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Aug 022017
 

 

The man with a hunchback missed a few steps and his hunchback was gone. His body was found by the river at the end of the street. They said it was the ritualists who cut off the hunchback, and that they believed it would yield money for them. The river overflowed its bank and washed the worshippers away. They said that the mermaid had taken her revenge. A drug dealer appeared one morning in a canoe. He moved into the empty island in the middle of the river. We called him Rasta Man because of his dreadlocks and the way he spoke in Jamaican patois. Three months later, he disappeared without a trace. A man appeared claiming to be Jesus and traversed the streets with good news and disappeared soon after, too. Uncle Israel moved into one of the apartments beside us. He was one of the weirdest man I ever saw. He had Krishna Consciousness symbols hanging everywhere in his house. He placed a small casket in the living room. I swear he was good man, too. He made friends with a few people in the neighborhood, including my father. Soon after, he disappeared, clean, without a trace.  No one knew his whereabouts.

A man chopped off a young boy’s head. He lured him to the back of his hotel and butchered him. When they found the head, it had tears in the eyes. That shit was all over the television, the saddest thing I had ever seen. They said he wanted to sell the organs to hospitals in Saudi Arabia. He rotted away in prison. He awaited trial until death took him. I swear everyone wanted to see him hang. The man lived ten blocks away from us before the event. A brave citizen alerted the people when the severed head was discovered at the back of his hotel. Everyone woke up and decided that enough was enough. An angry mob burned his house. For two weeks, smoke still escaped from charred remains. For two weeks, it smelled like a burning foam at his house. Whenever I walked past it, I felt sad. A month later, a bee hive formed. Three months later, a mad man moved into the house. A year later, the children of the murderer came back to claim their father’s property. Madness ruled these streets. Charred insanity rained here. I swear, the street ran itself for a long time. No government authority was effective here. Well, not just the street, the country ran itself, too.

These streets, these roads, this space, had more stories to tell than the fantasy land of elves and goblins. Here, everything was alert and alive: dogs, ants, chicken, goats, lion, roofs, men, women, children, vigilantes, trees, merchants, sand, sky, air, priests, lovers, demons, sea turtles, and fishes, and me. To survive here, you had to be alert. No slackers.

You could make a few bucks seating down in your house and selling worn out rubbers and bottles for kobo’s and pennies to the men that wondered around with worn out sacks hanging on their backs. Rumor had it that when no one was watching, they could steal little kids, too; turn them into yams and throw them inside their worn out sacks. I swear, I will tell you everything.

It was a road that branched into two. The smaller road we were asked never to take a night. Men and woman poured garbage in it because they were too lazy to walk all the way to the market road to throw away their garbage. A girl got raped here. She wailed until her throat dried up. Before the men could organize themselves into vigilantes, the assailant had already fled. No one dared to confront the rapist alone, cowards. For people that believed in so much about being a brother’s keeper, that said a lot. We all wanted to believe that we were our brother’s keeper, I too. Father was the only one who ever accepted the truth about existence, and us, and brotherhood, and the neighborhood. Each man was for himself. Each man with his own god.

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Uncle Max always roared that he fought for the people. He boasted about how he could take on all criminals alone, and he never took one down. That man never said anything without shouting. Uncle Max was full of shit, I swear. Uncle Max never cared about anyone but himself in reality. He lived two blocks away from us. Broad shouldered and tall. Terrible, terrible man. He was an awesome liar, too. One day, he disappeared and never to be found again.

Two people were suspected in the rape, one who limped when he walked and another guy I will tell you about. The one who walked with a limp was considered more dangerous than those who walked with two legs. You would find him at carpenter’s shop arguing. Getting into fights. Dodging blows and knocking men down. He was a well-known brute. You dared not call the police against him because he would still get out and come for you.

The other suspect was tall and brutish man called The Jaw Breaker, the only person who dared to knock the limping man down. He was a fine chiseled handsome man who won his respect on the street with his fist. I watched them fight, The Jaw Breaker and the one walked with a limp. I was small. Barely thirteen. On the day of the fight, I was returning from the market with two sacks of vegetables. I dropped them on the ground, close by the security gate, and watched. The Jaw Breaker matched the limping man face to face, blow to blow, until he overran him. The limping man bled like a scene in Spartacus; blood splashed on the wood fence meters away. He forever set a record on the street. There were no rules here. Winner took all, including name.  After that fight, The Jaw Breaker took over the street.

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If you had a daughter, you dared not let her out at night, the night might swallow her. The girl who had her legs sprawled in the moonlight by the little road, learnt the hard way. We, who heard the cry of terror, learnt fear. Fathers heard the cry and felt less manly. They felt the sting in their souls. These are places that God dared not go to. Men were losing face. Men were broken..

I was thirteen when I encountered the Bakassi Boys. They parked by bridge and dragged a thief out of the van. In one swift swing of the cutlass, they slashed his arm away. By the bridge. The arms of a human wriggled and spasmed in pain. The mouth cried out in pain. The man begged. I was mortified. I didn’t know whether to go forward or backward. I couldn’t move. When they slashed the next arm, the blood splashed on me. Three drops of blood on my white clean school uniform. I swear, my heart was pumping blood faster than normal. I feared that the Bakassi Boys would flash their cutlass at me, and it would show red. Legend had it that their cutlass flashes red once you’ve stolen something, anything. I remembered that I had stolen a piece meat from my mother’s pot of soup that morning. I did not know if I was to be next, or if I should cry for the macabre scene before me. For a boy with a soft heart, I was broken.

I watched a man severed from limb to limb, and his blood gushed straight into the river. The river licked its fingers clean, and bees buzzed across the strange river plants and flowers and rotten garbage floating atop. The angry Bakassi Boys found a tire and set the body, or what was left of it, on fire. I swear, he shit on himself before dying. I saw this, and my life was never going to be the same. Ever. It was as if angels had plucked innocence from my eyes and thrown me into the depth of pain. I couldn’t tell if I was ready, but I walked miles back home under the sun. Clutching my friend’s hand and muttering nothing that made sense. I spent the rest of the evening washing the blood off my clothes. I never said a word to anyone, not my mother or father. I understood it all, things disappeared, and so did the blood. I swear, the world seemed upside down, and dark.

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I was thirteen, but never bookish. Never clutching a copy of Charles Dickens or Thomas Hardy or Achebe to walk with on the street. I swear, here, you never wanted to appear bookish. Here, you never wanted to appear weak.  Strength was everything and brute force was a sign of manhood. I read at night.

In the evening, I washed the darkened glass gloves and filled the lantern with kerosene. When the electricity went off, my mother, armed with a match stick in her hand, struck it and lit the lamp. I sat with the lamp in my bedroom and read all the beautiful books in the world. I swear, it was then that I read Charles Dickens, Peter Abrahams, and Achebe. I loved Peter Abrahams most, he mirrored the street the way I wanted it. His character Zuma was part of my existence. I watched Zuma struggle through the unknown.

Mother loved Efuru most. I don’t know why it was so. But before I could read Efuru, my brother tore it in pieces, and I had nothing to read. My brother was quiet and could walk round you the whole day without you knowing. He always disappeared into the street and came back at night. Never in trouble, never brought trouble home. For me, that wasn’t enough to survive here. I observed the street as much it observed me. Most of my friends in school were never bookish, they were mere brutes. Walking weapons. Deadly brutes. That was all I needed on the street and not a copy of Fyodor Dostoyevsky. I swear, I loved Fyodor Dostoyevsky, but in the street, that was real shit, and you needed your head and brute force most.

Not just men roamed the small road, ghosts roamed it, too. A man with fire on his head that my father saw. A lady in white gown that Mama Daniel saw. A forest riding itself in the wind that Mama Ekene saw. They all lived to tell the tale. The carpenters never said anything about what they saw, even though their workshop was by the small road. They only made caskets and sweated under the sunlight and talked about Biafra and how it could rise again from its ashes. They talked about our secret ally, Israel, and how they will help us conquer these uncircumcised northerners. It was there that I first learnt about Ojukwu and his bravery on the battlefield. In our destitute classrooms at school, no teacher dare talked about it. Our tongues dried in want of our own history. These carpenters told us stories while they sawed wood and applied glues at the ends. Even though their versions of history were tainted with acrimony, yet we savored it. The young minds that roamed the street, they all savored it.

We listened to our fathers tell tales of hunting for food during the civil war. Our fathers were broken by the war. These men were never taken care of. Their insides were bruised. They were insane. When they declared “No victor, No vanquished”, no one cared about their insides, about repairing them psychologically. I swear, our fathers were walking time bombs. Most of them bruised their sons in turn. They bruised the government. They bruised the women. They raised the men who were now bruising the street and knocking teeth out.

Father was a brute. Sometimes in his eyes, there were sharp pain and deep kindness. Sometimes, he swung his arms at us. Cursed us. We walked around without hope, hoping for a fix. Hoping that we could be saved. Hoping that someone was coming to save us. When some of us realized that no one was coming, they went mad. Hope was something a man needed to live. It made us wake up. I found hope in the hope that hope was coming. I hoped. Biafra was never to be the same since we lost hope. Biafra had died.

Father said, in that war zone, there was no God. Children with bloated stomachs, ailing. Ailing to death. Ailing for photography and flashes, and media news, and a cry for help. Ailing at a leader that asked them to pray that God would win the war for them. Father never went to church after the war. On Sundays, he sat on the balcony and drank beer and cursed every living thing and told stories. A man whose shadow filled the whole house and whose footsteps could be heard from miles away.

Mother was meek and beautiful. Mother believed that God could help us. God could flush open through the dense cloud and bring down his might, and the beauty of the earth that had once belonged to Adam could belong to us. We could live in paradise again and worship God and sing hallelujah at the call of the last trumpets.

One day, I asked the catechist who the trumpeter would be, and he said it was angel Michael. The same night, as I was walking back home, I saw a baby that had been thrown into the dirt by the market. The sun had dried the body to death.  Angel Michael must have blown his trumpet too early and too loud, damn.

We were already in our own beautiful kind of hell. The priest that raped a girl did it by the altar, and God said no word, not that we heard. The priest went on living. The girl went on living. The parents went on defending the priest instead of their daughter and bowed down to him every Sunday. The priest continued to celebrate mass, and the Christian apologists forgave him, they said, “Even though he is a priest, he is still human.” I said: “Fuck that shit” in the dead of the night, when no one was watching me.

Mother ended every prayer like this: “Do not let the evil men ask us ‘where is our God? Where is your God?’”. She believed so much in what she believed. She believed God would vindicate us against all the evils parading on the street, in the air, in the village with malicious uncles seeking our souls. God was there to cut out all the black magic and deliver us. I swear, we prayed for deliverance every day. We read Psalm 35 every night waiting for the angels to come down from heaven. I was thirteen, but I was getting tired of being in an everlasting battle with the devil. I was getting ready to account for myself and blame the supernatural less. I swear, I was. Let the devil be. Honestly, let him be.

The street ended by a river. The river flowed into the world. Our house was a bungalow surrounded by ixora flower. The ixora flower attracted beautiful butterflies in the hamattan. They sucked the life out of the flowers and they withered. But the flowers always grew back again. Beautiful things always grow back again, and evil things come back again, too. They do. The ixora was locked in an endless circle of beauty and death and birth. I watched it every season. I wasn’t small. I wasn’t thirteen anymore. I was looking at the fiery world.

I was eighteen when Donald came to visit us from the university. I was eighteen and the warm wind was filled the sunlight and gently glided over all the fallen leaves towards the river. I was eighteen and strong in my faith and had tasted my first alcohol and vomited on the passage of our house. Father watched me and laughed and said I was becoming a man.  I was eighteen, and life seemed more hopeless than hopeful because I had failed the entrance exam to the university. I was eighteen without hope. I swear. I was eighteen when the snake crept of the hole at the backyard and launched it assault at us, and father furiously cut off its head in one swift swing, with a machete. The body danced and danced until it couldn’t move anymore. We buried it. But I learnt that snakes dance before they die.

Donald and I walked into the night to the cyber café. To my surprise, he pulled a gun, his tall body hunched over this shiny death object. He loaded it. He was the gentlest of figures I had ever met in my life.  I could not believe that he owned a gun until I saw him with one. He was like one of those sweet movie characters in a suit, wearing a rimmed spectacle and singing love songs. Very soft spoken. Very smooth. Pastoral. Like a man looking after God’s sheep.

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“Always be on guard,” he said. He looked at me, and put the pistol in his back pocket. We walked down towards the hospital and took the path towards the tarred road. I wasn’t afraid. I wasn’t surprised either. I had always known that Donald was a bad boy. But I never imagined that he had a gun on him all the time he was chatting with my parents, and pretending to be immaculate.

“You always have this on you?” I asked.

“Yes. Never underestimate the strength of your enemies. Never be off guard. Always believe that they are coming for you. Maybe I am being followed,” he said, and smiled. He looked at me like I was just as smart as he was. Like I had a role to play. I was a quiet person. Just as innocent looking as he was.

“Who are they?”

“They. They. People I have hurt that want to hurt me back. People that are after my life. They have tried many times to end me and failed. I am a master of illusion. They can’t find me,” he said and spit angrily. A dog barked. He spit again and continued, “Ninety percent of senses, one percent rugged. I like you because you are smart. You are the future.”

Honestly, I didn’t understand what he meant. I was young and never a cultist nor planning to be one. If mother had the faintest idea that I was even having this conversation, she would have had a heart attack.

We walked that night under the shinning neon street light until Nigerian Power Authority took the light, and the only light that illuminated our path was from moving cars. When we got to the cyber café, it was dark. We paid for two people. I read all about the unknown world out there. About America and Europe. I read about aliens and the universe. I read about universities around the world, until Donald tapped my shoulder and said that he was having a bad feeling. We walked into the night. Donald could smell danger miles away. That was his specialty.

We walked. Two men walked behind us, carefully. Donald slowly removed his pistol and clicked off the safety. The men kept their distance. We kept walking towards the garden and when we entered the green vegetation, they followed us. We hid and watched them. They looked brutal, like they could snap necks with their muscles. Donald aimed and fired. He gripped the pistol against the recoil. He fired again. I don’t know what happened to the men. We walked into the night, and back home, and slept peacefully. When I woke up, Donald was already up laughing with my parents. He was a devil of a man and as smart as a ghost. Very smart. I never said anything. He left in the afternoon and went back to the campus.

“They will all pay,” he said to me before boarding the bus.

I was walking on the road, armed with nothing but my consciousness. That I existed. That I was alive. That was mind boggling in itself. Here, we survived. I didn’t know if I had been a witness to murder or not. I didn’t know if Donald shot to kill or not. All I knew was that rounds were fired and none replied. All I knew was that it was dark, and I ran as fast my feet could carry me. All I knew was that Donald’s escapades never stopped. He became the king of the street and everyone bowed to him. He became of the best known sniper in town and gunned down whomever whenever. Rumors had it that he gunned for politicians, too. He told me a lot about the game. He said I should join the game for protection and because I was smart. He was the first man to ever speak to me about Albert Camus in an insistent way. I swear, he worshiped Camus.

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I kept on walking on the road, dust and debris flew around me. I kept on walking on the road towards to the cathedral for a grand mass celebrating the Corpus Christi. I kept on walking on the road to seek God’s face, asking him to come and help us all. I kept on walking on the road to St Anthony to pray, to recover all the damned things we’ve lost throughout the years, including my sanity. I kept on walking on the road believing that God was with us, and for us. I prayed for the street. Donald prayed for the street, too. The street prayed for the street.

I was growing and the street was growing. I was home and hadn’t gained admission to college and life was pain. I prayed endlessly before the effigy of Virgin Mary. At some point, I wondered what sort of life it was in which one would pray endlessly for every little thing. We prayed for safe road, for clean water, for healthy food, for rain, for admission to the university, for love, for marriage, for our going and coming back. No one was responsible for any shit, just God and his angels patrolling our condemned streets.

When drugs came to our street, they took John. The rumor was that he smoked something too strong for him to handle. But that evening we watched him rave naked mad on the street and his testicles dangled like a worn out sack hanging on tree in a windy day. His tinny penis was lifeless, as he ran naked down the street, and all the children watched. The men held him down and tied him to a pole and we watched. Fresh mad. He was never to be seen again after they took him away to a Christian madhouse where the pastor cured madness with strokes of cane and colorful candles.

When death came, it performed strange rituals and held my friend strong. She was the strongest girl I ever meet. Her stomach bloated and she fought and fought till the sun went down. She drowned in the fight. I watched her pregnant with nothing and all the medical facilities in this goddamn place had no idea what. They said nothing. She walked into the house of God and all the promises. I watch her dance in with a bloated stomach in the house of the Lord. Death chased her into those blocks with a sickle and sliced her soul away.

The sun was falling in the horizon and the earth was orange in color. Beautiful orange. I held the rail and watched her dance to psalms and violent church songs. I watched the prophetess tell her all the messages from God, that she would be victorious. She died smiling. She died strong. She died with the hope of afterlife and all that promises. I knew, I knew we were alone. I knew she was alone. We all tried to love her to death. But, I swear, she took that journey alone.

I was twenty when we heard the cry in the night and no one dared to go out of the house because the cult boys were raiding the street. When we woke up, the dismembered body of The Jaw Breaker littered the street. Some said his evil had caught up with him and he was no longer the king of the street. Some said it was the Vikings Cult members that cut him to pieces. All we knew was that his liver was cut out and placed on his body as a warning to the Black Axe Confraternity. That morning, the air was frosty and foggy. We walked to the river bank and watched the gore. These streets of sorrows and black nights that wheeled and wheeled into nothing. But it made me. It was me.

I was twenty-four when I survived a bomb attack by Boko Haram by just a few meters. I swear, a few meters. I left the country. I left the street. All those images pulsed in my head playing a series of films, streaming unceasingly. Picture by picture of what life might be like out there. Outside my little town. It became clearer, the brute force of winter and the shy sun. I was twenty-four when it dawned on me that I was black.  I was on the streets of Europe examining its sanity and insanity. Whatever I left behind, came with me.

I was twenty-four when black men were being hunted down on the streets of Vienna. I was twenty-four when I realized that the educated lot on the streets of Europe was more dangerous than the uneducated.

I was twenty-four when I walked into a whore house in Europe and met sisters who had lived in the countryside. They swung happily on poles, wearing shiny underwear, and danced to German ululation in a brutal winter. I swear, I nearly shouted hallelujah when their ass-shapes shifted under the disco light.

I was twenty-four when I met Henry and shared hemp under the lights of his master cook kitchen and talked about brotherhood and colorlessness. Before him, I was just a man. I was happy when I walked up that hill with my brothers under the blessing of the full moon. Dramatically, the church bell tolled. I swear, it tolled and I kept walking. The moon appeared three times its size before my eyes and I kept moving. If I had been thirteen, I would have stopped and recited the angelus.

I kept walking. I was twenty-four when I saw a black man being arrested at the train station in Vienna. He was pushed around while he protested in a thick accent. The thick German Polizei weighed him down and weighed him into the car. I swear, his first crime was being black and then other things.

I was twenty-four when whispers passed around about a black man who died while being transported back to Africa. They gagged him to death. All the big media in Austria and Germany said nothing. Amen brother. I swear, amen brother.

I was twenty-four when I refused to perform my life in Berlin, Vienna, Zurich, and all the cities still shinning in their medieval glory. I was twenty-four when I hiked mountains, shared beers and weed with brothers and sisters who wished to be left alone. I watched the fields and beautiful plants, fell in and out of love and drank myself to stupor. Yet nothing happened. Just a song forgotten and the sound of ghosts of people who died on streets that God wouldn’t go to.

I was twenty-four when I saw brothers on the streets of Geneva hustling, passing drugs for survival, with stories on their faces. Looking at them, one would shriek and yawn and listen and drown. The streets of Geneva could be passive and gentle, but these men do not ask to be loved, they wanted to make a living. Just a living.

I was twenty-four when I fell in love again and it seemed like God had finally appeared to me. She was everything hidden on a traveler’s path. Hidden in the rail station. Hidden behind me until I turned back and our eyes met. Her eyes were darker than mine, her skin were darker than mine. When she smiled at me at the train station that night I thought that I had it all. I thought that everything had turned magical in one snowy night. That all my broken places were beginning to repair themselves. Her name was Salisha, and she was on her way to Zurich. We shook hands and smoked on platform two and talked about all the beautiful things Africa had to offer us. And the ugly ones too. I hadn’t smoked for hours, and when I did, it hit me like it was my first day smoking.  I had watched her all day at the train, the way she comforted herself and leaned on the coach, I swear that I loved everything about her. When I saw her lighting a cigarette, I walked to her and said it.

“I swear, you are the most beautiful girl I have ever set my eyes on.”

Those eyebrows lifted up like the wings of a tiny angel, and her smile perfectly fitted on her slim face. I swear, the world shrunk at that instance and fell at her feet. I wouldn’t had wasted a moment to ask her to marry me, I swear. And if she had asked me to take her with me, I would have taken her. Her beauty was indescribable, and I spare it by not describing it.

“Where are you from?” I asked.

“Originally from Cameroon,” she said, “but live in Paris now.” She had apparently been traveling for a day on her way to visit her brother in Zurich. Her voice was a natural symphony to my ears.

“And you?” she asked me.

“Nigeria, I am studying here,” I said. “Tu parle francais?”

“Oui…,” she said with a symphonic voice, and laughed. It sounded straight into the heavens and to God himself. Her clothes were light, her leather jacket must have cost a fortune. She wore a dark blue jeans and boots. She was classy, she had style. I had style, too, despite how poor I was. Even though I had cheap jacket from Lidl on, I felt rad inside. My boots came from the mall in the little city I was living in where white boys and girls stared at people like morons, like I dropped from the sky, like they had never seen a black man before.

We spoke a little French and laughed. We talked about school and laughed. We talked about the beauty of Paris and laughed. I told her about my school and laughed. She told me about Zurich and laughed. We laughed like the world was ours, like the platform belonged to us. We watched cartoons on her Ipad and laughed. We watched Nigerian and Cameroon songs and laughed. We watched a girl from Hungary searched by immigration as if she was nothing, we pitied her. We talked about it a little and forgot it. Deep inside of me, I loved her, and laughed.

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We talked in the train and watched the mountains outrun us. We talked and watched the houses on the mountain and valleys and neon streets and roofs with snow. Whenever the train made a stop, we stood in the beautiful platforms and smoked. We were stuck in the train together for hours. I swear that when I got off, I felt like it had all been just a few minutes. I felt like I needed more time.

“I hope we meet again,” I said.

“We keep in touch, add me on Facebook,” she said.

I found her on Facebook and we became friends. We talked all the time. Almost every day. I continued my journey to Geneva in one piece. She promised to meet me in Geneva. I watched out for her in Geneva the day she promised, but she never came. Her brother had been caught in a drug burst. He would rot in jail. She went back to France and I tried all I could to make life easier for her with words, I swear words are never enough. She disappeared one day from all the social media never to be found again.

The ground ate her. Life ate her. Existence ate her. I swear, it has eaten many people I’ve known and been friends with. My greatest fear is that one day it would eat me. I swear I will bite off its ear before it eats me.

—Chika Onyenezi

 

Chika Onyenezi is a writer living in United States. Born in Owerri, Nigeria, he holds two degrees, including an MA from European Peace University. His work has appeared, or is forthcoming in The Fanzine, Identity Theory, Litro Magazine, Ninth Letter Online, and elsewhere. He received Honorable Mention in the 2016 Glimmer Train Fiction Open.

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Jul 152017
 

Henry Miller in Paris by BrassaiHenry Miller in Paris (photo by Brassaï)

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Victoria Best has a theory about creativity and writers in crisis. This stunning essay is one of a series of which she writes: “I really loved writing these essays because every writer I chose, once you got down to it, was a hapless flake, making the most terrific mess of their life and yet stalwartly, patiently, relentlessly processing every error, every crisis and turning them all into incredible art. How could you not love these people and their priceless integrity? I felt like I had found my tribe. Didn’t matter in the least that they were pretty much all dead. There was just that precious quality – vital, creative attentiveness to everything wrong – that I cherished.”

By the time 38-year-old Henry Miller left America for Paris in February 1930, he had taken to signing himself as ‘the Failure’. In reality, the ratio of irony to truth in this gesture was uncomfortably low. America had been the scene of repeated humiliation for him; he left behind a bitterly disappointed mother, an ex-wife still pursuing him for unpaid alimony, a dozen poorly paid jobs for which he hadn’t had the stamina or the will, and now the love of his life, June Mansfield.

June had more or less booted him out of the apartment and across the Atlantic. It was a final attempt at forcing him to achieve the artistic genius he so avidly sought; and besides, his prolonged gloom was cramping her style. As he walked away, he was afraid to look up at the window to wave her goodbye, in case she was already engaged in some sort of activity he would rather not know about.

He took with him the sum total of seven years of writing: two manuscripts of dubious merit that no one wanted to publish. When the editor, Bruce Barton, read some of his early work, he returned it with the comment ‘it is quite evident that writing is not your forté’. Miller was taking that remark with him, too, branded on his heart. In his pocket the one useful leaving gift – a $10 note from his friend, Emil Schnellock – wouldn’t last long, but the friendship would prove key to a dramatic upswing in Miller’s fortunes. Not that he had the least premonition of that. As the ship sailed away from the dock, Henry Miller went down to his cabin, thought back over his life and wept.

When he arrived in Paris, the city destined to save him, he sank to a whole new level of poverty. He had nothing, not even a rudimentary grasp of the French language. The days of the famous ‘lost generation’ of compatriot writers were past, luminaries like Hemingway and Scott Fitzgerald long gone, leaving Miller, as always, out of synch with his own culture. He had no papers that would help him find work, no family or acquaintances, and no money unless June cabled it to the American Express office, a location he now visited up to three times a day. Mostly, he had to beg, steal or starve. When there was money, he was forced to wonder how she had come by it.

But Paris started to provide him with unexpected resources. He had beauty and degradation all around him, and he had his curiosity, braced by his astute powers of observation. He had the warm and accepting welcome of the French people, and in these hungry times there were café owners willing to extend credit or even feed him for free. In a marked contrast to America, there was compassion for what it was to be a struggling artist. Here, he didn’t have to be making money to call himself a writer. He didn’t even have to be writing something to have his ambition and desire understood. And in this tender absence of pressure, Miller began to settle down to work he didn’t even realise he was doing. He took long walks around his city, absorbing the exotic sights and sounds, and wrote down everything he saw in letters to Emil Schnellock that ran to twenty, thirty pages. It was an eccentric strategy for what would gradually morph into an eccentric, unique, disturbing book.

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Published in 1934, Tropic of Cancer was the infamous result of Henry Miller’s prolonged struggles, and there would be people who wished he hadn’t bothered. It remains the most grudgingly admired literary bestseller of the twentieth century; a paradigm shifting book that was a sort of Ulysses for the common man. Most of all, it pushed against ingrained puritanism, casually invoking the kind of graphic sexuality that is taken for granted nowadays.

Henry knew he had produced something that was both challenging and insulting. From the moment the book was a finished first draft until its eventual release onto the American market, it was one of his most cherished paranoid fantasies that he would have to go to prison for what he had written. Punishment enough, perhaps, that it was banned beyond the boundaries of France for the next thirty years, and when fame finally arrived, Miller would be too old and too wary to enjoy it.

Tropic of Cancer cover image original edCover of  original edition, 1934

The crimes of Tropic of Cancer alleged over the next eight decades are various, notably formlessness, and the rash of four-letter words that pit the surface of the otherwise eloquent text like a kind of punctuation. Its characters are unashamedly self-absorbed and hopeless, living the lives of scroungers and scoundrels. But the major assault cited remains on the dignity of sexual relations, reduced to sordid and one-sided tussles between horny men and ‘fuckable cunts’.

That Miller’s narrator utters such insults in a tone of amused indifference rather than hostility or aggression seemed only to rile the feminists further. Kate Millett in the early 1960s decried the image of women in the book as worthless objects, used and abused for the man’s pleasure and too stupid even to know it.  Miller, she said, articulated ‘the disgust, the contempt, the hostility, the violence and the sense of filth with which our culture, or more specifically, its masculine sensibility, surrounds sexuality.’ And this criticism of the book has never gone away or been satisfactorily answered. ‘Why do men revel in the degradation of women?’ Jeanette Winterson asked, writing about the book in the New York Times Sunday Review in 2012. Why indeed? But when a man makes unprovoked attacks on the image of womanhood, it’s always worth taking a good look at his mother.

‘It’s as though my mother fed me a poison, and though I was weaned young the poison never left my system,’ Miller wrote in Tropic of Capricorn. Louise Miller was a loveless woman, a strict disciplinarian and a tyrant when crossed or thwarted. She came from a puritanical family with a strong work ethic, but this had not meant security. When she was twelve, her mother had been taken away to the asylum, leaving Louise to bring up her sisters (who would also have breakdowns in time). The authority she wielded was still composed of childish strategies – prolonged rages, violence, a complicated system of irrational rules whose smallest infringement she could not tolerate. Having had to grow up too quickly, she had never grown up at all. She would consult Henry over matters he was far too young to understand. Once she asked him what to do about a wart on her hand and he suggested cutting it off with the kitchen scissors. This she did and subsequently contracted blood poisoning. ‘And you told me to do this?’ she raged at Henry, slapping him repeatedly. He was four years old.

When Henry’s sister, Lauretta, was born, it gradually became apparent that there was something wrong with her. She was a sweet, gentle child but her intelligence never developed beyond that of a nine-year-old. This was something Louise could not accept, and Henry grew to loathe the lessons his mother attempted to give her, which always ended in frustration and lengthy beatings. In his early years, Henry overcompensated for Lauretta, showing off his ability to recite dates and facts and tables to entertain and distract his mother, and defuse her wrath. But the effort soon began to seem greater than the reward; whatever he did it was not enough to save his sister. So Henry rebelled. He acted up in school and fought against all kinds of control and discipline. And at home, he discovered a way of hypnotising himself that helped him escape from the ugly scenes. It would prove useful in other problematic relationships, though it looked from the outside like callousness. In time it would become coldness, hardness, the chip of ice in the heart that Graham Greene said all authors needed to keep their minds free from emotion. Henry Miller would come to provide a perfect example of both a life and an oeuvre in which that icy chip proved vital.

Henry Miller with parents and sister Lauretta_1Henry Miller with parents and sister  

Young Henry was attracted to anarchy, but he was sensitive and afraid of fights, qualities he would seek to overcome or hide for the rest of his life. He was growing up in an age that celebrated virile masculinity and sold it as hard as possible, with Teddy Roosevelt as the romanticised poster boy. Henry had a tendency to idolise any man involved in a showily aggressive profession – boxers, soldiers and con men were all high on his list.

Was this because his own father was the embodiment of weakness? Heinrich Miller was a tailor and an alcoholic, of the sodden kind rather than the violent. He avoided home as much as possible, though the rows he had with Louise over the dinner table still gave Henry a nervous reaction that made him gag on his food. Henry was packed off to the Sunday-school sponsored Boys’ Brigade, which promised to drill him in all sorts of soldierly activities. He was delighted with the exercises and the mock battles, but dreaded the moment when members of the group ‘reported for duty’, which involved being taken by the Major into his office and sat on his lap to be fondled. Eventually boys complained and the Major was ousted in disgrace.

This was the crazily gendered world that Henry grew up in, a world in which his mother was the strongest, fiercest and scariest person he knew. It was a world that impressed on men the importance of virility, but the men held up as real role models for Henry were a sad old soak and a paedophile. Being manly was the American imperative and Henry longed to be it, but what did it mean? It couldn’t be about authority or hard graft  – that took him too close to his mother. And so gradually the pattern emerged that for Henry, manliness was about freedom from conventional morality. It was about absolute autonomy. It was about surrounding himself with other hapless male souls and accepting their flaws unconditionally.

But what was he to do about his own gentle, sensitive and weak side? The conflict in his personality would prove deeply problematic when it came to sexual relationships. The writer who would be hailed as the Grand Old Man Of Sex fell in love with his first serious passion at sixteen, a pretty young woman called Cora Seward. Every night for four years he would excuse himself after dinner to walk past her house, never pausing to call at the door. That was the extent of his respectful adoration, and also the extent of his fear. Unable to approach his ‘angel’ he went to the whorehouse instead and got himself a dose of the clap. Henry’s attitude to sex was mired in the 19th century, in that torrid hothouse atmosphere of right and wrong, good and bad. When the cool, sweeping winds of 20th-century freedom rushed up to meet it, something tempestuous was bound to result.

***

It was late summer in 1923 when Henry walked into Wilson’s dance hall near to Times Square. He was 31. He had come for the taxi-dance, a soft form of prostitution where ten cents could buy a man a dance with the girl of his choice, and his own powers of persuasion would have to do the rest. Miller had a wife and a small child, but the relationship was in the final stages of collapse. ‘From the day we hitched up it was a running battle,’ Henry would later write. He had married because he wanted to avoid conscription but his new wife, Beatrice, brought the battle to the domestic front, nagging Henry to get a job and keep it and do the things a husband should. If there was one thing Henry dealt with badly, it was being told what to do. The man he had become in that marriage was no one to be proud of; he was cruel and insulting to Beatrice, self-centred and reckless. He badly wanted an escape route but his congenital passivity prevented him from finding one.

Wilsons Dancing Studio 1920Wilson’s Dancing Studio, 1920 (photo from New York Public Library online archive via Cosmodemonic Telegraph Company blog)

He noticed a woman walking towards him across the dance hall, a tall woman with a full figure, blue-black hair framing her pale face and brilliant eyes. ‘The whole being was concentrated in the face,’ Henry later wrote. ‘I could have taken just the head and walked home with it; I could have put it beside me at night, on a pillow, and made love to it.’ She was ‘America on foot, winged and sexed.’ She was, in fact, Juliet Edith Smerth from Austria-Hungary, an emotionally unbalanced fantasist, earning what living she could with her body and funding a drug habit. She undoubtedly had tremendous allure, but the gap between what she was and what Henry wrote about her shows the extent of the myth-making, the psychodrama and the sheer power with which he would invest her.

June Mansfield (she made the name up for Henry on the spot) longed to be immortalised in art, and Henry longed for a muse to validate his unproven literary talents.  This was what they would ultimately get from each other, although it would cost Henry an acrimonious divorce from Beatrice, and seven years of suffering in this new marriage. ‘She put him through the tortures of hell,’ said Alfred Perlès, one of Henry’s closest friends, ‘but he was masochistic enough to enjoy it.’

From the beginning, June offered Henry the sort of adrenaline- and sex-fuelled excitement he’d thirsted for in his empty life. On their first date in the taxi home, June insisted they were being followed by gangsters, and this set the tone for the drama and the elaborate ruses she loved. She believed in Henry’s ability to write and insisted he stop work to devote himself to art. Henry was keen and June determined, but there was the slight problem of no funds. There followed a long period of odd, short-lived and demeaning jobs, including a speakeasy that eventually foundered. That they were incapable of making money from alcohol during Prohibition says a lot about their business acumen.

What June really liked but Henry didn’t, was what she called ‘golddigging’. This involved June hustling men who were willing to pay cash for any sort of cover scheme that meant they could spend time with her. June often tried to assure Henry that sex was not part of the deal, and Henry did his best to believe this. But biographer Mary Dearborn argued that ‘Jealousy was the glue of their relationship and June made sure to give him ample cause for it. […] She surrounded herself with chaos, and Miller thrived on it. And she kept the relationship, always, at a fevered pitch.’

June Miller June Mansfield 

Inevitably things soured. There was so little money, Henry’s writing was going nowhere and ratcheting up tension caused its own problems. One day June brought home a disturbing puppet with violet hair and a black sombrero. He was called Count Bruga and symbolised trouble. Not long afterwards the woman who had made the puppet arrived too. Jean Kronski was a real genius, June said, with clear implications. She had been admitted to Bellevue for observation, but the doctors had agreed to release her if June would stand as guardian; cheering news to hear about an impending houseguest.

Other men might have fled the camp, or refused to play along, but Henry was too emotionally entangled and too passive. So he was forced to become an unwilling witness to his wife’s infatuation with another woman, and June and Jean were able to crank up the madness in their folie à trois. They lived in squalor, washing dishes in the bath, using dirty clothes for towels, the floor strewn with plaster of Paris, paints, books, rubbish. June airily discarded all suggestions she was a lesbian, but Henry had been ousted from her bed and Jean was now in it. Henry made scenes. He made a half-hearted suicide attempt. He took to his bed for ten days (though he was reading Proust). The more uptight he became, the more bohemian and cruel June acted.

There was a protective split opening up in Henry’s character over this time. He was bitterly humiliated by his wife’s behaviour, not least because her relationship with Jean attacked him right where it hurt, in his tentative sexuality. The lack of money and the failure of his ambitions were desperate blows to his self-esteem and he was beginning to loathe America and all it stood for – the work ethic, the commercialism, the disinterest in art. And yet, that chip of ice in his heart was doing its job. When he wrote begging letters to his friends signed ‘the Failure’, he carefully stored the carbon copies, optimistically hoping that posterity would need them. In Nexus, the autobiographical novel he later wrote of this period in his life, ‘Mona’ (June) tells the narrator:

‘You look for trouble. Now don’t be offended. Maybe you need to suffer. Suffering will never kill you, that I can tell you. No matter what happens you’ll come through, always. You’re like a cork. Push you to the bottom and you’ll rise again. Sometimes it frightens me, the depths to which you can sink. I’m not that way. My buoyancy is physical, yours is… I was going to say spiritual but that isn’t quite it. It’s animalistic.’

He may have been lost in emotional chaos, but Henry was following his lodestar. ‘It knows that all the errors, all the detours, all the failures and frustrations will be turned to account,’ Miller wrote in Nexus. ‘[T]o be born a writer one must learn to like privation, suffering, humiliation. Above all, one must learn to live apart.’ He got to do just that when he returned home one day and found a note on the kitchen table, telling him that June and Jean had sailed for France. Not only had Jean usurped his place in June’s heart, she’d hijacked his cherished dream of escape, too. June would return in a couple of months without her and determined Henry should see Paris, but he could not foresee this. Instead, he broke every piece of furniture in the apartment and alarmed the landlady with his howling. When the initial despair passed, Henry realised that this was something he could write about; in Nexus he describes sitting down and taking notes. He had been following his instincts, but now illumination came to him: the brutality, the humiliation, the intense misery and the deprivation were a story, the best one that had ever been given to him. It would take him many years to put that story into words, but the revelation was important. From now on, Henry knew that his own life would become his art.

***

The transformation that Paris effected on Henry’s writing style was little short of miraculous. In America he’d been trying to shoehorn his anarchic outlook into the sort of 19th-century fictional models favoured by his literary heroes, Knut Hamsun, Theodore Dreiser and Dostoyevsky, and the contrast was awkward and false. Just as his passive personality did not fit the go-getting attitude popular in America, neither did his coarse and chaotic style. ‘There was a retirement about the idea of literature, a sort of salon atmosphere, which Miller feared would never be able to accommodate a rude voice like his,’ writes biographer, Robert Ferguson. Once he left it all behind, Henry realised how suffocated he had been.

In Paris, he was able to give in to his instincts, which Ferguson describes as ‘those of a film producer whose consciousness was actually a machine for assembling a cast, picking the locations and taking notes for the script of a major production.’ Eye-catching Paris offered him visual riches; grubby, valiant, warm-hearted Paris, full of losers and eccentrics, where there was even a place for a prostitute with a wooden leg, as Miller would memorably describe. The literature of France had already embraced the poor, sordid aspects of existence: Zola had described his whores with intense pity, and now Henry could come along and write about them with an ex-pat’s pride, as the kind of landmark that would be extraordinary back home, but which he now took in his stride.

Le Dome Cafe Paris 1930sParis cafe, 1930s

Freed from the mesmerising chaos of June, Henry woke up; he looked and listened carefully. ‘Hearing another language daily sharpens your own language for you, makes you aware of shades and nuances you never expected,’ he would later tell an interviewer for the Paris Review. He had fallen by chance into exactly the right practice exercises. Writing to Emil Schnellock he enthused that ‘In a letter I can breeze along and not bother to be too careful about grammar, etc. I can say Jesus when I like and string the adjective out by the yard.’ His new friend, Michael Fraenkel, read one of the manuscripts he’d brought with him from America and advised him to tear it up. He told Miller to write as he spoke and as he lived.

Henry then found a way to convey the hallucinatory vividness of the life he was living. He had gone to the movies and seen the avant-garde film of the moment, Un Chien Andalou by Luis Bunuel and Salvadore Dali. The film made ‘a lasting impression on him’, according to Frederick Turner, author of a study on the genesis of Tropic of Cancer: ‘he was intrigued by its formlessness, its sudden, jolting scenes of cruelty, which felt as if the artists were mysteriously inflicting these on audiences conditioned to regard movies as a passive form of entertainment.’ Paris was high on crazy artworks where there were no limits, where cruelty was all the rage, and suddenly, Henry fit right in; he loved forcing readers to accept unpalatable truths. He began to conceive of a new kind of book, one based on his experiences in France, and he wrote excitedly to Schnellock ‘I start tomorrow on the Paris book: First person, uncensored, formless – fuck everything!’

Paris even helped him find the right mindset to deal with the failures of the past and the uncertainties of the future. It was here that he discovered the Tao Te Ching, whose philosophy of going with the flow and accepting all the confusion and sorrow as essential aspects of existence offered him exactly the even-tempered fatalism that chimed with his heart. That chip of ice was beginning to look like wisdom. For the first time he was given permission not to wallow in failure but to look at it squarely as necessary, unavoidable, and beyond the reach of judgement. When he came to write about it in Tropic of Cancer, he would take it a twist further, producing a book that was a tenderly satirical celebration of the very worst in humanity.

There was of course one more thing Henry would need to write his book, and that was money. One of his survival tactics in the early days was to exchange a bed for the night for housekeeping services, and this he did with Richard Osborn, an American lawyer working for the National City Bank by day and fancying himself a bohemian writer at night. Osborn introduced Henry to his boss’s wife, Anaïs Nin, and the two quickly became infatuated with each other’s minds, bonding over a shared interest in D. H. Lawrence.

Miller knew he was punching above his social weight. Anaïs was properly exotic and genuinely cultured, having been born in Paris and lived in New York and Cuba. She also wanted to write and had a dominantly erotic nature, one fuelled by desire and curiosity and not, like June’s, in order to pay the rent. Instead, she started giving Henry books, then paying his train tickets and slipping him 100 francs in an envelope. June, visiting Henry in Paris, wanted to see this magical mentor, and there was an instant attraction between these two women who both liked to play the alpha female.  Anaïs was alert to all that was alluringly perverse in June’s nature, and once again Henry found himself shunted to one side while two women circled each other in fascination.

Anais NinAnaïs Nin

This time, though, June could not be tempted into a relationship with Nin. ‘Anaïs was just bored with her life, so she took us up,’ she would later claim, and Nin would call it ‘the only ugly thing I have ever heard her say.’ June became, instead, a catalyst between Anaïs and Henry, as they endlessly discussed her and dissected her mystique. The balance of the relationship with June was changing, though, for Henry was falling hard for Nin. He blamed this latest humiliation on June, whilst Anaïs, who had in fact attempted all the seducing, could do no wrong.

Henry wrote breathlessly to Schnellock, ‘Can’t you picture what it is to me to love a woman who is my equal in every way, who nourishes me and sustains me? If we ever tie up there will be a comet let loose in the world.’ This time June fought and made the scenes to no avail. She returned, defeated, to America in a split that would be definitive, and Henry and Anaïs became lovers. Passion was the last alchemical element Henry needed, and once with Nin he found he was writing swiftly and well, producing a bold, innovative, painfully honest, surprisingly funny book.

Miller took all that he’d been through in Paris and transformed it into something coherent and artistically shapely. Later in life he would call himself the ‘most sincere liar’, which is a fine description of any fiction writer. He took the people he’d been living with and gave them fictional names whilst enhancing the worst parts of their personalities; he took the real places that he’d been and described them through the vocabulary of decay and disease. But most of all he used that chip of ice to take an emotional step backwards and infuse his narrator’s voice with tender and amused acceptance of everything he saw. This happy absence of judgement upon a life of squalor lived without dignity made the novel endearing to readers who had suffered intolerable humiliations of their own. Tropic of Cancer offers a powerful affirmation of the strength of the human spirit, even in the most depressing and hopeless of conditions.

But this was in some ways incidental to Henry’s preoccupation with writing an entirely new kind of manliness, which involved surrounding himself with hapless males and regarding their faults with indulgence. ‘I just want to be read by the ordinary guys and liked by them,’ Miller wrote to Schnellock. One of the flaws he portrays honestly and indulgently in his ordinary guys is the way they have sex on the brain but lack the emotional intelligence, the class and the courage to have anything like a real relationship. Take for example his friend, Carl, pondering the ethics of becoming involved with a rich older woman he’s not attracted to:

‘But supposing you married her and then you couldn’t get a hard on any more – that happens sometimes – what would you do then? You’d be at her mercy. You’d have to eat out of her hand like a little poodle dog. You’d like that, would you? Or maybe you don’t think of those things? I think of everything.… No the best thing would be to marry her and then get a disease right away. Only not syphilis. Cholera, let’s say, or yellow fever. So that if a miracle did happen and your life was spared you’d be a cripple for the rest of your days. Then you wouldn’t have to worry about fucking her any more… She’d probably buy you a fine wheelchair with rubber tires and all sorts of levers and whatnot.’

Or the dastardly Van Norden, a man who defiles everything he touches, terrified at being so continually abandoned in the trenches of the erotic:

‘For a few seconds afterwards I have a fine spiritual glow… and maybe it would continue that way indefinitely – how can you tell? – if it weren’t for the fact that there’s a woman beside you and then the douche bag and the water running… and all those little details that make you desperately selfconscious, desperately lonely. And for that one moment of freedom you have to listen to all that love crap… it drives me nuts sometimes…’

Erica Jong, writing in fierce defence of the book, argues that Tropic of Cancer works with the same principles as feminist literature, ‘the same need to destroy romantic illusions and see the violence at the heart of heterosexual love.’ And it’s true that the characters in the book are rigorously stripped of pretension and the dishonest flourishes of ego, vanity and pride. The point of plumbing the depths of the human condition is at least in part to clear away all illusion and delusion, for Miller believed that idealism had damaged the world far more than any acceptance of our base physicality might, and that this idealism affected far more than mere sexuality.

