) non-Christian sublime:

………………………And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man :
A motion and a spirit, that impels
All thinking things, all objects of all thought….

Nor, given the mystery of the universe, am I arrogant enough to label myself an atheist; I’m agnostic, though unconvinced of the existence of a personal God who cares about us.

What is this essay “about”? I’m not sure myself. “Confessional” in both the common and Augustinian senses, it was a convulsive outpouring, written in less than two weeks; and the initial “audience” was… myself: an attempt to lay out the history of, and thus clarify, my individual fall from grace. Eternal punishment, hell, and the accompanying schadenfreude (the sadistic pleasure far too many have taken in relishing the sufferings of the damned), are at the heart of it. But it’s precisely this combination that produced my “loss of faith.” Thus, the “story” is not one of Either/Or, but of Both/And.

The God in whom I lost faith is not simply the God of Augustine or Aquinas, but the God presented to us by the Founders of Christianity: Jesus and Paul. I cite some of the most wonderful utterances of Jesus, as child-loving Good Shepherd and the “door” to salvation. But Jesus also talks more about damnation and hellfire than any person in either testament of the Bible (as I note, the Hebrew scriptures are virtually silent on that subject), and Paul provided the template for the predestined damnation of most humans: the theory of predestination taken up by Augustine (and, to a lesser degree, by Aquinas) and which culminated in the theology of Calvin.

As Calvin himself said, his entire theology is based on Augustine, and much of Augustine (on original sin and on God’s foreordaining of a “few” souls to glory and “many” to damnation) was drawn from Paul, particularly from his longest, weightiest, and most influential epistle, to the Romans. Paul, in turn, was echoing passages of Jesus: the “narrow” gate leading the “few” to heaven, the “wide” gate leading the “many” to hell. And the terrible sentence at the climax of the hell-sermon, in Joyce and at Fordham in 1960–“Depart from me, ye cursed, into the everlasting fire prepared for the devil and his angels”–are, of course, the words of Jesus, as reported in Matthew.

As I say in the essay, “the radiance of Jesus shines through the gospels,” often despite those gospels, written decades after his death. But they’re all we have as accounts purporting to have witnessed Jesus in the flesh, and recording what he said. Though written earlier, the letters of Paul are those of a man who never saw Christ—unless we give credence to the conversion-moment on the road to Damascus. Since Jesus is hardly mentioned outside the New Testament (there’s are references to the Jesus cult in Josephus and in Tacitus, though, in the case of the latter, the reference was added much later, by a Christian editor), we have to rely on the New Testament texts: the gospels, the various letters, especially the epistles of Paul, Acts, and the exciting but crazy Book of Revelation: that world-masterpiece of schadenfreude.

Reading these texts led me to the inevitable conclusion that the God in whom I lost faith is not some bizarre and sadistic deity dreamed up in the pessimistic imagination of Augustine or in the darker pages of the Summa. It’s the Wrathful aspect of the God of Love preached by Jesus and Paul: the God who, they both insist, sentences most of us to everlasting fire. Along with most of my “believing associates,” you want to selectively “look on the bright side.” I mention in the essay the historical phenomenon known as the “decline of Hell.” However, while only a tiny percentage believe that they are headed to the pit, a majority of Evangelicals and Catholics still believe in the traditional hell and in a God of Wrath. In fact, the God in whom I lost faith, that “God that virtually all of [my] believing associates would also repudiate,” is one aspect of the God of Jesus and Paul, which, if we follow the logic, you must “repudiate.”

Coming from my own particular background, including the intense reading in my Fordham theology classes, I find it hard to delete the dark bits. I wish it could be otherwise, but, in contemplating the prospect of eternal punishment as well as this temporal world of massive, mostly undeserved suffering, I find scant evidence of a benign God. Given my particular early experiences, I feel cut off from the option of being what used to be called a “cafeteria Catholic.” Instead, I find myself in the absurd but honest position of being fundamentalist in my agnosticism.

— Patrick J. Keane


PAT kEANE

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves(1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2007).

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