In one of the defining anecdotes of Tropic of Cancer, the narrator escorts a young and inexperienced Hindu man to the local brothel. In nervous confusion he uses the bidet as a toilet, horrifying the Madame and her girls and embarrassing himself. But the narrator, unfazed as ever, sees universal significance in the incident of an uncommon kind. The basic problem of life, he says, is that ‘Everything is endured – disgrace, humiliation, poverty, war, crime, ennui – in the belief that overnight something will occur, a miracle, which will render life tolerable’. Such a belief flies in the face of reality and demands an arresting rebuttal.

‘I think what a miracle it would be if this miracle which man attends eternally should turn out to be nothing more than these two enormous turds which the faithful disciple dropped in the bidet. What if at the last moment, when the banquet table is set and the cymbals clash, there should appear suddenly and wholly without warning, a silver platter on which even the blind could see that there is nothing more, and nothing less, than two enormous lumps of shit.’

The very structure of the joke – the enormous disparity between transcendental miracles and shit – gives away the subtle, underlying structure of the book. It’s the gap between the outspoken dreadfulness of Millers’ characters and our desire to identify with noble, sympathetic figures that is at once so awful and so funny, just as the expletives jar the beauty of the language, and the insulting attitude the male characters assume towards women is a lame stab at covering up their obsessive need for them, a need which rings out in the narrator’s lament for the woman he adored and who has returned to America without him:

‘I couldn’t allow myself to think about her very long; if I had I would have jumped off the bridge. […] When I realize that she is gone, perhaps gone forever, a great void opens up and I feel I am falling, falling, falling into deep, black space. And this is worse than tears, deeper than regret or pain or sorrow; it is the abyss into which Satan was plunged. There is no climbing back, no ray of light, no sound of human voice or human touch of hand.’

It was this familiar existential crisis – the pain of the mismatch between human aspirations and desires and the wholly insufficient reality that has to be accepted in their place – that finally formed the mainspring of Miller’s creativity.

The literary insight of the novel didn’t stop Tropic of Cancer being smuggled out of France by tourists for the next thirty years as the ultimate dirty book; sex sells but it also blinds. The book’s reputation rode far in advance of any reading that took place, and its tendency to stir strong emotions and ridicule with keen precision the most sensitive issues precluded much in the way of critical appraisal. It was a book that readers loved or hated, with their guts.

Nowadays the history of its suppression and the crude portrayal of women win all the headlines, but the real story of the book concerns the dominance of the women who provoked and created it: Henry’s fearsome mother, his sweet, crazy sister, his troublesome muse, June, and the book’s midwife, Anaïs Nin, who put up the money needed for publication. The book is an act of self-assertion that couldn’t help but reveal both the depths of his dependency on women, and the force of his resistance.

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Henry Miller biographies collage
Notes on Sources

I am indebted in this essay to three masterly accounts of Miller’s life: Mary Dearborn’s The Happiest Man Alive (HarperCollins, 1991), Robert Ferguson’s Henry Miller: A Life (Hutchinson, 1991) and Frederick Turner’s brilliant and detailed account of Miller’s creativity, Renegade: Henry Miller and the Making of Tropic of Cancer (Yale University Press, 2012). Also unmissable on Henry Miller’s life is Henry Miller. Tropic of Capricorn (1939), Nexus (1960) and Sexus (1949) all contributed to my understanding and remain extraordinary writings on the borderline of fiction and autobiography. Finally, Kate Millett’s essay on Miller in Sexual Politics (Virago, 1977) and Erica Jong’s The Devil at Large (Vintage, 1994) are, respectively, a fine critique and a fine tribute from the other side of the gender divide.

—Victoria Best

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Victoria Best

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Victoria Best taught at St John’s College, Cambridge for 13 years. Her books include: Critical Subjectivities; Identity and Narrative in the work of Colette and Marguerite Duras (2000), An Introduction to Twentieth Century French Literature (2002) and, with Martin Crowley, The New Pornographies; Explicit Sex in Recent French Fiction and Film (2007). A freelance writer since 2012, she has published essays in Cerise Press and Open Letters Monthly and is currently writing a book on crisis and creativity. She is also co-editor of the quarterly review magazine Shiny New Books. http://shinynewbooks.co.uk

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Jun 092017
 

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In Alice Munro’s work Lives of Girls and Women—billed as a novel, though it is more of a collection of linked stories—“Baptizing” plays Del Jordan, a high school senior seeking sexual initiation, against three antagonists. Two of these encounters end in comic humiliation, while the third is a breathtakingly carnal adventure until she breaks up explosively with her boyfriend.

First, Del meets Clive through her friend Naomi at a trashy bar, but the encounter goes no further than making out drunkenly. Second, she halfheartedly dates her brilliant, socially awkward high school classmate Jerry Storey. And finally, she has a full love affair with a Baptist lumberyard worker named Garnet French. As Glover notes in his essay “The Style of Alice Munro” (from The Cambridge Companion to Alice Munro), “this strategy of varying plot structure by using different antagonists in each plot step is also used in James Joyce’s ‘The Dead,’ in which the protagonist Gabriel interacts dramatically with three successive women, Lily, the maid, Miss Ivors, the fellow journalist, and, finally, his wife” (48).

dubliners

Let us start, then, by examining “The Dead.”

Glover expands on his analysis of the Joyce masterpiece in Attack of the Copula Spiders (27-29). In each encounter, Glover says, Gabriel oversteps by making assumptions about the women, who put him in his place. Each of the three set pieces end with Gabriel miffed, nonplussed, humiliated, and disabused of some modicum of his self-delusions. Gabriel jokes with Lily, the caretaker’s daughter that everyone would be going to her wedding to a fine young man one day. This is harmless banter of the sort Gabriel thinks should brighten the day of any working girl. But Lily has had it with her fine young man—with all men, really—and she holds Gabriel accountable for the failings of his wicked gender. “The men that is now is only all palaver and what they can get out of you,” she says. Gabriel colors in embarrassment.

Next he crosses swords with Miss Ivors, a patriot who gratuitously insults Gabriel’s honor as an Irishman because he has the temerity to write book reviews for a British paper. (The nerve!) “West Briton!” she calls him. She apologizes passive-aggressively but smilingly repeats her slander, leaving Gabriel embarrassed and angry. She possesses the passive-aggressive’s gift for detecting a tender spot in her interlocutor’s psyche—a place of insecurity, self-doubt, weakness, or shame—and jabbing him there with a well-filed fingernail. Gabriel pettily avenges himself with oblique allusions to a strawman version of Ivors in a toast over dinner—after she has left the party and can no longer respond. So there!

Finally, the shifting fault lines of the party unearth the coffin of a buried conflict with his wife, Greta. She suggests that they go to Galway for a visit. “You can go if you like,” he says coldly. In a later conversation in their bedroom, Gabriel, aflame with lust for Gretta, is astonished when she bursts into tears. Turns out she is crying over a boy named Michael Furey whom she was in love with, and who died in Galway years ago. Though frail in his health, he stood out in a cold rain pining for her, fell sicker yet, and died. “I think he died for me,” she says. Gabriel achieves an epiphany of sorts, a bitter one: he has never really known his wife, and now he sees her as someone whose soul he cannot fathom, who has loved another more deeply than she will ever love him. He cannot forgive himself for his petty preoccupations in the face of his wife’s deep, true grief. His newfound self-knowledge is rendered comical by his fantastical, exaggerated self-lacerations, of a sort familiar to psychologists. If he must fail, Gabriel must do so in a spectacular manner: “He saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous, well-meaning sentimentalist, orating to vulgarians and idealising his own clownish lusts…” Joyce leaves us with a Gabriel-in-a-hair-shirt who is the mirror image of his former vain self. A few sessions with a good shrink might help him sort out his self-image, even if there is little that can be done about clownish male lusts.

Glover states that in these encounters, “Each woman is more important to Gabriel than the previous one. Each comes closer to threatening and overturning his core psychic constructs. And each woman confronts him with the truth” (Attack, 29).

lives-of-girls-and-women

Similarly, in “Baptizing,” Munro arranges three stories that, individually, are broken up in a series of steps, Glover states, “so that they form a miniature story, a dramatic whole within the larger structure of the story.” Each chapter of this tale ends in Del walking home alone.

In the first set piece of “Baptizing,” Del is an inexperienced newcomer in the grotty Gay-la Dance Hall, which her mother, despite her irreligiousness, compares to the biblical Sodom and Gomorrah. The man Del is paired off with, Clive, amuses himself faking Dutch immigrant and black accents with his friend.

“Hey, Rastus,” Bert says “spookily” (210—gap-mouthed italics my own). Clive is a fancy, inventive dancer who leaves Del feeling awkward as she tries to match his moves. Back at the table, she “drinks like a fish,” as Naomi approvingly observes. But when the foursome leave and drive about in Clive’s friend’s car, Clive pounces on Del (so drunk she has forgotten she is sitting beside him) and slides his tongue down her throat “like an enormous, wet, cold, crumpled … dishrag” (208). They all end up in a hotel, but after heading down the hall to use the toilet, Del removes her shoes, climbs down the fire escape, and walks off barefooted. In her drunken confusion she first wobbles to Naomi’s home, waking Naomi’s father (who later gives his daughter a belting when she returns home). Del finally ends up in her own bed, alone and hungover, in a dry-mouthed conclusion to this failed romantic evening.

The second set piece likewise ends in failure and with Del fleeing into the night. But it veers even further into slapstick, “something jerky and insane from a silent movie,” she later reflects (226). The story involves the teenage genius Jerry Storey. Student body opinion has paired off Del off with the boy for the sole reason that they are the two top scholars. Almost against their will, they fall into a relationship. Jerry shows a not-atypical masculine preoccupation with himself and his achievements. A science and math prodigy, he is baffled by Del’s areas of giftedness, as in her love of literature. Fairly or not, one is tempted to merge the character Del with a young Munro, yet it is Jerry who daydreams about winning the Nobel Prize in, oh, let’s say ten years or so, maybe twenty (217). Like Clive, Jerry uses fake accents—those of British sophisticates or characters from the comic strip “Pogo,” though this time Del joins in with him in silly dialogues that cover their sense of awkwardness together. As with Clive, their sexual exploration is desultory and amusingly unsexy.

Our hands lay moistly together, each one of us wondering, no doubt, how long in decent courtesy they must remain. Our bodies fell together not unwillingly but joylessly, like sacks of wet sand. Our mouths opened into each other … our tongues rough, mere lumps of unlucky flesh (222).

(Again, those dreadful tongues down the throat.)

The relationship climaxes (in a literary if not physical sense) with Del undressing and lying on Jerry’s bed. Embarrassed, they resort to Pogo accents: “Yo’ is shore a handsome figger of a woman,” he tells her (223). But ludicrously, Jerry hears his mother returning home, and he shoves his naked girlfriend into the basement stairway, leaves her there in the dark. Later he tosses her clothes down the laundry chute. She climbs out a window, and again walks home at night in shame and fury. (They make up the next day.)

As authors must, Munro saves her climactic story—her most affecting and beautiful one—for the conclusion. Del has a love affair with lumberyard worker Garret French. She meets him at a revival meeting that she, a nonbeliever, whimsically decides to attend after a teacher who is a Presbyterian elder gives her a promotional button that reads Come to Jesus. There, Garnet spies Del from across the room and works his way over to her. They don’t even know each other’s name, yet he holds her hand as they listen to a hellfire sermon from an itinerant revivalist. It’s a gorgeous way to create dramatic tension—to have the seduction occur, irreverently and irresistibly, in a religious service. Here Munro nods to another work by Joyce, A Portrait of The Artist as a Young Man, which recounts a sermon delivered amid Stephen Daedalus’s preoccupation with fleshly depravities. In “Baptizing,” the preacher’s key image, that of the sinner crossing a rope bridge held by a thread over the chasm of Hell, also alludes to Jonathan Edwards’ “Sinners in the Hands of an Angry God,” but in a comic twist, Del and indeed the entire audience do not quake in their seats, like Edwards’ congregation, but are entertained by a threat of damnation from which they consider themselves personally exempt. As the preacher orates, people sing out, “Amen.” Del muses, “Movie stars and politicians and fornicators gone beyond rescue; it seemed, for most people, a balmy comfortable thought” (233). The affair that follows is all-consuming, even before it is consummated. Del lies awake sleepless until dawn, reviewing every kiss and touch. “Sex seemed to me all surrender—not the woman’s to the man but the person’s to the body, an act of pure faith, freedom in humility” (239—italics mine).

Glover discerns echoes among Munro’s three set pieces. Del and Garnet visit each other’s homes for a meal, just as Jerry and Del do. Garnet’s sprawling, working class family attracts Del in a way that Jerry and his widow mother do not, but there are similarly uncomfortable sexual revelations in each household. Jerry’s mother, ambitious for her boy’s future, warns Del to use birth control when having sex; Garnet carves the names of his conquests into a beam on the porch, Del’s last of all, underscored and surrounded by stars, indicating she would be his wife.

All three relationships implode, the first two comically, while her final, deepest one ends in tragic rage and a kind of betrayal (a betrayal, that is, by Del; she admits this to herself, even though she is a victim of Garnet’s physical brutality). Del and Garnet go swimming together after making love (258 ff). Garnet tells her she must get baptized as a member of his church. Although minutes earlier she has agreed to bear his children, she resists baptism, recognizing that to do so would be to surrender something essential about herself. His half-joking attempt to baptize her himself turns vicious as he realizes the love he has offered is not reciprocated—that “I had somehow met his good offerings with my deceitful offerings … matching my complexity and play-acting to his true intent” (260). He nearly drowns her, but she refuses to give in and manages to escape his clutches. For a third time, the end of a relationship leaves her walking home.

This final set piece provides a revelation to Del, an epiphany, which unites all three panels of the literary triptych. “The scene has the force of a spell being broken: Del speaks of sleepwalking, of waking up,” Margaret Atwood writes in The Cambridge Companion (111). In her encounters with Clive and Jerry, Del was denied not only sexual fulfillment, but the enlightenment of self-knowledge as to where she stands in relation to men. With Garnet, she finds a deeply satisfying sexual relationship—rare in this life, as she is aware—but with a man with whom she has no future. She must give it up to awaken herself from the spell.

—Russell Working

Works Cited

Alice Munro: Lives of Girls and Women
James Joyce: Dubliners
Douglas Glover: Attack of the Copula Spiders
Douglas Glover, Margaret Atwood et al.: The Cambridge Companion to Alice Munro

 

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Russell-Working

Russell Working is the Pushcart Prize-winning author of two collections of short fiction: Resurrectionists, which won the Iowa Short Fiction Award, and The Irish Martyr, winner of the University of Notre Dame’s Sullivan Award. His stories and humor have appeared in publications including The Atlantic Monthly,The Paris Review, TriQuarterly Review, Narrative, and Zoetrope: All-Story.  A writer living in Oak Park, Ill., he spent five years as a reporter at the ChicagoTribune. His byline has appeared in the New York Times, BusinessWeek, theBoston Globe, the Los Angeles Times, the South China Morning Post,the Japan Times, and dozens of other newspapers and magazines around the world.

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Jun 082017
 

A tiger has lost his pride and seeks direction from a snake crushing apples in a tree. I’m not usually one for animal parables. But in this moral tale, the fifth in Emmons’ collection—A Moral Tale and Other Moral Tales—the elegant prose, precise plotting, and ingenious dialogue transform a relatively straightforward—and often comic—exchange between two species into a remarkable meditation on futility and free will. —Michael Carson

 

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The tiger stopped at a break in the rain and realized he was no longer on the path he’d been following. He scratched the side of his belly against a coleus bush, shook free of the water coating his back and legs, and studied the ferns and mosses growing all around him, a blurred patchwork of greens. He listened for the rasp of Cousin, which like a gnat’s buzzing at his tail had annoyed him all through the hunt, and for the whelps of Sister’s underweaned cubs, and for the irregular footsteps of 2nd Cousin, but heard nothing.

“I’m six furlongs west of the den,” he thought, catching the scent of the dead opossum. “At most nine.”

He was tempted to scoop up with his tongue an ant dragging a webbed mass of tsetse flies, but refrained. What could be seen of the sun seemed to shift and ripple in the sky like its reflection in disturbed water. Was he west of the den, or north? Perhaps he was northwest. Cousin, despite his uselessness in a kill, had a perfect sense of direction, and the tiger felt his absence. Not long ago, for example, Cousin had found the way home after a two-day journey through alien trees that had marooned them in an unfamiliar glade, where they were so famished that Aunt had proposed eating 2nd Cousin.

“Sister!” he called out. “Niece!”

The chittering whir of life in the forest slowed and then sped up again.

“Can I help you?” came a voice from above.

The tiger looked up and saw a snake wound around the gnarled branch of a tree that curved at its base into thick tumorous roots burrowing underground. “Yes, you can go up to a good vantage point and look east for a pride of six tigers. One has a limp, another is missing both ears, and a third has no tail.”

The snake’s mouth opened slightly.

“They can’t be more than a furlong away. Maybe two.”

After making a complete revolution around its branch, the snake glided toward the trunk and then up to another branch. “What happened to your left eye?”

“It was removed by a great rhinoceros. You’re not high enough there to see any real distance.” The tiger sat on his haunches and felt the sharp pain in his groin that had troubled him since the last famine. He covered the furless patch on his stomach with his right foreleg, and the long, sparsely plotted whiskers on his face hung like wilted plume grass. “The rain must have disoriented them. They’ll be desperate to find me. 2nd Cousin already suffers from nerves. Go to the topmost branch and scan the area and you are sure to spot them.”

The snake projected a third of its body into midair and peered up at the tumescent sky. “There is an eagle circling.”

“You are too large to be carried off by such a small bird.”

“Just as you are too powerful to be maimed by a rhinoceros?”

The tiger considered leaping up to seize the snake in his mouth but suspected, with his injury, that he couldn’t.

The snake remained motionless.

“If you don’t help me,” said the tiger, “I will find them on my own and then return to kill you.”

With its tail the snake plucked an apple from a leafy nest and squeezed until it liquefied and streamed to the ground. “Before you arrived, I saw six tigers to the southeast, standing in an attitude of respect around a young tiger half again your size. When he trotted away they followed him in single file, and there were a tail-less male and limping female among them.”

The tiger protracted his claws deep into the earth and objects around him grew less distinct. His heart beat erratically. “You saw a different pride that coincidentally and superficially resembled mine.”

“Yes, certainly.”

“There is no possibility of one being the other.”

“I didn’t mean to suggest there was.”

After a minute in which he shivered as if still wet—a ringing in his inner ear, a cold hard trill, made him wish for the sun’s full return—the tiger squinted at the snake and said, “You are lying about what you saw. It is your nature to trick noble animals, as you did man.”

The snake dropped what remained of the apple to the ground, where it landed on a pile of rotting cores around which flies were buzzing ecstatically, and slid down to hang suspended with its tail coiled around a short spiky branch. From close up the tiger could see its skin reticulated into a network of fitted, glistening scales that were honeycombed with tiny red diamonds. A change occurred in the opossum scent; a new bloody aroma mingled with the old decay, as though its body had just been torn open; he could almost hear skin being ripped away and flesh stripped from bone.

“I will not tell—”

“How old are you?” asked the snake.

“I will not tell you again: either go up and look for my companions or prepare to die.”

“You shouldn’t blame them for following another tiger now that you can no longer procure food or protect them.”

The tiger rose from his seated position and paced back and forth unsteadily, trying to determine how high he could jump without further straining his groin muscle. If the snake descended another two branches and then lowered its head and relaxed, he’d have a chance. “I can procure enough food for twenty tigers; at this very moment I am hunting prey. As for guarding them against danger, in the last six months I have fought off two jackals, a wombat, a marbled cat, an olingo and a sambar deer. The few among my pride who have been injured during that period understand why I was unable to prevent it, such as, during our encounter with the rhinoceros, my own loss of an eye. They are loyal in a way that you, a solitary creature hated the world over, cannot understand.”

The snake seemed to consider this and then said, “I wonder how a sambar deer, or a marbled cat or an olingo, could threaten a tiger. An olingo! The smallest cub could swallow one whole without thinking. Though the real question here is why your pride has waited so long to abandon you.”

The tiger sprang up at the tree from a meter away, felt a sharp bolt of pain, and fell to the ground.

The snake said, “Despite your obvious helplessness, if your former pride comes this way its new leader will have to kill you. The old must ever make way for the young.”

The tiger turned away and tensed his muscles and clenched his jaw and didn’t make a sound. From between his legs agony radiated out in regular, insistent waves. It would soon subside. He watched a chameleon blend into a fern stem as hardy as a shoot of running bamboo; the wind moaned and the sky darkened two shades with the sun’s full retreat behind layered clouds. He felt a drop of rain, heavier and more deliberate than any in the shower that had fallen earlier. The opossum scent was faint. He said, “I look forward to meeting this other tiger. Before ending your life, I will beat him in front of you so that you can see your error.”

The snake plucked off another apple and reduced it, as he had the one before, to pulp. “Let us stop this absurd talk of you harming me, because the only animal you can hurt now is yourself. It would be best for you to accept this and everything to follow.”

The tiger said, “Do you want to know why you are everywhere despised?”

The snake said nothing.

“It isn’t just your willful insincerity, the way you manipulate the truth and consider honesty to be a sign of mental frailty, as though animals who treat each other fairly are too stupid to do otherwise, but rather that, unable to build anything yourself, you concentrate on destruction. I almost pity you.”

“Then we might start a mutual pity society.”

“Friendless, heartless, and deluded into thinking cleverness worthier than love and affection, you could vanish and no one would miss you.”

The snake’s head rested on its coiled body, ten feet off the ground. “And how are you any better off, since your life has come to the same solitary end?”

“I am not solitary or at an end.”

The snake looked meaningfully at the empty space around the tiger. “It’s especially unfortunate because your solitude is not the result, as mine is, of your possessing taste and refinement in a place that values neither, but because when young you used brute force to dominate all the creatures of the earth. Those you didn’t eat you frightened, displaced or ignored. How love and affection, which you claim to value, have operated on or through you beyond the limited confines of your immediate family, is a mystery.”

“Having limited sympathy is not the same as having none at all. Everyone privileges his own and his relatives’ survival above that of others.”

The snake’s forked tongue moved up and down in its open jaw at an invisible speed. “Whether or not that’s true, you’re exceptional insofar as power and compassion are directly correlated; the more one has of the former, the better able one is to bestow the latter. You, being all-powerful, have the potential to be all-merciful. You have chosen not to be, however, which is both convenient and beneficial to you, and which eliminates the moral advantage you might otherwise have had over me. In fact, it is safe to say that your obligation to help instead of hurt weaker animals equals or even exceeds your capacity to do so, making it the greatest mandate in the forest now that man is gone, something only a monster could ignore. And yet you think that having been born a tiger you can pursue your pleasure regardless of its cost to others.”

The tiger caught no more scent of the opossum. He did not need to keep listening to the sophistry of a snake when somewhere in the vicinity Cousin and Aunt and Sister and Great-Niece and Niece and 2nd Cousin were either huddled together, too hungry to move or cry out, praying to the hidden sun for his return, or under the influence of a young pretender stealing what belonged to him.

As he considered where to look for them, a rustling sound to the east preceded the appearance of fifteen zebras galloping across the clearing in a westward direction, followed immediately by a herd of long-necked giraffes. The rain was falling steadier now and vast puddles formed on the ground. Then from opposite corners of the clearing two new sets of animals emerged—from the southeast peacocks, and from the northeast rabbits—to unite on the path trampled first by the zebras and then by the giraffes.

“Where are they going?” shouted the tiger to the snake, who had ascended to the topmost branch and was staring into the distance.

The snake didn’t answer for several minutes, during which bunches of toads, rhinoceroses, goats, horses, gorillas, short-haired cats, mice, beetles and marmots filed past, until finally, with an unreadable expression, it returned to its perch on the fourth lowest branch and said, “They are headed west.”

“But why?”

Rain poured down so heavily now that the tiger felt a uniform pressure on his back. A flock of geese flew above while an assortment of chimpanzees and foxes and deer raced by. The puddles converged into an unbroken pool. Next came wolves and bears and badgers and lambs, and it was a marvel to see the peaceful—the non-murderous—lockstep of predators with their prey.

The tiger said to the snake, who still had not answered, “Is there higher ground to the west, or perhaps a fire to the east?”

“No.”

“Then what did you see?”

“Earlier you said that I delight in destruction and trick noble animals such as man. I’ll tell you what I saw, but first you must hear something.”

The rain fell insistently and the tiger was too weary to protest.

“When Eve came here she was a child. Not biologically, but in temper and intellectual development she was little better than the clay from which she and Adam were formed. I lived on the ground then, and ate a sparse diet of mice and other small fry, with little interest in this tree. Eve used to stand where you are now and ask herself whether she should or shouldn’t eat its fruit. Her life was tiresome, she’d say, without variation or intrigue or intensity of feeling—everything she did produced the same dull note—and eating the fruit would change that. Unless it wouldn’t. What if, she’d say, an unpredictable life of alternating pain and joy and mystery was as unsatisfying as the one of regular contentment and predictability she currently led? What if the afterwards were different from the before in kind but not in substance? And while the prospect of death might invest life with greater meaning than it currently possessed, on the theory that something’s value rises in proportion to its scarcity, it might do the opposite and fill her with a sense of life’s futility.”

The water level had reached the halfway point on the tiger’s legs, and he decided to start walking west with the blind hope of finding his companions, who might intercede on his behalf with their new leader. There was no reason to stay here.

The snake said, “One day, after months of ignoring me, she asked what I thought she should do. Stay and suffer in a familiar manner, with an inevitable increase in boredom as time passed meaninglessly, or eat the fruit and be banished to a place and mode of being that might as easily be worse as be better, and that would come to an end? She couldn’t ask Adam because he wanted nothing more than to love and admire creation; he wouldn’t condone her eating the fruit of this tree because he was not dissatisfied. I told her that if that were the case she could do no wrong that would not also be right.”

The tiger’s stomach now grazed the water’s surface, along which a thousand raindrops ignited in tiny explosions that added to and overlapped and canceled one another out. A memory came to him of standing on an open plain during a heat wave when he was young, under a bleached white sky dirtied in the distance by specks of vultures circling over the elk he had just slain, at which time, stupefied but not yet made frantic by thirst, and for a moment on the other side of a small hill from the others, a single droplet of water had fallen on his nose. There had been no clouds or birds above him, and no rivers within sight to produce this moisture. He’d licked it away and in the fraction of relief it afforded him he’d felt his yearning for more spike to an unbearable degree, and he’d had a vision then of endless water, of a flood like the one now arising, and he’d understood that the leadership responsible for taking the pride so far from a fresh drinking supply, and which just moments before had failed to help him bring down the elk, needed to be replaced.

“Do you know what she did then?” asked the snake.

The tiger could clearly see his father’s body perched that evening at the mouth of the cave where the pride was sleeping, his muscles thin and shrunken, his ears perfectly still, lost in a memory of the world as someplace new, when the cycle of rise and fall was not yet known.

“She walked away and never returned.”

A strong current ran through the water. The tiger’s feet were firmly on the ground, though he couldn’t say for how much longer they could stay there. The rain stripped leaves and pine needles from the trees around him and left bare branches stabbing the blackened sky. A bolt of lightning lit up the clearing in a white flash as the tiger bent down to lap up a mouthful of water, which tasted of loamy soil and bones and aloe and bark and insects and iron and sap and stone and the dust of an ended drought, diluted by tears and thickened by blood. As he drank more the tiger became thirstier, with every drop coming from nowhere and the last of its kind.

“To the west,” said the snake, now on a lower branch, “not far from here, no more than two furlongs away, is a giant ship. A gangway connects the ground and its deck, and is being used to convey up pairs of animals. Even in your condition you could reach it in time.”

The tiger kept his eyes down and drank away his recent hunger and the whelps of Sister’s cubs and the illusion that there would never be a young tiger half again his size. He swallowed his father’s murder and the years he’d led his pride through a shrinking forest and the moment he’d known that his confidence was built on a decaying foundation. He consumed the love and hatred that had once given him vitality, and the times when his survival had been in question, and when it had been a foregone conclusion, and when it had been a matter of neither indifference nor consequence.

The snake came down to the lowest branch and extended its head to within a foot of the tiger’s and said, “We could go to the boat together. I could ride on your back and navigate.”

The tiger didn’t look up or stop drinking. There was so much more to take in. He’d only just begun.

—Josh Emmons

N5

Josh Emmons is the author of two novels — The Loss of Leon Meed (Scribner, 2005) and Prescription for Superior Existence (Scribner, 2008)and the short story collection A Moral Tale and Other Moral Tales (Dzanc, 2017). Read a review of A Moral Tale and Other Moral Tales here by Numéro Cinq‘s Michael Carson

N5

Jun 012017
 

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Once when I was in the eighth grade, my mother showed up at the school and told the principal there was a family emergency and she had to pull me out of class for the day. I didn’t have any family except her, but I kept my mouth shut.  I walked out with her and climbed in the car and waited to see what she’d do.  Mostly she didn’t do crazy things.  She was old when I was born.  She worked at the pharmacy and didn’t have any hobbies or anything.

“Something I wanted to show you,” she said in the car, giving me a sidelong look.  She was wearing a blue and white dress and looked kind of nice, not fancy, but nice.

“You going to tell me what it is?” I asked.

“Nope,” she said.

“Guess it’s some kind of big mystery then.”

“Guess it is,” she said.

“And you haven’t lost your mind,” I said.  “That’s not the mystery, right?”

She threw another sidelong glance at me, this time with an eyebrow raised.  That nearly broke me up, but instead I turned away and looked out the window as the town rolled past, pretending not to be too curious.  She took us past the Shop’n Save and the two thrift stores and the pharmacy where she worked, what she called the Business District.  That always made her laugh even though I couldn’t see the joke in it.  After that we turned onto Edgewater, which ran past the Starlight.  The Starlight had been closed as long as I could ever remember but I always checked the marquee anyway, just to see.  It looked the same:

KI GDOM OF THE SP D RS

LAS3R BLAST

I never knew if that three was supposed to be there or if they’d lost one of the Es, same way they lost some of the other letters in Kingdom of the Spiders.  Either way I figured it’d probably been a damn good double feature.  I wished I’d seen it.

Edgewater ended at the riverbank, and that’s where we got out.  I followed her through the trees, struggling to keep up with her, until we came to a picnic area by the water.  There was a stone overlook with a clear view of the river, and that’s where she finally stopped.  She straightened her dress and looked out toward the West Virginia side of the Ohio River.  I looked too, but the only thing to see was an old factory that had gone to seed.   Ivy grew up and down brick walls already darkened with graffiti, and all the upper windows were broken.  You could see tree limbs snaking over the edge of the roof.

She looked down at her watch.  “Ought to be soon,” she said. “Paper said it’d be one o’clock.”  She was shifting her weight from one foot to the other, the way she did sometimes when she was nervous.  But she was smiling, too.  I thought of asking her again if she’d lost her mind, but I didn’t.  We waited.

I didn’t know what we were supposed to be looking at.  But after a couple minutes there was a sound like a dozen firecrackers going off across the river.   Then the bottom floor of the factory crumpled in on itself like its legs were cut out from underneath.  All five stories of the factory came crashing down.  You could hear it from the other side of the river, a great whoosh of sound that hit you like a blast of wind whipping across the water.  A dust cloud bloomed where the factory had been, rising up and spreading over the water, blocking the sun.

I was holding my breath.  Next to me I heard a sound like I’d never heard come from my mother before, a great whooping war cry.  I turned to see her spinning around with her arms flung in the air, blue dress whipping in the afternoon light, hopping from foot to foot and hooting like she’d just cast a spell to bring down the sky itself.  Gray dust fell all around us.  She grabbed my hands and laughed and made me dance with her, and so I danced and I hooted along with her, yelling at the sky like a madman.  She smiled at me, and I thought she looked a lot younger then.  And I thought how nice it’d be if the two of us could stay like this.  Not on the riverbank with the sky falling around us, but just the way it felt right then.

Or maybe I didn’t think that, not at that moment.  Maybe it was only looking back when it seemed that way to me.  Because it was only a couple weeks later that Dutch showed up.

He was leaning against a post on the front porch when I got home from school.  I recognized him from the pictures even though he was older now and he was losing his hair.  He was thin and had a tan, leathery face, and he smiled too much just like in the few pictures I’d ever seen of him.  He was chewing a toothpick as I walked up.

“The man of the house,” he said, with a grin.  “You probably don’t remember me.”

I looked at him and didn’t say anything.

He shifted the toothpick from one side of his mouth to the other.  “No harm if you don’t.  You know who I am, though?”

“You’re Dutch,” I said.

His face clouded a bit, but then he smiled again.  “Dutch’ll do fine.  So you’re thirteen now.  That’s something.”

“Fourteen,” I said.

“Fourteen, that’s right.”

I was thirteen still.  But I wanted to throw him off.   I was off balance and I guess I wanted him to be, too.  “Where’s my mother?”

“Fixing some dinner,” he said.  “That’ll be nice, won’t it?  Give us a chance to get comfortable with each other.”

“It’s three-thirty,” I said.

“Just got here from Jacksonville,” he said.  “Long trip, your mom knew I’d be hungry.  Jacksonville’s some kind of town.  You want to hear about Jacksonville?”

I went inside.  There was a suitcase in the hallway, that was the first thing I saw.  In the kitchen my mother had three skillets going on the range, cooking red potatoes and broccoli and something that might’ve been chicken in a brown goop.  She’d put some make-up on and was wearing a necklace I’d never seen her wear before, and she smelled like perfume.  I didn’t think she even owned perfume.

She saw me and had to blink a few times, it looked like, to recognize me.  “Tell your dad it’ll be ready in twenty minutes,” she said.

“Dutch,” I said.  “His name’s Dutch.”  I was furious at her then, but I didn’t really know why.  I was as furious as I would’ve been if I’d come inside and found her setting the house on fire.

“I didn’t mean to say that, I wasn’t thinking.  I’m flustered,” she said.  “He just showed up, is all.  Called an hour ago and said he was at the train station, asked if he could come by and see us.  Can you believe that?”

“No,” I said.

“We’ll give it a try,” she said.  “How about we give it a try.  Be nice to him, Bo.  He’s had a hard life too.”

“You can’t even cook,” I said.  That was true.  She was a lousy cook.

“I’m inspired,” she said.  And she flashed a smile that broke my damn heart.

Dinner was rotten.  Not the food, just the company.   I didn’t say much.  When Dutch asked me a question I thought long and hard about whether it was worth answering, and then if I did answer, I tried to be as unhelpful as possible.  Mostly the two of them looked at each other across the table and made googly eyes at each other, and Dutch told stories.  He talked about trying his hand at farming in Colorado.  He talked about a stint with the Merchant Marines when he foiled a mutiny.  He talked about driving a rig in Florida and training elephants for a traveling carnival in Louisiana.   He talked about being one of those painted statues on the wharf in San Francisco and witnessing two different murders because he was so good at being a statue.  Everything was pretty interesting and most of it sounded like a lie.

After dinner I helped bring the dishes in.  “None of that’s true,” I said to my mother.  “Jesus Christ please tell me you know that.”

“Course I know that and watch your mouth,” she said.  “He sure is entertaining though, isn’t he?”  Then she started humming some old song, and I knew it was hopeless.  You can’t talk sense to anybody when they’re humming some damn old song.

I went into the living room where Dutch was settling onto the couch with a cigar.  There was a brand new glass ashtray on the table.  I looked at that glass ashtray and I hated it.  I knew that my mother ran out to the store to buy that damn ashtray soon as she found out Dutch was coming.

“So here we are,” said Dutch.  “We don’t got to like each other, I guess.”

I thought about saying something then.  I thought about saying we were doing just fine without his leathery face.  Instead I picked up the ashtray, holding it up for Dutch to see.  He didn’t react.  I flung it toward the living room window.  Only I never could throw worth a damn, so it struck the wall beside the window instead.  And it wasn’t even glass, just that kind of plastic that looks like glass, so all it did was scuff the wall and land on the floor in a pile of ashes, which made me even angrier.

My mother came into the room and saw the mess.  She glared at me.

“Little accident,” said Dutch, still smiling.  “No harm, no foul.  This’ll work itself out.”

I looked around the room and my eye fell on a ceramic lamp on the end table beside the sofa.  I lifted the lamp and Dutch gave me a look.

“Alright now,” said Dutch.

I threw the lamp at the window.  This time, my aim was true.  It cracked the window and made a nice satisfying sound when it smashed against the floor.

My mother screamed and Dutch jumped to his feet, but he didn’t move toward me.  Instead he held out his hands and said, “Everything’s still good, Nora.  It’s all good.  Boy’s acting up.  Nothing but a temper tantrum here.  A lot to process for the boy, is all.”

“It’s too much,” my mother said.  “I need to sit down.”  That was the first time I’d ever heard her say that, that something was too much.  Maybe she’d thought it before.  But I hadn’t ever heard her say it.

“Course you can sit down.  Sit down, Nora,” said Dutch.  He looked at me and said, “Think about your mother now, Bo.”

That sickened me, to hear him say my name.  I turned my back on them both.  I went into the kitchen and took a couple or seven plates out of the cupboard, and stacked a few mismatched soup bowls on top.  It was hard to carry but I walked the stack back into the living room.

“Oh dear god,” my mother said.  “Dutch.”

“This is what you think a good son does,” said Dutch, and he shook his head.

I was going to take my time and throw them one by one.  I thought that’d be the right way to do it, for maximum devastation.  But I hated Dutch saying that and shaking his head like that.  So I tossed the whole stack all at once.  It was pretty heavy and I couldn’t get a lot of air underneath, but it didn’t matter.  They made a sound like a bomb going off in a china factory as they hit the wood floor.

Dutch yanked my arm and dragged me off to the bedroom while my mother screamed louder than ever.  He threw me down on the bed.  He got in a few good licks on my ass, and some of them hurt some, but I didn’t make a sound.  Eventually he stopped.  I couldn’t see him because I had my face down in the pillow.  But I could hear him breathing hard.

“You’re a tough bastard,” he said.  “You got some of your old man in you after all.”  I must’ve made some sound then, because he said, “You don’t want to hear it, I get that.  I respect that.”  And he put his hand on my shoulder.  I had a thought about shrugging his hand off.  But I felt too ornery to do even that.  I didn’t want to give him the satisfaction.

I expected there to be some repercussions the next day.  But they were too preoccupied with each other to yell at me.  Dutch picked up a new set of plates and bowls at the thrift shop, and he had the window fixed before I even came home.

He took up residency after that, I guess.  It was mid-June and school was letting out.  I tried to be out of the house early so I wouldn’t see him much.  I’d pack a thermos and some sandwiches and set off on my bike to the creek.  Later in the day there’d be a few kids there, around the old wooden trestle bridge, fishing or horsing around.  But early in the morning it was quiet and real pretty there.  I’d sit by the creek and think on things.  Or I’d ride across town to the Starlight and sit in the overgrown parking lot and run through Kingdom of the Spiders in my head, the way I figured the movie played out.  Later I’d ride out to the ball field behind the school and meet up with whoever had a game going on.  Then I’d ride some more.  Eventually I’d make it home, tired and sore from riding and using that as an excuse not to be sociable.

Dutch said he had a friend who was a construction foreman.  He wanted Dutch to be a co-foreman on a new apartment building going up in Elkton, only they weren’t breaking ground till sometime in August.  I had my doubts that a co-foreman was a thing.  But Dutch kept busy.  He fixed the shower curtain, and he painted the baseboard trim, and he patched up the drywall in the hallway where the front door had banged into it for years.  He re-grouted the bathroom even though the grout seemed fine to me.  I thought the drywall was a little lumpy and the painting was sloppy, but I guessed he was trying.  He didn’t talk about it.  I’d just notice the things he’d done and that’s how I knew how he was spending his days.

One night I came home and found Dutch alone on the porch with a glass of whiskey.   He and my mother had a routine where they’d sit out on the porch with cocktails and listen to jazz music on my mother’s battery-powered radio.  He said he’d spent a year living in New Orleans with a roommate who was a jazz trumpeter—this was after he left that traveling carnival—and he wanted to share what he called his love of the art form with my mother.  Tonight it was just Dutch, though.  The sun had gone down but there was some redness left in the sky.  I asked him where my mother was, and he said she was laying down.  “Few too many mint juleps,” he said, and winked at me.

He was listening to a country station on the radio.  I asked him what happened to the jazz, and he waved the glass in front of him.  “Needed a break,” he said.  “Sometimes you need a break, is all.”

“From what?” I asked.

“Being somebody,” he said.  He stared at me for a bit, then held out his glass.  “You want a sip?”

I wanted to say no, but I thought he’d expect me to say no.  So I took a sip.  It was foul, and burned going down, but I made myself take another.  The second sip was worse.

He took the glass back and laughed.  He had an easy laugh.  “You’re okay.  You’ll be okay.  You just need—you know what you need?”

I shook my head.

“You need to be more generous,” he said.  “You know what I mean, generous?”

“I know what it means.”

“You’ll have a poor life if you go through it like that, not being generous with people.”

I didn’t say anything, because it didn’t seem like he was expecting me to.

He sat back and looked out over the streets, which were growing summer dark.  “This place,” he said.  “It’s kind of special, isn’t it?”

I didn’t answer him.  I thought it was special in some ways.  I liked the way the train tracks outside of town were all overgrown like they were from some ancient civilization, and I liked the look of the trestle bridge down by the creek even though it got condemned a while back.  I liked the abandoned drive-in theater and how you could imagine, when you were there, that there’d really been an apocalypse and there were giant spiders just beyond the trees, marching on River Oaks to take back their kingdom.  But Dutch wouldn’t know anything about those things.

“Seemed nice enough when we came here, your mom and me,” said Dutch.  “Seemed like the kind of place to settle down.”

“But you didn’t,” I said.  Not accusing him.  Just curious what he’d come up with.

Dutch tilted his head to look at me.  “I had too much in me,” he said.  “That fair enough?”

I shrugged.  I didn’t know what that meant.  It sounded like a thing you said when you didn’t ever look too hard at yourself.

He leaned back in the chair.   In the dusk I couldn’t see his face too well.  “This is a fine enough place,” he said.  “Only when you’re young like I was, maybe fine doesn’t seem so attractive.  Got to get some living under your belt is the thing.  Then maybe you reassess.  Then maybe you get a little worn down at the edges, and ‘fine’ starts to look good.”  He laughed again.  “Maybe ‘fine’ starts to look damn good.”

I had a weird idea then.  I had an idea that he wanted something from me but I didn’t know what it was.  It wasn’t love.  I don’t know that he ever thought of me as his boy or would’ve felt much for me even if he had.  But there was something he wanted right at that moment on the porch.  Maybe if I knew, I would’ve given it to him.

“I’ll tell you about a place,” said Dutch.  “Monterey.  Ever heard of Monterey?”

I shook my head.

He didn’t say anything more for a bit.  I thought maybe he decided not to tell me his Monterey story after all.  Either way was fine with me.  Then he did speak again, only his voice was different, quieter.  He talked like somebody telling a story, some particular story, for the very first time.  “Monterey is the edge of the world,” he said.  “That’s what I read once, in a magazine.  It was some kind of travel magazine and there was an ad for Monterey and it said, ‘Come to Monterey, at the edge of the western world.’  With a photograph of these pretty cliffs leading down to an ocean that was, Jesus, bluer than anything you ever saw.  Bluer than the idea of blue.”  He whistled softly.  “‘The edge of the western world.’  I read that and I thought, ‘There’s a place to go someday, Dutch.  Even if you don’t have a dime when you get there, Dutch, that’s a place where you’ll never feel anything but rich.’”

“You ever make it there?” I asked.

“I did,” he said.

I waited for him to go on.  I had questions, but I didn’t want him to think I was all that curious.

He said, “Mostly you’ll find that places don’t measure up to your expectations.  Mostly that’s the truth.  But Monterey measured up.”

“Because the ocean was all blue,” I said.  That sounded like I was making fun of him, and right away I was sorry I said it.

“You can stand there by the cliffs in Monterey and feel the whole continent behind you,” he said.  “The water’s blue, that’s for sure.  But there’s something grand and dark about the world stretching out behind you like that.”  He paused and seemed to think about what he’d said.  Then he said, like he was clarifying: “There’s something momentous about that.  Like you’re close to something.  You don’t even know what it is, only that you’re close to it.  And that’s an exciting place to be.”

I hadn’t ever seen the ocean except on television shows and in movies.   But I closed my eyes and tried to picture it like the way Dutch was telling it.  I pictured it with the sky like it was now, the color drained out of it, so I couldn’t even see the water.  I could just hear the waves dying on the rocks below.

“I had more than a dime when I got there,” Dutch was saying, “but not a whole lot more.  I ran a few scams to make some money.  Nothing too far out there.  Just enough to get me going, get me a place to stay.  Mostly I was running pretty straight.  I liked it there and I didn’t want to cause any problems for myself, or for anyone else either.  Eventually I took a job at a shoe store by Cannery Row—that sounds like it’d be a low-class sort of place, but the canneries all closed way back.  It’s an upscale part of town.  And this store was upscale too.  Respectable.”  Again he was quiet for a few seconds.  I shifted my position against the porch post and waited.

“There was this woman,” he said.  “Anamarie.  Came over from Spain, from Madrid, a few years before, but she spoke English better than I ever did.  She owned a vineyard.  Owned a couple vineyards.  She had long legs and a cool, dark face, and I thought she was a model when she first came into the shop.  I’d been in town about three months by then.  I sold her a pair of three hundred dollar shoes and didn’t stop talking for one second while she was there. I wanted to keep her there as long as I could, I guess.  Finally I asked her if she wanted to get dinner, and she said yes.  I don’t know why she did.  I never knew why.”  He turned his head to look up at me even though he couldn’t see my face now any more than I could see his. “You know that saying, that somebody’s above your station?  You ever heard that saying?”

“I’ve heard it,” I said.

“We ran together for a little while,” he said.  “We drove down to Big Sur on the weekends.  She showed me the vineyards and taught me a few things.  We drank a lot of wine together.  But she was above my station and I knew it.  I couldn’t ever quite—I couldn’t wrap my head around it.  What I was doing with her.  She liked the way I talked.  I’d sing to her sometimes, too.  I’d sing old things, like I’d sing ‘In a Sentimental Mood’ by the Duke.  Or Hoagy Carmichael, ‘The Nearness of You.’  My mother used to sing Hoagy Carmichael all the time.  I couldn’t really sing but it must have sounded nice enough.  Anamarie didn’t grow up in this country so she didn’t know how the songs were supposed to go anyway.  Anyhow, we’d sit out on her balcony on a night like this, but we’d have the Pacific right there.”  He gestured toward the road, which was dark enough by now that if you squinted right it could’ve been the ocean.  “She looked—I thought she looked as much like a part of that landscape as the ocean, or those rocky cliffs.  She belonged to it.  Even though she grew up on the other side of the world, she belonged to it.  She’d pour herself a glass of champagne—she drank champagne the way I drank everything else—and she’d say, ‘Sing me a song, Dutch.’  Or she’d say, ‘Tell me another story, Dutch.’  I knew it wasn’t anything permanent.  I knew I’d run out of stories to tell sooner or later.  But I kept her entertained for a while.  For a good while.”

He stopped, and this time he didn’t start up again, so I knew he was finished telling me whatever it was he wanted to tell me.

“So you ran off,” I said.

He thought about it.  “I didn’t measure up,” he said.  “If I’m looking at it square, then I’d say I didn’t measure up.”  He finished the last of his whiskey and set the glass down beside the chair.

I told him it was late and I was going inside.

He put his hand on my arm as I walked past, and leaned his head toward me.  “You want to hear a funny thing?” he said.

The smell of whiskey washed over me.  His hand felt hot against my skin, but I didn’t move it or shrug it off.

“River oaks,” he said.  “They don’t even have river oaks in Ohio.  We’re a thousand miles from anywhere that’s got ’em.  I looked it up once.”  He let go of my arm.  “It’s just a name, is all it is.  Just something to make the place sound like something else than what it is.   They’re just swamp trees anyway.”

He dropped his hand then and turned away from me, and I went inside.

§

For the rest of the summer, things were mostly okay.  Dutch talked a lot.  He kept trying to ask me questions even though I didn’t give him much reason to keep trying.  I knew he was going to run off again at some point, because that’s what he did.

I watched my mother to see how she was taking it all.  Some days she seemed happy enough to me.  Other times I thought I wasn’t seeing her right at all.  I’d catch her standing in the kitchen with her hands on the countertops, just looking out the window with a hard look on her face.  I thought that couldn’t be a good thing, to have that kind of look when you were just standing and looking out a window.  That couldn’t mean she was pleased with Dutch coming home and living with us after so many years of it just being her and me.   Then an hour later she’d be on the sofa with her feet up in Dutch’s lap, and they’d be watching television and talking as if they were an old married couple again, instead of whatever they were.  Or I’d watch Dutch make her mint julep and carry it out the porch, where they’d sit until the sun went down.  And there were nights when all three of us were out there.  She’d tell Dutch to play that jazz for her again, because she thought she was getting the hang of it.  And somebody walking by might’ve thought there wasn’t anything out of the ordinary going on, that it was just a thirteen-year-old boy hanging out with his mom and dad.  Sometimes I’d think about it like that myself.  I’d picture it the way a stranger would picture it.  And I’d be tempted by that picture even though I knew it wasn’t a true one.

Now and then that summer, when it was late and I’d gone to bed, I thought back on that day by the river, and I remembered the way she danced.  Not even a dance, but like she was casting some damn spell.  And I’d think maybe that’s what it really was, and somehow she’d brought Dutch back.  In the morning I’d forget about thinking these things.  But some of it must have stayed with me into the daylight hours, because I’d catch myself looking at her.  Letting that idea settle in.  Judging her, I guess.  For letting Dutch stay, and for bringing him back to us in the first place.

It was in the last week of August when I woke up to find him packing his things.

He was wearing just some wrinkled khakis and a t-shirt that he’d already sweated through pretty well.  The suitcase was open on the sofa.  I looked inside and saw that he didn’t have much in it other than his clothes.  A coffee mug, a Louis L’Amour book, a couple bottles of booze.  He was in the kitchen pulling a souvenir highball glass down from one of the shelves when I walked in.

“The farewell party arrives,” he said.  He walked past me and tucked the glass in with his clothes in the bottom of the suitcase.

I asked him where my mother was.

“In her room,” he said.  “Said she doesn’t want to see my damn face.”

I said, “Do you blame her?”

He looked at me then, and I could see he hadn’t slept.  His face looked older and more leathery than usual, and his eyes were glassy.  He hadn’t combed his hair.

“I don’t,” he said.

“Nobody needs you here,” I said.  I felt like I’d been waiting all summer to say that and have it come out the way I wanted, with some authority behind it.

He nodded.  “I know it,” he said.  “So I’m leaving.”

For a few seconds I didn’t get it.  Then it hit me that she’d kicked him out.

He laughed.  “I deserve that too,” he said.  “That look.”  It was the same easy laugh.  It wasn’t a happy laugh, either.  I wondered if it wasn’t ever a happy laugh, and if I’d just never paid any attention to it other than seeing how easy it came to him.

I didn’t say anything more.  What could I have said that wouldn’t have sounded hollow?  He knew I didn’t want him around.  Better not to say anything, I figured.  I just stood nearby and watched him gather up the last of this things.

A taxi pulled up outside, and I walked him out.

“Where will you go,” I said.  Because suddenly I did want to know.  I wasn’t ever planning to visit.  I just sort of wanted to know where he’d be in the world.

The taxi driver opened the trunk and Dutch tossed his suitcase inside.   He stopped by the open passenger door and gave me a long look that I couldn’t read at all.  Finally he said, “You’re a tough bastard, all right.”  That’s all he said.  Then he slid down into the cab and tapped the roof, and the car drove off.

It was ten in the morning before my mother came down.  She didn’t seem tired or beaten down.  She had a hard look on her face that I hadn’t seen before.

“He’s gone?” she said.  I nodded.

The day was a quiet one.  I asked her if she wanted to talk about anything and she said she didn’t.  I hung around the house anyway.  I thought maybe she’d be down even though she was the one who’d kicked Dutch out, but she wasn’t.  She wasn’t herself, I could see that, but she wasn’t down.  I figured she was resolved.  I figured that was the word for her.  And that had to be a good thing.

After dinner I helped her clean things up.

“We could sit on the porch,” I said, when we were done.  “There’s a game on.  We could sit on the porch and listen to the game, if you want.”

She gave me a weary look that lasted only a second or two.  Then she got that look of resolution back on her face.  Like it was something she maybe didn’t want to do but she was willing to go along.  She said, “Listening to the game sounds good, Bo.”

We went and sat outside.  There was a breeze and the streetlamps were just coming on as the daylight bled away.  The game was already in the third inning so we listened and caught up on what was happening.  I looked at her now and then and thought she didn’t look great.  Her face was sort of pinched, and I thought she was clenching her jaw.  I wished I had something to say.

I went inside for a Coke.  When I opened the fridge door, my eye fell on a little plastic bag of mint leaves.  I stood there with the door open, thinking.  It seemed like maybe it could be a good thing, but I didn’t know.  I took the leaves out, washed them and laid them out to dry on the counter.  There wasn’t much bourbon left but I figured there’d be enough.  I pulled down a highball glass and put some sugar and water in it, then set about muddling the mint the way I’d seen Dutch do it.  Taking my time, trying to get it right.  After I added the bourbon and ice, I stirred it up and threw in a couple of extra mint leaves.  It looked like a mess, but I thought I’d done it right.

She turned to see me come back out on the porch, and she spotted the glass before I could say anything.  She drew in a sharp breath and looked up at my face.  I didn’t know what she’d do, then.  I thought she might yell or knock the glass out of my hand.

Instead she smiled.  It was a smile I hadn’t ever seen before and I didn’t know what to make of it.  Maybe it was just the time of day and I couldn’t see her eyes so well.  But it seemed to me like she was looking right through to the other side of me.  Like she was smiling at something she could see on that other side, but I’d never be able to see.

“Well thank you, Bo,” she said.  She accepted the drink, and took a sip.

“I hope it’s okay,” I said.

“Oh,” she said, “it’s just fine, Bo.”

We listened to the game without saying anything more for a while.  I was feeling better about things.  I felt like the summer was only just starting, even though that wasn’t true.

“I like it here,” I said.  I meant I liked it here on the porch.  I liked having the radio on with the game, and watching the night slip over everything, and things feeling still and settled at the same time.

She didn’t say anything for a time.   When she did speak, there was an edge to her voice that made me look over at her.  She was holding the mint julep but she hadn’t taken another sip since that first one.  She was holding it in both hands, the way a baby might hold a cup.

“This place,” she said.  “This goddamn place.  You know what I think?”

I shook my head even though she wasn’t looking at me.  She was looking out at nothing.  Or maybe at whatever she’d been looking at before, when she smiled at me.

“I think,” she said, “there are places you go to, and there are places you go past on your way somewhere else.  And River Oaks is one of those other places, Bo.  You speed by and maybe you wonder what kind of lives those people have, the people who live there.  Maybe you wonder.  But mostly you thank god you’re still driving.”  She looked at me then, and I was glad I couldn’t see her too well.  “Only there are people living in those places who can’t keep on driving.  And when you figure out it’s you—that you’re one of those people, Bo, living someplace where other people are just happy to speed past—well, Bo, that’s a bitter thing.  That’s a bitter thing to come to know.”

She didn’t say anything more.  The game kept going on the radio.  I was afraid to say anything more, so I only sat thinking.  A pick-up drove past, heading east out of town, its headlights sweeping across the porch.  I thought about that day on the riverbank.  And I wondered if I’d been wrong to blame her, for thinking she’d cast a spell to bring Dutch back.  Maybe she’d cast a spell to keep him gone.  And it just hadn’t worked.

I knew there was something for me to say.  It couldn’t be right, what she’d said, that couldn’t be all of it.  I knew there was something.  It felt close.  But maybe I only wanted to believe that.

The trees shook in the night breeze.  The fall was all of a sudden coming on.   I put my arm around her shoulders and asked if she’d come inside with me.  Her body stiffened for a second or two, like she was still caught up in whatever it was that made her say what she’d said.  But I kept my arm around her.  Finally she put her head down.  She didn’t anything, just put her head down and rested it on my arm.  I was okay with that.  The night was coming down, and we stayed like that, on the porch, for a good long time.

—Tom Howard

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Tom Howard’s recent fiction appears in The Cincinnati Review, The Open Bar at Tin House, Booth and Willow Springs, and individual stories have received the Willow Springs Fiction Prize, the Robert and Adele Schiff Award in Fiction, and the Tobias Wolff Award in Fiction.  He lives with his wife in Arlington, Virginia.

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.

x

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.

§

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.
Apr 122017
 

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In the first sentence of Franz Kafka’s 1915 story The Metamorphosis, Gregor Samsa awakens not as a cockroach struggling to escape his bed but as an interpellated black man struggling to escape the Western hemisphere. I preface my interpretation with an admission that I offer the critical reader a conceit to rival Kafka’s own, the enduring weight of which has, in peculiarity of both interest and insight, propelled his writing from his century into ours. Consider  the human Gregor according to what he becomes: a dark-carapaced, living symbol of decadent biology, hidden away from and by the dominant culture, victim of an original sentence, mere animal bereft of the speech act, an innocent much abused by his social relations. Even Gregor’s heterosomatic blood is brown. For blood is the site where all racism makes its nest in the biological episteme of 1915[1] . I contend that Gregor goes to sleep a white bourgeois “commercial traveler” and wakes up a lumpenproletarian black man (Kafka 75).

Subaltern, for he cannot speak to authority without “a persistent horrible twittering squeak behind it like an undertone, which [leaves] the words in their clear shape only for the first moment and then [rises] up reverberating around them to destroy their sense, so that one [can] not be sure one [has] heard them rightly” (77). Lumpen, too, for he cannot engage in industry, Gregor the cockroach reveals in relief the relationship of productivity to whiteness and of the parasitic to blackness. This fallen, racialized modality of being I term Homo vermes, the most maligned product of the anti-humanist racial apparatus, that physical arm of ideological racism which is a racism without a human face at all.

Interpellation as a method of metamorphosis: to the specific mechanism of his fictive, anti-humanist-by-other means interpellation of the body that enforces Gregor Samsa’s metamorphosis, Kafka pays no textual attention. In the text Gregor simply wakes up on his fateful day and that is it. Gregor’s “hard, as it were armor-plated, back” as “he lift[s] his head a little [so] he [can] see his domelike brown belly divided into stiff arched segments…His numerous legs, which [are] pitifully thin compared to the rest of his bulk, [wave] helplessly before his eyes” (Kafka 75). Gregor’s body, nearly dead, is also newly racialized, reborn under the domination of racism. There exist subtle hints in Kafka’s story which refer to the racial dimension as that which separates the real life of men from the fatal myth of cockroaches along racial, existential, and class grounds, which I examine in turn.

Upon his metamorphosis, Gregor develops a sort of rash on his carapice, an “itching place which [is] surrounded by many small white spots,” discolored manifestations of the racial apparatus imparted by whiteness onto a white man no longer white, “the nature of which he [can] not understand” (Kafka 76). I consider Kafka here at his most anti-racist and as one such thinker par excellence. In his story, the evaluative site of race assumes the form of a radical anti-humanism which he, desperate to impart to the reader the insidious effects on body and mind of the racial apparatus, equates to a dehumanizing force so enormously powerful it abolishes the whole charactery of human species-being.

Franz Kafka

Gregor Samsa, the man become less than nothing, is less than that if he is not the twentieth century’s prime conceit of the dehumanized person in literature. Here Kafka’s depiction ad absurdum of the descent of man from the racial to the carapacial exemplifies his understanding of contemporary anti-humanist and anti-Semitic propaganda[2] , which advised white people that other people were subhuman or of a different species entirely. That such a radical interpellation could overcome a hard-working commercial bourgeois, a devoted employee who supports his whole family by his labor alone, whose material practices prior to metamorphosis repeat the demands of capital willingly and slavishly, whose family surname, a Hungarian derivation of the the Hebrew Shemu’el, means literally “the name of God,” reproofs interpretations of The Metamorphosis as an undifferentiated  allegory for alienation. The “name of God” here does not refer to the ancient tribes of Israel whose descendants lived, like Kafka, in a diasporic state in Prague. It refers to a formerly white man failed by counterfeit humanism.

The Metamorphosis is not, then, a literary example of the process of alienation in a vacuum; it is not a springboard for discussing the concept of alienation in itself, for Kafka wrote the other majority of his ouvre in regards to alienation qua alienation. Such is why we still read even the isolated paragraphs of Kafka today, in which his left and right hands have a wrestling match, and men become sensuous, hunted beasts. Which striking image, plot twist, or characterization of the unfortunates in the narrative of Gregor Samsa beyond Kafka’s whispered lacuna of the racial could possibly alienate the well-adjusted, self-sufficient salesman prior to his transformation? Gregor’s metamorphosis is representative of alienation, but it is representative of a specific type of alienation coded primarily by the racial apparatus of which the ethnically Jewish Kafka was, beyond a doubt, all too well aware[3].

Racial anti-humanism is that theory of the human which denies all humanism owing to race. The carapacial is that subject-position which has fallen below the sunken threshold of mere, familiar racism, as deadly as it is. The carapacial is that ontological status below the most maligned victims of the most vicious racism imaginable. My argument that Gregor becomes a Western black man may meet with the counter-reply that he devolves from a Jew into a vermin of popular racist caricature and so contextualizes a commentary not on blackness but on the so-called Jewish problem from below. Criteria of the alienation of Homo vermes from the social and familial totality for both demographics at the time were, admittedly, similar in tone, and both were certainly thought of as subhuman, which criterial dehumanizations feature, I think, important exceptions in their discursive contours.

The Jewish and the black man alike were, by and large, despised in Kafka’s century. Jean-Paul Sartre writes in Anti-Semite and Jew that “there is a disgust for the Jew, just as there is a disgust for the Chinese or the Negro among certain people…it is not from the body that the sense of repulsion arises…rather it is something that enters the body from the mind. It is an involvement of the mind, but one so deep-seated and complete that it extends to the physiological realm” (11). But that involvement of the mind “only serves [the anti-Semite] as a pretext; elsewhere his counterpart will make use of the Negro or the man of yellow skin” (54). Although alternate translations of the term Kafka uses to describe Gregor Samsa, Ungeziefer, render forth the words insect, cockroach, and vermin differently—vermin may be insect, rats, or other pests—a rat does not have feelers, nor can a rat crawl on a ceiling how Gregor does in latter parts of the story. Neither does the black man as an object of racist criticism possess enough use-value to satisfy the anti-humanist racial apparatus (for he is always and obviously human, too): he must become ever lesser until he is something which even moral men may stomp upon beneath their feet, something so abject and carapacial no one in Gregor’s family cares about him once he plunges into physical grotesquery, something to be first looked after and then eventually discarded.

The viciousness of anti-humanism stretches throughout the centuries. Voltaire, the anti-Semitic idol of the Enlightenment, writes in his Philosophical Dictionary that “I have never been in Judea, thank God! And I never will go there… Frederick II, when he saw this detestable country, said, loudly enough to be distinctly heard, that Moses must have been very ill advised to conduct his tribe of lepers to such a place as that” (263-64). The premier derogatory stereotype of the Jewish persona contemporary to Kafka’s time was that of a rat—such an anti-humanist theme would later rage forth in the propaganda of the Nazis but is, in fact, much older a theme than Hitler’s doctrine[4]— rather than a cockroach, while stereotypes of the black man in the margins have long riffed on elements of the pestilential and the insectal. Kafka admits he wrote of an Insekt[5]. For instance, compare the brutalization apparent in Geoffrey Chaucer’s “The Prioress’ Tale,” in which Jews living in their isolated ghetto slit the throat of a Christian child, to the historical likes of Cotton Mather’s treatment of the human status of “The Negro Christianized” or his sermon on the state-ordered death of the slave Joseph Hanno he entitled Tremenda: The Dreadful Sound with Which the Wicked are to be Thunderstruck.

Discursive themes on black pestilence have a history in the West almost as long as that of the facts of anti-Semitic pogroms[6]. It predominated even in the New World discourse of the seventeenth century, when Cotton Mather penned execution sermons like Tremenda  in efforts to convert the condemned and “miserable African” before his summary hanging, while conflating via his fundamentalist religion the diseases spread by unplanned urban living prior to germ theory with the possession, if not its proprietary ownership, of black skin enslaved under the regime of whiteness[7].

Frantz Fanon

The black and insectal appear in reaction even in the exploding bombs of anti-colonial discourse. In Black Skin, White Masks, Frantz Fanon offers a tantalizing image of the racial, in which Fanon, “little by little, putting out pseudopodia here and there, I secreted a race” (92). If Kafka wanted to write about an alienated Jew in Europe, he would have written about such a subject-position without insisting on its silence. Instead, Kafka wrote The Metamorphosis, a story about a white man become black who, in consequence of the anti-humanist racial apparatus, becomes inhuman and carapacial.

The prevailing ethno-racism of the social thought of Kafka’s brief life, were he to reflect it back on itself in the ethical mirror of literature, would have bade him write Gregor as a character who sniffs the air of his apartment with his large, furry nose and who literally squirrels away fresh cheese, if Gregor were merely the caricature of the socially problematic Jew in Kafka’s critical imagination—not as a character radically alienated by the racial, who naturally consumes a diet of the rotten and degenerated food his sister Grete scatters to the floor of his bedroom, whose epidermis is replaced entirely with his uncanny carapice (Kafka 95). Interpellated Gregor has feelers but has neither a tail, fur, whiskers, nor any teeth at all. He is a carapacial rendition of the final product of the dehumanizing, hierarchizing discourse of racism, an animal ontologically beneath the lowliest of mammals under the regime of Western racism, a black man whose subject-position is more subordinate than that of the Jew less than a decade after the conclusion of the Dreyfus Affair and within a year of the Great War, which eventually unfolded its various crimes against humanity into Hitler’s racial doctrine writ gigantic.

The carapacial hide that covers Gregor’s racialized body bears little of the historical assaults on the chosen people or the propagandistic, bitter taints of blood libel. What constitutes his body is a reflective criticism—the shining carapice of a cockroach is itself reflective of the racial gaze—of those who criticize the humanism of blackness from the standpoint of whiteness weaponized entirely against blackness, whose author is ethnically Jewish, but who does not take here in The Metamorphosis the specter of Jewishness in particular as his urgent object. For here Kafka writes urgently. How, and why, does Gregor Samsa, if not quite his subjectivity as his capacity for sentience is not immediately impacted by his metamorphosis, become a cockroach? Kafka provides no specific explanation. The answer to this riddle of the racial apparatus, I think, lies mid-way between Martin Heidegger, who published his Being and Time in 1927, thirteen years after the publication of The Metamorphosis, and the 1970 theory of interpellation put forth by Louis Althusser. Kafka read neither Heidegger nor Althusser as he wrote his story, of course, but he was not unaware of the themes they would bring up as to how the human agent is summoned to become the living form of its opposite.

Martin Heidegger

Kafka’s story can be understood in the light of Heidegger’s investigations of “the call” and Althusser’s conception of material interpellation via ideology. Happy, normalized Gregor is called—interpellated ideologically and thus materially—into his overnight devolution from one life-form of existence to another. Below I examine the mechanism of his metamorphosis via two philosophical anti-humanists, one a Nazi and the other a Marxist, and posit the universal significance of that mechanism for Kafka’s engagement with the anti-humanist racial apparatus, that wicked arm of the ideological which continues to haunt our culture as much as it haunted Kafka’s. In The Metamorphosis, even the universal is problematized as descending from the racial to that which produces and reduces Homo sapiens to Homo vermes, in whose body a virulently racist episteme comes home to roost.

Being and Time seeks to interpret two axes of universal experience. It is not Gregor’s notion of time that is appealed to by the racial apparatus; for all his newly-grown limbs and abilities to crawl upon his ceiling and consume degenerated food, his time spent among the social remains a grinding constant for him, however much his apartment becomes prison-like as his body becomes heterosomatic. His time remains very much the time of the family, though his phenomenology slides downward into ignorance—he forgets even that the seasons pass in the world beyond his apartment. Rather, it is his very being that is called to become carapacial by the appeal of the racial apparatus. I iterate how, via Heidegger, one can understand Gregor’s position. He falls into being by being called as a white man into the insectoid nether-realm of a racist society. How some people experience the call—as though awakening with one’s face in a water basin—Gregor falls ontologically, his face become, toothlessly, quietly, a symbol of the anti-human whose every social relation denounces him.

Heidegger writes in Being and Time that the “call ‘says’ nothing which might be talked about,” and which “gives no information about events,” much how Kafka is silent about Gregor’s devolving mechanism, and which “points forward to Dasein’s potentiality-for-Being,” that is, being another species below even what the racists refer to as the lowest race, “and it does this as a call which comes from [the] uncanniness” of “thrown individualization” (325). Is this not Gregor’s real instantiation of the racial, thrown into being a cockroach, in his uncomfortable, uncanny carapice? Gregor did not study the hardy texts of existentialism to become a cockroach; nor did he proof the ancient Heraclitus against his thesis that all things exist in fluxual metamorphosis. But Heidegger continues:

When the call gives us a potentiality-for-being to understand, it does not give us one which is ideal and universal; it discloses it as that which has been currently individualized and which belongs to that particular Dasein… Whatever the ways in which conscience is experienced or interpreted, all our experiences ‘agree’ on this ‘Guilty!’. Because Dasein has falling as its kind of Being, the way Dasein gets interpreted is for the most inauthentically ‘oriented’ and does not reach the ‘essence’; for to Dasein the primordially appropriate ontological way of formulating questions remains alien… this ‘Guilty!’ turns up as a predicate for the ‘I am’” (326).

Enough ink has been spilled about the relationship between Kafka and affective guilt—his father has probably been written about more than any other father excepting the celestial father of Christianity. “’Being-guilty’ also has the signification of ‘being responsible for’—that is, being the cause or author of something, or even ‘being the occasion’ for something,” according to Heidegger (327). Gregor’s metamorphosis is Kafka’s occasion to discuss guilt but it is also an occasion to discuss something else.

Of more importance is his relationship with Homo vermes, those who come to be defined by not the affect of guilt but the very ontological status of being-guilty of being Homo vermes. Cockroaches, after all, are guilty of nothing: they act on the world solely according to their nature. But the nature of men is manifold, capable of every emotion, and capable likewise of every dehumanizing transformation. So, too, with those assaulted by the ideology of the hardcore racists like de Gobineau and his followers. The Metamorphosis can be understood not as offering a projection of universal doom to those called into racial hierarchy but as a universal state of being, Homo vermes, who are not taken as the subectal object of the hated Jew but rather as the black man. It is at once a place for all to fall into the uncanny inhuman and a specifically designed reservoir of those most hated by the hegemonic sphere of culture. “In uncanniness,” writes Heidegger, “Dasein stands together with itself primordially. Uncanniness brings this entity face to face with its undisguised nullity, which belongs to the possibility of its ownmost potentiality-for-Being” (333). Gregor becomes a nullity where previously he was a full man integrated into the social life of the industrial West. This generous interpretation of the family, the productive enemy of all uncanny individualism, also has its problematic, which even through Kafka does not deliver freedom to those haunted by blackness.

So-called existential freedom under the umbrage of race offers stranger miseries than are usual in the course of human life. “Freedom, however, is only in the choice of one possibility—that is, in tolerating one’s not having chosen the others and one’s not being able to choose them” (Heidegger 331). The call to the carapacial is not universalist in scope, according to Heidegger: it calls only the absolute minority. Of course, the most absolute minority is “that which is individualized,” that is, the individual who “has falling as its kind of Being” (326). Every man is potentially and thus universally such material for metamorphosis, and so every calling develops into the universal via particularity. Every person is potentially Homo vermes according to one’s particular regime of episteme, depending on which kind of persons it casts aside and which kind it lets live; but every person is not individually threatened by being called into such a state of being as Homo vermes in Kafka’s episteme.

This horror of being Homo vermes is reserved for the black man in Kafka. “’Making oneself responsible’ by breaking a law…can indeed also have the character of ‘coming to owe something to Others’. This does not happen merely through law-breaking as such, but rather through my having the responsibility for the Other’s becoming endangered in his existence, led astray, or even ruined” (Heidegger 327). A more complete ruin than that of Gregor Samsa has not been written about except perhaps for the ruin of Job. The specter of racism, which always already references the most inauthentic mode of being human (the racial misrecognition of biology) to which humanistic critique is completely opposed, does not threaten everyone, at least not in Kafka’s sense. It threatens the carapacial who once upon a time were racial. In short, the human being, as utterly human as any other example of the species, becomes utterly less than that once he is called into being an example of Homo vermes.

The absolute minority is the individual Gregor Samsa who falls—I might term this waking up—into another level of species-being. I shall say more of his race and carapace. Gregor the salesman is white, but Gregor the cockroach is not: he has fallen into being a black man, the lowest scale of being according to the racist evaluation of his time, whose missionary impact Kafka seeks to deflect and re-humanize from head to hue. That is, Gregor transforms from the white universal into the black particular, whose instance must necessarily exist in a state of guilt so profound he grows insectal feelers, the uncanny ability to crawl on ceilings, and the capacity to put like with like in his diet of consumption—a rotten body able only to enjoy rotten food. Human beings typically do no such thing no matter their race; nor should any of us, save the racists, ever live in such a state of guilt. Only interpellated Homo vermes can exist in such a state, and at that, only when imagined by an author consumed by the notion that race dehumanizes a man called by anti-humanist racial apparatus.

But Homo vermes here is an imaginary object. No human being is a vermin. Racists rarely know they operate in the realm of the imaginary, that Homo vermes offers hope for humanism even when Gregor’s abused, humiliated body flattens unto his death, when he dies unmourned in a  story written onto paper by the anxious fingers of a Prague Jew writing of the black man as an epitomic object of humanist criticism, or when the failed strategies of racists aim to build a master race but only offer posterity a long and painful laughter. Racial hatred is as absolute and boundless as the human. For the racists who developed Nazism, Kafka could be hated twice; the problematic Jew thrice over; but the black man has been hated ad infinitum even by those who offered theories that rendered humanism solute and replied still in 1915: but, he, the human, is still the aspect of the “miserable African.”

Kafka’s racists hated the Jew who wrote of blackness and so indirectly produced, via the medium of Kafka’s agency, the narrativa exemplum of anti-racism that defined their own century, equal in misery as the plodding century which howled of the plight of Cotton Mather’s “miserable African.” Yet this newer pessimism was confined to the domain of the racist, whose thinking was also novel for all its destructive faults; for, I think, the first true racist was born alongside the first cosmopolitan (consider the sea-faring Portuguese entry into the slave trade). Kafka, anti-racist, prevails against the racial apparatus all the more hopefully because he disproves the critical field of racist attention as living on fallow soil. We see more of Kafka’s defense of Homo vermes in the light of Althusser’s long essay On the Reproduction of Capitalism now that the race-thinking Heidegger inverts himself.

Louis Althusser

For Althusser, every man, woman, and child alive and active in modern society is recruited by that ideology which reproduces the status quo—“the State”—which “recruits them all” to its immanent demands (190). The state is not co-incident with the figureheads of government. It is co-incident with the state of economy and culture which rules a particular society. In other terms, what nineteenth-century Marxists called false consciousness is consciousness itself defined by material practice imposed from birth onward by the directive, reproductive needs of how things always already are and need to keep on being. It is this form of consciousness which, for Althusser, “recruits them all” into being subjects. But Gregor is not recruited into the economistic mold of the state, which tells its workers what to do and when to do it. He is recruited into a debased subjectivity even while maintaining sentience of such, which apparatus tells the racialized worker how to labor (or, in this instance, how not to labor); and more importantly, how to perform that lacunic labor which compares a dignified man to a man who relinquishes all dignity of the self. “We,” writes Althusser, “know what that means: these apparatuses operate apparently ‘all by themselves,’ without recourse to violence. In fact, they function thanks to means other than violence, namely, on ideology, or rather, ideologization” (79).  The status quo of which Althusser writes needs people to die quietly. One such ideologized person is Gregor, who becomes an instance of Homo vermes, a vermin incapable of any speech act in consequence of the racial apparatus.

Kafka’s observation proves true as it metamorphoses from the realm of pure idea to the realm of materiality, material repetition, and material embodiment of which the recruited Gregor is a short-lived example. “We shall go on to suggest ideology ‘acts’ or ‘functions’ in such a way to ‘recruit’ subjects among individuals (it recruits them all) or ‘transforms’ individuals into subjects (it transforms them all) through the very precise operation that we call interpellation or hailing” (Althusser 190). If guilt becomes an Insekt then Homo vermes is personal false consciousness become blackness entirely assumed. “This is a strange phenomenon, after all, one that cannot be explained by ‘guilt feelings’ alone, despite the large numbers of people with ‘something on their consciences” (Althusser 191). Prior to Gregor’s racial guilt, who, as a former bourgeois white man, did not know he could interpolate into blackness, and so was never aware of a false consciousness which is not false at all, Gregor was only a white man engaged in labor. In fact, it seems Gregor did very little else but work for the capitalist system prior to his metamorphosis; and prior to this event, Gregor was not carapacial and was probably not even racial in the sense that he was blind to his whiteness by virtue of being white. I say more of Althusser’s theory of interpellation before I say more of Kafka’s most tragic and carapacial character.

In his essay on ideology, Louis Althusser, in explaining his theory of material interpellation, rarely concerns himself with false consciousness, for such is the orthodox form of the enslavement of the workers with which he takes especial issue. Neither does Kafka much concern himself with false consciousness, for he, like the later Althusser, understands that the concept of the human is at odds with theories of the racial, the biological misrecognition of man, and those dehumanizing theories of the carapacial which he depicts at their harshest materialization in The Metamorphosis. For Kafka, the metaphorical is material. False consciousness is as false as race—the black man under realism’s regime is never Homo vermes and is always as human as Kafka, as you, or as I—but it does offer local criticism of the gigantic monster of the racial apparatus, whose form of praxis is racial anti-humanism.

That a Nazi like Heidegger or a Marxist like Althusser offer a fresh locus of criticism for Kafka’s work, even from the standpoints of two opposing totalitarian tendencies, exclaims his righteous demonization of all that is racial and all that tends towards the monstrous and the carapacial, which, as evidenced by his story, are exactly identical in critical orientation. Kafka supports the universal as much as anti-humanist thought supports the merely particular. The racial apparatus is as “repulsive” and “bound to go on being repulsive ” as Gregor (Kafka 101). A well-adjusted man like Gregor should worry that he might become, in the course of one dark night of the soul, an “Insekt.” Materially successful by Kafka’s account, keen on his nuclear family, happily individual, Gregor  awakens, via no recognizance of his own, in the being-toward-death of a cockroach who loses his job, who slaved for capital and family through his own will and becomes a parasite without will, who integrates the sin of knowledge into a wound in his back—a book could be written about the apple lodged into his carapice and the sort of horrible knowledge its imposition represents as it rots—who whistles through his jaw, for he no longer has access to the Logos which is universally constitutive of the human being.

Gregor is the first cockroach who has a neocortex but no tongue. He dies as black and fallen as the Fanonian[8]subject whose will to revolution is killed under colonialism. Fanon writes of the colonized subject that “in plain talk, he is reduced to the state of an animal. And consequently, when the colonist speaks of of the colonized he uses zoological terms. Allusion is made to the slithery movements…to the hordes, the stink, the swarming, the seething, and the gesticulations” (7).  Kafka seems to have noticed such a process in his own time, writing of Gregor that “hardly was he down [from his formerly upright posture] when he experienced for the first time this morning a sense of physical comfort; his legs had firm ground under them; they were completely obedient, as he noted with joy; they even strove to carry him forward in whatever direction he chose; and he was inclined to believe that a final relief from all his sufferings was at hand” (89).  If Gregor wakes up in the bed he has peacefully slept in all his life as a cockroach against whom society must be defended[9], so may anyone, for such caprice of the carapacial “final relief” informs Gregor with the knowledge of that insidious operation by which the awful genius of anti-humanism operates its racial apparatus.

…Gregor realized that the lack of of all direct human speech for the past two months together with the monotony of family life must have confused his mind, otherwise he could not account for the fact that he had quite earnestly looked forward to having his room emptied of furnishing. Did he really want his warm room, so comfortably fitted with old family furniture, to be turned into a naked den in which he would certainly be able to crawl unhampered in all directions but at the price of shedding simultaneously all recollection of his human background? (104)

The racial apparatus reduces everyone to Homo vermes not collectively but one by one. It reduces them all from a human background to a background that must not be spoken of in polite company, which reminds one of the rotten, the degenerate, and the dying whose death is not even a human sort of death.

I hope here to write the obituary of Homo vermes although Gregor’s death warrants no funeral. No one cares that he has died where in boyhood he used to sleep in peace—indeed, his family cared much more about Gregor when he paid all their bills. Kafka writes, “They had simply got used to [his employment], both the family and Gregor; the money was gratefully accepted and gladly given, but there was no special uprush of warm feeling” (98). Now that he is black and poor, no one fixes for him the final funereal suit which clothes the dead until they look as they were at their best in life, replete with rosy cheeks, meditative features, and business attire. Born Homo sapiens, Gregor exits this world Homo vermes, nuder and somehow more vulnerable than the day he was born. The Samsa family’s charwoman, a simple proletarian not much removed from economic slavery, sweeps away his carcass, now “completely flat and dry, as could only now be seen when it was no longer supported by the legs and nothing prevented one from looking closely at it,” as though his carapacial body were as ephemeral as his memory (Kafka 125). What use does the capitalist society of 1915 Europe, edging into the long race war whose end we refer to as World War Two, have for the racialized and the socially damned?

The West’s current multiculturalism, which is both historically nascent and yet already dissolves in its hopeful adolescence, is a long reaction to the parasitic specter of Kafka’s Homo vermes. Western thought thinks of black men and vermin as occupying the same ontological territory: one of “streaks of dirt stretched along the walls” and “here and there” “balls of dust and filth” (Kafka 114). It considers these categories of the anti-human under a dismal gaze that identifies eternally the black with the pestilential and announces that this foul identity is acceptable, required even, for the maintenance of the social whole. The West needs its cockroaches as upon a century it needed its slaves. Kafka writes, “The decision that [Gregor] must disappear was one that [Gregor] held to even more strongly than his sister…The first broadening of light in the world outside the window entered his consciousness once more. Then his head sank to the floor of its own accord and from his nostrils came the last faint flicker of his breath” (124). Gregor, worn down by the slow death of his metamorphosis, wants at last to die, and finally, quietly does. He can bear no longer his interpellation from a happy man into a hated brute, of living a grotesque rendition of social death, removed from all possibility of communication with those who formerly shared even his blood, of being called into being poor and black.

Western society, a fantastically brutal example of the battle between the human and the racial in which the racial is often victor, must be defended against the carapacial specter. I declare this warning admittedly as a white man who is recognized as such by our society and who has largely escaped the suicidal call of the racial apparatus. For, we in the West, whether we adhere to the liberal register or the fascist, continue to think in terms imposed by our defining history of anti-humanism. We who defend the liberal imperative reproduce these categories and their moral lots as a matter of course, whose real and active course of thought we tend to neglect because it often does not affect our bodies or our subject-positions. For even Gregor’s sister, Grete, who loved him deeply before his metamorphosis, winds up declaring to her family that Homo vermes, once her brother, so thoroughly dehumanized he crawls around in his own filth, is not a victim of larger circumstance, but a “creature” who “persecutes us” (122). Franz Kafka, whom the social theorist of Theodor Adorno once called “the solipsist without ipseity,” is a hero to match the villainy in his stories and, indeed, a hero to counter our own hypocritical villainy which calls the very victims of the hegemonic racial ideology of whiteness our persecutors in turn (237). We persecute those who have been persecuted when we say, “Look, a cockroach!”

We have failed to enact in practical terms our ideals of the essential equality of Homo sapiens. Our failure does not surprise me, for even the heirs of Hitler think of themselves as heroes of the social order. Fascism, I suspect, is the insectal answer to our failing liberalism. Everywhere, Homo vermes lives outside of our sight, and everywhere he lives within our borders: who cannot think of one’s neighbors as potentially harboring some miserable Gregor Samsa, right next to one’s own house, looking forlornly beyond his window at those who have abandoned him in his hour of need?

Western abuse of world history and subsequently of every individual living within its course, if by this point the West still has a course, is a moral lesson against our anti-humanism, which we continue to reproduce even in our most liberal praxes. No one loves Gregor at his most vulnerable. Those who should be kindest to him throw him away as though he were the same trash they fed him. Race is where the hopeless go to die; it is the ontological means by which they are disposed of. It is my hope, now that we know its embodied horrors from our feelings to his feelers, that anti-humanism is selfsame with the realm of the racial, and that its meanest imposition onto blackness is the carapacial imposition, finds its grave-site sooner rather than later, and, furthermore, that this deadly manner of thinking and acting alongside our fellow human beings is buried near wherever it was the devitalized Ungeziefer found his resting place, as the word “nigger” was buried, if Kafka ever did bury Gregor.

—Jeremy Brunger

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Works Cited

Adorno, Theodor. “In nuce.” Minima Moralia. Verso, 2005. 236-238.

Althusser, Louis. On the Reproduction of Capitalism. Verso, 2014. 74-191.

Bernofsky, Susan. “On Translating Kafka’s The Metamorphosis.” New Yorker, 2014.

Chaucer, Geoffrey. “The Prioress’ Tale.” The Canterbury Tales. Penguin, 2003. 170-76.

Fanon, Frantz. “The Lived Experience of the Black Man.” Black Skin, White Masks. Grove Press, 2008.       89-119.

—. “On Violence.” The Wretched of the Earth. Grove Press, 2004. 1-62.

Foucault, Michel. “Eleven. 17 March 1976.” Society Must be Defended! Picador, 2003. 239-264.

Frasetto, Michael. “Medieval Attitudes Toward Muslims and Jews.” Misconceptions About the Middle      Ages. Routledge, 2009. 76-82.

de Gobineau, Arthur. “The Meaning of Degeneration” and “Racial Differences are Permanent.” On the   Inequality of Human Races. 1853. 23-140.

Haraway, Donna. “Universal Donors in a Vampire Culture: It’s All in the Family. Biological Kinship     Categories in the Twentieth-Century United States.” Modest Witness @ Second Millennium.        Routledge, 1997. 213-315.

Heidegger, Martin. “Understanding the Appeal, and Guilt.” Being and Time. Harper & Brothers,1962.          325-35.

Herman, Arthur. “Afloat on the Wreckage: Arthur de Gobineau and Racial Pessimism.” The Idea of          Decline in Western History. The Free Press, 1997. 53-60.

Kafka, Franz. “The Metamorphosis.” Collected Stories. Knopf, 1993. 75-128.

Sartre, Jean-Paul. Anti-Semite and Jew. Schocken, 1995. 1-54.

Voltaire. “Judea.” Philosophical Dictionary. Barnes & Noble, 2006. 263-64.

Wiener, Mark. “Let Us Make a Tryal.” Black Trials: Citizenship from the Beginnings of Slavery to the End of Caste. Vintage, 2006. 33-50.

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Jeremy Brunger

Jeremy Brunger, originally from Tennessee, is a writer attending a graduate program at the University of Chicago. His interests trend toward the Marxian: how capital transforms us, abuses us, mocks us. His writing on philosophy and politics has been featured on Truthout, The Hampton Institute, and 3 AM Magazine and his poetry has appeared in the Chiron Review and Sibling Rivalry Press. He can be contacted at jbrunger@uchicago.edu.

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Footnotes    (↵ returns to text)

  1. See Donna Haraway’s article in which she delineates the genealogy of race-thinking according to a temporal, triadic conception of social thought, beginning with the thinking of the “blood,” passing through “population” theory, and ending with an account of the “genetic” cognizance of the human (219). Kafka wrote his story in 1912, three years prior to publication, but this period of writing is congruent with the “blood” episteme of contemporary social thought on race.
  2. Such propaganda was inspired to the last by the declinist racial theories of Arthur de Gobineau who, to his small credit, did not think such a degeneration as Samsa experiences was possible. For the anti-bourgeois de Gobineau, the differences between races—for him these differences were very real and world-historically meaningful—were permanent and immutable. The Inequality of Human Races explicitly denounces two progressive ideas: the improvement of the races towards equality, and the mutable nature of race. A minority race could not actually descend to the level of the insect even for this hardcore racist, albeit his curiously ill-informed observations made little impression on the half-educated racists of Kafka’s era, who took the theories of de Gobineau to their extreme logical conclusions. See Arthur Herman’s “Afloat on the Wreckage: Arthur de Gobineau and Racial Pessimism” in The Idea of Decline in Western History for Herman’s account of the nineteenth-century transition of race meaning lineage to race meaning biology.
  3. See Kafka’s In the Penal Colony, in which the infernal machine, a literal apparatus, inscribes one’s sin on one’s skin.
  4. See Michael Frasetto’s article “Medieval Attitudes Toward Muslims and Jews.” He writes, “In the thirteenth century, the blood libel emerged, which held that the Jews killed Christians and used their blood in Passover ceremonies. The notion that they were subhuman also developed. Jews were depicted in animal forms, with horns and tails, crooked noses, and were thought to give off a foul odor” (79). Black Death Europe, it seems, had no cockroaches, but plenty of rodents.
  5. See Berfosky’s New Yorker article on the difficulty of translating Kafka’s German “hazy focus” into English.
  6.     Even the hyper-egalitarian Karl Marx, himself of Jewish origin, was not above referring to another man, Lassalle, as “the Jewish nigger” in private correspondence, a contrary apotheosis of race-thinking if ever there was one.
  7. See Mark Wiener’s chapter “Let Us Make a Tryal” from Black Trials: Citizenship from the Beginnings of Slavery to the End of Caste in which he examines the conflation of the black with the parasitic in the discourse of Cotton Mather.
  8. In Black Skin, White Masks, Fanon has nothing to say about Kafka’s story but much, I imagine, to say about its outcomes regarding Hegelian recognition and the suicidal diminution imparted by racism. He does not often touch on the theme of anti-humanism and cannot be characterized as such a thinker; his criticism tends always to focus, like a rounded glass beneath the sun, on those most in agreement with him whose theories on race and Africa disagreed with his own. Hegel famously writes that Africa has no history; Freud, the father of psychoanalysis, hated Hegel’s dialectics, and yet Fanon synthesizes both in a clinical diagnosis of the racial apparatus. “The Lived Experience of the Black Man” even resembles the description of the concept of interpellation in Althusser: “Look! A Negro!” (89).
  9. See Michel Foucault’s Society Must be Defended!, his 1975-76 lecture on the development of racism in Europe and in particular his theory that the state requires the racial apparatus in order to go on functioning (254-58).
Feb 142017
 

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Irene Némirovsky is an odd choice for critics to attack and defend. Surely, in any political climate, let alone today’s, more obvious proponents of anti-Semitism exist than a woman who wore a yellow star and died at Auschwitz. But she asked uncomfortable questions in uncomfortable times that quickly became dangerous times. —Laura Michele Diener

nemirovskyquestion

The Némirovsky Question: The Life, Death, and Legacy of a Jewish Writer in Twentieth-Century France
Susan Rubin Suleiman
Yale University Press, 2016
376 pages; $35.00

“It is impossible, as many liberals believe, to belong to two nations, the Jewish and the French,” –Robert Brasilac, 1938, Je suis partout, French newspaper

“What have I in common with the Jews? I have hardly anything in common with myself”
–Franz Kafka, Diary

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Exquisitely erudite and boundlessly empathetic, Susan Suleiman’s newest book, The Némirovsky Question: The Life, Death, and Legacy of a Jewish Writer in Twentieth-Century France, is far more than a literary biography of Irene Némirovsky but rather a study of twentieth-century Jewish identity with one writer’s life as the fulcrum. Irene Némirovsky, now most famous for the miraculous posthumous adventures of her novel Suite Francaise, was during her lifetime, a respected and successful writer on the French literary scene. Born to a wealthy Russian Jewish banking family in 1903, after the Russian Revolution, she moved to France as a teenager where she wholeheartedly embraced the language and culture of her adopted country. Classified as a foreign Jew under the Vichy regime, she was arrested by the French police in July 1942, and subsequently transported to Auschwitz where she died a month later. The unfinished draft of a novel (actually two novels, the first of a proposed five) survived with her two young daughters, Denise, age twelve, and Elisabeth, five, to be published to acclaim in 2004. That year, it won the prestigious literary Renaudot Prize in 2004, the first time the award was bestowed on a deceased author.

First French, and then English speakers have adored Suite Francaise, two beautifully executed studies of French civilians under German occupation, rife with tender relationships and written in real time by a sharply observant narrator. World War II has become part of the collective consciousness of many Americans and Europeans, and with its portrayals of the quiet upheavals and wartime romances of an occupied village, Suite Francaise fulfills many twenty-first century fantasies of vintage wartime. Publishers seized the opportunity to reissue her older books and translate them into English, but their portrayals of prewar immigrant Jewish characters—particularly the 2007 translation of David Golder—struck some readers as more archaic and even disturbing. Its original publication in 1929 was Némirovsky’s first big break in the literary world, but she also received criticisms from Jewish readers who questioned the value of a story about an unscrupulous banker.

In the article, “Scandale Francaise,” that appeared in the January 30, 2008, issue of the New Republic, critic Ruth Franklin boldly and uncompromisingly states that “Némirovsky was the very definition of a self-hating Jew” who “made her name by trafficking in the most sordid anti-Semitic stereotypes.” Although she admits that Suite Francaise “is a fine novel,” she questions the absence of Jewish characters, suggesting that “perhaps Némirovsky was incapable of creating sympathetic Jewish characters. Franklin’s article followed other condemnations, including a review of The Dogs and the Wolves in the Times Literary Supplement by Naomi Price, and an article Jewish Ideas Daily, by Dan Kagan-Kans, titled, “Portrait of the Artist as a Self-Hating Jew.” In the end, the crux of these arguments rests on two points, the visibility of Jews and the invisibility of Jews in her fiction, neither of which critics find acceptable. Some of the reviews, like Kagan-Kans’, display an almost astounding blindness towards historical context (he writes scathingly of the absence of Jewish characters in All Our Worldly Goods, a novel Némirovsky published in 1941, when she was already wearing a yellow star and writing under a pseudonym, because Jewish authors were banned), and Susan Suleiman treats them with more politeness than they deserve. On the other hand, Ruth Franklin, herself the author of the recent well-received biography of Shirley Jackson (Shirley Jackson: A Haunted Life, Liveright, 2016) as well as a A Thousand Darknesses: Lies and Truth in Holocaust Fiction (Oxford University Press, 2011) presents a conundrum. She has done her homework, and Suleiman’s book is partially a continuation of an in-person conversation at the Museum of Jewish Heritage in New York, on December 12, 2008, which Suleiman describes as heated. Both women, like Némirovsky, are Jewish women writers deeply concerned about Jewish women as writers as well as women writing about Jewishness. The debate centers around Némirovsky’s views on Jewish assimilation into French society. As Franklin interprets them, assimilation in Némirovsky’s novels is doomed to fail because their inherently negative Jewish characteristics will inevitably surface. “Though the Golders [characters from the 1929 David Golder] have tried to assimilate into French society, Némirovsky makes it clear that Jews can never escape their identity.”

Suleiman carefully outlines the debate and rightly asks, “why reasonable readers can argue with such passion about the alleged self-hatred (or not) of a Jewish writer who has been dead for almost three-quarters of a century?” and why these reasonable readers have always been exclusively Jewish. Non-Jewish critics display little desire or interest to enter that inflammatory conversation. Much of Sulieman’s book examines Némirovsky’s writing as an exploration of deeply divisive questions about Jewish identities, a group as divided today by language, ritual, class, and politics in the 1930’s as they are today.

To do so, she delves into the thorny question of Jewish self-hatred, a concept dating back to the nineteenth century, when the political climate allowed a number of German, Austrian, and French Jews to escape the ghettos and enter mainstream society. The resulting identity crises among assimilated Jews contributed to the outpourings of Jewish artists and intellectuals. In every conceivable medium, Jews questioned who and what they were, and how they fit into the growing nationalisms of nineteenth-century Europe. Can a Jew be a good German? Or a good Frenchman? Or even entirely French?—the latter an incendiary question that burst into full-scale flame in 1894, with the Dreyfus Affair. In addition to questions of patriotism, for assimilated Jews, the even larger question loomed—What is a Jew? If a person distances themselves from language, ritual, and belief, what inalienable element continues to define them as Jewish, and somehow of a piece with other Jews? Suleiman explains:

It is this estrangement experienced by Jews themselves from other Jews that some people call self-hatred or Jewish anti-Semitism. But the fact is that it existed and continues to exist, not only among Jews but also among other devalued minorities, and not only in Europe.

Accusations of self-hatred have been leveled at a fairly respectable group of intellectuals and artists including Franz Kafka, Gertrude Stein, Hannah Arendt, Philip Roth, Joseph Roth, Isaac Babel—proving at least that Irene Némirovsky is in good company and perhaps that the definition of Jewish self-hatred, if such a thing exists, is so all-encompassing as to be meaningless. After all, anyone who explores their genetic and cultural inheritance with anything but the most unflagging enthusiasm could effectively be considered self-hating. Suleiman views the question of Némirovsky’s or anyone else’s Jewish self-hatred as insolvable, and certainly ahistorical, and argues that “rather than speak of Jewish self-hatred, it makes historical as well as philosophical sense to speak of the ambiguities and ambivalences regarding Jewish identity and self-definition during this period.”

The title of her book, The Némirovsky Question, plays on another nineteenth century concept, die Judenfrage, one that Suleiman proffers as “a useful alternative to Jewish self-hatred if one wants to think about dilemmas of Jewish identity in modern times.” Today, the Jewish Question possesses ominous connotations of cattle cars and concentration camps, but before the Nazis repackaged it as “how to get rid of the Jews,” Jewish intellectuals themselves, including Theodore Herzl, Oskar Jaszi, and Anna Lesznai interpreted the question as a series of inquiries into the place of Jews in mainstream society, Jewish group identity, and most acutely, how people characterized more by division than similarities related to each other.

As Suleiman argues, the Jewish question haunted Némirovsky, who lived out the complexities of interwar Jewish identity. Many of her Jewish characters were reflective of her own family members, eastern immigrants to France, wealthy, on the path to assimilation, but at most a generation away from the ghetto. Her father, Leon Némirovsky was from a poor Yiddish-speaking family near Odessa while her mother came from a wealthy Jewish family more assimilated. As in her family, so in her books, the choice of French, Russian, or Yiddish language declares affiliation. The family lived the elegant and fashionable life of the French upper class, and Némirovsky received her education first through a French governess and then the Sorbonne. She enjoyed close friendships with French Catholics, notably the siblings Rene and Madeleine Avot, who would care for her children after the war. But the husband she married at the age of twenty-three, Michael Epstein, was another Russian Jew from a banking family, and one more religious than her own. The couple converted in 1939 to Catholicism, sent their children to Catholic schools, and in their own words, considered themselves entirely French-Catholic. But waves of refugees from Nazi Germany as well as a growing antipathy to foreigners challenged their self-identification with their adopted country. Between 1920-1939, the number of Jews in France tripled, with many of the newcomers Yiddish speaking, religiously observant, and poor. In her novels David Golder (1929), The Dogs and the Wolves (1940), and The Wine of Solitude (1935), she considers the tensions between these groups ostensibly sharing an identity. In her short story, Fraternité, published in February 1937, these uneasy cousins literally confront each other in the encounter between a wealthy assimilated Jewish banker, brilliantly named Christian Rabinovitch, and a Jewish immigrant from Russia, also named Rabinovitch.

No character in Némirovsky is so successfully assimilated that they aren’t haunted by the specter of their poor religious antiquated Jewish selves. These internal tensions among French Jews play out against a context of French anti-Semitism, which in the end, renders issues of Jewish identity null. Ruth Franklin’s accusation becomes Suleiman’s explanation: “Though the Golder’s have tried to assimilate into French society, Némirovsky makes it clear that Jews can never escape their identity.” Sadly, her stories were prophetic, as she lived to experience. She moved through her life from exile to beloved and feted community member and, finally, to exile again, dying far from the home she had claimed. In 1942, she wrote chillingly, “I have written a lot lately. I suppose they will be posthumous works, but at least they make the time pass.”

The scope of Suleiman’s book extends beyond Némirovsky’s life and even her posthumous fame. She devotes the last third of the book to the story of Némirovsky’s daughters, Denise and Elisabeth, and along with them the collective stories of child survivors of the Holocaust. After the arrest of their parents, the girls spent the last two years in Occupied France living under false identities, constantly on the move, mainly under the care of their nurse Julie Dumot. They joined the more than ten thousand Jewish children who had lost one or both parents during the war, and Suleiman considers them as such, employing trauma theory and the literature on children with hidden identities to discuss their experiences. Through their own writing, particularly Elisabeth’s 1992 memoir, Le Mirador, and editing of their mother’s papers, Denise and Elisabeth, both raised and educated as Catholics, sort out their complicated legacies and memories. Suleiman’s own relationships with the family, especially Denise whom she interviewed extensively before her death in April 2013, form the heart of this section, which is entirely unique in terms of Némirovsky scholarship.

The Némirovsky Question represents the culmination (at least so far) of Suleiman’s prestigious academic career. A professor of comparative literature at Harvard, she has written seven books and edited three others on avant garde French literature, women writers, collective and individual memories of the Holocaust, and artistic expressions of trauma and exile. Suleiman portrays Némirovsky as a woman always writing from the middle, a place defined by difference, occasionally by unease, and like Némirovsky, although a generation younger, Sulieman shifted between the fluid identities in post-war Europe. As she reveals in her memoir, The Budapest Diary: In Search of the Motherbook, she was born into a Hungarian Jewish family a few weeks into World War II, and spent her earliest years living under a variety of false identities before immigrating to America after the war. Her parents, with their varying degrees of faith, reflect the extremes of Jewish identities. Only as an adult with two children did she revisit the country of her birth and connect her fragmented memories of a disrupted past. Her familiarity with intercultural identities obviously predisposes her to empathize with Némirovsky’s Russian-Jewish-French-Catholics selves, and the book reads as a labor of love from writer on behalf of another.

Irene Némirovsky is an odd choice for critics to attack and defend. Surely, in any political climate, let alone today’s, more obvious proponents of anti-Semitism exist than a woman who wore a yellow star and died at Auschwitz. But she asked uncomfortable questions in uncomfortable times that quickly became dangerous times. As Suleiman writes about Christian Rabinovitch, which could well apply to Némirovsky’s other Jewish characters, as well as the author herself: “[He] may not be to everyone’s liking. But the questions his story raises continue to resonate.” Issues of identity predominate in the twenty-first century among Jews, for whom politics, particularly American-Israeli relations, even more so than faith, frequently become the dividing line. European Jews also grapple with renewed waves of anti-Semitism, particularly in France, where ultra-nationalists and terrorists make strange bedfellows. But Suleiman’s book reminds us that the Jewish question can become anyone’s question, whenever people struggle to define themselves against a majority society. In a 1934 radio interview, Némirovsky explained her choice of Jewish characters. “I contrive to depict the society I know best, which is made up of dislocated people who have left behind the milieu where they would normally have lived and whose adaptation to a new life is not without shocks and suffering.” Dislocated people, from a myriad of ethnic backgrounds, find themselves just as vulnerable in 2017. The surge of revolutions, occupations, genocides, and dictatorships doesn’t appear to be slowing down, and readers may find Némirovsky’s books increasingly relevant in a world that continues to yield refugees and exiles. One can only hope that they find a more welcoming society than she did.

—Laura Michele Diener

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Laura Michele Diener 2

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.

Feb 022017
 

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ABSTRACT

As a three-year-old, my son was a philosopher king. One day, in all sincerity, he asked, Why can’t the good people just kill all the bad?

I have a personal relationship with Jesus, who was able to procure a list that his father’s meticulous angels had drawn up. My credit cards are linked to air miles, which I have never spent. With the list, free global travel, and my (legal) assault rifle, I was able to dispatch the undesirable. The babies initially posed a quandary: on the list, destined for a life of casual cruelty and selfishness, but what would happen once I offed their inevitably corrupting parents? What if the babies were raised by kind people? It’s always nature versus nurture.

If I thought any of this would work, yes. There is nothing I wouldn’t try to make this world safe for my son. What to do?

You can’t promise the child a just, or kind, or beautiful world. But you can teach him where to find it, in snatched glances and in-between spaces. You can teach him how to look.

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LITERATURE REVIEW

The pig running with a knife stuck in its back is already roasted. The bent-over nun is bare-bottomed. Baked fish fly from stream to plate, the shacks are made of sugar, the pastry roads flake under your feet. You are never cold and can sleep all day. A paradise, a parody, a broke-back peasant’s dream. You come to Cockaigne by way of Breughel, or medieval poems. Cockaigne, variant Cockney. Coken, of cocks, and ey, egg. Meaning, the cock’s egg, an impossible thing.

The men of Plato’s Republic shared wives, children, and resources. The original Utopians – Thomas More’s – shat in gold chamber pots. Their slaves were shackled with gold, and their prisoners were crowned with riches. Wealth was dirty, something to be eschewed. These were theoretical – or satirical – attempts to deal with enduring human problems: sex, money, work, power. The jealous guarding, coveting and/or avoidance thereof.

Superimpose the dream of a just society onto the vision of a lost city of gold and you will, like Candide, see Voltaire’s El Dorado. Built of gold and silver, the city is stately and well-proportioned. Children play with unhewn chunks of ruby, emerald, and sapphire; a sense of ease derives from this great wealth. Peace and great contentment, beauty and science. There are no prisoners or priests.

Utopia literally means no place. An impossible thing.

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Seaside

The town of Seaside is privately owned, which means that the developers were able to make it almost exactly how they wanted. Architects of the ideal. The village is designed to be walkable, with useful and attractive public spaces. Located on the coast as the name suggests, or rather, prudently set back several hundred feet, it is the town where The Truman Show was shot. The pastel houses come in various flavors: Victorian, Neoclassical, Modern, Postmodern, and Deconstructivist, all with friendly front porches. The town has a motto: A simple, beautiful life.

My mother and father took me and my sisters and their families to Seaside one year for a holiday get-together. Although I was still single, my sisters had small children, and the Florida coast seemed like safe bet for an easy and pleasant beach vacation. It was all that: easy, safe, pleasant.

The Seaside Institute, founded and run by the town’s developers, has an “academic center” in the middle of town. The Institute’s mission is to “help people create great communities.” Apparently, it was founded on the premise that great communities can be created, ex nihilo, by a group of hard-working, well-intentioned, great people.

I remember walking the streets in search of a meal. The streets, the sidewalks, the manicured yards, and the friendly front porches were always empty.

seaside_florida_architecture Architectural styles in Seaside, Florida (via Wikimedia Commons)

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Ecotopia

In Ecotopia, trees are worshipped, love is free, technology is embraced, and a woman is president. The borders are secured; a hefty arsenal keeps the little country safe. The late Ernest Callenbach, earnest prophet, early recycler, organic gardner, film buff, and author of the eponymous novel from the 1970s, imagined what might happen if the feminists, Black nationalists, and environmentalists of that time created a great community and seceded from the union. The book’s form is that of a visiting journalist’s diary; it is widely taught in colleges now.

In Ecotopia, Black people have retreated to Soul City – formerly Oakland, CA – their own country within a county.

The culture of Soul City is of course different from that of Ecotopia generally. It is a heavy exporter of music and musicians…

The people living in Soul City are flashier, drinking high quality Scotch whisky, trading in luxury good, driving private cars.

And, the (white) Ecotopians love Indians:

Many Ecotopians are sentimental about Indians, and there’s some sense in which they envy the Indians their lost natural place in the American wilderness. Indeed this probably a major Ecotopian myth; keep hearing references to what Indians would or wouldn’t do in a given situation. Some Ecotopian articles – clothing and baskets and personal ornamentation – perhaps directly Indian in inspriation.

This, despite the presence of any real Native Americans.

Non-lethal war games help men discharge their natural aggression. Kind of:

Goddam woman is impossible! Got really turned on at the war games…and made no resistance when one of the winning warriors came up, propositioned her, and literally carried her away (she weighs about 130)…Later…she was relaxed and floppy, and I tossed her around on the bed a little roughly, wouldn’t let her up, more or less raped her. She seemed almost to have expected this.

Can’t blame Callenbach for trying, but a single author will always be limited in his vision for other people. Stereotypes, segregation, erasure, rape. All with the best of intentions. And with some good ideas mixed in.

eftelingthemeparktalkingtreeEfteling Theme Park Talking Tree

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Cascadia

If Ecotopia took a deep breath, expanded its borders to include parts of British Columbia, Idaho, Montana, Wyoming, it would be Cascadia, the bioregion where I live and for which there are occasional secessionist agitations. There is a flag for Cascadia and I’ve seen bumper stickers around town, though have yet to see a referendum on the ballot. Not surprisingly, the cultures and the boundaries of the two hypothetical countries more or less align with one another and with the real Pacific Northwest.

In the late 1800s and early 1900s, before Ecotopia or Cascadia were dreamed up and named, this area was home to a number of communes and experiments in ideal (white) society. The West was a place for imagination and ambition; smallpox and colonialism had made vast swaths of it almost unpeopled. Men with grand socialist ambitions believed that the Pacific Northwest – Washington State in particular – could be a petri dish in which socialist colonies would take hold, and then infect the whole country.

Harmony, Freeland, and Home were all well-established colonies in northwest Washington. Equality thrived until an arsonist burnt it down.

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Omelas

I was a child who regarded the adult world as inherently corrupt or, at best, misguided. I felt affirmed in this when I read about Ursula Le Guin’s Omelas, the perfect world made possible by the existence of a single spot of suffering. A child locked in a cramped, filthy basement, a child who is kicked and beaten, fed just enough to keep alive, a child who is alone and unloved. A child who is taken from the good life once s/he is old enough to remember the good life; this point of reference allows the child to understand the depth and injustice of his or her suffering.

The prosperity, health, kindness, and gentle wisdom of Omelas, are all because of the child’s misery. Most citizens of this Utopia accept that this is simply the way their perfect world works, but some are appalled, and blow that popsicle stand. Walk away, and never come back.

A side-note: Omelas, or at least its namesake, would be located in Ecotopia. Omelas is Salem, the capital of Oregon, spelled backwards. With an O slapped on for euphony.

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America

We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America. – Preamble to the United States Constitution

And. What we lock in the basement.

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Z.1

We don’t have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory. – Howard Zinn

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Z.2

The Mato Grosso region of Brazil is covered in trees. It’s a jungle. According to legend and rumor, there was a grand city tucked away in the Amazonian rainforest. Many men of European descent searched there for what they believed might be the true El Dorado. Percy Fawcett, a British explorer of the early 20th century, was obsessed with the place. He took clues from Indigenous stories and Manuscript 512, a document he came across in Rio de Janeiro library archives in 1920. The account, presumably by the Portuguese bandareinte (settler and fortune hunter) João da Silva Guimarães, is titled Historical Relation of a hidden and great city of ancient date, without inhabitants, that was discovered in the year 1753. It tells of gold in the streams and buried treasure, as well as of a grand, abandoned city.

Fawcett wanted not gold, but to name, claim, and chart the world. A knowledge conquest. He called this city Z, and referred to it only cryptically in his notes and letters. Fawcett made it his life’s work to find Z. In 1925, on his eighth expedition, Fawcett, his son, and his son’s best friend vanished into the jungle. They were last seen crossing the Upper Xingu River.

There were rumours that Fawcett had been eaten by cannibals, rumours that he’d gone native and become a tribal king. Z was dismissed as yet another El Dorado delusion, the entire Amazon was seen as a counterfeit paradise, incapable of sustaining urban life, and Fawcett was dismissed as a crank and a dilettante.

Crazy, but Fawcett was right. Z was there all along. Within reach, or almost.

Kuhikugu is a vast archeological complex at the headwaters of the Xingu River in Brazil. Where Fawcett thought the City of Z would be. The Kuikuro are likely descendants of the estimated 50,000 people who lived in Kuhikugu about 1,000 years ago. When archeologists started listening to the Kuikuro and then looking at satellite imagery enhanced by LiDAR, they started seeing Kuhikugo. The towns of Kuhikugu are mathematically laid out on cardinal points, connected by roads, bridges, and canals, protected by palisades and concentric moats. The presence of terra preta, a type of soil that is formed by long-term cultivation, and of earthen berms likely indicate agriculture and fish-farming.

kuhikuguKuhikugu archeological complex

Increasingly, there is thought that the Americas were populous, urbanized, and widely farmed prior to European contact. The myth of El Dorado didn’t spring from nothing: conquistadors, bandeirantes, European explorers, Jesuits did see gold, riches, and great cities. But like the physics principle that tells us observation changes what we see, the European reporters infected the subjects of their reportage with disease. The natives died. In the Amazon, the jungle swallowed the cities whole.

What failed in the quest for Z, for El Dorado, was imagination, or sight.

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Z.3

Every alphabet comes to an end. From sea to shining Z. There is speculation that American democracy – our attempt at a just society – is at an end. Our new President won by promising safety and freedom for some people at the expense of safety and freedom for other people. By promising the return of a lost Utopia. Make America Great Again.

If Americans had been able to see this country has never been just and great for all who live here, and, too, if Americans had been able to see the very real – if imperfect – greatness of a country founded on ideals of equality and justice, maybe they wouldn’t have felt a need to make it great again. Maybe they would’ve voted more modestly, for making America incrementally better.

mapofutopia1Map of a Utopia

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METHODOLOGY

I look for meaning in a small room. My analyst is a tiny, birdlike woman. She speaks softly, and can say shocking things. She sits in her chair. I sit on the couch. It is too soft. I would never dream of lying down. There’s a view of a parking lot and also a microbrewery.

The purpose of my visits with her are wholeness, integrity. She is a Jungian, so she comes at all this from the perspective that you have to dredge the unconscious, sift through your dark, ugly, unseen, painful matter. You must unfold, unpack, remember, shake out everything that’s been pressed: depressed, repressed, oppressed. Everything you’ve locked up, you must release. Everything in the basement gets hauled upstairs, into the sunlight.

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PRESENT STUDY

A few years ago, my husband, our young son, my mother and I went to a villa in Baja that both friends and the internet promised was heaven on earth. It had been a hard winter.

What we now call Baja California was thought by Spanish conquistadors to be an island, quite possibly the island paradise described in a novel popular at the time.

At the right hand of the Indies there is an island called California, very close to that part of the Terrestrial Paradise, which was inhabited by black women without a single man among them, and they lived in the manner of Amazons. They were robust of body with strong passionate hearts and great virtue.  – Garci Rodríguez de Montalvo, The Adventures of Esplandián

islandofcaliforniaIsland of California

We took a rough dirt road – an arroyo, really – from the airport on the Pacific coast to our destination on the Gulf. It was night. My mother was buckled in, she’s religious about seat belts and safety, if not about God or anything else. She was also clinging to the handle above the car’s door and offering helpful driving tips, like slow down. My husband was driving, maybe a little fast. My son was bouncing in the back seat next to me, thrilled for any kind of adventure. There were no villages, no houses, no streetlights along the way. Our world was limited to the wan beams of our headlights. When we finally came to the other side, we unknowingly shot by the villa, and had to backtrack to find it.

Morning, and we woke to beauty.

We wandered up to a palapa for breakfast – buckwheat pancakes and great slabs of papaya – and then one of the owners gave us a tour. He was a soft-spoken gringo of late middle age, polite, not effusive. The villa was comprised of a main house, where the owners lived, and a number of casitas. The workmanship of the place was meticulous; the balconies and curved balustrades, the tilework, the fountains. The owners themselves had built the place. Please stay away from the main house, on the paths that wind through the yucca, the palms, the plumeria, and hibiscus. I saw a wild fox perched atop a saguaro.

As my mother, my husband, our guide, and I stood on a terrace gazing out to the sea – I remember I was running my hand up along a smooth, coral-colored Tuscan column – we heard a splash behind us.

My then five-year-old son was at the bottom of the pool. He didn’t know how to swim. Fully clothed, I jumped in to save him. I was wearing a long skirt which covered my face as I entered the water. I reached out blindly. My boy wasn’t there.

When I tugged the skirt off from face and could see, our guide was hoisting him out of the pool. He’d calmly knelt down at the edge, reached into the pool and grabbed my son as he’d surfaced for air. He didn’t even get his sleeves wet.

The pool had mermaids mosaicked on the bottom.

Before we wandered down the hill to the beach, I buckled my son into the life vest I’d packed. Beaches back home in the Salish Sea are gray-green and rocky, covered in kelp, barnacles, and eel grass. This one was absolutely blank, just hot sand and blue water.

We encountered another young boy at the shore. Named after an archangel, he was a grandchild of the villa’s owners. Oh, so-and-so? I asked, naming our guide. No, all of them, he said. I learned that a wealthy, graying, seemingly happy commune owned the villa. My boy and the other played in the ocean waves for hours, laughing. The sand glimmered as if with gold as it was kicked up by the clear water.

inbajaIn Baja

We accept the reality of the world with which we’re presented. – The television director who controls Truman’s world in The Truman Show

The Lyman Family, also known as the Fort Hill Community, was the creation of Mel Lyman, a banjo and blues harmonica player. Photos, including one shot by Diane Arbus, show a man of thin body, hollowed cheekbones, a hot gaze.

In the 1960s, the group attracted some wealth and intelligence, and members included architects, artists, and the daughter of a famous painter. Although they dabbled in LSD and astrology, they hated hippies. Men wore their hair short, and women did as they were told. Wives were not shared concurrently, but serially. Mel fathered at least 5 children by 4 women. As with children in Plato’s Republic, the Lyman kids were removed from their parents and raised collectively. The Family also dabbled in guns, racism, and bank robbery. One member was shot to death at the scene of their single attempted heist and another, actor Mark Frechette, was arrested. Frechette later died in a weightlifting accident in prison.

The Lyman Family recovered from the bad publicity, and continued to buy and develop properties for their communal living. A farm in Kansas. A base in Los Angeles. A loft in Manhattan. A compound on Martha’s Vineyard. A villa in Baja. They started selling their skills, and incorporated a high-end construction company, which designs and builds homes for Hollywood directors and movie stars.

According to the Family, Mel Lyman died years ago, on his fortieth birthday. The cause and location of death were never disclosed, and his body was never produced, leading to speculation that he went into deep hiding, and may still be among us.

Some of the Family spend most of the year down in Baja; the grandkids don’t visit as much as the elders would like, so they’ve started renting out casitas to tourists.

The villa was self-sufficient: solar-powered, eco-friendly, off-the-grid, farm-to-table. At one dinner, after an owner slid a huge plate of food in front of me, I asked if the chicken was one that he’d raised. Costco, he said. Similarly, when I complimented the person I thought was the cook, I was told that actually, the Mexican did all the cooking.

I never saw this Mexican, nor any of the other workers, though ostensibly it was they who kept the pool so clean, the garden so lush with water trucked in weekly from afar. I heard, occasionally, the voices of children. Once I peeked into the off-limits zone and saw a tiny shack. That must’ve been where the Mexicans lived.

I was a big empty HOLE trying to fill itself with TEARS – Mel Lyman, Autobiography of a World Savior

Seen from the beach, the villa’s grounds were an island of green in the sere brown land. Baja is a bone dry finger that pokes into saltwater. It presents two obvious possible deaths: one by drowning, the other by thirst. A third struck me as we were climbing up the stairs from the beach to the summerhouse: death by sunburn. Although I’d assiduously reapplied sunscreen to my child’s skin throughout the day, I hadn’t done so on my own. I was scorched, and hurt for days.

My thighs are now freckled, sun-spotted from the burn. Skin damage because of Baja. When I think of that time, I try to remember that the beauty and kindness shown, I try to remember that people sometimes grow and change, that every family is an expression of an attempt, that I am judging based on very little. The archangel and his mother, both progeny of the Family, were lovely. But really what I think about is Mel, and the shuttered away Mexicans, and the fact that there are no trees.

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FINDINGS

  1. Utopias are dystopias or satires; the kings are harmonica players.
  2. Actual attempts at ideal society fizzle out, as do actual attempts at living. Which is not necessarily a value judgment.
  3. Now you can strap the world you want onto your head. It’s in a box, this virtual world, this reality. You are immersed, as if in liquid. You move through this liquid world, seeing everything as if you’re right there. One can easily imagine an ideal world (safe, beautiful, egalitarian, fun) being successfully marketed and inhabited. Maybe you’ll be able to spend most of your life there. But from the outside, you’re still just a person with your eyes covered.
  4. Once, while walking along a river in the Canadian Rockies, hand in hand with a poet with whom I was wildly infatuated, I saw a vast herd of elk. I pointed them out to my companion, who was confused. I looked again. What I’d taken for elk were simply the dark spaces between trees in the forest. It is possible to confuse absence and presence.
  5. The Kingdom of God, I’ve heard, is all around us, if we have but vision to see.
  6. When not advocating wholesale genocide, my then three-year-old son sometimes (at least once) had moments of coruscating wisdom. One night on the tiny ferry we take from the mainland to our island home, he climbed out of his car seat and started speaking, as if in tongues:

    I am everything
    I am a grizzly bear shark deer
    I’m all the animals in the world
    I am everything

    I’m looking at the moon and the stars
    I’m the ocean and the fish
    I am everything

    I’m the boats I’m the trains I’m the excavators
    I’m all the pieces of equipment
    I’m the roads I’m the cars
    I am the signs

    I’m the houses
    I’m everything in the houses
    I’m the cupboards I’m the oven I’m the cereal I’m the food
    I’m the computers I’m the lights
    I am electricity

    I’m the windows I’m the grass
    I’m the trees I’m the birds I’m the sky
    I am everything

    Then he went back to potty talk and whining. We are all of us occasional prophets trapped in bewildered flesh.

  7. Utopia is a fertile lick of land in the floodplain of the Skagit River in Washington State. There were Utopians there once, briefly. They fled to higher ground during the first wet season, but the name stuck. My husband recently bought a plot of land there, in Utopia. On it, he will grow trees. They, the big leaf maples, acer macrophyllum, will be the new Utopians.

maple-in-vitro

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CONCLUSION

Jesus spit on the blind man’s eyes, and put his hands upon him, and asked him what he saw. The blind man looked up and said, I see men as trees, walking. –Mark 8:23-24

When my son was an infant and started to cry, I’d take him out under the Japanese maple. The green light under the leaves would calm him. Or maybe it was the aerosols. Trees talk with one another by releasing tiny chemical particles into the air. These arboreal perfumes are believed to make people feel healthier and happier. The Japanese invented a phrase for walking through the woods to enhance good health: shinrin-yoku, or forest bathing. These same aerosols seed clouds to make rain and cool our planet down.

Aerosols are tree cafe chatter, you’re not quite sure which tree is saying what. An even more sophisticated communications system, tree-to-tree talk, lies underground. The mycorrhizal network, also known among scientists unafraid of bad puns as the Wood Wide Web, is the connecting of various tree roots to one another by fungal filaments. The trees give necessary carbon to the fungi, the fungi reciprocate with food and drink, and act as carriers for chemical missives, nutrient love letters. A tree under attack by aphids or fire in one part of the forest can sound the alarm to other trees far away. Do they have feelings, these trees? Is it why a mother tree will fend off the growth of other trees nearby, but make space for her children? Why she will give them everything she has?

mycorrhyzalnetworkMycorrhizal Network

Charles Darwin, after Origin of the Species, turned his attention to plants. He believed that trees were like very slow-moving, upside-down animals, burying their root-brains deep in the dirt, and flashing their sex bits up above. Among the ancient Greek, the Druids, the Italian streghe, trees spoke with the gift of prophecy. Oracular trees.

Consider the trees.

Where I live now, on Coast Salish land, tree-people were the first people, then salmon-people, killer-whale-people, crow-people and others. After a while, human-people came along. I have no doubt that life was hard, and I don’t wish to romanticize – or to have lived in – any time other than my own. I do, though, wonder what justice looks like when trees are considered teachers and equals, as they were. I’d think that differences in our own species – language, culture, color, gender, ideas about god, fashion, all that – would look smaller, hardly worth mentioning, or at least more gracefully negotiated. If you can respect a cedar, might it be easier to respect someone who is not a mirror of yourself? Maybe we wouldn’t regard the world – or each other – simply as resources. In a world where everything is holy, the sun glints off the raindrops on the web of the divine, making the connection between all things visible.

Balance must look different, too, when man is not the fulcrum. No architect or author. No pale king.

It is easy to lapse into utopian thought. This world is bruised and marked and hardened. But still, it flickers between what it is and possibility. We must imagine what we cannot yet see, or can glimpse only through the cracks: a society made up of all these different kinds of tree, animal, and human people, learning the ways of one another and of the air, the water, the living dirt.

oz

—Julie Trimingham

REFERENCES

The Republic, Plato, http://www.gutenberg.org/ebooks/1497

Utopia, Thomas More,http://www.gutenberg.org/ebooks/2130

Candide, Voltaire, http://candide.nypl.org/text/chapter-18

Utopias on Puget Sound, 1885–1915. LeWarne, Charles Pierce: Seattle: University of Washington Press

The Return of the Utopians, Akash Kapur, The New Yorker, http://www.newyorker.com/magazine/2016/10/03/the-return-of-the-utopians

Ecotopia, Ernest Callenbach, Bantam Books

Ernest Callenbach New York Times obituary: http://www.nytimes.com/2012/04/27/books/ernest-callenbach-author-of-ecotopia-dies-at-83.html

The Ones Who Walk Away form Omelas, Ursula Le Guin, http://engl210-deykute.wikispaces.umb.edu/file/view/omelas.pdf

Utopia, Thomas More, available online at https://www.gutenberg.org/files/2130/2130-h/2130-h.htm

Autobiography of a World Savior, Mel Lyman, http://www.trussel.com/lyman/savior.htm

Steven Trussel has an online compendium of Mel Lyman information: http://www.trussel.com/f_mel.htm

The Lyman Family’s Holy Siege of America, David Felton, http://www.rollingstone.com/culture/features/the-lyman-familys-holy-siege-of-america-19711223

Once Notorious 60s Commune Evolves into Respectability, http://articles.latimes.com/1985-08-04/news/vw-4546_1_lyman-family/2

The Lost City of Z, David Grann, http://www.newyorker.com/magazine/2005/09/19/the-lost-city-of-z

Under the Jungle, David Grann, http://www.newyorker.com/news/news-desk/under-the-jungle

More links and information on Percy Fawcett: https://colonelfawcett.wordpress.com

A translation of Manuscript 512: http://www.fawcettadventure.com/english_translation_manuscript_512.html

1491, Charles C. Mann, http://www.theatlantic.com/magazine/archive/2002/03/1491/302445/

The Island of California was a common misconception among the Spanish in the 16th century. https://en.wikipedia.org/wiki/Island_of_California

The Island of California was thought to be a paradise, inhabited by Black women, ruled by Queen Calafia/Califia.

The Atlantic Monthly published an article on The Queen of California in 1864, Volume 13. https://books.google.com/books?id=pd9rm7JwShoC&dq=%22Queen%20of%20California%22&pg=PA265#v=onepage&q&f=false

The Power of Movement in Plants, Charles Darwin and Sir Francis Darwin, 1925, available for reading online at http://www.gutenberg.org/ebooks/5605

The Intelligent Plant, Michael Pollan. http://www.newyorker.com/magazine/2013/12/23/the-intelligent-plant

Do Plants Have Brains? http://www.naturalhistorymag.com/features/152208/do-plants-have-brains

Radiolab on tree talk: http://www.radiolab.org/story/from-tree-to-shining-tree/

Suzanne Simard’s TED talk on how trees talk to each other: https://www.ted.com/talks/suzanne_simard_how_trees_talk_to_each_other?language=en

Information on very old trees in Britain: http://www.ancient-tree-hunt.org.uk/discoveries/newdiscoveries/2010/The+Pulpit+Yew

Photographer Beth Moon has taken pictures of some ancient, powerful trees. You can see some of these photos from Portraits of Time and Island of the Dragon’s Blood. http://bethmoon.com/portfolio-page/

Beth Moon’s stunning images capture the power and mystery of the world’s remaining ancient trees. These hoary forest sentinels are among the oldest living things on the planet and it is desperately important that we do all in our power to ensure their survival. I want my grandchildren – and theirs – to know the wonder of such trees in life and not only from photograpshs of things long gone. Beth’s portraits will surely inspire many to help those working to save these magnificent trees. — Dr. Jane Goodall

I believe it is through the unique vegetation that the spirit of Socotra is defined, with mythical trees like the dragon’s blood tree or the fabled frankincense trees and the island’s culture so closely linked to nature which sets this island apart from the rest of the world.” — Beth Moon

The observer effect in physics simply states that the act of observing will change that which is being observed. It is similar to, though different from, Heisenberg’s uncertainty principle which states that increased precision in measuring the position of a particle will diminish precision in measuring the momentum of the particle, and vice versa. https://en.wikipedia.org/wiki/Observer_effect_(physics)

Smithsonian archaeologist Betty Meggers (1921-2012) is credited with coining the phrase counterfeit paradise, referring to the Amazon. Her book Amazonia: Man and Culture in a Counterfeit Paradise was, and remains, controversial in its contention that pre-Columbian Indigenous populations were, due to environmental restrictions, small and not very complex.

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Julie Trimingham is a writer and filmmaker. Her fictional travelogue chapbook, Way Elsewhere, was released in May 2016 by The Lettered Streets Press (https://squareup.com/store/lettered-streets-press/). She regularly tells stories at The Moth and writes essays for  Numéro Cinq magazine. Gina B. Nahai blurbed Julie’s first book, saying, “A novel of quiet passion and rare beauty, Mockingbird is a testament to the power of pure, uncluttered language—a confluence of feelings and physicality that will draw you back, line after graceful, memorable, line.” Julie is currently drafting her second novel, and is a producer with Longhouse Media (http://longhousemedia.org) on a documentary film about the Salish Sea.

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2017

 
Vol. VIII, No. 8, August 2017 (the final issue)
Vol VIII, No. 7, July 2017

Vol VIII, No. 6, June 2017

Vol VIII, No. 5, May 2017
Vol VIII, No. 4, April 2017

Vol. VIII, No. 3, March 2017

Vol. VIII, No. 2, February 2017

Vol. VIII, No. 1, January 2017

 Comments Off on 2017
Dec 062016
 

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green

Loving (1945), Henry Green’s fifth and best novel, is set on a sprawling estate in Ireland during WWII. It centers on the servants who keep the place running, especially Charley Raunce who, in the novel’s opening pages, ascends to the position of butler, and who uses his promotion to woo one of the housemaids. The war is far away, but it suffuses the text: the mostly English characters fear a German invasion, feel at once grateful and guilty that they are away from the Blitz, and fret endlessly about whether they should return home.

The following excerpt shows off many of the qualities that give Loving its odd and enduring charms: delight in dialogue and the rhythms of speech (“Holy Moses look at the clock… ten to three and me not on me bed. Come on look slippy”); arresting images and disorienting syntax (“Bert stood motionless his right hand stiff with wet knives”); and a peculiar refusal to describe states of mind with certainty (“He appeared to be thinking”; “Apparently he could not leave it alone”). Above all it introduces a novel that is busy with life, bursting with small instances of pilfering, lying, and spying, but also of laughing, eating, and, of course, loving.

—Dorian Stuber

 

.
Once upon a day an old butler called Eldon lay dying in his room attended by the head housemaid, Miss Agatha Burch. From time to time the other servants separately or in chorus gave expression to proper sentiments and then went on with what they had been doing.

One name he uttered over and over, “Ellen.”


The pointed windows of Mr. Eldon’s room were naked glass with no blinds or curtains. For this was in Eire where there is no blackout.

Came a man’s laugh. Miss Burch jerked, then the voice broke out again. Charley Raunce, head footman, was talking outside to Bert his yellow pantry boy. She recognized the voice but could not catch what was said.

“. . . on with what I was on with,” he spoke, “you should clean your teeth before ever you have anything to do with a woman. That’s a matter of personal hygiene. Because I take an interest in you for which you should be thankful. I’m sayin’ you want to take it easy my lad, or you’ll be the death of yourself.”

The lad looked sick.

“A spot of john barley corn is what you are in need of,” Raunce went on, but the boy was not having any.

“Not in there,” he said in answer, quavering, “I couldn’t.”

“How’s that? You know where he keeps the decanter don’t you? Surely you must do.”

“Not out of that room I couldn’t.”

“Go ahead, don’t let a little thing worry your guts,” Raunce said. He was a pale individual, paler now. “The old man’s on with his Ellen, ’e won’t take notice.”

“But there’s Miss Burch.”

“Is that so? Then why didn’t you say in the first place? That’s different. Now you get stuck into my knives and forks. I’ll handle her.”

Raunce hesitated, then went in. The boy looked to listen as for a shriek. The door having been left ajar he could hear the way Raunce put it to her.

“This is my afternoon on in case they take it into their heads to punish the bell,” he told her. “If you like I’ll sit by him for a spell while you go get a breath of air.”

“Very good then,” she replied, “I might.”

“That’s the idea Miss Burch, you take yourself out for a stroll. It’ll fetch your mind off.”

“I shan’t be far. Not out of sight just round by the back. You’d call me, now, if he came in for a bad spell?”

Charley reassured her. She came away. Bert stood motionless his right hand stiff with wet knives. That door hung wide once more. Then, almost before Miss Burch was far enough to miss it, was a noise of the drawer being closed. Raunce came back, a cut-glass decanter warm with whisky in his hands. The door stayed gaping open.

“Go ahead, listen,” he said to Bert, “it’s meat and drink at your age, I know, an old man dying but this stuff is more than grub or wine to me. That’s what. Let’s get us behind the old door.”

To do so had been ritual in Mr. Eldon’s day. There was cover between this other door, opened back, and a wall of the pantry. Here they poured Mrs. T.’s whisky. “Ellen,” came the voice again, “Ellen.”

At a rustle Raunce stuck his head out while Bert, farther in because he was smallest, could do no more than peek the other way along a back passage, his eyes on a level with one of the door hinges. Bert saw no one. But Charley eyed Edith, one of two under-housemaids.

She stood averted watching that first door which stayed swung back into Mr. Eldon’s room. Not until he had said, “hello there,” did she turn. Only then could he see that she had stuck a peacock’s feather above her lovely head, in her dark-folded hair. “What have you?” he asked pushing the decanter out to the front edge so much as to say, “look what I’ve found.”

In both hands she held a gauntlet glove by the wrist. He could tell that it was packed full of white unbroken eggs.

“Why you gave me a jump,” she said, not startled.

“Look what I’ve got us,” he answered, glancing at the decanter he held out. Then he turned his attention back where perhaps she expected, onto the feather in her hair.

“You take that off before they can set eyes on you,” he went on, “and what’s this? Eggs? What for?” he asked. Bert poked his head out under the decanter, putting on a kind of male child’s grin for girls. With no change in expression, without warning, she began to blush. The slow tide frosted her dark eyes, endowed them with facets. “You won’t tell,” she pleaded and Charley was about to give back that it depended when a bell rang. The indicator board gave a chock. “Oh all right,” Raunce said, coming out to see which room had rung. Bert followed sheepish.

Charley put two wet glasses into a wooden tub in the sink, shut that decanter away in a pantry drawer. “Ellen,” the old man called faintly. This drew Edith’s eyes back towards the butler’s room. “Now lad,” Raunce said to Bert, “I’m relying on you mind to see Mrs. Welch won’t come out of her kitchen to knock the whisky off.” He did not get a laugh. Both younger ones must have been listening for Mr. Eldon. The bell rang a second time. “O.K.,” Raunce said, “I’m coming. And let me have that glove back,” he went on. “I’ll have to slap it on a salver to take in some time.”

“Yes Mr. Raunce,” she replied.

“Mister is it now,” he said, grinning as he put on his jacket. When he was gone she turned to Bert. She was short with him. She was no more than three months older, yet by the tone of voice she might have been his mother’s sister.

“Well he’ll be Mr. Raunce when it’s over,” she said.

“Will Mr. Eldon die?” Bert asked, then swallowed.

“Why surely,” says she giving a shocked giggle, then passing a hand along her cheek.

Meantime Charley entered as Mrs. Tennant yawned. She said to him,

“Oh yes I rang didn’t I, Arthur,” she said and he was called by that name as every footman from the first had been called, whose name had really been Arthur, all the Toms, Harrys, Percys, Victors one after the other, all called Arthur. “Have you seen a gardening glove of mine? One of a pair I brought back from London?”

“No Madam.”

“Ask if any of the other servants have come across it will you? Such a nuisance.”

“Yes Madam.”

“And, oh tell me, how is Eldon?”

“Much about the same I believe Madam.”

“Dear dear. Yes thank you Arthur. That will be all. Listen though. I expect Doctor Connolly will be here directly.”

He went out, shutting the mahogany door without a sound. After twenty trained paces he closed a green baize door behind him. As it clicked he called out,

“Now me lad she wants that glove and don’t forget.”

“What glove?”

“The old gardening glove Edith went birds’-nesting with,” Raunce replied. “Holy Moses look at the clock,” he went on, “ten to three and me not on me bed. Come on look slippy.” He whipped out the decanter while Bert provided those tumblers that had not yet been dried. “God rest his soul,” Raunce added in a different tone of voice then carried on,

“Wet glasses? Where was you brought up? No we’ll have two dry ones thank you,” he cried. “Get crackin’ now. Behind the old door.” Upon this came yet another double pitiful appeal to Ellen. “And there’s another thing, Mrs. T. she still calls me Arthur. But it will be Mr. Raunce to you d’you hear?”

“’E ain’t dead yet.”

“Nor he ain’t far to go before he will be. Oh dear. Yes and that reminds me. Did you ever notice where the old man kept that black book of his and the red one?”

“What d’you mean? I never touched ’em.”

“Don’t be daft. I never said you did did I? But he wouldn’t trouble to watch himself in front of you. Times out of mind you must have seen.”

“Not me I never.”

“We shan’t make anything out of you, that’s one thing certain,” Raunce stated. “There’s occasions I despair altogether.” He went on, “You mean to stand and tell me you’ve never so much as set eyes on ’em, not even to tell where they was kept.”

“What for Mr. Raunce?”

“Well you can’t help seeing when a thing’s before your nose, though I’m getting so’s I could believe any mortal idiotic stroke of yours, so help me.”

“I never.”

“So you never eh? You never what?” Raunce asked. “Don’t talk so sloppy. What I’m asking is can you call to mind his studying in a black or a red thrupenny notebook?”

“Study what?” Bert said, bolder by his tot now the glass he held was empty.

“All right. You’ve never seen those books then. That’s all I wanted. But I ask you look at the clock. I’m going to get the old head down, it’s me siesta. And don’t forget to give us a call sharp on four thirty. You can’t be trusted yet to lay the tea. Listen though. If that front door rings it will likely be the doctor. He’s expected. Show him straight in,” Raunce said, pointing with his thumb into the door agape. He made off.

“What about Miss Burch?” the boy called.

“Shall I call her?” he shouted, desperate.

Raunce must have heard, but he gave no answer. Left alone young Albert began to shake.

.

In the morning room two days later Raunce stood before Mrs. Tennant and showed part of his back to Violet her daughter-in-law.

“Might I speak to you for a moment Madam?”

“Yes Arthur what is it?”

“I’m sure I would not want to cause any inconvenience but I desire to give in my notice.”

She could not see Violet because he was in the way. So she glared at the last button but one of his waistcoat, on a level with her daughter-in-law’s head behind him. He had been standing with arms loose at his sides and now a hand came uncertainly to find if he was done up and having found dropped back.

“What Arthur?” she asked. She seemed exasperated. “Just when I’m like this when this has happened to Eldon?”

“The place won’t be the same without him Madam.”

“Surely that’s not a reason. Well never mind. I daresay not but I simply can’t run to another butler.”

“No Madam.”

“Things are not what they used to be you know. It’s the war. And then there’s taxation and everything. You must understand that.”

“I’m sure I have always tried to give every satisfaction Madam,” he replied.

At this she picked up a newspaper. She put it down again. She got to her feet. She walked over to one of six tall french windows with gothic arches. “Violet,” she said, “I can’t imagine what Michael thinks he is about with the grass court darling. Even from where I am I can see plantains like the tops of palm trees.”

Her daughter-in-law’s silence seemed to imply that all effort was to butt one’s head against wire netting. Charley stood firm. Mrs. T. turned. With her back to the light he could not see her mouth and nose.

“Very well then,” she announced, “I suppose we shall have to call you Raunce.”

“Thank you Madam.”

“Think it over will you?” She was smiling. “Mind I’ve said nothing about more wages.” She dropped her eyes and in so doing she deepened her forehead on which once each month a hundred miles away in Dublin her white hair was washed in blue and waved and curled. She moved over to another table. She pushed the ashtray with one long lacquered oyster nail across the black slab of polished marble supported by a dolphin layered in gold. Then she added as though confidentially,

“I feel we should all hang together in these detestable times.”

“Yes Madam.”

“We’re really in enemy country here you know. We simply must keep things up. With my boy away at the war. Just go and think it over.”

“Yes Madam.”

“We know we can rely on you you know Arthur.”

“Thank you Madam.”

“Then don’t let me hear any more of this nonsense. Oh and I can’t find one of my gloves I use for gardening. I can’t find it anywhere.”

“I will make enquiries. Very good Madam.”

He shut the great door after. He almost swung his arms, he might have been said to step out for the thirty yards he had to go along that soft passage to the green baize door. Then he stopped. In one of the malachite vases, filled with daffodils, which stood on tall pedestals of gold naked male children without wings, he had seen a withered trumpet. He cut off the head with a pair of nail clippers. He carried this head away in cupped hand from above thick pile carpet in black and white squares through onto linoleum which was bordered with a purple key pattern on white until, when he had shut that green door to open his kingdom, he punted the daffodil ahead like a rugger ball. It fell limp on the oiled parquet a yard beyond his pointed shoes.

He was kicking this flower into his pantry not more than thirty inches at a time when Miss Burch with no warning opened and came out of Mr. Eldon’s death chamber. She was snuffling. He picked it up off the floor quick. He said friendly,

“The stink of flowers always makes my eyes run.”

“And when may daffodils have had a perfume,” she asked, tart through tears.

“I seem to recollect they had a smell once,” he said.

“You’re referring to musk, oh dear,” she answered making off, tearful. But apparently he could not leave it alone.

“Then what about hay fever?” he almost shouted. “That never comes with hay, or does it? There was a lady once at a place where I worked,” and then he stopped. Miss Burch had moved out of earshot. “Well if you won’t pay heed I can’t force you,” he said out loud. He shut Mr. Eldon’s door, then stood with his back to it. He spoke to Bert.

“What time’s the interment?” he asked. “And how long to go before dinner?” not waiting for answers. “See here my lad I’ve got something that needs must be attended to you know where.” He jangled keys in his pocket. Then instead of entering Mr. Eldon’s room he walked away to dispose of the daffodil in a bucket. He coughed. He came back again. “All right,” he said, “give us a whistle if one of ’em shows up.”

He slipped inside like an eel into its drainpipe. He closed the door so that Bert could not see. Within all was immeasurable stillness with the mass of daffodils on the bed. He stood face averted then hurried smooth and his quietest to the roll-top desk. He held his breath. He had the top left-hand drawer open. He breathed again. And then Bert whistled.

Raunce snatched at those red and black notebooks. He had them. He put them away in a hip pocket. They fitted. “Close that drawer,” he said aloud. He did this. He fairly scrambled out again. He shut the door after, leaving all immeasurably still within. He stood with his back to it, taking out a handkerchief, and looked about.

He saw Edith. She was just inside the pantry where Bert watched him open mouthed. Raunce eyed her very sharp. He seemed to appraise the dark eyes she sported which were warm and yet caught the light like plums dipped in cold water. He stayed absolutely quiet. At last she said quite calm,

“Would the dinner bell have gone yet?”

“My dinner,” he cried obviously putting on an act, “holy smoke is it as late as that, and this lad of mine not taken up the nursery tray yet. Get going,” he said to Bert, “look sharp.” The boy rushed out. “God forgive me,” he remarked, “but there’s times I want to liquidate ’im. Come to father beautiful,” he said.

“Not me,” she replied amused.

“Well if you don’t want I’m not one to insist. But did nobody never tell you about yourself?”

“Aren’t you just awful,” she said apparently delighted.

“That’s as may be,” he answered, “but it’s you we’re speaking of. With those eyes you ought to be in pictures.”

“Oh yeah?”

“Come on,” he said, “if we’re going to be lucky with our dinner we’d best be going for it.”

“No, you don’t,” she said slipping before him. And they came out through this pantry into the long high stone passage with a vaulted ceiling which led to the kitchen and their servants’ hall.

“Now steady,” he said, as he caught up with her. “What will Miss Burch say if she finds us chasing one after the other?” When they were walking side by side he asked.

“What made you come through my way to dinner?”

“Why you do need to know a lot,” she said.

“I know all I can my girl and that’s never done me harm. I got other things to think to besides love and kisses, did you know?”

“No I didn’t, not from the way you go on I didn’t.”

“The trouble with you girls is you take everything so solemn. Now all I was asking was why you looked in on us while you came down to dinner?”

“Thinkin’ I came to see you I suppose,” she said. She turned to look at him. What she saw made her giggle mouth open and almost soundless. Then she slapped a hand across her teeth and ran on ahead. He took no notice. With a swirl of the coloured skirt of her uniform she turned a corner in front along this high endless corridor. The tap of her shoes faded. He walked on. He appeared to be thinking. He went so soft he might have been a ghost without a head. But as he made his way he repeated to himself, over and over,

“This time I’ll take his old chair. I must.”

He arrived to find the household seated at table waiting, except for Mrs. Welch and her two girls who ate in the kitchen and for Bert who was late. There was his place laid for Raunce next Miss Burch. Kate and Edith were drawn up ready. They sat with hands folded on laps before their knives, spoons and forks. At the head, empty, was the large chair from which Mr. Eldon had been accustomed to preside. At the last and apart sat Paddy the lampman. For this huge house, which was almost entirely shut up, had no electric light.

Charley went straight over to a red mahogany sideboard that was decorated with a swan at either end to support the top on each long curved neck. In the centre three ferns were niggardly growing in gold Worcester vases. He took out a knife, a spoon and a fork. He sat down in Mr. Eldon’s chair, the one with arms. Seated, he laid his own place. They all stared at him.

“What are we waiting for?” he said into the silence. He took out a handkerchief again. Then he blew his nose as though nervous.

“Would you be in a draught?” Miss Burch enquired at last.

“Why no thank you,” he replied. The silence was pregnant.

“I thought perhaps you might be,” she said and sniffed.

At that he turned to see whether he had forgotten to close the door. It was shut all right. The way he looked made Kate choke.

“I heard no one venture a pleasantry,” Miss Burch announced at this girl.

“I thought I caught Paddy crack one of his jokes,” Raunce added with a sort of violence. A grin spread over this man’s face as it always did when his name was mentioned. He was uncouth, in shirtsleeves, barely coming up over the table he was so short. With a thick dark neck and face he had a thatch of hair which also sprouted grey from the nostrils. His eyes were light blue as was one of Charley’s, for Raunce had different coloured eyes, one dark one light which was arresting.

The girls looked down to their laps.

“Or maybe she swallowed the wrong way although there’s nothing on the table and it’s all growing cold in the kitchen,” Raunce continued. He got no reply.

“Well what are we waiting on?” he asked.

“Why for your precious lad to fetch in our joint,” Miss Burch replied.

“I shouldn’t wonder if the nursery hasn’t detained him,” was Charley’s answer.

“Then Kate had better bring it,” Miss Burch said. And they sat without a word while she was gone. Twice Agatha made as though to speak, seated as he was for the first time in Mr. Eldon’s place, but she did not seem able to bring it to words. Her eyes, which before now had been dull, each sported a ripple of light from tears. Until, after Kate had returned laden Raunce cast a calculated look at Miss Burch as he stood to carve, saying,

“Nor I won’t go. Not even if it is to be Church of England I don’t aim to watch them lower that coffin in the soil.”

At this Miss Burch pushed the plate away from in front of her to sit with closed eyes. He paused. Then as he handed a portion to Edith he went on,

“I don’t reckon on that as the last I shall see of the man. It’s nothing but superstition all that part.”

“And the wicked shall flourish even as a green bay tree,” Miss Burch announced in a loud voice as though something had her by the throat. Once more there was a pause. Then Raunce began again as he served Paddy. Because he had taken a roast potato into his mouth with the carving fork he spoke uneasy.

“Why will Mrs. Welch have it that she must carve for the kitchen? Don’t call her cook she don’t like the name. There’s not much I can do the way this joint’s been started.”

The girls were busy with their food. O’Conor was noisy with the portion before him. Raunce settled down to his plate. Agatha still sat back.

“And how many months would it be since you went out?” she asked like vinegar.

“Let me think now. The last occasion must have been when I had to see Paddy here to the Park Gates that time he was ‘dronk’ at Christmas.”

This man grinned although his mouth was watering in volume so that he had to swallow constantly.

“Careful now,” said Raunce.

Kate and Edith stopped eating to watch the Irishman open eyed. This man was their sport and to one of them he was even more than that. In spite of Miss Burch he looked so ludicrous that they had suddenly to choke back tremors of giggling.

“It was nearly my lot,” Raunce added.

“It couldn’t hurt no one to show respect to the dead,” Miss Burch tremulously said. Charley answered in downright tones,

“Begging your pardon Miss Burch my feelings are my own and I daresay there’s no one here but yourself misses him more than me. Only this morning I went to Mrs. T., asked leave and told her,” but he did not at once continue. The silence in which he was received seemed to daunt him. With a clumsy manner he turned it off, saying,

“Yes, I remember when I came for my first interview she said I can’t call you Charles, no she says ‘I’ll call you Arthur. All the first footmen have been called Arthur ever since Arthur Weavell, a real jewel that man was,’ she said.”

He looked at Miss Burch to find that she had flushed.

“And now I make no doubt you are counting on her addressing you as Raunce,” Miss Burch said in real anger. “With Mr. Eldon not yet in the ground. But I’ll tell you one thing,” she continued, her voice rising, “you’ll never get a Mr. out of me not ever, even if there is a war on.”

“What’s the war got to do with it?” he asked, and he winked at Kate. “Never mind let it go. Anyway I know now don’t I.”

“No,” she said, having the last word, “men like you never will appreciate or realize.”

—Henry Green

Copyright © 1945 by the estate of Henry Green

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henry-green

Henry Green (1905 – 1973) was the nom de plume of Henry Vincent Yorke. He was the author of nine novels, most notably Loving, Party Going, and Living.

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Dec 012016
 

Michaelangelo torment-of-st-anthonyMichelangelo, The Torment of St. Anthony (via Wikimedia Commons)

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Standing aside from the busy doings of mankind, and drawing NIGH to the divine [pros to theio gignomenos], he is rebuked by the multitude as being out of his wits, for they know not that he is possessed by a deity [enthousiazon].
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX— Plato, Phaedrus

NEARLY mad, I found myself yet able to throw out a hand to ward off the foetid apparition which pressed so close.
XXXXXXXXXXXXXXXXXXXXXXXXXXXxXXXX H. P. Lovecraft, The Outsider

The pattern he has selected may seem queer, out of the way, and VERGING on insanity; but this happens because it is isolated from its inner context, and is appraised mechanically and superficially, by the outer and conventional measures of normality. Very often, the inward aim of the dynamic patterns animating the lives of such apparently insane persons is God, or Truth.
XXXXXXXXXXXXXXXXXXXXXXXXXXXxXXXX Meher Baba, The Wayfarers

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Madness, an obscurely essential theme in The Cloud of Unknowing, appears there in several modes traversing the boundaries between human, God, and devil.

First, there is the madness to which all demons are driven by “the werk of the soule,” the apophatic forgetting of creation and dwelling in the cloud or darkness between oneself and God.[1] “Alle seintes and aungelles han joie of this werk, and hasten hem to helpe it in al here might. Alle feendes ben wood whan thou thus doste, and proven for to felle it in alle that thei kun” (3).

Second, there is the madness to which phantasmatically deluded contemplatives drive themselves under the devil’s guidance by perceptually confounding and inverting the natural order of corporeal and spiritual things. This spiritual mis-work “is neither bodily worching ne goostly worching. . . . it is a worching agens kynde, and the devel is the cheef worcher thereof. And it is the rediest way to deth of body and of soule, for it is woodnes and no wisdom, and ledith a man even to woodnes. And yit thei wene not thus, for thei purpose hem in this werk to think on nought bot on God.” Not sensing the true mystical or hidden prepositionality of spiritual ascent—“how a man schal drawe alle his witte withinne hymself, or how he schal clymbe aboven himself”—they “turn theire bodily wittes inwardes to theire body agens the cours of kynde; and streynen hem, as thei wolde see inwards with theire bodily ighen, and heren inwards with theire eren, and so forthe of all theire wittes, smellen, taasten, and felyn inwardes. And thus thei reverse hem agens the cours of kynde and with this coriousté thei travayle theire ymaginacion so undiscreetly, that at the last thei turne here brayne in here hedes.” Thus set in error, the contemplative falls prey to the devil who, hiding under this distorted remembrance of God—“the mynde of God wol he [the devil] not put fro hem, for feerde that he schuld be had in suspecte”—intensifies and validates the delusion with “fals light or sounes, swete smelles in theire noses, wonderful tastes in theire mowthes, and many queynte hetes and brennynges in theire bodily brestes or in theire bowelles, in theire backes and in theire reynes, and in their pryvé membres,” so that without the intervention of a “merciful miracle” they “schul go staryng wood to the devil” (51-53).

Third, there is the pure madness of the devil’s essential infernal nature whose direct sight instantly causes permanent madness, which the Cloud-author addresses in the context of judgmental religious zealotry and the loss of discretion. Persons suffering from this condition are deceived by the devil, who “ful wonderfuly . . . wol enflaume here braynes to meinteyne Goddes lawe, and to distroie synne in all other men.” Reproving everyone, they “sey that thei ben steryd therto by the fiire of charité and of Goddes love in theire hertes. And trewly thei lighe, for it is with the fire of helle wellyng in theire braynes and in theire ymaginacion.” While not defined as madness per se, this inferno-critical zeal formally participates in the devil’s own nature, as reported by “some disciples of nygromauncye . . . unto whom the feende hath apperid in bodily licnes.” For when the devil thus appears, he always has “bot o nose-therel, and that is grete and wyde. And he wil glady kast it up, that a man may see in therate to his brayne up in his heed. The whiche brayn is not elles bot the fiire of helle, for the feende may have none other brayn. And yif he might make a man loke in therate, he kepeth no beter; for at that lokyng he schuld lese his witte for ever” (55). So, as the devil “figureth in some qualité of his body what his servauntes ben in spirit,” such indiscreet reprovers “have bot o nose-therel goostly,” in contradiction with the naturally split nostrils of humans that “bitokeneth that a man schulde have discrecion goostly, and kun dissevre the good fro the ivel, and the yvel fro the worse, and the good fro the betyr” (55).

Fourth, there is the near or virtual madness of the real mystic who, in working to destroy the final and foundational obstacle between himself and God, namely, the “the nakid wetyng and felyng of thin owen beyng,” goes “ni wood for sorow.” “Alle men han mater of sorow, bot most specyaly he felith mater of sorow that wote and felith that he is. Alle other sorowes ben unto this in comparison bot as it were games to ernest. For he may make sorow earnestly that wote and felith not onli what he is, bot that he is. And whoso felid never this sorow, he may make sorow, for whi he felid yit never parfite sorow. This sorow . . . makith a soule abil to ressseive that joye, which revith fro a man alle wetyng and felyng of his being. This sorow, yif it be trewly coseyvid, is ful of holy desire; and elles might never man in this liif abide it ne bere it. For ne were it that a soule were sumwhat fed with a maner of counforte of his right worching, elles schuld he not mow bere the pyne that he hath of the wetyng and felyng of his being. For as ofte as he wolde have a trewe wetyng and a felyng of his God in purtee of spirit, as it may be here, and sithen felith that he may not – for he findeth evermore his wetyng and his felyng as it were ocupied and fillyd with a foule stynkyng lumpe of himself . . . – as ofte he goth ni wood for sorow; insomochel, that we wepith and weilith, strivith, cursith, and banneth, and schortly to sey, hym thinkith that he berith so hevy a birthen of hymself that he rechith never what worth of hym, so that God were plesid. And yit in al this sorrow he desireth not to unbe, for that were develles woodnes and despite unto God” (44).

robert-fludd-utriusque-cosmiIllustration from Robert Fludd’s Utriusque Cosmi (via Wikimedia Commons)

I am interested in the principle of necessity at work within this de facto mystical typology of madness. Why? Because I do not see that there can be any real theory of madness, any intellectual vision of it, that is not a knowing of its necessity. Seeing madness for what it is means seeing that it must be, its self-identical immanence, at once in itself (the space wherein the mad one, to truly be mad, must be mad, really at his wits’ end) and in relation to madness’s own end, what it is driving one to (the space where the mad one is mad for some mantic reason), in this context, hell or God. Nietzsche expresses this necessity, identifying madness as a vital condition for noetic novelty, the only way new ideas become real: “when . . . new and deviate ideas . . . again and again broke out, they did so accompanied by a dreadful attendant: almost everywhere it was madness which prepared the way for the new idea . . . Do you understand why it had to be madness which did this? Something in voice and bearing as uncanny and incalculable as the demonic moods of weather and the sea . . .? Let us go a step further: all superior men . . . had, if they were not actually mad, no alternative but to make themselves or pretend to be mad.”[2] Crucially, Nietzsche’s words attend without nomination to a kind of Quixotian play or indetermination between actual and virtual madness, indicating a subtle relation between madness’s noetic necessity and its nearness, a secret intersection between the power and the proximity of madness.

Such is the dynamism that is communicated between the hands and madness, for example, in the clenched and hidden hands that reveal a turning of the manual power back into the mind.[3] Likewise, Augustine’s mind reaches for a hand to hold still the heart in a vision of the real Present: “Who will hold fast the human heart so that it may stand and see how eternity, standing beyond past and future, speaks both past and future? Is my hand capable of this? Or can the hand of my mouth accomplish such a great thing through language?”[4] The hand of madness, the haptic nearness of its power, is a matter of present time. Its necessity pertains to the temporal substance that is neither chronos or aiôn but the too-immanent dilation or stretching open of the present beyond the limitations of past and future. The need to be mad is itself the nearness of the active or creative present, a must-be that belongs, not to the twin hallucinations of instant and eternity (the duplex apparitional phantasm of what is always/never passing), but to the more original and universal now that demonically exists beside them, that attends like weather from a cosmic outside and waves from dark inner seas. Madness is so intimate with time, so fiendishly present to it, that it is radically reasonable to say that madness is time. Discover this equation. It is the broken, present-at-hand yet paradoxically nevertheless and all-the-more ready means of warding off the foetid apparition, the foul stinking lump of oneself, which presses so close.

The identity of time and madness is visible in Augustine’s perpetuated remark about time’s inverted apophatic intelligibility, its being known in negative unknowing, that is, not negating that you know, but in purely negating, as if in absolute spontaneous preemption, that you do not: “What therefore is time? If no one [nemo] asks me, I know; if I want to explain it to someone questioning me, I do not know.”[5] The literal meaning is supreme: time is known in the negative-without-negation presence of a nemo, a not-man (ne + homo) who asks what is time, a question posed by nobody. Time is known mantically, through a positively mad intuition whose madness lies in its having no time to be about time in the form of answer to anyone’s question, in its necessarily being a knowledge that answers (to) no one.  The explanation of time to someone, by contrast, is a negatively mad ignorance, the madness of an explaining that eclipses knowledge of the explained.[6] Note the formal similarity between such knowing of time through no one’s query and the negative, solely monitory wisdom of the Socratic daimon, never named as a spiritual entity, but only as an impersonal but familiar divine sign—a prophetic presence whose singular doubling of identity is occasionally there yet never inoperative (Socrates says it always [aei] warns him) and thus deeply analogous to consciousness itself as a necessary, inevitable dilation of the momentary, so that there is, for example, time to do anything.

Time-madness identity is more clearly visible in Meher Baba’s speedy distinction between God, man, madman, and mast (divinely mad person): “Mind stopped, is God. / Mind working, is man. / Mind slowed down, is mast. / Mind working fast, is mad.”[7] Here it is the temporality of mind itself that ontically modulates between God and human on a spectrum of madness (though it should be emphasized that the ‘human’ has no genetic or historical specificity in his evolutionary cosmology; it simply means the form in which the development of consciousness is full and thus capable of God/Self-realization). The human, vis-à-vis self-conscious divinity or God, is flanked by opposed but temporally correlative forms of madness such that its own ordinary operative nature looks like only a median mind-speed, a mediocre or B-minus madness that both ensures practical functioning and displaces radical development. Doubly framed by insanity and God-intoxication, the human emerges as a utile but essentially obsolescent state of time. “Level-1 or world space,” writes Nick Land, is an anthropomorphically scaled, predominantly vision-configured, massively multi-slotted reality system that is obsolescing very rapidly. Garbage time is running out. Can what is playing you make it to level 2?”[8] Land’s term garbage time eloquently captures the complex of an expiring or evaporating state (perforce ungraspable as such from within its sanity-to-itself and perceivable only in near-madness) in which production of and concern for refuse are constitutionally fused into self-obsolescence or being-garbage. And there is every reason to keep open the comparison here between the anthropocenic ecological echo of the idea—the spectacle of homo sapiens garbaging itself to death—and the negative or tensional complicity between mystical madness and filth. Just as the cloud-dwelling contemplative goes nearly mad for sorrow over his own foetid facticity as the only and ultimate escape route out of individuated existence,[9] so is global eco-emergency a form of mass secular and semi-insane mystical sorrow expressive of deeply vexed impatience with, and desire for, intensified immediacy of the forced temporariness and disposableness, or more essentially, the necessary disposality, of human-being. Note furthermore the important psychic link between sorrow, or affective counter-volitional refusal,[10] and refuse as what is rejected and cast away. Here is found the weird paradoxical link between madness and filth, the madman’s personal affinity for dirt that is grounded in rigorous and essential indifference towards it, an indifference that may radically express or be rooted in real mental cleanliness, the perfectly careless purity of a playing soul that will not be washed, yet a non-innocent purity strangely continuous with the deathly seriousness of someone who must be clean of oneself.[11] “I forgot danger, reason, and cleanliness [says a Lovecraftian hero] in my single-minded fever to unearth the lurking fear.”[12] And filthiness too is a matter of proximate affinity: dirt itself is clean. So near-madness can be visualized as the achievement of a purifying and essential cleanliness of being-in-dirt. Or as St. Paul says, “Do not be conformed to this world, but be transformed by the renewal of your mind” (Rom 12:2).

teodor-axentowicz-the-anchoriteTeodor Axentowicz, The Anchorite (via Wikimedia Commons)

To see the necessity of madness in the Cloud of Unknowing demands, not diffusive explaining or theorizing, but the single-mindedness of envisioning or theorying the unitary time of its fourfold appearance, intellectually entering the wholism of its must-be. In other words, seeing this madness with the radical, transcendent-immanent literalism of photography, described by Laruelle as “a hyperphenomenology of the real” that thinks the “undivided giveness of the apparition,” the givenness that “is the thing itself in-its image, rather than the image-of-the-thing”[13]—a blind but open visioning homologous to knowing when no one asks or answering via questioning-by-camera. Such seeing is itself proper to the supreme, unconquerable ordinariness of mysticism as a mode of vision that finds ultimate truth in a flattening of knower and known which inversionally releases, like a Petrine cross, the infinite and total intensive depth of reality.[14] “The eye in which I see God is the same eye in which God sees me.”[15] I.e. the eternally identifying vision-in-One whose durational projection is the proverbial too long it takes to go mad looking in a mirror. This is the world where the image looks back,  a capacious no-place whose abyss sees into you and the lovely reflection loves Narcissus. Similarly, perceiving the Cloud’s madness is needing to see it all-at-once, in a way that makes it look back as the very mode of its perceiving, in the inescapability of a now that is not instantaneous but fluidly frozen or solidly dilated, just as a photograph, or the multiple sense of medieval scripture, finds different forms pressed within a unitary temporal plane. A vision of necessity that madly intersects with the necessity of vision itself and thus also sees the moment of vision within the principle of madness.

All these criteria are precisely confirmed in the Cloud’s four-form scheme, which stretches the unwitnessability of madness itself between the pure fiery dementia of the demonic brain and the supremely proximate madness of the ecstatic mystic so that what-madness-is, its substance, is prismatically refracted across the space between human and demon, the entities who are photographically close, one to the other, in each definition of madness the text provides. This proximity is itself co-substantial with time, insofar that demon, as fallen angel, is simultaneously what negatively precedes and preconditions human and what perpetually strives to retard its afterlife towards chronic sub-eternity or damnation—a striving that is formally inseparable from and providentially bound to what it inverts: spiritual aspiration towards the eternal present.[16] The near-madness of existential mystical sorrow, dangerously shadowed by the rigorous volitional logic of the desire “to unbe . . . that [is] develles woodnes and despite unto God,” is the perfection or more properly apotheosis, of this proximity, its extremest realization that at once fulfills and fatally exceeds all other instances of it in the moment of becoming-divine. It is the anagogy or being raised up of the four senses of madness, the one that realizes and shows the necessity of their identity. Read this way, the real mystic is revealed to be, not one of several distinctions, but the truly immanent human as a madly inverted experientia crucis, a heretic body constituting—and needing to constitute as its only way out of itself—the upside down crucifixion of time. Not an essence, but a unitary hybrid never once and now no longer human, a friendly no-one or ‘nameless wild one’[17] for whom near-madness is not a flirtation or perilous approach of the mind towards its loss, but the putting-to-use or wielding of the very necessity of time as an operational nearness, the turning of time into a virtue or power by letting it fall to a never-ending halt. “Live more and more in the Present, which is ever beautiful, and stretches away beyond the limits of the past and the future.”[18] This near- madness—inverted name for intimacy with true, singular sanity—is the human becoming capable of being mad. Hanging in effortless liberatory flight, its body stretched across the intersection of the evolutionary or human need to ‘become what you are’ and the chaotic or demonic ‘desire to be everything’, this weirdly inevitable creature here touches all at once the four temporal dimensions of its loved torment. From this perspective what matters is not what each intellectually ‘means’, but the immediate and as-if neutral significance of their time-structure.

crucifixion-of-timeAuthor’s illustration of the Crucifixion of Time

At the right hand: the non-stop continuity that must end of demon-tormenting contemplation, that is, allegorical time, time whose truth lies in signifying other than it is. At the left hand, the instantaneous once-and-forever singular moment of looking through the devil’s nostril, that is, literal time, time whose truth lies in perfect and unique irrevocability. At the head: the illusory false present of perverse, seeing-what-you-do-not-have aesthetic imagination, that is, tropological time, time whose truth lies in the projection of what one must do/become. At the feet: the let it be now of mystical impatience, refusal of every this for the real Present, that is, anagogical time, time whose truth lies in absolutely untimely suspension—heels kicking at everything.

The necessity of being at one’s wits’ end is a pure necessity, a necessity without object, and thus a necessity that only frees one more and more from being a subject of needs. Near-madness is the only alternative for staying close to being what one must.

On the other hand, Firdawsi reports in the Book of Kings that the followers of Mazdak, the heretical 6th-century Persian wise man, “were planted there head down, with their feet in the air, like trees….If you have any sense, [he says] you will not follow Mazdak’s way.”

—Nicola Masciandaro

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nicola-masciandaro

Nicola Masciandaro is Professor of English at Brooklyn College (CUNY) and a specialist in medieval literature. His non-pseudonymous works include The Voice of the Hammer (Notre Dame), Sufficient Unto the Day (Schism), and Floating Tomb (Mimesis).

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Footnotes    (↵ returns to text)

  1. The Cloud of Unknowing, ed. Patrick J. Gallacher (Kalamazoo, MI: Medieval Institute, 1997). References are to chapter number.
  2. Daybreak: Thoughts on the Prejudices of Morality, trans. Maudemaire Clark and Brian Leiter (Cambridge: Cambridge University Press, 1997), §14.
  3. For artistic examples, see Sander L. Gilman, Seeing the Insane (New York: Wiley, 1982), chapter 3.
  4. “Quis tenebit cor hominis, ut stet et videat, quomodo stans dictet futura et praeterita tempora nec futura nec praeterita aeternitas? Numquid manus mea valet hoc aut manus oris mei per loquellas agit tam grandem rem?” (Augustine, Confessions [Cambridge, MA: Harvard University Press, 1951], 11.11).
  5. “Quid est ergo tempus? Si nemo ex me quaerat, scio; si quaerenti explicare velim, nescio” (Augustine, Confessions, 11.14).
  6. Note how the logic identically applies to madness as explanation for all-too-intuited horror: “madness . . . was the explanation spontaneously adopted by everybody so far as spoken utterance was concerned; though I will not be so naïve as to deny that each of us may have harboured wild guesses which sanity forbade him to formulate completely” (H. P. Lovecraft, At the Mountains of Madness, [New York: Modern Library, 2005), 38). That time itself a horror is a maddening horror is of course central principal of this work: “the labyrinth of rock and masonry that clawed up corpse-like through the eternal ice . . . we felt that we had established an unprecedented and almost blasphemous link with forgotten aeons normally closed to our species . . . we were wandering amidst a death which had reigned at least 500, 000 years, and in all probability even longer . . . The pictorial bands . . . had an artistic force that moved us profoundly notwithstanding the intervening gulf of vast geologic periods. Their method of design . . . embodied an analytical psychology beyond that of any known race of antiquity” (46-56).
  7. The Wayfarers, 19.
  8. Nick Land, “Meltdown,” in Fanged Noumena, eds. Robin Mackay & Ray Brassier (London/New York: Urbanomic/Sequence, 2011), 456.
  9. Cf. Hegel’s understanding of the necessity of madness (for development of higher rationality) as expression of contradiction in individuated being – “The necessity of madness, that is, the necessity of going through the stage of madness, is due to the fact that ‘the soul is already in itself the contradiction of being an individual, a singular, and yet at the same time immediately identical with the universal natural soul, with its substance’ (Enz. 164, 125)” (Ferit Güven, Madness and Death in Philosophy [Albany: State University of New York Press, 2005], 37) – and Levinas’s definition of the grounds of escape: “escape is the need to get out of oneself, that is, to break that most radical and unalterably binding of chains, the fact that the I [moi] is oneself [soi-même]. . . . It is being itself or the ‘one-self’ from which escape flees, and in no wise being’s limitation. In escape the I flees itself, not in opposition to the infinity of what it is not or of what it will not become, but rather due to the very fact that it is or that it becomes” (Emmanuel Levinas, On Escape, trans. Bettina Bergo [Stanford: Stanford University Press, 2003], 55). Rosmini comments on Hegel: “What reason could we find for this whim that being would have to negate itself, to refuse to recognize itself, to make this mad attempt to annihilate itself?” (Saggio storico-critico sulle categorie e la dialettica). See also Nicola Masciandaro, “The Sorrow of Being” Qui Parle 19 (2010): 9-35 and “Eros as Cosmic Sorrow: Locating the Limits of Difference in Julian of Norwich’s Divine Shewings and The Cloud of Unknowing,” Mystics Quarterly 35 (2009): 59-103.
  10. “[C]um . . . dissentimus ab eo quod nolentibus accidit, talis voluntas tristitia est” (Augustine, De civitate Dei, 14.6, ed. Bernard Dombart and Alphonse Kalb, 5th ed. [Stuttgart: Teubner, 1981]) [sorrow is the will’s disagreement with something that happened against our will].
  11. “From general standards of society, religion, health, morality and so forth, cleanliness of body and mind are indispensable. It is, however, very easy to keep the body clean; but cleanliness of mind is very difficult indeed. The more one gets attached to body cleanliness for merely selfish reasons, the less are the chances of having a clean mind. If, however, one is given up wholly to mental cleanliness, which means becoming free from low, selfish, impure desires and thoughts of lust, greed, anger, backbiting, etc., the less is one’s mind attached to bodily needs and bodily cleanliness. All this applies to ordinary persons. Now of the five types—God-merged, God-intoxicated, God-absorbed, God-communed and God-mad—the God-absorbed and God-communed can more or less keep their bodies clean. Their minds are almost automatically clean due to their being absorbed in God, or in communion with God. But the God-mad, the God-intoxicated and the God-merged all invariably have dirty bodies, live in dirty surroundings, and may have dirty physical habits. A God-mad has a clean, pure mind. A God-intoxicated has a mind, but no thoughts, for his mind is simply enjoying the intoxicated state. A God-merged has no mind—he is fully merged in God. So in these three cases their mental cleanliness and purity cannot be questioned. Now why should their bodies and environments be dirty? You will find that the majority of ordinary mad people have very little consciousness of their bodies. So if an ordinary mind, when mad, does not pay attention to bodily cleanliness, then the three types of God men, who unconsciously or consciously know all the universe to be zero, body to be a shadow, and whose minds are absolutely unattached to the body, cannot be expected to keep their bodies and surroundings clean. When the mind does not pay attention to the body, the body, naturally, automatically survives and looks after itself. Now because of a kind of universal working on the gross plane, a sort of automatic attraction takes place, which causes a man who is indifferent to cleanliness to be attracted to place himself in dirty surroundings. He does not purposely choose an unclean place, but tends to gravitate towards it, for he is himself quite indifferent either to cleanliness or to dirt on the physical plane. For those who are God-mad, God-intoxicated, or God-merged, this dirtiness does not affect their health, because the mind is not attached to the body. For these souls, good or bad, cleanliness or dirt, a palace or a hut, a spotless avenue or a filthy gutter are all the same, and they are driven into any of these places according to circumstance. It is natural for a mast to have a dirty body, and it is natural for him to be driven to dirty surroundings; but if the devotee of a mast happens to give him comfort and cleanliness, he takes it because it is forced on him—but he is quite indifferent to it” (Meher Baba, Wayfarers, 33-4).
  12. H. P. Lovecraft, “The Lurking Fear,” in The Dreams in the Witch House and Other Weird Stories, ed. S. T. Joshi (New York: Penguin, 2004), 75.
  13. François Laruelle, The Concept of Non-Photographyi, trans. Robin Mackay (London/New York: Urbanomic/Sequence, 2011), 95.
  14. “They hanged him this way and he began to speak. ‘Learn ye the mystery of all nature, and the beginning of all things, what it was. For the first man, whose race I bear in mine appearance (or, of the race of whom I bear the likeness), fell (was borne) head downwards, and showed forth a manner of birth such as was not heretofore: for it was dead, having no motion. He, then, being pulled down—who also cast his first state down upon the earth—established this whole disposition of all things, being hanged up an image of the creation wherein he made the things of the right hand into left hand and the left hand into right hand, and changed about all the marks of their nature, so that he thought those things that were not fair to be fair, and those that were in truth evil, to be good. Concerning which the Lord saith in a mystery: Unless ye make the things of the right hand as those of the left, and those of the left as those of the right, and those that are above as those below, and those that are behind as those that are before, ye shall not have knowledge of the kingdom. This thought, therefore, have I declared unto you; and the figure wherein ye now see me hanging is the representation of that man that first came unto birth’” (Acts of Peter).
  15. Meister Eckhart, Complete Mystical Works, Sermon 57.
  16. The inversion is precise in Dante’s representation of hell-dwellers as permanently blind to the present, as Farinata explains in Inferno 10.100-8. Infernal knowledge advances only towards a frozen chromos, pure archivicity: “tutta morta / fia nostra conoscienza da quell punto / che del future fia chiusa la porta” (Inf 10.106-8) [all our knowledge will be dead from that moment when the door of the future shall be closed]. Cf. worry as a displacement from the present that demands absolute release: “Worry is a necessary resultant of attachment to the past or to the anticipated future, and it always persists in some form or other until the mind is completely detached from everything” (Meher Baba, Discourses, 3.122).
  17. “One bright Sunday, as he was sitting withdrawn and deep in thought, there came to him in the calmness of his mind the figure of a rational being who was sophisticated in speech but inexperienced in deeds and who overflowed with rich ostentation. He began speaking to the figure thus: Where do you come from? It said: I never came from anywhere. He said: Tell me, what are you? It said: I am nothing. He said: What do you want? It answered and said: I want nothing. And he said: This is very strange. Tell me, what is your name? It said: I am called nameless wild one. The disciple said: You are well named ‘the wild one’ because your words and answers are completely wild. Now tell me something I shall ask you. Where does your wisdom take you? It said: to unrestrained liberty (Henry of Suso, The Little Book of Truth, Chapter 6, cited from Henry Suso: The Exemplar, with Two German Sermons, ed. and trans. Frank Tobin [Mahwah, NJ: Paulist Press, 1989], 326). A hyper-negative liberty that must be distinguished from the deferred nothing-but-not-yet offered by nihilism: “That one must lose sight of names and nouns does not suggest that one must turn away from the world, which predication does serve to organize. The Nameless Wild One merely turns from this world when letting go the conventional delusion that this one is the only world possible (”Nameless Wild One: The Ethics of Anonymous Subjectivity – Medieval and Modern,” Common Knowledge 12 [2006]: 219-251).
  18. Meher Baba, The Everything and the Nothing [Beacon Hill, Australia: Meher House Publication, 1963], no. 37.
Oct 102016
 

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It is Minoru Yamasaki’s misfortune that the two works he is best known for, the World Trade Center and the Pruitt-Igoe public housing complex, are best known for their collapse. The World Trade Center, or its site, has attained the status of a shrine, so reflection upon its design and influence will have to be postponed for another time. Postmodern apologist Charles Jencks hailed the demolition of Pruitt-Igoe as the death—prematurely—of Modernism, and critical smoke from that debate still lingers. In both cases, however, the major factors that led to their destruction came from structural tensions outside the buildings, not within, from design flaws in the larger world. And many of the same forces that shaped Pruitt-Igoe, social and economic, direct the design of homes for most of us today and determine where we live and how well.

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Pruitt-Igoe

Most of us know its story, or at least most of us have seen the pictures that left afterimages in our imagination of disaster. At least Pruitt-Igoe brought issues of public housing to the fore. Originally planned as a segregated complex in downtown St. Louis, Pruitt Homes for blacks and Igoe Apartments for whites, the project comprised 33 11-story buildings holding some 2800 apartments on a 57 acre site. It was cause for hope when tenants started moving in, 1954, this at the time of the optimism of the post-World War II boom. The design, with interior pillars supporting an exterior skin of brick and windows, a facade free of ornament and reference, followed principles of Modernism and initially received critical acclaim. To encourage community and give the residents open space Yamasaki placed corridors on the floors, a nod to Le Corbusier’s “interior streets” in his Unité d’Habitation in Marseille. On a larger scale Pruitt-Igoe echoed Le Corbusier’s utopian desires, as outlined in his book The City of To-morrow and Its Planning and demonstrated in his various designs for an ideal city, where his essential solution to urban crowding was density—high-rise offices and apartments set in a rational grid to allow light, space, natural landscaping, and, supposedly, freedom.

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Yamasaki’s design is derivative, perhaps, but there has been far worse for public housing, and private for that matter. The major criticism of Pruitt-Igoe and similar projects has been density. Studies have been made examining the deleterious psychological effects of crowding people in small spaces, especially the higher up a building goes. But as in Le Corbusier’s post-World War I Europe, the need for low-income housing in St. Louis was large and pressing, as it is now in urban areas around the world, and solutions have to be large scale and entail simplification and sacrifice. In many urban areas today, given steep real estate costs and increasing population, the only alternative is to go up. As it was, Yamasaki intended a less dense complex with a mix of high- and low-rise buildings, but rigid federal standards mandated the taller buildings, and other cost-cutting compromises were made that reduced space within the apartments and without. Building contractors inflated their bids, straining the budget further. Still, it did have playgrounds and open space, and facilities for communal needs. The buildings were solid and had heating and plumbing, often lacking in the slums. In so many ways Pruitt-Igoe was superior to the housing tenants had before.

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Occupancy began high but plummeted. Attempts to integrate Igoe, after a Supreme Court desegregation ruling, failed. Whites left. The buildings suffered rapid deterioration and became a focal point of gangs, drugs, and vandalism, of neglect, assault, and fear. The corridors turned into a no-man’s-land, avoided and defiled. Hope turned to a pathology so broad and impacted that the only solution authorities could see was to destroy them. Their answer to violence was more violence. Demolition started in 1972 and continued until 1976, when razing of the entire complex was complete.

A quick review of the causes of its demise will not do them justice. They are complex and interrelated, pervasive and ugly. Nor will numbers tell the story persuasively. Rather the conditions have to be experienced, suffered and endured, to understand their magnitude and insidious effects. Still, Chad Freidrichs’s recent film The Pruitt-Igoe Myth, now on DVD, built on extensive research from city planners, urban historians, and sociologists, provides a depth of understanding lacking when the project was first conceived.

Start at ground level, before construction began, with attitude and motive. Government funded construction for public housing has never been strongly supported in this country, as was the case in St. Louis in the ’50s. Business interests, however, prevailed, but their desire was to clean up the eyesore of the downtown slums to make commercial and residential developments attractive for the thriving St. Louis metropolis they anticipated, which they wanted to give a modern face. There were other motives, not publicly voiced, that emerged later.

Many facilities were not adequate in the first place, their problems exacerbated by lack of funding for maintenance. Elevators broke down, incinerators overloaded and trash gathered, water pipes broke in winter. Security and other services also got cut. The buildings declined in rapid, downward spiral. Many residents were poor blacks who fled the agricultural South in hope of better opportunities. The assumption that tenants could pay for maintenance was not realistic. It became completely untenable when their incomes fell because the urban boom, the modern, new St. Louis, did not come. Instead the city’s population shrank with the flight of tax-paying residents to the surrounding suburbs, taking with them the commercial and industrial base and jobs from the city’s core.

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Pruitt-Igoe did have mixed income at the start. Soon, however, the residents were overwhelmingly poor, many paying as much as three-fourths of their income on rent, and they were densely packed together. Tenants of high-rises on Fifth Avenue in Manhattan, however, manage well enough. Density most affects low-income families. Their circumstances wear at their resolve and they lack the means to change them. Concentration increases pressure on the fault lines. The family is the first circle of the structure of community and the first line of defense in crisis. Welfare laws undermined families by mandating fathers of recipients not be in the home. By 1965 two-thirds of the residents were minors, most in single-parent homes, attenuating the social fabric even further. Residents were constantly surveilled, and other restrictions made them feel isolated from the world and neglected.

The overwhelming factor was race, bound to poverty in intractable and destructive concentration. Segregationist sentiment remained strong, publicly and privately, and blacks, by various tactics and covenants, were barred from the suburbs and the jobs there, and from the jobs that remained near where they lived in urban St. Louis. For so many blacks a project like Pruitt-Igoe was the only option, or the option the welfare authorities pushed on the poor. Public housing became the instrument not to solve social and economic problems but to isolate and contain them, and allow them to fester and erupt. Really, Pruitt-Igoe was a monument to its society’s prejudices, blindness, and failures, and their combined results are what the pictures of demolition we all know so well most represent.

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Now, 40 years later

How much has changed? Paul Jargowsky, in “Architecture of Segregation,” reports that concentration of poverty in barrios and slums has returned and again is linked to race, again is the result of policies and attitudes similar to those of the ’50s. It is almost twice what it was in 2000 and falls heaviest on minorities, black and Hispanic poor. We have seen its effects in the police shootings and subsequent rioting in Ferguson, just outside St. Louis, and Baltimore, as well in reprisals—police slayings in Baton Rouge and Dallas. What we don’t see is what lies beneath the surface of those isolated events, yet all indications are disturbing. Mood is difficult to detect, but we’ve gone from a world that in the ’60s found the need to proclaim Black Is Beautiful to one that tells us Black Lives Matter.

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Next up the economic scale, most of the rest of us. What the chart on the left shows is that income for 80% of us has flatlined while it has soared for the top 1%. More of us are now living with compromises, stagnant pay and diminished benefits in low-level jobs with limited chances for advancement or in contract work that pays even less and is less secure. Or we work longer hours in jobs that do not match our talents, and even hold down two. Or we try to make it on our own with small businesses in an economy that is stretched.

Money is power, and what the chart on right represents is our influence, our ability to make changes for ourselves and in the world at large. It also determines the construction we see in our world as well as gives voice to how we are supposed to see it. Architectural commissions, like money, like land, are limited resources, and the top 1% hold the greatest sway as they hire top architects to build their luxury townhouses or suburban spreads and the most prominent buildings in our urban environment, offices for the corporations they control and institutions where they have influence. These are the buildings that get the most attention in architectural reviews.

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Meanwhile housing, our major living expense, continues to rise steeply. Public-built homes for those of us at the bottom is a moot point as low-income housing is handled through subsidies to private concerns by a ratio of four t0 one, its quality and character determined by lowest common denominator design, its price by whatever the market can make its residents bear. For those of us steps above, an increasing number cannot afford to buy a home but have to rent, and the cost of rentals has kept pace. In its recent report “Out of Reach” the National Low Income Housing Coalition calculates that there isn’t a single state in the nation where workers paid minimum federal wage can afford a two-bedroom apartment at 30% of their income. On average they need two and a half times that pay. The burden is much, much worse in many areas. The report breaks the numbers down, state by state.

Even as you climb the income ladder, many of us are making still more compromises with homes well below the standards we once had cause to expect. We are moving further away from the cities, from our jobs, and from each other in exurban sprawl, or into infill housing or shared housing or smaller, crowded apartments in the city, homes whose quality and style run from dismal to variations of bland.

What can’t be graphed is the decline in the quality of our lives or the effects the disparity may have years from now, or soon. In the tension of the current environment it is difficult to know whether one is being realistic or alarmist, but it’s hard not to wonder if the Pruitt-Igoe pictures aren’t prophetic in another way.

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Geometry

“[A] town is pure geometry,” Le Corbusier tells us in City of To-morrow. “When man is free, his tendency is towards pure geometry. It is then that he achieves what we call order.” He takes our breath with the clarity, consistency, and comprehensiveness of his vision. And chokes us. Jane Jacobs, who lived in the city and studied its people, found that his open spaces led to isolation and bred crime. It is hard not to believe that the simplicity of his design didn’t mask some psychological drive, hidden. Despite genuine sympathy and the best intentions of planners from Fourier’s Phalanstère in the early 19th century, a response to the crowding and squalor brought by the Industrial Revolution and an influence on Le Corbusier, on into designs of the 20th, so many architectural solutions for mass housing have been marked by isolation, containment, and coherence through abstract regularity in a hierarchy of some sort. And by grimness. They want to clean things up and put them in order, not give them life. The working poor were seen en masse as an abstract problem to solve, not individuals looking for variety and fulfillment. Later reactions to Le Corbusier’s monolithic plan were just that—reactions motivated by reverse sentimentality and abstract theory out of touch. Recent urban designers have shown more knowledge and sensitivity, but one has to wonder how much time planners, past and present, spent learning about the people they were trying to help.

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Le Corbusier should not be singled out for criticism, however, and in many ways he responded to the spirit of his times. The world had become abstract itself, absorbed in process, notably industrialization and technology, which architects embraced, and distant from the beliefs and customs that once gave our lives texture and character. The major abstraction the world has to contend with now is the move to the free market, which is anything but free. Whole systems of values have been replaced with fascination in whatever we can be induced to buy, a theme we play out in endless variation. Government managed economy and public welfare policies of the last century have lost substantial ground. Government designed by political thinkers is dead. The greatest irony of “free enterprise” is that it has led to consolidation and growth of large corporations now worldwide, shrinking our influence and status in this process. Business leaders created monoliths on their own, without the help of architects.

Free enterprise does have efficiencies and provides incentive, but as a system of belief and behavior it offers, by definition, nothing substantial, yet its adherents invest it with a veneration that approaches religious fervor. They have also given it a wild ride. Housing was once the bedrock of the economy and a means of individual stability and expression. In the first decade of this century we had a spree, when mortgages lost their moorings and became instead a source for massive, exotic speculation. Complicated financial instruments were created on top of a huge pool of subprime—dubious—loans that no one understood, not even those who bartered them, resulting in a crash that took the economy with it. It was all exhilarating, really, if you can step back a moment and take it in, a non-euclidean triumph. Perhaps a stretch, but the temptation is to say that our more exotic, risky, even perilous architectural designs of the last decades match this spirit, this abandon.

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Frank Gehry’s Cleveland Clinic for Brain Health in Las Vegas.

So much other architecture now, clean and white, open and transparent, appeals to us with its purity and abstraction. Some of it is classically well-proportioned, some is fanciful, some is funky, some technologically marvelous. But so much of it works within theoretical inbreeding and a narrow set of esthetic assumptions it does not question, assumptions and ideas that give us an ever-diminishing sense of self. Some propels us forward towards a fantastic, abstract future that shows no recognition of the past and has little bearing on our present lives. How well these buildings will stand up to the test of time, how well they will weather the abuse of climate and social and environmental erosion, whether they can maintain their pristine appearance and if so at what cost—all these questions remain open.

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Billy Towns

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The most moving and convincing statements in The Pruitt-Igoe Myth come from interviews with a handful of former residents themselves, who were strongly attached to their lives at the complex. At the beginning they experienced joys and a community there that have been overlooked. They speak with clarity and conviction, and reveal the depth of their humanity. They also are not blind, as they understand the motions within and without that strained their lives and led to conflict. One watched his brother die of wounds from a fight as his mother tried to put him back together. But they have endured and come out whole. They represent possibilities missed and lay the groundwork for future construction.

Of special interest is a bonus feature on the DVD, More Than One Thing. It’s a 16mm black-and-white film made by Steve Carver while a graduate student at Washington University that juxtaposes scenes in the life of Billy Towns, a high school student whose father died early and who grew up at Pruitt-Igoe, ever present as backdrop. The ghettoes, he calls it, exposing the stigma attached to such housing, though he goes on to say the projects aren’t that bad. He always tries to make the best of what he has.

Billy is ambitious and wants to make it in life. Most he wants to be somebody and gain respect. The way to do that, he says, is be good at more than one thing, thus the title. He plays two sports, basketball and football, and has dreams, unrealistic, of playing pro. Apparently he can hold his own in the pool room and also plays trombone. At the beginning we hear, in ironic statement, his faltering yet spirited rendition of “My Country ’Tis of Thee.” But he is observant and thinks. He is realistic about himself, his world, and his chances.“I don’t think I look that good,” he tells us, “and I don’t think I look that bad.” He knows he will need ability and have to make opportunities himself. He respects the value of education and wants to go to college.

He also understands the ways of the world, and the film shows how they have molded him, unconsciously, imperfectly, and potentially tragically. Against his ambition and efforts, boredom, which he fights. He says there’s nothing to do in the projects, a recurring theme, so he goes uptown, where he sees white stares. If he has to be good at more than one thing, it’s because he knows he will have limited opportunities because he is black. He also knows what is most needed in our world: “Without money what else can you do?”

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His greatest tension and temptation is violence, to which he may have succumbed. Gang pressure is implied and likely is overwhelming. Fighting is stupid, he says, and he sees the insanity and desperation of blacks killing blacks. But violence of some sort simmers beneath the surface of the whole environment. It is the counterpart to frustration. Like the residents in Myth, Billy feels the urge to lash out somewhere, anywhere, at someone, at something, even if it’s just to break a bulb or smash a windshield. The only other alternative is to be passive and just let things go. Billy’s solution is to stay away from connections. Friends get you in trouble, he says, and he has few. It’s not good to trust too many people because he believes closeness can hurt you, as it probably has. He also mistrusts romantic attachment, more than might be expected at his age. His resolve comes at a price—isolation.

Yet he remains upbeat and keeps looking for options and keeps moving on. At the end of the film, hat in hand and thrust forward, he joins a few friends in a loose, bluesy dance on the sidewalk, utterly engaging, all of them in sync.

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Not only should we build housing for people like Billy Towns and the Myth tenants, construction that knows and respects them and gives them space to be themselves and grow, we can also learn from them. In spite of everything, we see Billy’s irrepressible spirit, his desire to reach and move forward and not be defeated. We can learn what it means to be alive and how to stay alive, a lesson that might sustain us all.

And we should construct housing like this film. More Than One Thing is a tremendously successful piece of architecture. It builds for Billy what Pruitt-Igoe couldn’t, a container that gives him recognition and life. Carver finds spirit and complexity where others only see abstract problems, people as abstract types, and pathology. His style is original yet universally compelling, not lapsing into rigid symmetries, sentimentality, or the constraints of esthetic theory and political ideas. Every shot is well composed, with texture, contrast of shadow and light, and compelling spatial variety.

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The film understands context, the world it which it stands, and transforms its facts, its currents, into vital expression.

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Carver can also find the poetry of flight in the barest place.

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Most, the film has rhythm, in the pacing of its shots and a jazz score that links it frame to frame, that lifts the spirits and keeps it, Billy, and all of us moving. Just as important, it is built on a solid base, humanity, empathy, and broad social understanding.

Firmatis, utilitas, and venustas, durability, utility, and beauty, the principles of architecture Vitruvius outlined centuries ago—More Than One Thing succeeds on all counts. It is well made and solid, and should last a long time. It is useful in the ultimate utility, the means to have a life. There are many types of beauty, and many theories of beauty, but all derive from the same source, the human spirit. Carver has found his own that transcends the trendy or merely pretty. It is a gorgeous film. Relevant to the subject, he accomplished all this on a low budget, with limited technical means.

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Non-manifesto

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Manifestos serve a purpose. They make quick, abrupt statement, clear the air, and get attention. Seldom do their authors test their assumptions, however, or even examine them, but there is some value here as they don’t get diluted in qualification. This manifesto is no different, except it has nothing theoretical to state nor anything specific to propose. It only has one maxim: there are no good ideas. Its only corollary, which necessarily follows, is that there are no good designs.

That does not mean there aren’t bad ideas or designs. There have been too many that were too gross or malignant, and we have suffered too much from their effects. Nor that we shouldn’t come up with new theories and test them or try new designs. On the contrary, we must. “Practical men who believe themselves to be quite exempt from any intellectual influence, are usually the slaves of some defunct economist” Keynes warned us at the time of the Great Depression, and we see the result in our free market chaos now. The same applies to politicians and architects. “Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back,” he added, anticipating the totalitarian horrors to come.

Explaining why the manifesto is true, and how many different ways it is true, however, would take volumes, and that is the point. To do it would require thorough study of all the partial successes and wholesale failures from the past, of all the theories upon which they were built almost all of which had short half-lives. But those are all we have to work on. The view that we have discovered something new and final, or are going in that direction, that we can make a break and leave the past behind, that we have changed in some fundamental way, that we are moving towards some future progress—is an illusion and a trap we have fallen into too many times. The thought that we can build the perfect society or perfect building is already an act of crippling surgery. Any idea, any design, necessarily, inevitably, will come up short. There is too much much to comprehend, too much beyond our control, too much we can’t predict. Forcing a concept and projecting it globally compounds the deficiencies by accelerating orders of magnitude.

Really, the non-manifesto is liberating. It allows openness and flexibility and provides a check to our impulse to contain, control, and extend. We will always end up with compromises, and understanding that will help us come up with plans that are workable and satisfying. It also encourages us to be tentative and keep close to the world around us and to what most matters.

We have known all along what we most need to know about ourselves. We will always have to observe and explain and try out new ideas, and we will always have to make adjustments. But the things that most define us are the things that most resist definition. At our core, the irreducible fact of our existence. We stray from it at our peril.

“Architecture is the will of the age conceived in spatial terms. Living. Changing. Now.” Mies van der Rohe, “Working Theses,” a century ago. The industrial and technological momentum he found attractive and wanted to transform now strains us and drains our will. Anything we build now will have to be durable and protect us. It better be ready to take some hits. But hopefully we will come up with something that is resilient and gives us life.

— Gary Garvin

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Notes and Credits

More Than One Thing has recently been restored as part of a National Film Preservation Grant. It is at the Film and Media Archive at Washington University in St. Louis and will be aired this November at the St. Louis International Film Festival.

Special thanks to Steve Carver for his permission to reproduce the stills from his film.

Permission for the photograph of slum housing in St. Louis, near the Pruitt-Igoe site, from The State Historical Society of Missouri.

Photograph of Le Corbusier’s proposal for a city from ArchDaily.

Pictures of the aerial shot of Pruitt-Igoe, implosion sequence, vandalized corridor, and Phalanstère from Wikipedia Commons.

Income graphs from “It’s the Inequality, Stupid,” Mother Jones.

Housing graph from J. P. Parsons Real Estate Charts. Note the recovery from the last housing bubble and his prediction of another.

Photo of Frank Gehry’s Cleveland Clinic for Brain Health from “Gehry in Vegas,” BoomerReviews.Com.

The Obama administration has just released the Housing Development Toolkit to tackle issues of housing inequality. Introduction:

Over the past three decades, local barriers to housing development have intensified, particularly in the high-growth metropolitan areas increasingly fueling the national economy. The accumulation of such barriers–including zoning, other land use regulations, and lengthy development approval processes–has reduced the ability of many housing markets to respond to growing demand. The growing severity of undersupplied housing markets is jeopardizing housing affordability for working families, increasing income inequality by reducing less-skilled workers’ access to high-wage labor markets, and stifling GDP growth by driving labor migration away from the most productive regions. By modernizing their approaches to housing development regulation, states and localities can restrain unchecked housing cost growth, protect homeowners, and strengthen their economies.

This graph from the Toolkit is telling:

obama-graph-jpg

Richard Florida breaks down public housing expenditures in “The U.S. Spends Far More on Homeowner Subsidies Than It Does on Affordable Housing,” The Atlantic Citylab. Excerpt:

The U.S. shells out roughly $46 billion a year on affordable housing—$40 billion on means-tested programs and another $6 billion in tax expenditures through the Low Income Housing Tax Credit (LIHTC) program, which supports affordable housing investments for low-income Americans. Compare that to $195 billion in subsidies that flow largely to wealthy and middle class homeowners via tax deductions for mortgage interest.

The subprime mortgage crisis has recently been covered in the film The Big Short, which takes much of its information from Michael Lewis’s book of the same title. I have given it my best shot, using largely the same source, in “Under the rainbow: capitalism/the subprime mortgage crash,” adding my own speculation.
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Gary Garvin, recently expelled from California, now lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the minnesota reviewNew Novel ReviewConfrontationThe New ReviewThe Santa Clara ReviewThe South Carolina Review, The Berkeley Graduate, and The Crescent Review.  He is currently at work on a collection of essays and a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Aug 092016
 

Daniel Lawless 2

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Portrait of My Father

Face forever dull scarlet, puckered when he snuffled
Up the last packed flakes of Erinmore
From one of his half-bent’s and gave it out as acrid
Comment on our clothes, my comics, Saint Michael’s
Shoddy footwork on the pitch.
There was a pineapple on the tobacco tin; according to him Virginia
Was full of them, and drunk Indians.
At eight I kept ship’s nails, odd stamps, two perfect ambered bees
In one; by twelve pinched coins against the day
I could train away from that ancient nobody. Then
Cancer. April. Or May. The parlor swooned. By June
His raw lips were a flea circus. Morphine, and soon that jutting
Lawless chin and half his jaw lopped off — a map
Of olde Eire jammed on his shoulders I’d trace with curious fingers
From Kinsale to Letterkenney
As he dozed chair-bound halfway into Benny Hill. October
In memory means standing straight as line poles
At his casket against the garlic-gales
Of Monseigneur’s Castelli’s Lord’s Prayer, our threadbare
Sunday bests smelling of his forsaken Erinmore. The rest
Half-forgotten. Photographs interred in plastic jackets.
Christmas, wistful. Snowflakes. School, our silent friends.
Birthday masses with old women in black dresses, Ma chirping
He’s with the angels, et cetera, we were Irish.

 

Up late

This morning, leather-gloved against blisters and armed
With my aunt’s grand new Flexrake Basket LRB 140 —
An impromptu visit to their old house-keeper Florene’s
rusting double wide
To pick lychee nuts, which I’ve never tasted
But my uncle Bob assures me I will love
Shaved into coconut pudding and topped with something
He calls his Lychee Love Sauce.
She’s not home, of course, Florene: colon cancer. Two years ago
Now. A long haul, her black-haired widower concedes, polite but
Staring straight ahead over the dashboard, waving us on
As he backs the pick-up down the cracked asphalt drive.

It’s hard. Harder than I would have thought.
Twenty minutes maybe half an hour of swatting no-see-ums,
Twisting our doughy necks and arms into soft pretzels,
Working the spring-loaded jaws so they claw
The stems without breaking the rind and then suddenly rain
That pulls us toward the carport: smokes, Cokes in a cooler
Where we’d left them,
Tired chit-chat between rolls of thunder as we lament
The sorry state of Florene’s garden, until turning back we spot
A dazed-looking figure on the neighbor’s lawn.

Sylvie, Clara summarizes — grand-niece, sixteen, drugs as we watch her
Watch us, unseeing, cheeks smeared with mud,
Slow-dancing to la musique inouïe,
Fiddling with a garter snake, making a bracelet, a necklace.
She’s beautiful, wearing nothing but a man’s swimming trunks.

And shall I speak now, Reader, of the rain that never ended,
Our rolled shoulder dash through it
To the car as we left her to her reveries, Florene’s double wide
Receding through the fogged-over rear window
As we bumped back down the gravel road,
The tart almost candy-like scent of what lychees we’d gathered
Squirming out through the twig holes punched in the single Winn Dixie bag
We’d managed to fill,
The darkness of the kitchen as we spilled them on the counter
Where Bob stood with his Oxy peeler, the slow brush of his forearm
As he swept the rough pink-red of their hides
Into the sink to expose balls of translucent flesh?
How we waited as he ground them with fresh coconut flakes
And poured a steady stream of heavy cream and egg yolks
Into a bowl, how we spooned that still-warm pudding up with plastic forks
From Hardees, the rain finally diminishing to plump drops plopping
From the gutter?
Or are you still thinking about that half-dressed dancing girl
With her scorched toddler-mind, how childishly beautiful she was
Making jewelry out of a snake,
The aroma of her pale breasts and the illicit thought
Of kissing them, taking them topped with Lychee Love Sauce
Into your mouth?

—Daniel Lawless

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Daniel Lawless’s book, The Gun My Sister Killed Herself With and Other Poems is forthcoming from Salmon Poetry, February 2018.  Recent poems appear or are forthcoming in The American Journal of Poetry, Asheville Review, Cortland Review, B O D Y, The Common, FIELD, Fulcrum, The Louisville Review, Manhattan Review, Numero Cinq, Ploughshares, Prairie Schooner, and other journals. He is the founder and editor of Plume: A Journal of Contemporary Poetry.

 

 

Aug 092016
 

Self-Reliance cover 500pxCover image for The Domino Project’s edition of “Self-Reliance,” c2011.

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Nothing is at last sacred but the integrity of your own mind. Absolve you to yourself, and you shall have the suffrage of the world. I remember an answer which when quite young I was prompted to make to a valued adviser who was wont to importune me with the dear old doctrines of the church. On my saying, “What have I to do with the sacredness of traditions, if I live wholly from within?” my friend suggested—“but these impulses may be from below, not from above.” I replied, “They do not seem to me to be such; but if I am the Devil’s child, I will live then from the Devil.” No law can be sacred to me but that of my nature. Good and bad are but names very ready transferable to that or this; the only right is what is after my own constitution, the only wrong is what is against it. 

—Ralph Waldo Emerson, “Self-Reliance” (1841)

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Quantum sumus, scimus. That which we find within ourselves, which is more than ourselves, and yet the ground of whatever is good and permanent therein, is the substance and life of all other knowledge.

Samuel Taylor Coleridge, Aids to Reflection (1825)

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If I live my life according to my God-given insights, then I cannot go wrong, and even if I do, I know I have acted in good faith.

Adolf Hitler, in conversation (1941)

 

1.

This year marks the 175th anniversary of the publication of Emerson’s “Self-Reliance.” Until I sat down recently to re-read it in preparation for a talk I’d been invited to give on the subject, I’d somehow managed to forget just how complex and internally qualified that essay is, and how the interpretive problems are as compounded as they are clarified by Emerson’s later revisitings of his central idea. As Spinoza tells us in the final note to the Ethics, “All excellent things are as difficult as they are rare.” The difficulties one encounters in reading Emerson in general are inseparable from the pleasures. The principal complications stem, in the first place, from Emerson’s temperament and style, and, second, from the richness of the spiritual, philosophic, and poetic traditions in which he was embedded, and by which, for all his originality, he was profoundly influenced.

Stylistically, Emerson is so committed to polarity that his powerful yet ambiguous texts are full of overstatements and qualifications, swerves and counter-swerves. In the second half of many lectures and essays, he takes away with the left hand what he has just given with the right. As he notoriously proclaimed in our main text, “Self-Reliance,” a “foolish consistency is the hobgoblin of little minds” (E&L 265). His disciple Walt Whitman was never more Emersonian than when (in “Song of Myself” §51) he asked a rhetorical question and responded audaciously: “Do I contradict myself?/ Very well, then, I contradict myself./ (I am large. I contain multitudes)”—to which Emerson’s German disciple, Friedrich Nietzsche, responded: “It is precisely such ‘contradictions’ that seduce one to existence.”[1]

There is a polarity at the heart of “Self-Reliance,” a primary thrust and a secondary elaboration, taking the form of a caveat, an inconsistency, what the prosaic Understanding would consider a “contradiction.” What Emerson meant by his pivotal idea is not always as obvious as our initial excited response to the clarion call to independence in “Self-Reliance” would suggest. The ambiguity lurking beneath the surface has required interpretation, and thus potential misreadings, of what the volatile and not always consistent Emerson actually intended to convey in urging on us his imperative of self-trust and inner reliance. In what follows, I will flesh out those complications and “contradictions,” and attempt to resolve them, not only by exploring Emerson’s later elaborations on the idea, but by placing climactic emphasis where he himself placed it in the final sentence of “Self-Reliance”: on the “peace” that relies on trust in Intuition, yet requires a moral, divinely inspired component, “the triumph of principles.”

“Self-Reliance” is Emerson’s most widely-read essay and, if not his greatest, certainly his most influential. Emerson’s central idea in this essay has had a profound impact on American thought as well as on the world of practical affairs, commercial and political, especially in its glorification of the “individual” at the expense of “society,” depicted as a distraction or hindrance. Many an American Captain of Industry has found Emersonian sanction for often rapacious business practices. But despite his strenuous advocacy of self-reliance, admiration of men of action exercising “power,” and observation that, like history, “an institution is the lengthened shadow of one man” (E&L 267), Emerson’s individualism was not meant to endorse commodification and the Exchange in the form of ruthless corporate aggrandizement, nor, though this connection has also been made, to justify Western expansion. It is certainly open to use and abuse, but in its various adaptations, self-reliance has all-too-often been simplified, even distorted—most often in the same way in which “Social Darwinism,” with its self-centered doctrine of the “survival of the fittest,” has misrepresented Darwin’s theory of the various ways, often cooperative rather than competitive, evolution actually works.

We are not wrong to read “Self-Reliance,” a prose Song of Myself, as an unforgettably defiant declaration of independence: an exhilarating celebration of the individual who has cast off the repressive and conformist strictures of society, and buried the dead past in favor of “the present hour.” Employing a favorite device, the rhetorical question, Emerson asks: “Is the parent better than the child into whom he has cast his ripened being? Whence, then, this worship of the past?” Where the soul “is, is day; where it was, is night; and history is an impertinence and an injury, if it be anything more than a cheerful apologue or parable of my being and becoming.” Narcissistically, this out-trumps Trump, but it is saved by Emerson’s turn to “today” and to Nature. The “blade of grass or the blowing rose”

exist with God to-day. There is no time to them. There is simply the rose; it is perfect in every moment of its existence….But the man postpones or remembers; he does not live in the present, but with a reverted eye laments the past, or, heedless of the riches that surround him, stands on tiptoe to foresee the future. He cannot be happy or strong until he too lives with nature in the present, above time. (E&L 270)

But Emerson’s concept of the sovereign self, living for the moment and liberated from the burden of the past, simultaneously incorporates (though often overlooked, especially by thrilled young readers rebelling against their elders) an insistence that every person’s inmost identity is part of a larger whole, a transpersonal universal. To be sure, “Self-Reliance” sets the individual in splendid isolation against all that would threaten the imperial self, especially the opinions of others and all the interrelated conformist pressures of society and tradition. And yet the essay also stresses “virtue” and “principles”: built-in safeguards against the egocentricity Emerson seems not only to most value, but to license and unleash.

Emerson_engraving_1878_cropped3Ralph Waldo Emerson, 1878 (via Wikimedia Commons)

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The concept of an inner self that transcends the merely private and egoistic (just as Jungian “individuation,” or “self-actualization,” often seems inseparable from “self-transcendence”) is rooted in those earlier-mentioned spiritual, philosophic, and poetic sources comprising the “traditions” by which Emerson was influenced. For even this arch-champion of self-reliant originality and radical independence was deeply indebted to selected precursors, preeminent among them John Milton and his visionary progeny: poets and thinkers in the Romantic tradition (Coleridge, Wordsworth, Carlyle) and clerics in the line of radical “inner light” Protestant spirituality, from Reformation theologians to one of his own mentors, the liberal Unitarian William Ellery Channing. Emerson’s “star of the American Church” (JMN 7:470) proclaimed, in his famous sermon of that title, “man’s likeness to God,” a God who “dwells within us.” Emerson was an even more ardent believer in the God within. Fusing the “still, small voice” of the Lord (1 Kings 19:12) with Jesus’ assertion that “the Kingdom of God is within you” (Luke 17:21), he told his cousin David Greene Haskins: “I believe I am more of a Quaker than anything else. I believe in the still small voice, and that voice of Christ is within us.” He had “only glimpses” of the “divine principle that lurks within us,” but for Emerson, “God is, and we within him,” a conviction for which he found even pagan support—in the 6th and final book of Ovid’s Fasti: “There is a God within us. It is when he stirs us that our bosom warms.” (JMN 4:27-29, 3:12)

However radical, Emerson’s insistence on what Milton (negatively) and the British Romantics (positively) referred to as “divinity within” has precedent in both testaments of the Bible. “I will put my love within them,” says the Lord (Jeremiah 31:32-33), anticipating Jesus’ assertion that “the kingdom of God is within you.” The uncanonical Gospel of Thomas contains an identical formulation, “The Kingdom of God is inside you.” Though a suppressed text unknown to the author of “Self-Reliance” (it was rediscovered at Nag Hammadi in Egypt more than a century after that essay was written), this Gnostic gospel is remarkably aligned with Emerson’s own religious radicalism, most fully developed in the “Divinity School Address” he delivered at Harvard on July 15, 1838.

On that memorable evening, Emerson shocked the theological faculty of his alma mater by (among other outrages to even Unitarian convention) describing “historical Christianity” as corrupt and “corpse-cold.” One “would rather be,” he intoned (quoting Wordsworth’s sonnet, “The World is Too Much with Us”), a “pagan, suckled in a creed outworn,” than to be a conformist Christian “defrauded” of the “manly right” to “dare” to “live after the infinite Law that is within you.” In a passage uncannily parallel to a central passage in Thomas (“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”), Emerson announces, in the most dramatic antithesis in the Divinity School Address: “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.”[2]

What scandalized the Divinity School faculty—especially as garbed in the deliberately provocative rhetoric Emerson employed on this notable occasion—thrilled the young graduates in the audience. Each neophyte preacher, fortified by the God within him, was, proclaimed Emerson, to go forth on a revolutionary mission: “Yourself a newborn bard of the Holy Ghost, cast behind you all conformity and acquaint men at first hand with Deity.”[3] That unmediated access to the divinity within, Emerson’s refusal to draw a clear distinction between the inspired “self” and the inspired Savior (Jesus was but one, though the first and greatest, to realize that “God incarnates himself as man”), along with his contemptuous dismissal of tradition and “conformity,” allies the Divinity School Address with the essay it directly anticipates: “Self-Reliance.” In fact, that essay is in part a reaction to the furious public controversy following Emerson’s Address: a widespread and incendiary brouhaha in which the lecturer was condemned as a “mad dog,” a “pagan,” an “infidel,” even a demonic Pan or devil who had planted “the cloven hoof” of German pantheism and atheism in New England.[4]

It is true that, in both lecture and essay, Emerson was intellectually participating in a philosophy imported from Germany: in the epistemological “Copernican revolution” of Immanuel Kant, as transmitted to him, “filtered,” through the British Romantics, principally Coleridge and Thomas Carlyle, both of whom stressed the centrality of Kantian Transcendental Idealism and the radical extension of Kant by J. G. Fichte, who transcended the antithesis between Ich and Nicht-Ich—famously Englished by Carlyle and Emerson as “Me” and “NOT ME” (E&L 8)—by positing a “pure I,” even a “Divine-Me.” In Biographia Literaria (1817), Coleridge published a caricature, what he called a “burlesque on the Fichtean Egoismus.” Coleridge’s satiric doggerel opens with a burst of Latin translatable as “Huzzah! God’s vice-regent, myself God,” and continues:

The form and the substance, the earth and the sky,
The when and the where, the low and the high,
The inside and outside, the earth and the sky,
I, you, and he, and he, you, and I,
All souls and all bodies are I itself I!

Everything, the Supreme Being included, is part of the world’s “Lexicon,” with the “I” or Ich as the “root.” In all “cases,” grammatical and philosophic, the Fichtean Ich is the “case absolute,” “self-begot,” yet indistinguishable from “the God infinitivus!”[5] What Coleridge says here of the Fichtean Egoismus was later said, more genially and in more readable verse, of Emerson by his friend James Russell Lowell. Writing at his epigrammatic best in the finest vignette in his 1848 Fable for Critics, an amused and yet devastatingly on-target Lowell wrote:

All admire, and yet scarcely six converts he’s got
To I don’t (nor they either) exactly know what;
For though he builds glorious temples, ’tis odd
He leaves never a doorway to let in a god.
’Tis refreshing to old-fashioned people like me
To meet such a primitive Pagan as he,
In whose mind all creation is duly respected
As parts of himself—just a little projected;
And who’s willing to worship the stars and the sun,
A convert to—nothing but Emerson![6]

Though Lowell was aware of the complexities in Emerson’s position, his parody conveyed (to quote Coleridge on his own “burlesque” of Fichte) “as tolerable a likeness” of his subject’s “idealism as can be expected from an avowed caricature.” In an early, unpublished poem of his own, Emerson located God at the “bottom of my heart,” his “voice therein” an “oracle” and “wise Seer” who always guides “aright.” I “never taught what it teaches me,” Emerson concludes. “Whence then did this omniscient Spirit come?/ From God it came. It is the Deity” (JMN 4:447-48). Another notebook entry, a meditation recorded on May 26, 1837, begins and ends with questions: “Who shall define to me an Individual?….Cannot I conceive the Universe without a contradiction?”

In between these genuine questions, Emerson contemplates the “One Universal Mind” and “my being embedded in it.” God is “the soul of Me. I can even with a mountainous aspiring say, I am God, by transferring my Me out of the flimsy & unclean precincts of my body…and my private will.” A “believer in Unity, a seer of Unity, I yet behold two….Hard as it is to describe God, it is harder to describe the Individual.” He overcomes this philosophic duality and “contradiction” by falling back on the mysterious light of Intuition. At moments, a “certain wandering light comes to me which I instantly perceive to be the Cause of Causes. It transcends all proving. It is itself the ground of being; and I see that it is not one & I another, but this is the life of my life.” At such privileged “moments,”

I have known that I existed directly from God, and am, as it were, his organ. And in my ultimate consciousness Am He. Then, secondly, the contradictory fact is familiar, that I am a surprised spectator & learner of all my life….But whenever the day dawns, the great day of truth on the soul, it comes with awful invitation to me to accept it, to blend with its aurora.[7]

Emerson’s imagery in this extraordinary passage reflects the Inward Light of radically immanent Protestantism, and, more specifically, the language of his favorite lines in the poem that most haunted him and to which he most often alludes: Wordsworth’s “Ode: Intimations of Immortality,” where those intimations are presented as “the fountain light of all our day/…a master light of all our seeing.” But the merging of self and God also resembles that of Fichte, which casts its own light, thrilling yet problematic, on the concept of Self-Reliance.

Wordsworth Coleridge Carlyle composite(l. to r.) William Wordsworth, Samuel Taylor Coleridge, Thomas Carlyle (via Wikimedia Commons)

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Allied with the spiritual conceptions of an “inward light” or “divinity within,” the most radical aspect of Emerson’s conception of “self-reliance” is derived in part from German Idealism. Emerson’s core idea had, in turn, a momentous impact on a later German philosopher, Friedrich Nietzsche, the anti-Idealist proponent of the Will to Power and of the Übermensch. The American’s most enthusiastic and formidable European disciple, Nietzsche considered Emerson the major thinker of the age and filled almost every margin of his copy of the Essays with scribbled annotations. Nietzsche is “Emersonian” in his condemnation of the dead weight of the past, in his praise of “Dionysian” instinct and intuition, in his exaltation of the exceptional or “higher” man, and in his dismissal of the conformist “herd.”

At times, Emerson could be as ruthless as Nietzsche toward the mediocre “herd,” as in the following provocative passage on the relationship of “great” individuals to the community, which occurs in no less crucial a text than “The American Scholar,” a lecture read by Nietzsche and a precursor of his untimely meditation “On the Uses and Disadvantages of History for Life.” Here, sounding like Nietzsche, is the supposedly benign Emerson on the current condition:

Men in the world to-day are bugs, are spawn, and are called “the mass” and “the herd.” In a century, in a millennium, one or two men [approximate] to the right state of every man. All the rest behold in the hero or the poet their own green and crude being,—ripened, yes, and are content to be less, so that may attain to its full stature….The poor and the low are content to be brushed like flies from the path of a great person, so that justice shall be done by him to that common nature which it is the dearest desire of all to see enlarged and glorified. (E&L 66)

The goal is the “enlargement” of the self, a crucial concept Emerson derived, as we shall see, from Coleridge. Furthermore, in keeping with the related reciprocity between “Each and All” as laid out in Coleridge’s “Essay on Method” in The Friend, we “each” have a stake in developing the potential of “all” for the greater good. But this Nietzsche-anticipating (if not quite Nazi-foreshadowing) passage in “The American Scholar” is a notably harsh as well as hyperbolic cultural teaching. Usually, Emerson qualified or caveated his most hyperbolic assertions; Nietzsche tended not to. And though he borrowed the phrase from Emerson’s Divinity School Address (E&L 88), Nietzsche, that atheist and self-professed Antichrist, really meant it when he announced that “God is dead.” Emerson, devotee of the God within, cannot have known what the catalytic impact of the doctrine of self-reliance would be on the precociously brilliant German youth who began to read him at the age of seventeen. Himself a great liberator, Nietzsche found his own liberating god in Emerson.

What gets liberated is another matter. Though the Nazis exploited and distorted much that was in Nietzsche, few serious readers any longer accept the once-commonplace alignment of Nietzsche with Nazism. But such explosive phrases as “the blond beast,” “the master race,” the “Will to Power,” and the Übermensch, did provide materials to be exploited and distorted. As Nietzsche himself said in opening the “Why I Am a Destiny” section of Ecce Homo, “I am no man; I am dynamite,” and dynamite, which can explode indiscriminately, is particularly dangerous in the wrong hands, a “fate” Nietzsche feared.[8]

Emerson was an equally brilliant and provocative phrasemaker. His guilt by association is less notorious than the Nazification of Nietzsche, but Emerson—that glorifier of the “aboriginal Self,” celebrator of one’s “sacred impulses,” professor of “one doctrine: the infinitude of the private man” (JMN 7:342), and champion of autonomy, “self-reliance” and the “God within”—has also been connected with Hitler and Nazism. One distinguished American critic, Alfred Kazin, reported in 1997 in God and the American Writer that he once heard another distinguished literary critic, the conservative Southerner Cleanth Brooks, “charge that ‘Emerson led to Hitler.’”[9] The charge is of course excessive. Yet, in his own perverse way, Hitler was a product of the same German Idealist philosophy that found its way to Emerson by way of Coleridge, Carlyle, and French philosopher Victor Cousin. Reading Fichte, philosopher of the “Divine-Me,” Hitler marked passages in which Fichte claimed that “God and I are One….My work is his work, and his work my work,” among other identifications of himself “with God.” In perusing Fichte, the Führer found evidence to support his own growing belief that the “mortal and divine were one and the same: that the God he was seeking was in fact himself.”[10]

Johann Gottlieb FichteJohann Gottlieb Fichte (via Wikimedia Commons)

Appropriately enough, Hitler’s eight-volume set of Fichte was given to him by Leni Riefenstahl, the filmmaker who also gave the world in 1934 the greatest of all propaganda films, The Triumph of the Will, whose opening shot features a plane bearing Hitler descending from the clouds: deus ex machina, the Führer as God. At the Eagle’s Nest precisely a century after the 1841 publication of “Self-Reliance,” a metaphysical Hitler informed his mesmerized guests: “If there is a God, then he gives us not only life but consciousness and awareness,” adding, in the sentence adopted as my third epigraph, “If I live my life according to my God-given insights, then I cannot go wrong, and even if I do, I know I have acted in good faith.”[11]

This emphasis on divinely inspired intuitive “insights” sounds remarkably like the Emerson of much of “Self-Reliance”: the champion of “Intuition” who privileged “self-trust” and the “aboriginal Self, on which a universal reliance may be grounded,” and who insisted on “the source, at once the essence of genius, of virtue, and of life, which we call Spontaneity or Instinct. We denote this primary wisdom as Intuition, whilst all later teachings are tuitions. In that deep force, the last fact behind which analysis cannot go, all things find their common origin” (E&L 268-69). To this Emerson, as we have seen, “no law can be sacred” but that of his own nature. He lives “wholly from within,” and, while his “impulses” seem to him to come not “from below,” but “from above,” even if “I am the Devil’s child, I will live then from the Devil” (E&L 261-62). Given his equation of the individual with infinitude, the self with the God within, Emerson, who has been blamed for so much by so many critics of unrestrained individualism, might even be blamed for the messianic psychopath whose will to power transformed the most culturally and philosophically sophisticated nation on earth into the most barbaric and, together with an all-too-willing new Germany, produced worldwide carnage and a genocide so ferocious that it shattered our naïvely optimistic theories of progress and disfigured the image of humanity itself. But unlike Emerson, Hitler genuinely was “the Devil’s child”: “the devil’s miracle man,” in the memorable depiction by psychologist and Holocaust historian Walter Reich.[12] The supposedly “God-given insights” of Adolf Hitler were really the dark side of the Protestant belief in the Inner Light, of Fichte’s “Divine-Me,” and a particularly rancid example of the High Romanticism of Coleridge, Carlyle, and Emerson gone sour.

Pace Cleanth Brooks, Emerson is not responsible for the rise of Hitler. Nevertheless, that the concepts of divinity within and of self-reliant individualism are not only liberating, but also potentially anarchic or tyrannical or both, was conceded by some of the British Romantics and American Transcendentalists themselves, usually in their later, “conservative” years. For all their emphasis on the individual mind and heart, and their celebration of “genius” and the godlike creative Imagination, Coleridge and Wordsworth—like their mentor Milton and unlike the advocates of a rugged individualism or will to power that is mindlessly or brutally self-assertive—retained a belief in autonomy, freedom, and idealism without forgetting that the needs of a humane society, knit by ties of reciprocal obligation, were incompatible with selfish (merely private and therefore petty) individualism. Despite his obsession with society’s threat to the self, the same is true of Emerson.

Hitler contemplates Nietzsche Hitler and bust of Nietzsche (via Axis History Forum)(Photo credit)

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On the other hand, making the author of “Self-Reliance” socially responsible runs the risk of de-radicalizing or “taming” Emerson, whose fierce celebration of self-reliance and the God within at once fascinates and troubles even that most devout of Emersonians, Harold Bloom. “In forming the mind of America,” Bloom writes, Emerson “prophesied a crazy salad to go with our meat.” That last image is a silent but appropriate allusion to Yeats’s “A Prayer for My Daughter” (1919), a poem endorsing (in contrast to externally driven women like Maud Gonne, who “eat a crazy salad with their meat”) the “radical innocence” of the autonomous soul that discovers that it is “self-delighting,/ Self-appeasing, self-affrighting,/ And that its own sweet will is Heaven’s will.” This concern about the Pentecostal and political ramifications of Emerson’s alignment of the autonomous self with the divine will occurs in Bloom’s 2004 book, Where Shall Wisdom Be Found?[13] The following year, another major literary critic, Denis Donoghue, agreeing with this momentary reservation but, unlike Bloom, hostile to Emerson, set himself against all benign interpretations of self-reliance. Rejecting the depictions by stalwart Emersonians of their hero’s individualism as a “social value,” even “the flowering of democracy” (a thesis nuanced in Stanley Cavell, strenuous in George Kateb), Donoghue, going too far in the other direction, presents us with an “arch-radical” with “no interest in providing professors of politics with a theory of society.” Emerson was “really an anarchist; necessarily so, since he cultivated the thrill of glorifying his own mind and refused to let any other consideration thwart him.”[14]

Two decades earlier, Bloom had registered his negative response to the often-castigated passage early in “Self-Reliance” where Emerson denies his “obligation” to those “poor” with whom he has no “spiritual affinity,” even though he confesses “with shame” that “I sometimes succumb” to the call of “miscellaneous popular charities” (E&L 262-63). In response, Bloom acknowledged that “self-reliance translated out of the inner life and into the marketplace is difficult to distinguish from our current religion of selfishness,” a remark endorsed with vigor a few years later by John Updike, always hostile to Emerson, who reduced this anti-philanthropic passage to a simple doctrine of “righteous selfishness.” Subjecting the same provocative passage of “Self-Reliance” to a brilliant textual and contextual reading, Stanley Cavell insists that the biblical sources on which Emerson is playing reveal him as clearly distinguishable from “those who may be taken as parodies of him.”[15]

Perhaps. But there is no denying that Emerson disliked “stirring in the philanthropic mud,” even when—as in his open letter to President Van Buren protesting (in vain) the carrying out of the brutal and unconstitutional Jacksonian policy of uprooting the Cherokees from their ancestral lands—he believed in the cause. What he resented was being pressured into acting. As an exponent of self-reliance, he was determined to do only what “concerns my majesty & not what men great or small think of it….I write my journal, I read my lectures with joy—but this stirring in the philanthropic mud, gives me no peace.” And, in concluding on the quietist note that “I will let the republic alone until the republic comes to me,” he endorses the “wise passiveness” of Wordsworth, who condemned (in “Expostulation and Reply”) the overbusy conviction that “nothing of itself will come,/ But we must still be seeking.” He had also alluded to these lines in 1837, declaring, in the peroration of “The American Scholar,” that if “the single man plant himself indomitably on his instincts, and there abide, the huge world will come round to him” (E&L 70), and again, three years later, and explicitly, when he told the abolitionists in his audience that he would persist in wearing his loose and unbecoming “robe…of inaction, this wise passiveness, until my hour comes when I can see how to act with truth as well as to refuse.”[16] That hour would come, the republic would seem to Emerson to have “come” to him, when the question of slavery, and the danger of its extension, epitomized in the enactment of the Fugitive Slave Law, moved Emerson to eloquence on behalf of a republic threatened by what he slowly but surely perceived to be a moral abomination.

The hour had not quite “come” in writing the letter to President Van Buren, when Emerson had accepted the activist role “rather from my friends” than from his own dictate. “It is not my impulse to say it & therefore my genius deserts me, no muse befriends, no music of thought or word accompanies. Bah!” (JMN 5:479). The violence of his language reveals his sense that no matter the justice of the cause, he had, by submitting to collectively imposed pressure from his neighbors, betrayed his own intuitive “impulse,” his nonconformist creed of self-reliance.[17]

Readers of Emerson are aware of the often-chilly dismissals of human ties sometimes required by the dominant aspect of the doctrine of “self-reliance.” Consider an often-overlooked element in the famous or notorious epiphany in the opening chapter of Nature, where Emerson becomes a “transparent eyeball”:

Standing on the bare ground—my head bathed by the blithe air, and uplifted into infinite space,—all mean egotism vanishes. I become a transparent eye-ball; I am nothing, I see all; all the currents of the Universal Being circulate through me; I am part or particle of God. The name of the nearest friend sounds then foreign or accidental: to be brothers, to be acquaintances…is then a trifle and a disturbance. (E&L 10)

In this ocular epiphany, the self becomes part of God, “While with an eye made quiet by the power/ Of harmony, and the deep power of joy,/ We see into the life of things” (Wordsworth,“Tintern Abbey”). But we are so caught up in the visionary moment that we barely notice the dismissal of “friends” and “brothers”—even Emerson’s beloved brother Charles, the “dear friend” whose recent death is alluded to in this chapter’s final words (E&L 11). “Who can ever supply his place to me?” Emerson writes in a heartbroken journal entry. “The eye is closed that was to see Nature for me, & give me leave to see” (JMN 5:152). Now, in a kind of compensation, Charles’s metaphorical transmutation into an all-seeing but impersonal eyeball leaves Emerson at once exhilarated and isolated, friendship reduced to the foreign and accidental, even brotherhood a trifle. Similarly, the great and disturbing essay “Experience,” written in the aftermath of the death of little Waldo, Emerson’s son taken by scarlet fever when he was not yet six, proclaims the allegedly superficial nature of grief and love. In the most troubling single passage in all of Emerson, he says of “this calamity: it does not touch me. Something which I fancied was part of me, which could not be torn away without tearing me…falls off from me, leaving no scar. It was caducous” (E&L 473).

Devastated by the death of his boy, Emerson is struggling to compensate for his loss by adapting Wordsworth’s idealist praise of those “obstinate questionings/ Of sense and outward things,/Fallings from us, vanishings,” in Emerson’s favorite stanza of “Intimations of Immortality.” Yet, even if we detect this verbal and thematic connection to the great Ode, we cannot but be shocked by the apparently heartless use of the coldly scientific term, “caducous,” typically applied to a placenta or shed leaves from a tree, or other fallings-off that leave the quintessential life unchanged.[18] Later in “Experience,” we are told that

The great and crescive self, rooted in absolute nature, supplants all relative existence, and ruins the mortal kingdom of friendship and love….There will be the same gulf between every me and thee, as between the original and the picture….The soul is not twice-born, but the only begotten,…admitting no co-life….We believe in ourselves as we do not believe in others. (E&L 487-88)

xWaldo_Emerson 480pxWaldo Emerson, four months before his death in January, 1842. (Harvard University Library, via Wikimedia Commons)

To return to the essay “Self-Reliance”: immediately preceding his denial of any “foolish” obligation to miscellaneous popular charities, Emerson rejects “the doctrine of love” when it “pules and whines,” famously declaring: “I shun father and mother and wife and brother, when my genius calls me. I would write on the lintels of the doorpost, Whim” (E&L 262). Having, like Jesus (Matthew 12:34-48), played this audacious variation on Deuteronomy 6:9 and Exodus 12:23, Emerson immediately adds, “I hope it is somewhat better than whim at last, but we cannot spend the day in explanation. Expect me not to show cause why I seek or why I exclude company.” This afterthought is a minor example of a dominant pattern in Emerson, who characteristically supplies the reservations or qualifications to his own liberating, challenging, but overstated case in “Self-Reliance.” Though implicit throughout, it is only at the very end of “Self-Reliance” that Emerson most clearly qualifies, delimits, and moralizes his claim for the liberated self. “Nothing can bring you peace but yourself,” he writes, adding at once and finally: “Nothing can bring you peace but the triumph of principles” (E&L 282; italics added).

In the second half of the essay Emerson had spoken of “our docility to our own law” and the “poverty” of all else, even “nature,” in comparison to “our native riches.” But this is so only because “God is here within.” Emerson rejects “the rage of travelling” (E&L 278). Man’s “genius” is admonished “to stay at home, to put itself in communication with the internal ocean” (the source of the title, The Inner Ocean, of George Kateb’s first book on Emersonian “self-reliance”). Consequently, “let us not rove; let us sit at home with the cause,” alone, “begirt each one with a precinct or sanctuary. So let us always sit” (E&L 272-73). As that loyal Emersonian Robert Frost would later put it in a 1936 couplet included in his collection, A Witness Tree (1942): “We dance round in a ring and suppose,/ But the Secret sits in the middle and knows.”[19] In fact, to fully illuminate this passage of “Self-Reliance” requires us to enter a veritable echo chamber.

Transparent eyeball by CranchCaricature of The Transparent Eyeball by Christopher Pearse Cranch (Harvard University Library, via Wikimedia Commons)

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Emerson concludes that “all concentrates,” since the “vital resources” of everything in nature, including human nature, are “demonstrations of the self-sufficing, and therefore self-relying soul” (E&L 272). As in his description, earlier in “Self-Reliance,” of honor as “self-dependent, self-derived” (E&L 266), Emerson’s language echoes that of Milton’s Satan, describing himself and his fellow fallen angels as “self-begot, self-raised/ By our own quick’ning power…./Our puissance is our own” (Paradise Lost V:860-64). But the purport (Emerson as “the Devil’s child” notwithstanding) is less blasphemous than an affirmation of what Yeats, as we have just seen, referred to as the self-reliant soul’s recovery of “radical innocence”: the realization “that it is self-delighting, / Self-appeasing, self-affrighting,/ And that its own sweet will is Heaven’s will.” The analogy with Yeatsian “radical innocence” is not forced since Yeats is echoing, not Satan, but the Emerson of “Self-Reliance,” who tells us early in that essay that to remain always “formidable” we must “avoid” external “pledges,” and adopt an “unaffected, unbiased, unbribable, unaffrighted innocence” (E&L 261).

The “ultimate fact” in every instance, Emerson continues in the passage we began with, is “the resolution of all into the ever-blessed ONE,” since “Self-existence is the attribute of the Supreme Cause” (E&L 272). The language of the ONE is that of the Neoplatonist Plotinus, as mediated by Coleridge, but Emerson—fusing psychology and morality with Neoplatonist mystical theology—locates divinity in the tabernacle of the self. It is, however, what he will later call—in “Uses of Great Men” and his late essay “Character”—an “enlarged self.” But even in “Self-Reliance,” his phrases (the “triumph of principles” and “ultimate fact”) echo Coleridge’s insistence, in The Statesman’s Manual, that only the “enlargement and elevation of the soul above its mere self attest the presence, and accompany the intuition of, ultimate PRINCIPLES.”[20] In “Character” (1866), referring in detail to these “great enlargements,” Emerson defines “morals” as “the direction of the will on universal ends,” adding: “He is immoral who is acting to any private end. He is moral—we say it with Marcus Aurelius and with Kant—whose aim or motive may become a universal rule, binding on all intelligent beings.” Having linked the correspondence sought by the Roman Stoic between the universe and his own moral impulses with the modern ethicist’s “Categorical Imperative,” Emerson quickly buttresses Marcus Aurelius and Kant with the Wordsworth of the Intimations Ode, quoting, as he so often does, the lines about “truths that wake/ To perish never,” the “fountain light of all our day,” and “master light of all our seeing,” which lead, in moral men, “to great enlargements” (W 10:94-97). In “Uses of Great Men,” the Introduction to Representative Men, Emerson says that “these enlargements” liberate “elastic” man from his “bounds” so that he is “exalted” by “ideas” transcending his individual self (E&L 622-23).

But this transcendence of the private self, though an aspect of the argument in “Self-Reliance,” is hardly the primary thrust most of us register while reading the essay, or in the immediate aftermath of our initial bewitchment by Emerson’s rhapsodic celebration of the “spontaneous,” “intuitive” self as the very font of “originality” and “power.” In the opening paragraph of the essay, we are urged

To believe your own thought, to believe that what is true for you in your private heart is true for all men,—that is genius. Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,—and our first thought is rendered back to us by the trumpets of the Last Judgment. (E&L 259)

The dramatic imperative to “believe your own thought,” your own “private heart,” can make us miss the reciprocity between “inmost” and “outmost,” our “first thought” and the “Last Judgment,” the individual and the “universal.”

It’s no wonder most readers miss these qualifications and caveats. David Hume roused Kant from his “dogmatic slumbers,” and Emerson wants to shake and shock us out of our conformist complacency. So powerful is his advocacy of self-reliance that Stephen Whicher, whose Freedom and Fate was for several decades the most praised study of Emerson’s “inner life,” influentially insisted that “the lesson” Emerson “would drive home is man’s entire independence. The aim of this strain in his thought is not virtue, but freedom and mastery. It is radically anarchic, overflowing all the authority of the past, all compromise or cooperation with others, in the name of the Power present and agent in the soul.”[21] It would be hard to improve on so brilliantly concise a summation of so crucial an aspect of Emerson’s position. Though not the only “strain” in Emerson’s thought, it is exhilarating, and can be—as Denis Donoghue and others have emphasized—anti-democratic and dangerous.

Cavell, Lawrence Buell, and George Kateb would disagree, but hostile critics—most (not all) coming from the political Left, and most of them focusing on “Emersonianism,” as opposed to the personally benign Sage of Concord—have seized on the ambiguous legacy of Emersonian individualism in order to stress immoral rather than moral “enlargements”: the hazards of a detached, egoistic, antisocial, unlimited, avaricious, anarchic, even solipsistic self, valorized and privileged at the expense of solidarity, association, community. Morse Peckham, writing a decade after Whicher, spoke for many in saying of Emerson, he “created a doctrine of ‘self-reliance’ which could be and was absorbed by the anarchic individualism of the socially irresponsible middle-class Philistine.”[22]

One might respond that, just as Nietzsche should not be blamed for the crimes of Nazism, the excesses of unfettered capitalism or of Ayn Randian selfishness should not be laid at the door of Emerson. But the provocative ideas and stylistic seductiveness of both of these great liberators, in particular their exaltation of a seemingly autonomous self, opened casements on some perilous seas. Nevertheless, for those who would, under the aegis of self-reliance, confuse the Miltonic distinction between “license” and “liberty,”[23] Emerson has an austere response, even in “Self-Reliance.” The “populace” may think that the “rejection of popular standards is a rejection of all standard, and mere antinomianism,” a wholesale dismissal of moral law. That is not so. A commitment to self-reliance “enables me to dispense with the popular code.” But “if anyone imagines that this law is lax, let him keep its commandment [for even] one day.” For self-reliance has its own “stern claim” and self-legislated challenge:

truly it demands something godlike in him, who has cast off the common motives of humanity, and has ventured to trust himself as a taskmaster. High be his heart, faithful his will, clear his sight, that he may in good earnest be doctrine, society, law, to himself, that a simple purpose may be to him as strong as iron necessity is to others! (E&L 274)

The preacher of self-reliance as “law, to himself,” has his own Categorical Imperative; and, as in Milton, he “who loves liberty, must first be wise and good.”

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I have already elaborated on the third of my epigraphs, citing Adolf Hitler. As indicated by that epigraph and the first, from Emerson himself, Emersonian Self-Reliance is less a doctrine than—as Nietzsche would put it—potential “dynamite.” It can also be (at least hypothetically and theoretically) diabolical—“if I am the Devil’s child, I will live then from the Devil”[24]—unless it is tempered by other considerations. Here, the formative influences, crucial to Emerson, are those of John Milton and his principal Romantic disciple, Coleridge.

Like Hitler, Milton’s Satan bases his “divinity” on a corrupted sense of what Milton himself meant in his prose texts, as well as in the masque Comus and Paradise Lost, by “freedom.” As my friend and former colleague, Milton scholar William Shaw, observed in responding to the present essay, this “warped” sense of freedom is impervious “to the freedom of others, and not only self-serving but without a moral foundation.” It inevitably leads to “tyranny, and the more powerful the person, the more terrible the tyranny.” In Milton’s Tenure of Kings and Magistrates, Bill notes, the “tyrant” is defined as “he who, regarding neither law nor the common good, reigns only for himself and his faction.”[25]

As my middle epigraph reveals, Coleridge strove to affirm the primacy of “that which we find within ourselves,” without losing sight of our moral and communal responsibilities and without surrendering to the willfulness of what Coleridge, specifically citing Milton’s fallen archangel, called “Satanic pride,” “wicked” enthusiasm, and self-worshiping rebellion. In its “reprobate” form, he writes in a much-discussed Appendix, “the WILL becomes Satanic pride and rebellious self-idolatry in the relation of the spirit to itself, and remorseless despotism relatively to others,” the consequence of the will’s “fearful resolve to find in itself alone the one absolute motive of action, under which all motives from within and from without must be either subordinated or crushed.”[26]

Like Coleridge and Wordsworth (indeed, all the British Romantics), Emerson was steeped in Miltonic thought and poetry. In Paradise Lost, Adam and Eve, having disobeyed God, immediately “fancy that they feel/ Divinity within them breeding wings/ Wherewith to scorn the earth”; but the “false fruit” inflames instead lascivious “carnal desire” (IX:1009-14). Familiar with Jesus’ assertion that the kingdom of heaven is “within you,” the Romantics and their American disciple were also well aware that, in the final book of Milton’s epic poem, the Archangel Michael promises fallen Adam, as abundant recompense for the Eden lost, a “Paradise within thee, happier far” (XII:587). Having experienced a bogus sense of “divinity within,” Adam and Eve achieve (to again cite Bill Shaw) “their ‘paradise within’ when they have learned obedience to God,” along with “such virtues as…temperance and charity. And the Lady in Comus is unassailable because of her subscription to ‘sober laws.’ She loves ‘virtue’ because she alone is free.”

But the Romantics, who venerated Milton, also revised him. To one degree or another, they naturalized the supernatural, secularized the sacred, and, as Wordsworth made dramatically manifest in the great “Prospectus” to The Recluse, psychologized Miltonic theology. For nothing in Heaven or Hell, neither “Jehovah—with his thunder,” nor the “darkest pit of lowest Erebus,”

can breed such fear and awe
As fall upon us often when we look
Into our Minds, into the Mind of Man,
My haunt, and the main region of my song.
(“Prospectus,” 35-41)

Emerson printed the whole of the “Prospectus” in his anthology Parnassus, renaming it “Outline” to accurately present it as Wordsworth’s guide to his entire canon: a Kant-echoing synopsis (to quote the conclusion of The Prelude) of “how the mind of man becomes/ A thousand times more beautiful than the earth/ On which he dwells, above this frame of things/…In beauty exalted, as it is itself/ Of quality and fabric more divine.”[27] Emerson followed the Romantics in this internalizing process, emphasizing, above all, the sanctity of the sovereign human mind. In the final and climactic sentence of his seminal book, Nature—his imagery of light, blindness, and perfect sight silently but unmistakably gathering up Milton, Coleridge, and Wordsworth—Emerson had proclaimed “the kingdom of man over nature” (E&L 49). Four years later, in “Self-Reliance,” he insists that “Nothing is at last sacred but the integrity of your own mind,” continuing by posing that characteristically audacious rhetorical question: “What have I to do with the sacredness of traditions if I live wholly from within?” (E&L 261-62)

In such passages, Emerson is the rhapsodic champion of autonomy and originality, exalting an intuitive “divinity within” and liberation from the dead weight of the past. Repudiating outworn institutions and established authority, he insists, in notably virile (and, as we’ll see, again Miltonic) imagery, that to be a “man” one “must be a non-conformist,” since “society everywhere is in conspiracy against the manhood of every one of its members…The virtue in most request is conformity. Self-reliance is its aversion” (E&L 261). Once again, faced with this antithesis between society and self, we need to seek the balance Emerson wants us to find, however difficult he makes the task by the power of his own rhetoric.

Paradise Lost 1667 title page

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Resistance to conformity and to the burden of tradition also extends to self-reliance and self-trust in engaging literary and historical texts, though, here again, we encounter a huge caveat. We are to read “creatively,” Emerson tells us in “Self-Reliance” and in “The American Scholar,” adding in a third, “History” (which opens Essays: First Series), that the student is to read “actively and not passively; to esteem his own life in the text,” for everything is “within us, of the soul.” This, he asserts, is his “claim of claims” (E&L, 237, 239). If this claim, exciting as it is, seems excessive, it’s because it is. Anticipating all of these essays, Emerson had foreshadowed in an 1831 journal entry his defiant assertion of autonomy and originality. The journal entry reads: “Every man has his own voice, manner, eloquence. Let him scorn to imitate any man, let him scorn to be a secondary man” (JMN 3:199). And following this scornful rejection of parasitic imitation in favor of creative originality, he inscribed in the same journal these four lines of verse:

In your own bosom are your destiny’s Stars.
Confidence in yourself, prompt resolution;
This is your Venus! & the sole malignant,
The only one that harmeth you, is Doubt! (JMN 3: 251)

But despite adamant and absolute “confidence in yourself,” this ringing endorsement of self-reliant originality is borrowed. The lines are quoted from a German play by Friedrich von Schiller, which Emerson referred to as “Coleridge’s Wallenstein” since he read Schiller’s drama in the British Romantic’s translation—just one of many examples of Coleridge serving as a transatlantic conduit of German thought to his less-than-totally self-reliant American recipient. “Insist on yourself,” cries Emerson; “never imitate,” which is, at best, to half-possess “the adopted talent of another.” And this imperative was foreshadowed in the dramatic declaration at the outset of “Self-Reliance” that “imitation is suicide,” that a man “must take himself, for better, for worse, as his portion” (E&L 278-79, 259). Nevertheless, other examples of what has been called the “paradox of originality” occur in “Self-Reliance” itself. Though it rejects “imitation” and mere reading (“tuition”) in favor of spontaneous “intuition,” “Self-Reliance” begins, “I read the other day some verses….” (E&L 259). And halfway through, Emerson begins a paragraph: “Man is timid and apologetic; he is no longer upright; he dares not say ‘I think,’ ‘I am’ but quotes some saint or sage” (E&L 270). But once again, despite the point he is making, Emerson himself is quoting, this time from René Descartes’ Second Meditation. “The truth,” as Emerson acknowledged in an 1835 lecture, “The Age of Fable,” is that “There never was an original writer. Each is a link in an endless chain.” Indeed, our debt to our precursors is “so massive” that one might say (as he does in a splendid late lecture, “Quotation and Originality”) “there is no pure originality. All minds quote.” “Genius borrows nobly”; if we could trace the line back to them, we would, he adds, find that “even the archangels” quote.[28] This paradox is never more paradoxical than in Nature. That seminal book, which announces American and Emersonian originality, is riddled with unacknowledged borrowings from Coleridge and Wordsworth, and yet somehow remains original.

Claiming originality yet quoting, mixing what he contrasts as book-learning or “tuition” with original “intuition,” Emerson is not dismantling the whole “upright” and individualistic thesis of “Self-Reliance,” a text that is nothing if not a rejection of suppliant dependence and an expression of what he repeatedly calls the “sovereignty” or “majesty” of “the erect position” (E&L 282)—though, even here, Emerson is echoing Milton’s description of unfallen Adam and Eve, “erect and tall,/ Godlike erect,” and “clad/ In naked majesty.”[29] And yet, since a foolish consistency is the hobgoblin of little minds, Emerson can, in a famous passage at the outset of “Self-Reliance,” propose as the “highest merit” ascribable to “Moses, Plato, and Milton” that they supposedly “set at naught books and traditions, and spoke not what men but what they [themselves] thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages” (E&L 259). These inner flashes anticipate the “Spontaneity or Instinct,” the “primary wisdom” Emerson calls “Intuition” (E&L 269, cf. 259 and 271). These gleams of light constitute, Emerson insisted in a contemporaneous (1845) journal entry, “the best part…of every mind.” Tantalizing “gleams” hovering “unpossessed before” a man, they far exceed in significance “that which he knows” through pedestrian Understanding. Emerson’s famous contrast, derived from Coleridge, between “Reason” and mere “Understanding” is complicated by the fact (a source of confusion for readers) that Emerson also follows Coleridge in equating capitalized Reason with “intuitive Reason” and thus with what the Romantics mean by the creative Imagination.

Those mysterious “gleams” to which Emerson refers emanate essentially, as we have seen, from his most cherished poem, the Intimations Ode. He was haunted by its “visionary gleam” and turned Wordsworth’s “a master light of all our seeing” into “the master light of all our seeing.” These profound intuitions and intimations, which even Wordsworth acknowledged were ineffable (“be they what they may”), remained, in Emerson’s favorite phrase from the Ode, “the fountain light of all our day.” That repeated “our,” replicated in Wordsworth’s shift from “I” to “we” in the final stanza of the Ode, marks the transition from the private self to a more generous inclusiveness. The “self within” of Emersonian self-reliance is also more expansive than it initially appears—an expansiveness reflecting a pair of talismanic texts provided to a grateful Emerson by Wordsworth’s friend and fellow-laborer, Coleridge.

I have earlier cited Coleridge’s emphasis, in The Statesman’s Manual, on the “enlargements and elevation” of the principled soul “above its mere self,” a passage echoed by Emerson in both his essay “Character” and in “Uses of Great Men.” Two Coleridge texts that meant even more to Emerson, the “Essay on Method” in The Friend and Aids to Reflection, provided crucial help in forming—as a sort of supplement or qualification, even partial corrective, to “Self-Reliance”—his idea of an expanded or enlarged self. The reciprocity between “each and all” (“the relation of each to the other, of each to all, and of all to each”), coupled with the Latin axiom Quantum sumus, scimus (“we are what we know, and know what we are”), became, with the help of Coleridge’s own gloss in Aids to Reflection, momentous sources for Emerson’s finding (to synopsize the passage of Coleridge cited as my second epigraph) “within ourselves,” a self that is paradoxically “more than ourselves,” the ground and substance of the moral life and of “all other knowledge.”[30] This Coleridgean sanction for an inner self that transcends the merely egoistic helps explain what, at its deepest level, Emerson meant by “self-reliance.” However straightforward it may seem at times, it is actually a complex concept—mixing Milton, Kant, and the British Romantics, in a blend that turns out, paradoxically but as usual, to be distinctively “Emersonian.” As such, it cannot, or at least should not, be reduced to “rugged individualism,” let alone to mere selfishness.

Transparent Eyeball by Ron KosterTransparent Eyeball courtesy Ron Koster, Psymon Web Bindery

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Conclusion

Given Emerson’s habit of emphasizing, depending on the occasion, a single aspect of a larger truth, his formulations are often ambiguous, and this is nowhere more true than in his various presentations of self-reliance. In the end, however, Emerson’s key concept seems to embrace and illuminate—however fierce the affirmation of individualism and independence in the essay actually titled “Self-Reliance”—the problematic relationship between the merely private self and what a Coleridgean Emerson called the “enlarged” Self, between the Self and God, even the polarity between what he referred to as Solitude and Society. An “intensely focused thinker who kept returning lifelong to his core idea,” Emerson was, notes Lawrence Buell, “forever reopening and reformulating it, looping away and back again, convinced that the spirit of the idea dictated that no final statement was possible.” Nevertheless, like George Kateb, perhaps the most penetrating analyst of the theory of Self-Reliance, Buell insists on the importance to Emerson of what Kateb calls “impersonal individuality”: a formulation that subsumes the apparent or actual “contradiction” between the God within and what Emerson calls “the “Over-Soul,” between the assertion of an autonomous, intuitive self and the absorption of that self in an all-encompassing universal and impersonal life-force. I cannot improve upon Buell’s final formulation:

The Me at the bottom of the me, the “Trustee” or “aboriginal Self” on which reliance may be safely grounded, is despite whatever appearances to the contrary not a merely personal interest but a universal. The more inward you go, the less individuated you get. Beneath and within the “private” is a “public” power on which anyone can potentially draw. So Self-Reliance involves not a single but a double negative: resistance to external pressure, but then resistance to shallow impulse.[31]

That a double negative should be at the crux of an affirmative vision is only one of many paradoxes attending Emerson’s central idea. One is occasionally left wondering if Emersonian self-reliance is advocacy of extreme individualism, or individualism at all. If we are to take Emerson at face value when he later claims (W 11:236) that “Self-reliance, the height and perfection of man, is reliance on God,” it has to be added that few of the ardent young readers intoxicated by the essay of that title have taken it as a theological treatise.[32] And what, precisely, is Emerson telling us about the relationship between Spirit, Nature, Mind and, ultimately, between God and Man, Divinity and the Self? Such protean relationships, volatile in themselves, are further problematized by Emerson’s often shifting definitions, within a single text or over time. The paragraph of “Self-Reliance” that begins by insisting that “a foolish consistency is the hobgoblin of little minds” continues:

With consistency a great soul has simply nothing to do. He may as well concern himself with his shadow on the wall. Speak what you think now in hard words, and to-morrow speak what to-morrow thinks in hard words again, though it contradict everything you said to-day.—“Ah, so you shall be sure to be misunderstood.”—Is it so bad, then, to be misunderstood? Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood. (E&L 265)

In the case of Emerson, this admission or, rather, vaunting of inconsistency, contradiction, and sibylline incomprehensibility, may seem to be the “last fact behind which analysis cannot go” (E&L 269). Yet even in “Self-Reliance,” the aboriginal Self is neither anarchic nor arbitrary; indeed, it is disciplined by “stern” if self-imposed laws, a Self whose internal moral depths renders trivial the merely private good we associate with our superficial selves. “Compare all that we call ourselves,” says Emerson in “Character,” all “our private and personal venture in the world, with this deep of moral nature in which we lie, and our private good becomes an impertinence, and we take part with hasty shame against ourselves.” Juxtaposing two phrases separated graphically by only a single letter, Emerson explicitly contrasts our deep “moral nature” with what Wordsworth refers to in the pivotal stanza of the Intimations Ode as “our mortal nature,” whose hasty shame takes the form of guilty trembling. After evoking those Wordsworthian “High instincts, before which our mortal nature/ Doth tremble like a guilty thing surprised,” Emerson goes on to quote the rest of this crucial ninth stanza—accurately, with the exception of one significant change; he alters Wordsworth’s “a master light” to “the master light of all our seeing.” (W 10:94).

That is the light that Milton, Coleridge, Wordsworth, Carlyle, and their American disciple, Ralph Waldo Emerson, call “intuitive Reason”: the near-angelic power that leads the lowercase self, limited by “tuition” and mere Understanding, to “that source, at once the essence of genius, of virtue and of life, which we call Spontaneity or Instinct. We denote this primary wisdom as Intuition”; and it is in that “deep force, the last fact behind which analysis cannot go,” that “all things find their common origin….Here is the fountain of action and of thought” (E&L 269). And it is this “fountain light of all our day,” the “master light of all our seeing,” that guides and distinguishes the higher (individual and yet universal) Self: the Transcendental Self in which we can “trust,” and upon which “reliance may be safely grounded.” The lower self, “bound” and constricted, is often mired in “mean egotism” (E&L 10). But “whenever the great day dawns, the day of truth in the soul, it comes with awful invitation to me to accept it, to blend with its aurora” (EPP 497). In that aurora—the great Ode’s “fountain light of all our day” illuminating intuitive “truths that wake,/ To perish never”—contradiction and duality blend (for those, however skeptical, still open to that light) into a Unity in which Reason and Intuition are indistinguishable, the enlarged Self finding “peace” in (to again quote the final words of “Self-Reliance”) “the triumph of principles.”

—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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Photo credit  Return to photo

Photo originally reproduced in “The Uses and Abuses of Nietzsche in the Third Reich: Alfred Baeumler’s ‘Heroic Realism’” by Max Whyte, in Journal of Contemporary History, April ­2008.

Emerson texts cited parenthetically

E&L   Emerson: Essays and Lectures, ed. Joel Porte. NY: Library of America, 1983.

EL   The Early Lectures of Ralph Waldo Emerson, ed. Stephen E. Whicher, Robert E. Spiller, and Wallace E. Williams. 3 vols. Cambridge: Harvard University Press, 1964, 1972.

EPP   Emerson’s Prose and Poetry, ed. Joel Porte and Saundra Morris. NY and London: Norton, 2001.

JMN   The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. William H. Gilman, Ralph H. Orth, et al. 16 vols. Cambridge: Harvard University Press, Belknap Press, 1960-1982.

W   The Complete Works of Ralph Waldo Emerson. Centenary Edition, ed. Edward Waldo Emerson. 12 vols. Boston and New York: Houghton Mifflin, 1903-1904.

Footnotes    (↵ returns to text)

  1. On the Genealogy of Morals, Third Essay, §2, in Friedrich Nietzsche, On the Genealogy of Morals and Ecce Homo, trans. Walter Kaufmann and R. J. Hollingdale (New York: Vintage, 1967), 99.

  2. E&L 81; italics added. For the passage (verse 70) in Thomas, see Elaine Pagels, Beyond Belief: The Gospel of Thomas (New York: Random House, 2003), 32.

  3. E&L 80, 89. Ironically, given Emerson’s thirty-year ostracism from Harvard following this address, it was voted in 1903 that money left over from the celebration of the centennial of his birth be spent on a marble tablet, placed in the old Divinity School chapel, and inscribed: “Acquaint yourself at first hand with Deity.”

  4. For a synopsis of the vehement response to the Divinity School Address, as well as Emerson’s own response, in his poem “Uriel,” see my Emerson, Romanticism, and Intuitive Reason (Columbia and London: University of Missouri Press, 2007), 339-44.

  5. For both lampoon and commentary, see Coleridge, Biographia Literaria, ed. James Engell and Walter Jackson Bate, 2 vols. 1:160. Vol 7 in The Collected Works of Samuel Taylor Coleridge, ed. Kathleen Coburn and Bart Winer, 16 vols. (Princeton: Princeton University Press (1969-2003).

  6. Lowell, A Fable for Critics (New York: George P. Putnam, 1848).

  7. EPP 497. This polarity was later fleshed out in “Circles,” in the famed paragraph beginning, “Our moods do not believe in each other,” and ending, “Alas…for this vast ebb of a vast flow! I am a God in nature; I am a weed by the wall” (E&L 406): a vacillation between self-deification and utter nihilism.

  8. Ecce Homo, trans. Walter Kaufmann, in Kaufmann and Hollingdale, 326. This opening paragraph had begun, “I know my fate. My name one day will be associated with the memory of something tremendous.” Expressing a “terrible fear” that “one day” he would be “pronounced holy,” he said he was writing Ecce Homo to “prevent people from doing mischief with me.” Written in 1888, but not published until 1908, eight years after Nietzsche’s death, Ecce Homo did little to prevent mischief.

  9. Kazin, God and the American Writer (New York: Vintage, 1997), 14.

  10. This is the conclusion of Timothy W. Ryback, in “Hitler’s Forgotten Library: The Man, His Books, and His Search for God” (Atlantic Monthly [May 2003], 76-90). In 2001, Ryback studied Hitler’s annotations in these and other religio-philosophical books and manuscripts in the Führer’s personal library, volumes now housed in the Hitler Collection in the Library of Congress, Washington, D.C.

  11. Quoted by Paul R. Hinlicky, Before Auschwitz: What Christian Theology Must Learn from Nazism (Eugene, OR: Cascade Books, 2013), 134.

  12. Reich, “The Devil’s Miracle Man,” New York Times Book Review, January 30, 1999.

  13. Bloom, Where Shall Wisdom Be Found? (New York: Riverhead Penguin, 2004), 200. Earlier, however, in the title of the Prelude to a 1996 book, Bloom equated Emersonian “Self-Reliance” with “Mere [pure] Gnosis,” especially with the Gnostic concept of the “deep self” as a “unit of the universe,” the “original self” being “already one with God.” Omens of Millennium (New York Riverhead, 1996), 1, 15, 20, 23.

  14. The American Classics: A Personal Essay (New Haven: Yale University Press, 2005), 42-43, 51. In a Marxist critique, V. F. Calverton conceded Emerson’s sincerity and his initially liberating impulses. “Eternally,” however, “Emerson’s stress is upon the self, the individual self, the personal ego. Society can take care of itself, or go hang, as the frontiersman would have put it. It is the individual who must be stressed, the individual who must…become sufficient unto himself….Without wishing it, Emerson gave sanction by virtue of his doctrines to every type of exploitation which the frontier encouraged.” But Calverton goes too far in concluding that the faith of Emerson and Whitman in the common man as “a petty bourgeois individual” is outmoded and must now be replaced (he was writing in the depth of the Depression) by “our belief” in the common man as “proletarian collectivist.” The Liberation of American Literature (New York: Scribner’s, 1932), 247-49, 258, 479-80.Whatever Emerson’s sins, it’s Calverton’s vision of the “future” that now seems outmoded.

  15. Bloom, “Mr. America,” New York Review of Books (November 22, 1984). Updike, “Emersonianism,” in Odd Jobs: Essays and Criticism (New York: Knopf, 1991). Cavell responded to such charges, perhaps more ingeniously than persuasively, in his 1984 lecture “Hope against Hope,” reprinted as Appendix A of his Conditions Handsome and Unhandsome: The Constitution of Emersonian Perfectionism (Chicago: University of Chicago Press, 1990), 134-35.

  16. EL 3:266. His initial reticence but final commitment to the abolition of slavery has been clarified by Emerson’s Antislavery Writings (New Haven: Yale University Press, 1995), ed. Len Gougeon and Joel Myerson; and by The Political Emerson: Essential Writings on Politics and Social Reform, ed. David. M. Robinson (Boston: Beacon Press, 2004).

  17. Robert Lowell, invited to a White House reception during the Vietnam war (which he opposed), was planning to attend—until urged not to by friends and colleagues, who wanted the nation’s most prominent poet at the time to make a statement by rejecting President Johnson’s invitation. Like Emerson, Lowell agreed with the opposition to presidential policy, but took an activist and public position only because pressed to do so by friends.

  18. The “caducous” passage is repugnant enough to call for a note to assure readers that its author was anything but a cold, unfeeling parent. No stranger to familial tragedy, Emerson had earlier suffered the loss of his beloved Ellen, his first wife, and of two cherished brothers, Charles and Edward. But the death of little Waldo was the single most devastating event of his life. Despite his famous optimism, the self-reliant exponent of “the erect position” acknowledged in “Threnody,” his long-delayed elegy for his son, that “this losing is true dying;/ This is lordly man’s down-lying,/ This his slow but sure reclining,/ Star by star his world resigning” (lines 162-65). With the help of Wordsworth’s Intimations of Immortality Ode, Emerson managed to supply the generically-required consolation; in the final quintessentially Emersonian line, his precious son is pronounced “Lost in God, in Godhead found” (line 289).

    But elegy is one thing, agony another. Nine-year-old Louisa May Alcott, who had been sent by her father to inquire about the condition of “little Waldo, then lying very ill,” never forgot what she saw and heard when Emerson entered the room. “His father came to me, so worn with watching and changed by sorrow that I was startled and could only stammer out my message. ‘Child, he is dead’ was the answer.” That was “my first glimpse of a great grief,” she recalled in commemorating Emerson’s own death forty years later, adding that “the anguish that made a familiar face so tragic…gave those few words more pathos than the sweet lamentation of the Threnody.” (“Reminiscences of Ralph Waldo Emerson,” in Youth’s Companion [May 25, 1882], 213-14.) Similarly, the brother of Elizabeth Hoar—who had grieved with his sister when her fiancé, Emerson’s brother Charles, died in 1836—said that he was “never more impressed with a human expression of agony than by that of Emerson leading the way into the room where little Waldo lay dead.” For the reaction of Rockwood Hoar, Jr., see Ralph L. Rusk, The Life of Ralph Waldo Emerson (New York: Charles Scribner’s Sons, 1949), 294.

  19. Frost, “The Secret Sits.” The allegiance to Emerson on the part of Robert Frost was confirmed in his lecture “On Emerson,” delivered to the American Academy of Arts and Sciences on receiving the Emerson-Thoreau Medal in 1958. On that occasion, Frost stressed his alignment with Emerson’s monistic idealism; but in anti-welfare system poems like “Provide, Provide!,” Frost sounds like the Emerson resistant to giving to “miscellaneous charities.” Frost considered “Uriel” (Emerson’s defiant response to attacks on his Divinity School Address) the best American poem; Job, a character in Frost’s The Masque of Reason (line 344) refers to “Uriel” as “the greatest Western poem yet.”

  20. Coleridge, The Statesman’s Manual, in Lay Sermons, ed. R. J. White (1972), 23. Vol. 6 in CC.

  21. Whicher, Freedom and Fate: An Inner Life of Ralph Waldo Emerson (Philadelphia: University of Pennsylvania Press, 1953), 56.

  22. Peckham, Beyond the Tragic Vision: The Quest for Identity in the Nineteenth Century (New York: George Braziller, 1962), 236.

  23. In the sestet to Sonnet XII, Milton refers to those who “bawl for freedom in their senseless mood,/ And still revolt when truth would set them free./ License they mean when they cry liberty;/ For who loves that must first be wise and good.”

  24. Nietzsche partially transcribed the passage in “Self-Reliance” in which Emerson nonchalantly says that if he is “the Devil’s child, I will live then from the Devil.” An echoing Nietzsche has his prophet say (in “On the Pitying,” the section on repression in the second part of Zarathustra): “to him who is possessed by the devil I whisper this word: ‘Better for you to rear up your devil!’” Thus Spoke Zarathustra,” in The Portable Nietzsche, ed. and trans. by Walter Kaufmann (New York: Viking, 1954), 201.

  25. William Shaw, email to me dated June 1, 2016. Bill raised a crucial double-question: “Is Emerson saying that what made intuitive behavior wise was some fixed principle of the person defining it for him/herself? Or, does the person define that principle as well, so there is this floating relativity?” Though I am arguing that the “principles” that “triumph” in the final sentence of “Self-Reliance” are “fixed,” there is evidence enough in Emerson’s texts to also support a “floating relativity” thesis.

  26. Coleridge, Appendix C of The Statesman’s Manual, in Lay Sermons, 63.

  27. Wordsworth, The Prelude (1850), XIV:450-56. The equivalent cognitive turn in Keats occurs in the first of the great odes. Like the “Prospectus,” the “Ode to Psyche” assimilates and supersedes Milton and adopts Wordsworth’s (Coleridge-influenced) adaptation of Kant. As the neglected goddess’s priest and choir all in one, “see[ing] and sing[ing] by my own eyes inspired,” Keats will, in the extraordinary final stanza, “build a fane/ In some untrodden region of my mind” (lines 50-51), precisely that “Mind of Man” chosen by Wordsworth as his haunt and the “main region” of his “song.”

  28. “The Age of Fable,” in EL 1:284-85. “Quotation and Originality,” in EPP 320, 323.

  29. PL IV:288-90. In his deliberately sordid 1920 poem “Sweeney Erect,” whose title constitutes a phallic pun on Emerson’s (Miltonic) “erect position,” T. S. Eliot cites Emerson by name:

    The lengthened shadow of a man
    xxxxxxxIs history, said Emerson
    Who had not seen the silhouette
    xxxxxxxOf Sweeney straddled in the sun.

    In these lines, Eliot alludes to another formulation from “Self-Reliance” (“an institution is the lengthened shadow of one man”), which he fuses with a related phrase from Emerson’s “History”: “If the whole of history is one man, it is all to be explained from private experience.”

  30. The Friend (vol. 4 of the CC, 1969), ed. Barbara Rooke, 2 vols. I:511; Aids to Reflection (vol. 9 of CC, 1993), ed. John Beer, 30n. This book’s immense impact on Coleridge’s American disciples, Emerson included,was partly attributable to the cogent “Preliminary Essay” by James March (included by Beer) in introducing his 1829 edition of Coleridge’s 1825 text.

  31. Buell, Emerson (Cambridge: Harvard University Press, Belknap Press, 2003), 65. Kateb, The Inner Ocean: Individualism and Democratic Culture (Ithaca: Cornell University Press, 1992), 90-91. See also Kateb’s Emerson and Self-Reliance (Thousand Oaks, CA: Sage Publications, 1995).

  32. This fusion of self-reliance with “reliance on God”—along with Fichte’s self-identification with God and Emerson’s similar “inner light” sense of divinity within (at least at certain “illuminated” moments)—has, as we’ve seen in the case of Adolf Hitler, tragic ramifications. There are also tragi-comic examples that amount to a reductio ad absurdum of the idea. Displaying humor as well as utter obliviousness to the widespread suffering caused by his industry, Lloyd  C. Blankfein, head of Goldman Sachs, publicly quipped, in the immediate wake of the 2008 crisis that had just upended millions of “lesser” lives, that bankers are “doing God’s work.” On a less calamitous level, hip-hop artist and pseudo-fashionista Kanye West, whose colossal ego dwarfs that of even the most self-entitled banker, has proclaimed, with not a trace of saving irony, that “God chose me. He made a path for me….I am God’s vessel.” Both men, especially West, have recently been presented, not as agents fulfilling a divine purpose, but as “assholes.” See Aaron James, Assholes: A Theory (New York: Anchor Books, 2012), 76n, 85.

Aug 032016
 

1968Milwaukee, 1968. Milwaukee Journal photo.

Dorothy Day images courtesy of the Department of Special Collections and University Archives, Marquette University Libraries.

1968

.

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.
Jul 012016
 

Desktop5Clockwise from top left: Tracy Proctor, Megan Okkerse, Whitney Lee, & Sheela Clary

This is very cool. Last winter in a workshop I was teaching I assigned an exercise on lists. I gave a little lesson, lists in sentences and lists as structure. You can find it written out here (look at the second item in the series): Building Sentences: The Complete Short Course — Douglas Glover | National Post. As an example of list structure, I gave out copies of Leonard Michaels’ story “In the Fifties,” which you can find to read on the Internet here or listen to here. The results were astonishingly varied, intense and emotional. Family stories mostly, as memoirs often are. I managed to sheepdog four of them together for the magazine. A change of pace, a delight to read, not to mention an introduction to four fine new writers: Tracy Proctor, Megan Okkerse, Sheela Clary, and Whitney Lee.

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List of Do’s and Don’ts — Tracy Proctor

Do adhere to mantras. “Travel light.” “Don’t fence me in.” “Surf’s up.” That sort of thing.

Don’t put corny bumper stickers on the back of your pick-up truck, though. Keep your mantras in your head. Stay cool.

Do adorn your truck with your man toys: dirt bike, road bike, paddle board, surfboard, kite board. Sub-zero cooler. Heavy duty trailer hitch.  Camper top.

Do visit lots of kick-ass places across the continent. Allow your mind to be blown. Do feel kinship with the soaring hawk, the lone wolf, the gypsy.

Do maintain high standards in females. If your nubile, fertile girlfriend starts to look or act like a spreading, hormonal woman, tell yourself you’re doing both of you a favor, and move on.

Commit full-heartedly to a dog. Take her with you everywhere: the high ranges of Wyoming, the ducky swamps of Arkansas, the teeming fishing grounds of Key West. The sun-bright shore and ice-cold beers and winding desert trails of Baja Mexico. Confide in your dog. Train her to stay and fetch and ride many miles without peeing. Feed her buffalo jerky and fish tacos. Recognize that you love her and can’t live without her, except when the waves and wind are forecast to be epic. At which time you drop her off with your mom for a month.

Do have many high-quality girls. Brunettes, blonds, redheads, surfer girls, hippy chicks (not too dirty), med students, massage therapists.  Fuck and run.

When your mountain-biking buddies are sitting around the campfire on weekend nights, sipping warm tequila and reveling in the precious, waning moments until they have to drag their asses back to wives and kids, pass the flask around again and fake sympathy. When pressed, agree with them that your newest girl is super hot. Agree that she has silky chestnut hair and legs up to here and intelligent green eyes. Agree that you are damn lucky that Miss Super Hot understands – no, endorses – your free’n’easy life style. Don’t tell your buddies that those green eyes of hers see right through to your soul, because that is corny, and because it might be true.

Do not tell your buddies that Miss Super Hot actually wants to marry you. Instead, break up with her.

Definitely do not tell your buddies – or anyone at all – that, one week after you break up with her, she tells you she is pregnant with your child.

Deny it. Fight it. Ask her if she’s sure the baby is yours. Ask her when she morphed into a Bible-thumping pro-lifer. Join Planned Parenthood, and send her a brochure.

Hit the road with your dog. Ignore Miss Super Hot’s demand that you review her birth plan. When she asks you to give her your parenting plan, tell her to go fuck herself.

Drive west, and more west. End up back in Baja.

Kite-board your brains out.  Tell your mom you won’t be back east for Christmas this year.  Stay away from females. Keep that terrifying secret to yourself.

Get nostalgic on Christmas morning. Send a holiday email greeting to friends and family, including Miss Super Hot: a photo of you in a striped orange hammock, holding a beer, the words Feliz Navidad dancing above your head. Enjoy the warm feeling from all the good email wishes you get in return, until you read the one from Miss Super Hot which says Merry Christmas to you, too and Wow it sure looks nice out there and She’s so glad you’re enjoying yourself in Baja while she and your unborn child are trying to keep warm in Jackson Hole, where you last left them. Get even more upset when you realize she has sent this email “Reply all.”

Do finally answer the phone the fourth time your mom calls you. Do gruffly answer most of her questions. Do not laugh bitterly when she says Miss Super Hot must not understand what “reply all” means.

Do not answer your mom’s question “What are you going to do now, honey?” Because you do not know.

Do get embarrassed when your buddies say that maybe it’s time to get out of the hammock. After a couple more days kite-boarding your brains out, come to the conclusion that maybe they are right.

Do show up at Jackson Hole Regional Medical Center just as Miss Super Hot’s water breaks. Do try not to crumble under her family’s glare.

Do spend the next ten hours walking your dog on the hospital grounds and pacing in the waiting room and getting updates from Miss Super Hot’s family members and learning what three inches of dilation signify and listening to the screeches of infants and the howls of birthing women and the buzz of the phone system and the names of doctors on the intercom. Do close your eyes and smell coffee and antiseptic.  Do pop several Advil. Don’t stare at the poster of the island scene.

Do follow the nurse when she beckons you to come to Miss Super Hot’s room and meet your new son.

Do feel your legs tremble when you spy your son swaddled next to Miss Super Hot’s side. Do think that he is the most beautiful thing you have ever seen. Tell Miss Super Hot that. Look into her green eyes when you say it.

Do take the pen the nurse is giving you. Do sign your name on the Birth Certificate next to the word “father.”  Don’t protest when Miss Super Hot’s family offers to take your dog for the night so you can sleep there in the hospital room. Do hold your son; marvel at his fuzzy hair and scrunched-up nose; at the stump of umbilical cord. When Miss Super Hot falls asleep, whisper to your baby boy that you can’t live without him. Promise him that when he gets old enough, you’re going to teach him how to kite-board.

—Tracy Proctor

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Here You Are — Megan Okkerse

Here is what you remember:

You remember my curly blonde hair and the little blue dress I wore at the McCrae’s wedding when I stomped around in the bride’s shoes at the reception. You remember me with my head on Daddy’s shoulder like in the picture he would keep in his office, when he worked day and night, year after year. You remember me playing with the skin under your chin, the soft flesh of your neck as we snuggled together under the pink plaid flannel sheets on those cold winter mornings when you had the heat turned down and the windows cracked because, “fresh air is good for you,” you would say. You remember the day Daddy left and all the names of my elementary school teachers and my soccer games and my long legs striding across the field, me, before I got skinny and sick. You remember my friend Lauren, who had cancer in 7th grade, and Daddy spanking me with the paddle for playing doctor with the neighbor boy when I was five. You remember the day I moved to Daddy’s house and the late night calls you would get from me begging for you to come pick me up and bring me home. Why didn’t you? Did you quietly like the freedom of my absence?

You remember 4th of July at Riverside Park and our long walks around the point. “I can’t walk anymore. I have cramps,” I would whine. You would tell me this, years later when I replaced you with compulsive exercise. You remember the time Daddy came to pick us up after he had shaved off his long beard, and Peter stood at the top of the stairs and refused to come down because he hated seeing Daddy differently.

Here is What I Remember:

Your post-divorce boyfriend Mark Phister and his building that smelled like paint thinner. He wouldn’t come to church with you  so instead your Sunday mornings were spent making eggs Benedict and watching Charles Kuralt. I remember that the two of you were going to open a bed and breakfast and travel to France. I remember seeing him that night we walked downtown. He was sitting on the curb with the paramedics, bleeding. His speech was slurred and his breath: what  exactly did his breath smell like? I remember the unfinished apartment above his antique refinishing studio. Sometimes finding you in there was like a treasure hunt, but I could always find you. Usually in his bed. You would lift up the covers and scoot over as I curled into your side, and we would tell each other our dreams.

I remember his farmhouse table and the bagels he would toast and top with Mrs. Dash and butter, cutting them up as croutons on the salad. I remember his van. Sometimes, when you had been gone for hours, I would walk to the park to look for you, and there you would be, by the lighthouse in his van talking. I remember his son and his dog Yessa and the monologues he would have with Martha Stewart while he was cooking. I remember how funny he was. He could make my brothers laugh so hard they cried, and I wondered why if he was so funny he made you cry so much.

I remember Bonnie Raitt, James Taylor, Van Morrison, NPR, and Lake Wobegon. I remember how you kept caramel nips and red licorice in the drawer next to the fridge and Häagen-Dazs ice cream in the freezer, one big spoonful for your coffee every morning. I remember Peter and I used to jump from the balcony onto the couch when you weren’t home and we should have died, but we never got hurt. I remember that Peter always ate all the Frosted Flakes, and Elliott hoarded the graham crackers. I ate malt-o-meal while we stood at the counter over the floor heater as the hot air blew up at us.

I remember the day my first grade crush Drew Adams was supposed to come over for lunch, but his mom called and said he was sick. I wondered if he was really sick, or if it was me, because maybe I wasn’t pretty, or maybe it was because we were poor, but I didn’t think we were poor. I remember the time I was learning to drive and Elliott took me to Fresh Air Park. It was dark out, and I drove up onto a boulder and the tailpipe fell off. Elliott drove me home but he had to pull over so I could puke. When we got home and told you what happened, you said, “Well hell, there’s nothing we can do about it tonight. Let’s have some wine.”

I remember you used to take baths every night. I would sit on the tile floor next to the tub, and you would cover your vagina and breasts with washcloths so all that was visible was your flat stomach, the one you pinched and sighed in disgust over. I remember your hair, a shimmering silky grey and your skin, milky, smooth, and unblemished. I remember when you wouldn’t eat, but insisted that I eat more than I was hungry for. You would say, “You don’t really need to eat that much when you’re a grown up.”

You used to tell me I was big boned. I never knew if that was a compliment, but I do know that I’ve always tried to be small—except when I want to be a woman, and then I don’t know what I’ve tried to be except submerged in water, covered in rags.

—Megan Okkerse

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In my house — Sheela Clary

In my house I have always had the last word, except when Dad was visiting.

When the mudroom was painted, I put up an Irish blessing/curse. I like its surprise ending.

May those that love us, love us.
And those that don’t love us,
May God turn their hearts.
And if He doesn’t turn their hearts,
May He turn their ankles
So we will know them by their limping.

I lie in bed and imagine the routines of single mothers on the infrequent nights when Jim goes out with his uncle, or Tim or Grigori.

To the visitors who perk up when I mention that the house dates to 1783, I point out the wide, uneven floorboards upstairs. I tell them about the newspapers Jim found inside the walls, so old the Ss look like F’s, reporting news about the Papal states. If the visitors like that story, my older daughter usually jumps in about the gravestone for an 11-year-old girl who died in 1810 that lies somewhere in the trees behind the house.

Jim built an addition with a mudroom, our bedroom, a laundry room, our son’s room, and two bathrooms downstairs. I worry that the new upstairs part isn’t necessary, especially the additional bathroom. I grew up in a house for four people with four bathrooms.

There are thousands of small, hard, Leggo pieces. They are not confined to the plastic bins Jim’s mother brought in from Target one day and left on the kitchen table, along with a note offering to help us organize.

I often prepare Bolognese sauce on homebound afternoons. It takes three hours to simmer down the water, milk and wine out of the sauce to a thick consistency. Then I use an immersion blender to blend the meat, tomatoes, onions, carrots and celery into a red brown mush my son will eat.

The kids don’t need to be told what to do or were to go to build up a fire in the fireplace. Jim gently supervises the workings of fire, tools, and wood.

My family creates surprises for me in the basement. I receive these gifts on random evenings throughout the year instead of flowers and chocolates and lingerie. A miniature stable made of twigs and moss, three painted birdhouses, a low bench for the mudroom.

There are several blank walls. One has a print of a shaker apple tree leaning against it on the floor, unattached.

In various chests and drawers there are stacks of undisplayed photos we took when we had just Cecelia, including some from the afternoon she ran around a piazza in Orvieto in her socks because she couldn’t stay still and she was just walking and I wasn’t used to carrying shoes for her.

I worry most about Fiona, my middle child. I worry that a better mother would have prevented her from getting fat, that a better mother would say no cookies and enforce no cookies.

My son Donal complains mostly about the Leggos he doesn’t have, but one morning he complains that there are pictures of only his sisters on top of the bookcase next to my writing desk. I point with satisfaction to my dresser, where I’d only recently cut up a picture of him with face paint on and stuck it in a heart-shaped frame. I’d also noticed the discrepancy.

There was a difficult puppy, and there is still a crocheted baby blanket soaked with her blood in a tightly tied up plastic bag, sitting at the bottom of a laundry basket in the laundry room under my husband’s Carhartts and a jumble of purple underwear.

My father kept his shoes on and gravitated toward the velvety, auburn armchair in a corner of the living room. I worried that Dad would hit his head on the little wooden shelf on the wall above, or that the kids would not be wearing socks, or that he’d ask for the Diet Coke he left in the fridge two months ago for the purpose of having something to drink the next time he visited us.

One afternoon, I stood in the kitchen to hear an update from the hospice nurse via Mom, inserting, “All right,” “See you then.” “Bye.” Then I fell to my knees and keened, and Jim shooed the children outside and came back to hold me.

I keep Dad’s datebook from 2014 on my writing desk. I wonder which day holds his last written words.

I see my father in Fiona.

—Sheela Clary

§

Violet

I used to dance and sway with Violet in my arms and wondered if she remembered a different time, in different place, with a different family.

I first touched Violet’s almond-colored skin when she was two. She wore a daffodil dress and sunshine-colored shoes. But she was terrified, so she cried.  But I loved her, so I cried.

My husband and I bought, packed, and flew a stuffed green frog from San Diego, over a vast blue ocean, to the city of Seoul. We gave it to Violet when we first met her.  I suppose we thought there were no stuffed frogs in Korea.

Violet’s foster mother carried her on her back.  She slept on ours.

I once stood on the shores of the Korean Straight, on the beaches of Busan, the city where Violet’s mother lived. When my feet pressed into the wet sand, and the tiny rocks pushed up between my toes, I wondered if her mother’s footprints lingered or if the ocean swept them away.

When I went to the Korean adoption court, the judge asked me if I would love Violet forever.

When we brought Violet home, many said, “She is lucky she has you.” But no, I was lucky to have her.

Our first weeks together, Violet protested if her feet touched the ground or if I quit moving when she was in my arms. So we walked for hours through the woods and pointed at black-eyed Susans, shasta daisies, and butterflies. When I could finally peel her little body away from mine, my arms ached, and a Violet-shaped sweat stain remained.

Violet was a cupcake her first Halloween.

After she had been home for a few months, Violet crawled into bed with her five-year old sister, Esmae. Their little bodies tangled and twenty little toes peeked beyond polka-dotted sheets.

Violet peed in her pants when her routine was interrupted or if she was nervous. Sometimes, after I removed her soaked clothes, and I cleaned her body, I believed I failed her.

Violet’s first words were, “Eli did it.”  Eli is her five-year old brother.

This summer, Violet stood at the edge of Lake Michigan, just behind our house, and threw rocks into the water. She liked to watch them splash.

Last Friday, when I washed her small three-year old body in the shower, I watched the water weigh down her black curls, cascade over the slope of her nose, and stream onto her round taught belly.

Violet wears lots of dresses but only if she can choose them.

With crayons and pencils, Violet’s eight-year old brother, Zachary, still writes stories about the day she came home.

Violet’s laugh fills my heart. That is why I tickle her.

Now I dance and sway with Violet in my arms and I wonder if she forgets a different time, in a different place, with a different family.

—Whitney Lee

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Tracy Williamson

Born and raised in Tallahassee, Tracy Proctor now lives in New York with her three children and a hound dog. Her short stories have earned a Pushcart Prize nomination, won contest awards and been adapted to stage. She’s currently working on an historical novel set in Florida during the Spanish Empire and perfecting her sangria recipe.

Megan Okkerse

Megan Okkerse is pursuing her MFA in Writing at Vermont College of Fine Arts. She teaches creative writing workshops in Charlotte, NC, and is a reader for Hunger Mountain.

Sheela Clary

Sheela Clary has taught English and Latin in the Bronx, Italy and with the Peace Corps in Papua New Guinea. She is an MFA student in Creative Nonfiction at Vermont College of Fine Arts and lives in Western Massachusetts with her family.

 Whitney Lee

Whitney Lee is a physician in the Chicago area. Her work has appeared in the Huffington Post and Women’s eNews. She is currently an MFA student at Vermont College of Fine Arts. She lives with her husband and four children.

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Jun 012016
 

Diamanta1 2Diamanta in the English Cemetery, Piazzale Donatello, Florence.

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It’s almost 11:30 at night here. I just walked into my apartment and turned on the TV to find Philadelphia Story dubbed in Italian, which is pretty entertaining. I’ve been in Venice all day, which sounds lovely, and I’m probably just getting spoiled from my Italian adventures, but I found it gloomy and alien and too self-consciously beautiful.

So I really don’t write much these days. Most of the time, I’m with the students, escorting them from museum to train station, worrying about their homesickness, their illnesses, their inability to use paper maps. They are incapable of functioning without constant cell phone use but equally incapable of operating their Italian cell phones.

EBBTomb2Elizabeth Barrett Browning’s grave.

When I am alone, I am afflicted with restlessness and I wander around the streets, rather than writing diligently. I visit Sister Julia, a British nun who lives in a tiny apartment in the archway over the English cemetery (where Elizabeth Barrett Browning is buried, among others) and I try to converse, in my truly terrible Italian, with the Roma who gather there. I understand more than I can communicate. Their lives are dramatic, on the edge. Desperation, tears, and wailing. They are also amazingly international. They travel back and forth to Romania frequently–I don’t understand where they get the money for bus fare. A good day of begging yields about ten euros.

Sister Julia2Sister Julia in the English Cemetery.

There is a young Roma man named Mihai who can probably speak the best English. He is somewhat of a visionary, I think. He is about twenty, but has been married since he was fourteen and already has three children. He is resolutely against such young marriages, as he says it’s too hard on the women’s bodies. He wants to start a school for Roma children in his village in Romania. Roma parents rarely send their children to the regular school. I’ve heard a variety of reasons—they prefer single-sex education, they don’t want the girls to wear the uniform slacks, and the books and clothes are too expensive. Mainly they worry that the Gadjo (non-Roma) teachers will be cruel to their children.

Mihai, as well as his twin brother George (the two warrior saints, they both told me proudly—Michael and George) his older brother Ionel, and Ionel’s wife Diamanta, work diligently on their alphabet sheets under the archway of the English cemetery. Sister Julia has created these xeroxed worksheets for them with spaces to copy out the Lord’s Prayer in Latin, along with their names and ages.

lunchFrom left to right: Mihai, Sister Julia, Ionel, Laura Michele Diener, and Diamanta eating under the arch at the English Cemetery in Florence.

One of the women who is on the fringes of this group, Jova, begs at the Ospedale del’ Innocenti, where many of them sleep at night. She is a cousin of the core family. Mihai calls her, his familia, but seems confused about how she is actually related. Jova resembles most of the old beggar women in Europe–wizened. tiny, and brightly clad. She shakes a tiny cup and I can’t imagine she gets very much. Apparently, though, she has a college degree and is one of the only Roma I’ve met who is actually literate. She begs for the money to pay off the debt for her husband’s funeral. Although, like all the Roma I’ve met, she is hazy about dates and times, she remembers the concentration camp in Transnistria from her childhood.

Maria, her daughter, is the most aggressive of the Roma, and the only one that actually frightens me. If I caught her alone at night, I feel sure she would have no qualms about robbing me or possibly slitting my throat. Whenever she sees me, she comes running, calling out, “Amica, amica,” and kisses me, and then immediately demands money. I haven’t given her any in weeks, but she never gives up. At Mihai’s suggestion I’ve started carrying bags of rolls or peaches to offer her instead, and she gets angry and refuses to take one. Then she comes running after me and demands the entire bag. If I only give her one, she breaks it in half and then throws it away. Although she is Jova’s daughter, she is completely illiterate–apparently, her father forbade her to learn. I imagine she has had a very difficult life.

—Laura Michele Diener

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Laura Michele Diener 2

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.

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May 092016
 

solie

When I read Karen Solie, I’m reminded of my first encounters with Berryman’s Dream Songs, Lowell’s Life Studies, or Vallejo’s posthumously published poetry. The books seemed unrelentingly astonishing, had a skewed but insistent sense of moral gravitas, and demanded a response that was as physical as it was intellectual. —David Wojahn

the road

living
The Road in is Not the Same as The Road Out
Farrar, Straus and Giroux, 2015, 104 pp.
Hardcover, $25.00

The Living Option: Selected Poems
Bloodaxe Books, 2014, 160 pp.
Paperback, $9.95

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In 2014, upon the British publication of The Living Option, a volume of Karen Solie’s new and selected poems, the poet-critic Michael Hofmann, writing in The London Review of Books, lauded the collection in a manner that surely surpasses any poet’s most delicious fantasies about what constitutes a positive review. Hofmann heaped on the tributes so thickly that a reader unfamiliar with Solie’s work could easily have been lead to wonder if Hofmann had written the piece under the influence of some sort prescription mood enhancer so appealing that you’d love to get your hands on some of it—though perhaps not for the sake of writing about a poetry collection. By the end of the second paragraph of the review Solie was seen by Hofmann as the peer not only of well-regarded contemporary poets such as Frederick Seidel, Les Murray, and Lawrence Joseph, but also Big Shots from the pantheon—Brecht, Brodksy, Whitman, and Stevens got namechecked as well. That Hofmann would lavish such praise on a writer who had published only three collections before her Selected, all from small presses in her native Canada—she was born in on a farm near Moose Jaw, Saskatchewan, in 1966, and now resides in Toronto—made the review all the more remarkable. Solie’s nationality also offered Hofmann an opportunity to tartly disparage the chauvinism of the UK and US literary establishments, who tend to regard other Anglophone literatures as what he witheringly characterized as “apocrypha or appendix, the province of specialists or pity.” Reviews of such unabashed ardor are exceedingly rare in the world of poetry, particularly when they arise from the subculture of Pavlovian snarkiness that passes for poetry reviewing in the UK. And when such reviews do appear, their claims tend to be hyperbolic or just plain wrong. But about Solie Hofmann was for the most part spot on. I’ll refrain from the Whitman, Brecht, and Stevens comparisons here, but I have no hesitation in saying that Solie is one of the most exciting poets at work today. And with the US publication of The Road in is Not the Same as the Road Out, a volume of Solie’s recent work, readers in the States can see something of the breadth of Solie’s accomplishment.

I hasten to add that something, for neither The Road in…. nor the perplexingly skimpy selection of Solie’s poetry included in The Living Option allows a reader to accurately assess the niceties of Solie’s development, nor to appreciate the remarkable consistency of the quality of her work. The Solie of The Road in… is a garrulous and impishly meditative poet. The poems start with oddball but tangible subject matter (with titles such as “Roof Repair and Squirrel Control,” and “A Good Hotel in Rotterdam”), but then immediately grow loopily digressive (or darkly sardonic) and tend to wander about engagingly (or scathingly) for several pages. Solie’s earlier work, however, is somewhat different from this later style: many of the poems are short, acerbic lyrics—and in subject matter they are deeply reflective of the flatness, vastness and desolation of Canada’s prairie provinces. The work is regional in the best, Wordsworthian, sense, always keen to give itself “a local habitation and a name.” In Solie’s case, this fidelity to the local means a preponderance of poems that take place during stultifyingly long car rides, in strip malls, in barely half-star roadside motels, in dive bars, or on those scary puddle-jumper jet flights from one unremarkable city to another, where determining the right mixture of Xanax and vial-sized booze bottles becomes a kind of survival skill. Some of these poems appear in The Living Option, but not enough of them. One really has to seek out her early Canadian collections, Short Haul Engine (2001), Modern and Normal (2005) and 2009’s magisterial Pigeon to get a complete picture of Solie’s accomplishment.[1]

The only reasonably priced copy of Short Haul Engine I could find on Amazon when I was composing this essay has a very large stamp on its inner cover that reads, “WITHDRAWN FROM THE COLLECTION / WINDSOR PUBLIC LIBRARY BUDIMIR BRANCH.” And in my library copy of Modern and Normal, a reader has used a pink highlighter pen to single out poems that she especially likes, along with handwritten notes in the margins, set down with the careful but shaky penmanship of someone more skilled with keyboards than with writing implements. Still, Ms. Highlighter Pen is some places a fairly astute critic. Here are the margin notes which accompany a characteristic early Solie poem, entitled “Nice”:
disconnected
mundane
fleeting thoughts
calm, shrug

And here is the poem itself, complete with its epigraph from Diane Arbus:

Nice

“I think I’m kind of two-faced. I’m very ingratiating. It
really annoys me. I’m just sort of a little too nice. Everything
is Oooo”   –Diane Arbus

Still dark, but just. The alarm
kicks on. A voice like a nice hairdo
squeaks People get ready
for another nice one, Low 20s,
soft breeze, ridge of high pressure
settling nicely. Songbirds swallowing, ruffling,
starting in. Does anyone curse
the winter wren, calling in Christ’s name
for one bloody minute of silence?
Of course not. They sound nice.
I pull away and he asks why I can’t
be nicer to him. Well,
I have work, I say, and wouldn’t it be nice
if someone made some money today?
Very nice, he quavers, rolling
his face to the wall. A nice face.
A nice wall. We agreed on the green
down to hue and shade right away.
That was a very nice day.

Quite an acrid little meditation, this, and not an unfamiliar one if you’re conversant with what we’ve now come to reductively call post-modern style. And Ms. Pink Highlighter Pen has unwittingly listed many of the rudiments of that style, with its discontinuity, its irony, its offhanded critiques of the vapid platitudes of media and consumerist culture (“…get ready/ for another nice one…:” “We agreed on the green/down to hue and shade right away”); its associative slipperiness. And yet, although “Nice” shows us how skillfully Solie can walk the po-mo walk, she shows just as strong an allegiance to more traditional poetic devices. There’s the Hopkinsian linguistic tour de force of “Songbirds swallowing, ruffling,/starting in,” and the Eliotic diction of “Does anyone curse the winter wren?” as well as the loose tetrameter of the poem’s key lines. Furthermore, “Nice” is quite cunningly structured, seeming to free associate in its opening, before ending with an old-fangled narrative description of domestic discord and regret. Although Solie has almost bludgeoned us with her examples of how the word “nice” has been debased in our vernacular, the poem’s final line asks to be read with pathos rather than irony. This realignment does not come without warning. The ambivalence and self-criticism of the Arbus quote has prepared us for it. Like Philip Larkin at his best, Solie here—and in many other poems as well—begins with dyspepsia, but slowly and methodically turns her bile into something bracing. The poem closes not with a calm shrug (or “calm, shrug”), but with a gesture of guarded epiphany.

Solie is, above all, a voice-driven poet. Of course, so are countless numbers of her peers. But she differs from her peers in no small measure because she has found that voice through a hybridization of a very unlikely pairing of masters. She has obviously learned much from John Ashbery, and has cited him as an influence. You see this in her abrupt shifts of tone and diction, in her use of found poetry and goofy titles (among my favorites are “Your Premiums Will Never Increase,” “Self-Portrait in a Series of Professional Evaluations,” and “When Asked Why He Was Talking To Himself, Pryrrho Replied He Was Practicing to be a Nice Fellow”); in the ways in which her whimsy often gives way to dread, and in her delight in mixing high and low culture references. This latter quality is especially appealing. On the one hand she offers us poems with titles such as “Meeting Walter Benjamin” and “Sleeping with Wittgenstein,” while on other she relentlessly samples lyrics and song titles from classic and post-punk rock, sometimes with attribution, but mostly not. There are nods to the Band, John Lee Hooker, X, REM, Nick Cave, Paul Kelly, and the Jesus and Mary Chain, among others. But Solie also understands that the effete cosmopolitanism of Ashbery doesn’t in the long run speak to her milieu. A poem such as “Medicine Hat Calgary One Way” takes places about as far from New York and the New York School as one can get, both geographically and aesthetically—the speaker is on a bus, passing “Strip malls and big box stores whose/ faces regard with solemn appreciation/the shifting congress of late model vehicles/ who attend them” and a “downtown deserted as the coda/ to a biological disaster.”

You need an entirely different model to describe this sort of landscape and the particular melancholy which attends it. And Solie has found that model in another poet she has cited in an interview as an abiding influence, and evokes in an epigraph to a section of Short Haul Engine. Regrettably, he is a figure who has fallen out of fashion—Richard Hugo, known today, if he is known at all, as the author of a classic creative writing textbook, The Triggering Town. But Hugo is among the most significant poets to have emerged from the North American West. He is also in almost every conceivable way the opposite of Ashbery: he is baldly confessional where Ashbery is self-concealing; he is largely narrative in his approach where Ashbery is militantly non-linear. And his allegiance to the Romantic tradition is a far cry from Ashbery’s Duchampian nihilism. Hugo doggedly adheres to the Wordsworthian notion that nature is a metaphor for the self—and vice versa. But Hugo is also a wounded Romantic: for Hugo, whatever natural grandeur the West once had has been despoiled. It is now a quietly dystopian realm of half-deserted mining towns, crummy roadside bars, long unvarying drives on the Interstates, and unhappy and impoverished childhoods that morph into similarly unhappy (and usually alcoholic) adulthoods. And it often seems as though Hugo is constitutionally (rather than merely aesthetically) unable to distinguish self from landscape, identity from setting. In “Degrees of Gray in Philipsburg,” his best-known poem, after offering a brutal tour of a nearly deserted mining town, Hugo makes the connection unequivocally clear: “Isn’t this your life?…../ Isn’t this defeat/ so accurate the church bell simply seems/ a pure announcement: ring and no one comes?” What saves Hugo’s work from too frequently succumbing to the maudlin—and what saves Solie’s poetry from this as well—is a kind of laconic humor that leavens even his most disconsolate efforts, offhanded observations along the lines of “George played rotten trombone/ Easters when they flew the flag.” I think it’s safe to say that Hugo’s West is strikingly similar to Solie’s West, and her move to Toronto has not significantly diminished her preoccupation with her prairie province upbringing. And her particular command of tone, of a biting wit that barely conceals a deeper distress, derives in no small part from Hugo as well. At the start of a grimly ironic Solie poem entitled “Possibility,” she and Hugo might as well be traveling in the same rental car, and checking into the same Day’s Inn:

A rented late-model car, Strewn gear. Clothes,
books, liquor, one good knife for slicing
limes. Motel the orange of an old rind. Bud green
and remaindered blue for trim. Some schemes

shouldn’t work, but do. A square room
with balcony two floors above the strip. Real
keys. A man sleeping on the bed,
or pretending to. It will be alright. It’s not

too late. We left on the sly and nothing bad
happened….

I hasten to add that Solie has been influenced by a number of other figures, though none as profoundly as Ashbery and Hugo. You can detect a debt to Symborska in her use of tone, and one to Transtromer in her approach to imagery. And—although I may be presumptive in thinking she reads, or has needed to read, a great many poets residing south of the 49th Parallel—you can also discern a smidgen of Dean Young and Tony Hoagland in her associative see-sawing, although she never succumbs to Hoagland’s curdled misanthropy.

But I should also hasten to add that no poet as good as Solie is the mere product of her influences. And I must confess that by spending so much time tracing her various aesthetic pedigrees, however interesting that investigation may have been, I’ve been derelict in what should have been my primary intention—of trying to define what makes her an original. So allow me to make a tentative attempt to reach that goal. Canadian poet Jim Johnstone, in an otherwise rather stilted assessment of Solie printed last year in Poetry, astutely praises what he calls her “carefully controlled unpredictability.” Despite her tendency to pursue quirky associative tangents, despite her wise-cracking persona, her poems possess a rich lyric and narrative precision. More importantly, they possess what Adam Zagajewski calls a “moral seriousness,” a stance that both reflects the bewildering complexity of contemporary culture and sternly condemns the ethical lassitude that arises from it. In this respect her poems are much like the work of Auden in his great period of the late 1930s: we are initially so impressed by the technical brilliance and wit of his writing that it takes some time for us to recognize the intensity of its moral outrage. And Solie, subtly but insistently, reminds us that there is plenty to be outraged about. The poems touch upon social injustice, ecological destruction, political chicanery (take a look at a merciless little poem entitled “The Prime Minister” and you can see why Hofmann likens Solie to Brecht), and our ADHD-addled addiction to the web—a realm of limitless data, factoids, and nattering, much of it pernicious and trivial. Solie is not so ideological a poet that she cares to posit solutions to these dilemmas. Her desire is instead to console us, and to allow us to draw some insights from her unflappable example. She is our cultural tour guide, fulfilling the role that Mandelstam tells us Vergil plays in The Inferno, always striving to “amend and redirect the course [of our seeing].” These are high claims, I know, but I make them without hyperbole. If you want evidence, allow me to look more closely at two fairly recent poems. One, “Life Is a Carnival,” is included in The Road in is Not the Same as the Road Out. The second, “Cave Bear,” appeared in the 2009’s Pigeon.

“Life Is a Carnival,” uses as its title another of Solie’s musical samplings—in this case she co-opts the name of a song by the Band, one with lyrics that decidedly belie the title’s apparent breeziness. Life may be a carnival, but for the Band this also means our masters are unscrupulous carnies. (My favorite lines in the song could have come from Solie’s own pen—“We’re all in the same boat ready to float off the edge of the world,” and “Hey buddy, would you like to buy a watch real cheap?”). The song is not so much about self-deception as it is about our puzzling nonplussed willingness to be conned. The poem commences innocently enough, but the subject of delusion soon becomes its controlling motif:

Dinner finished, wine in hand, in a vaguely competitive spirit
of disclosure, we trail Google Earth’s invisible pervert
through the streets of our hometowns, but find them shabbier, or grossly

contemporized, denuded of childhood’s native flora,
stuccoed or in some other way hostile
to the historical reenactments we expect of or former

settings. What sadness in the disused curling rinks, their illegal
basement bars imploding, in the seed of a Wal-Mart
sprouting in the demographic, in Street View’s perpetual noon. With pale

and bloated production values, hits of AM radio rise
to the surface of a network of social relations long obsolete. We sense
a loss of rapport. But how sweet the persistence

of angle parking!

As dramatic situations go, this one is priceless. “Dinner finished, wine in hand” leads us to suspect that the couple in the poem are readying for a tryst, or at the very least are snuggling up to a night with Netflix, but instead they tour their respective childhoods, courtesy of “Google Earth’s invisible pervert,” a characteristically inventive Solie trope—clever, but at the same time disconcerting. The couple is quickly disbursed of that quintessential human desire to see the past nostalgically. We’re offered “shabby” hometowns “denuded of childhood’s native fauna.” It’s all Wal-Marts and “disused curling rinks.” “Angle parking” may persist unchanged—but nothing else will. Yet the dose of reality which the couple is offered “in Street View’s perpetual noon” is too mediated and abstracted to register as realistic. (I’m also lead to wonder if Solie had Elizabeth Bishop as well as the Band in mind during the composition of this poem: the disconnect between a couple’s idealized wistfulness and an accurate perception of their past is examined in a fashion almost identical to that of Bishop’s “Over 2,000 Illustrations and a Complete Concordance.”) As the poem continues to unfold, the couple’s anxiety only intensifies:

Would we burn those places rather than see them
change? , or simply burn them, the sites of wreckage
from which we staggered from our formative injuries into the rest

of our lives. They cannot be consigned to the fourfold.
Though the age we were belongs to someone else. Like our old
house. Look what they’ve done to it. Who thought this would be fun?

This passage also offers us one of those shifts in diction that are a hallmark of Solie’s style. “The age we were belongs to someone else,” with its precise iambs and charged rhetoric, is immediately undercut by the vernacular (and pyrric-laden) “Who thought this would be fun?” This contrast, with its admixture of abjection and absurdity, is a perfect culmination of what the poem has been working toward all along. A lesser writer would have been tempted to end the poem here—but Solie carries on, and brilliantly. Here’s the conclusion:

A concert then. YouTube from those inconceivable days before
YouTube, an era boarded over like a bankrupt country store,
cans on its shelves, so hastily did we leave it. How beautiful

they are in their pouncey clothes, their youthful higher
registers, fullscreen, two of them dead now. Is this
eternity? Encore, applause, encore; it’s almost like being there.

This ending manages to be both cautionary and revelatory. The web is addictive in no small measure because it allows us to instantaneously dispel discomfort. A couple of clicks, and we can move from uncomfortable reckonings with our pasts to pure escapism. And it goes without saying that the web enables more monstrous segues to take place as well—were you so inclined, you could watch an Isis beheading video and immediately follow it with grainy footage of a pet doing something cute. Solie is canny enough to admit that she is as complicit in this state of affairs as any of the rest of us. But she also knows, as Pound would have said, “that what thou lovest well remains”—remains in this case through majesty of the Band during their final performance in 1976, as captured by Martin Scorsese in The Last Waltz, a film that has been rightly called the best rock documentary of all time. Never mind that this performance is being seen by a disgruntled couple peering into a tiny laptop screen, that the version of the film they are watching is likely a pirated one, that the Band are quaintly dressed in bellbottoms, flouncy shirts, and other cringe-worthy ‘70s regalia, or that two of the figures occupying the Winterland Ballroom stage on which they perform are now in their graves. (Sadly, with the death of Levon Helm, the number now stands at three.) And let’s remember that Solie is not a callow millennial who takes the clutter, benumbing over-stimulation, and maniacal web-surfing of the digital era for granted. No, to witness the abiding art of the past through a medium that the speaker is old enough to find estranging and compromised is not really “almost like being there.” But, on the other hand, it is as close to being there as we can venture. However fractured and debased, an aura persists, a rightness. It’s hard to read Solie’s closure as embittered. The poem’s final gesturer—and forgive me if I keep seeing so many overt literary homages in Solie’s work—is not so far removed from the closing of Frank O’Hara’s great elegy for Billie Holiday, “The Day Lady Died.” The couple may be sipping cheap chardonnay and watching ghostly figures on a 13-inch Mac, but the moment they experience is one in which, as O’Hara puts it, “everyone and I stopped breathing.”

If “The Last Waltz” is ultimately about what we preserve from the past, against all odds, “Cave Bear” is about extinction and the paucity of historical memory. Yet the poem also insists that nothing is so extinct or so forgotten that it cannot be exploited and commodified. (Tellingly, we eventually discover that the poem is set in Alberta, the site of those behemoth, stygian and ecologically toxic strip mines that turn tar sands into crude: the land not of drill, baby, drill, but of gouge, baby, gouge.) The poem’s opening reads like a send-up of a motivational speaker’s Power Point presentation, but then, in typical Solie fashion, everything soon gets wiggier:

The longer dead, the more expensive.
Extinction adds value.
Value appreciates.
This may demonstrate a complex cultural mechanism
but in any case, buyers get interested.
And nothing’s worth anything without the buyers.
No one knows that better than the United Mine Workers of America.

A hired team catalogued the skeleton,
took it from its cave to put on the open market.
retail bought it, flew it over to reassemble
and sell again. Imagine him
foraging low Croatian mountains in the Pleistocene.
And now he’s flying. Now propped at an aggressive posture
in the foyer of a tourist shop in the Canadian Rockies
and going for roughly forty.

One could hardly imagine a more bizarre journey than that of the skeleton from a cave floor in Eastern Europe to a high-end tourist shop in Alberta. This is cutthroat capitalism at its strangest, and a writer as erudite as Solie would likely know that the commodification of a cave bear skeleton is also a kind of spiritual profanation: mounted cave bear skulls are often found in the painted caves of Paleolithic Europe, among them Chauvet, site of the oldest cave art yet to be discovered.

The poem takes an even weirder and more surprising turn in its final stanza:

The pit extends its undivided attention.
When the gas ignited off the slant at Hillcrest
Old Level One, 93 years ago
June, they were carried out by the hundreds,
alive or dead, the bratticemen, carpenters,
timbermen, rope-riders, hoistmen,
labourers, miners, all but me, Stanley Bainbridge,
the one man never found.

Although the poem has suddenly swerved to a detailed description of a little-known historical disaster—in this case the Hillcrest, Alberta, mine explosion of 1914, which killed 189—I doubt if anyone encountering this passage for the first time would stop reading in order to do a web search on this event. As with Milton’s “On the Late Massacre in Piemont,” the impact of the description is so acute and visceral that we really don’t care about the historical circumstances—not at first, at least. Nor are we especially puzzled when Solie tells us, in the poem’s very last lines, that its speaker is one of the dead miners. As with “The Last Waltz,” Solie is unafraid to make a radical associative leap just as the poem seems ready to wind down. It is also a perfectly fitting gesture, yoking the Brechtian social satire of the opening to a specific human tragedy, and managing to link the demise the cave bear to the death of Stanley Bainbridge. The latter is an especially risky analogy. But Solie brings it off, and without willfulness or bathos.

When I read Karen Solie, I’m reminded of my first encounters with Berryman’s Dream Songs, Lowell’s Life Studies, or Vallejo’s posthumously published poetry. The books seemed unrelentingly astonishing, had a skewed but insistent sense of moral gravitas, and demanded a response that was as physical as it was intellectual. Just as importantly, the work immediately prompted a dumbfounded question—how did the writer do that? I look forward to asking that last question about Solie’s work for as long as she continues to write poetry. I see that I have now matched Michael Hofmann in extravagant comparisons, but so be it.

—David Wojahn

 

wojahn_david-photo-5-2013

David Wojahn‘s ninth collection of poetry FOR THE SCRIBE, will be issued by The University of Pittsburgh Press in 2017. His FROM THE VALLEY OF MAKING; ESSAYS ON CONTEMPORARY POETRY was recently published by the University of Michigan Press. He teaches at Virginia Commonwealth University and in the MFA in Writing Program of Vermont College of Fine Arts.”

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Footnotes    (↵ returns to text)

  1. Editor’s Note: Solie’s first two collections Short Haul Engine (2001) and Modern and Normal (2005) have always been available since their publication and available through Brick Books and through Amazon – Short Haul Engine is in its 6th printing while Modern and Normal in its 8th printing.
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.”

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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.”

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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—
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……….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.

§

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.

§

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.

§

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.

↑ return to Contents

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.”
Feb 022016
 

spiritualpilgrimwoodcutIn two places at once _ Spiritual Pilgrim, Woodcut, anonymous German artist, circa 1530. Jung, CW 10, plate VIIThe Spiritual Pilgrim Discovering Another World (Woodcut) 17th Century

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Athanasius Kircher: Harmonia Nascenti Mundi (1650)

“When one analyses the pre–conscious step to concepts, one always finds ideas which consist of ‘symbolic images.’ The first step to thinking is a painted vision of these inner pictures whose origin cannot be reduced only and firstly to the sensual perception but which are produced by an ‘instinct to imagining’ and which are re–produced by different individuals independently, i.e. collectively… But the archaic image is also the necessary predisposition and the source of a scientific attitude. To a total recognition belong also those images out of which have grown the rational concepts.” 

  Wolfgang Pauli – ATOM & ARCHETYPE

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Sea Time

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n my twenties, as a merchant marine crossing both oceans and several seas, I spent hours at the rail watching the mysterious relationship between sea and sky. At times they existed peacefully, like sleeping lovers, fused, with no defining horizon. Afloat in seamless space, I glimpsed the plenitude of timelessness. More often, water and air colluded in creating spellbinding iterations of light. Most incredible were their sudden declarations of war. And with each shift of mood between them, I identified a corresponding one in myself so that concentrated thus, in this floating world, the only secure anchor was the observing eye that contained the image linking both worlds.

Crossing from San Francisco to Vietnam, by way of the Philippines, in late August, 1965, the first week out held the kinds of wonders one glimpses when the waters are calm and the sky responds with amplitudes of light at all hours dancing on its surface. Sea-spouts rose between mothering ocean and covering air, ladders for sunlit angels at mid-day, shadow columns supporting an invisible Parthenon at dusk. Following seabirds in our wake. Flying fish leaping into plain sight where our bow sliced the water. And then suddenly, in the middle of the Pacific, the mood changed. Wind driven clouds drawing strength from the water set up a fierce exchange of disorienting forces. We spent the next two weeks with hatches battened. The storm that raged around us was Shakespearean, the kind that battered ships and scattered sailors to unknown islands. It had the most startling effect on me, one I couldn’t explain. Only to observe that it drew me more powerfully than all the days, sights and moods that had come since we weighed anchor in Alameda, and passed under the Golden Gate.

Every day, at the height of turbulence, as the S.S.Esparta plunged and rolled, I made my way past the spinning cylinders of our twin screws to the end of the shaft alley.  Where the alley narrowed, and the shafts disappeared a narrow metal ladder bolted to the bulkhead extended straight up. I climbed from my engine room station five stories below deck to a small hatch at the top. It was the only one on the ship unsecured from the outside. I held its weight open slightly to gauge the strength and direction of the wind, then, when I judged it safe, climbed out. The hatch opened on the fantail, behind the paint locker, which afforded minimal protection. Holding the rails on the side of the paint locker, I made my way to the stern and held on for dear life. Twice a day, for ten or fifteen minutes, I stood there as sky-scraper swells lifted our twin-screw refrigerator ship like a bathtub toy. It rose so high on the swell I could see the top of mountain ranges, Appalachians, Ozarks, Adirondacks—shapes carved in stone—for an immutable instant, before we fell. The descent was as steep as it was sudden. At the bottom, nothing existed but the trough, and the black white-veined wall liquid marble that loomed like a canyon overhead.  

Those who spend time at sea, out of sight of land, can tell you that there is a quality  in which time and space, inner and outer, dissolve, and that the experience extends beyond becoming conscious of a particular moment to becoming consciousness itself. On the ship’s fantail, I did not so much witness the spectacle as participate in it. From that point of view, I apprehended the world through feeling and intuition, and the images they provided as guides, contained by the observing eye that links the individual psyche to the word soul. 

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Je Suis Quelque Je Trouve

According to Aristotle, we gain knowledge not by talking about horses, but by direct contact with a particular horse; feeling its material qualities rooted in our sense-perception leads to an intuitive grasp of the universal in the particular, its horseness. Feeling and intuition as a way of knowing build on a degree of participation in what it is to be the other. Aristotle further observed that our souls shared a “nurturing” aspect with all living things.  This may speak most pointedly to the idea that as infants we learn to read the world through what we see mirrored back at us in those responsible for our nurture. This early “mirroring” experience may explain why intuition, the handmaiden of inductive reasoning, remains a relevant epistemological tool. Its feel for correspondences and probabilities has survived to the present day. On the other hand, early mirroring may not inoculate us against advances in technology; fractal geometry, spectroscopic measurements, nanophotonics, particles that exist for femtoseconds, three dimensional and holographic imaging—information systems that break down the object of knowledge into unrecognizable components. What happens to “knowing” when we deconstruct the mirroring face of nature, and it becomes possible to understand a horse, or a storm at sea most efficiently as a series of algorithms?

MIND+FUNCTIONS (1)Mind Map: The psychology of C.G. Jung Walter-Verlag (1972)

C.G. Jung posited that we get to know our world through four basic functions, two of which are primary and two supportive. On the (primary) vertical axis “thinking” and “feeling” are in opposition, while on the (supportive) horizontal axis “sensation” and “intuition” occupy opposite sides. Each of the four provides a specialized stream of intelligence. According to this paradigm, one function on each axis develops at the expense of the other; one becomes “dominant” and the other “inferior”. Extreme imbalance can create serious issues. If a culture elevates “thinking/sensation” and diminishes the importance of “feeling/intuition”, then the ability to incorporate value and connection as essential components of knowledge may diminish or even atrophy. One can’t underestimate the importance of nurture in the formation of empathy. Or empathy as the engine of cognitive development. When mirroring nurture is replaced by video games, and cognitive development, harnessed to unreflective information gathering, the ability to read each other deeply becomes grotesquely distorted or ceases to exist; the inner landscape gives birth to the outer landscape, and both will be a Waste Land.

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Navigating the Numen

Quantum prophet Werner Heisenberg concluded in that we cannot observe phenomena without effecting them. His work on a sub-atomic level indicated that the movement of matter/energy responds to our consciousness. He also noted that we could calculate the speed or position of a particle, but not both. At least in that arena, it appeared that enthroned analytical intelligence had reached the limits of measurement and calculation. After his pronouncement in 1927, we were left with probability rather than certainty in our ability to predict the behavior of the fundamental elements of our world.

On the other hand, his observation suggested a backdoor to Aristotle’s theory of knowledge, since we were once again participants in the field of activity, not simply witnesses. But just how could we apply our elusive understanding of sub-atomic particles to knowing the horse? Certainly the situation that exists on such a basic level must affect us globally. How does one participate in what one can’t see? Or could we enlist the imagination to bridge these worlds?

Einstein employed “thought experiments” as an essential part of his process. In order to formulate the problem he’d been thinking about, Einstein created a way to explore it visually. Here is a train moving past a station. I am both inside the train and standing on the platform. If there is a flash of light at the center of the car inside the train, I will see it at the same time from both points of view, but experience the event differently.  From inside the car the flash will appear at the center. From the platform, it will appear to be moving to the rear of the car. This difference in perception of a simultaneous event, according to the relative position of the observer, though the speed of light remained constant, proved what Einstein called his special theory of relativity. As in a dream state, he’d had to see the event from both points of view at the same time. The exercise invites the imagination (which one might argue already operates according to the laws of special relativity) into a participatory experience.

Einstein’s waking reveries allowed him to use his complete sensorium to experience the operations of his imagination as in a lucid dream. We respond differently to dream images that arise autonomously in sleep as if from a separate intelligence. Often there’s no waking memory of what’s been seen under these conditions. Many dismiss what they remember as fragmentary or irrelevant. For others, the intelligence embedded in these autonomous images that flesh our dreams opens the doors of perception. Einstein spoke reverentially of intuition as a guide to this process.

Developing a relationship with the intelligence that creates dreams and reveries requires finesse. An attitude of trust deepens the connection. As in any relationship, this is usually based on past experience of the benefits, and our willingness to accept a degree of uncertainty. Fully grasping the content of a given dream may be like trying to know both the speed and position of an electron at the same time. A mathematical impossibility. On the other hand, we can evaluate the truthfulness or intention of the image- and symbol-forming function only when we recognize its psychological products as facts, demonstrable and undeniable.

Coll IMJ,  photo (c) IMJPaul Klee: Angelus Novus (1920)

In my practice as a psychotherapist, I encounter this repeatedly in a variety of ways. Recently, my twenty-five year old client, Nick, an artist of considerable talent, related that I appeared in his dream in a wheel chair. It was at the opening of a solo exhibition of his work. He welcomed me, told me how glad he was that I had come, then asked how I was feeling. I replied: “The world is dangerous. The world is thoughtful. I’m all right.”  The words resonated deeply for me. They summed up what, in fact, I hoped to model and convey to him in the course of our work. Understood in this way, the dream remains a concrete visual reference point and may be viewed as a psychological fact. A Memphite Tablet from pre-Dynastic Egypt, 5,100 years ago, tells us the creation of the world and everything in it issued from Ptah’s invisible heart-thoughts which materialized in his spoken word.  “Every divine word has come into existence through the heart’s thought and tongue’s command…”

Thought takes shape in the dark, becomes visible to the mind, before it incarnates in material form: so I read the message of Paul Klee’s Descending Angel. The same one I hear in my client’s dream: 

The world is dangerous

The world is thoughtful

I’m all right.

Problems arise when we find ourselves beyond the ability of the imagination to form a picture of thought. The Higgs-Bosom “God Particle” in quantum physics couldn’t be seen, but was intuited in 1960 as necessary to explain sub-atomic behavior. Forty years later its existence has been tentatively confirmed by the CERN accelerator. In 1930 Nobel Laureate Wolfgang Pauli expressed the hope that he would live to see the invisible “thought” he named the neutrino.  It became visible in 1956 at a nuclear reactor on the Savannah River. Pauli died in 1958, two years later, without seeing his offspring. Today the neutrino is thought to be essential to the cohesion of particles, but is unconstrained by any of the laws that govern them; lacking an electrical charge, neutrinos pass through great distances in matter without being affected by it. They leave no footprint. Put another way, the neutrino remains unimaginable.

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The Descending Angel

At twenty-four, Austrian-Swiss theoretical physicist Wolfgang Pauli (1900 – 1958) had established “The Pauli Exclusion Principle” that revealed the structure of matter and predicted the death of stars. He went on to discover the fourth quantum number and the theory of “spin” which explained the way electrons behaved inside an atom, calculated the hydrogen spectrum, and posited the existence of the neutrino. In spite of these achievements, the Nobel Prize genius spent much of his life in quantum physics desperately unhappy.

outer space stars galaxies hubble darkness gas (2)The Hubble: Colliding Spiral Galaxies

Pauli worked closely with Neils Bohr and Werner Heisenberg to formulate basic quantum theory as part of the Copenhagen Experiment in 1924. At that time, challenges posed by the hitherto unknown sub-atomic world were galvanized by discoveries like “complementarity”, the dual nature of energy as both particle and wave elaborated by Bohr in 1928. These waters were as uncharted as any crossed by Europeans in the 15th Century on their way to the New World.  Physicists on the sub-atomic ocean also felt comforted close to shore on which the flora and fauna of the imagination provided a template. But even Einstein’s early “thought experiments” were less available to them as they sailed away from land into a featureless sea.

Without the imagination, and its productions, we are lost in deep space, directionless in utter darkness. Images, geometries, and analogies anchors us. How much more vivid deep space becomes if we compare it to a Paleolithic cave. Spinning galaxies and stellar explosions become the photonic equivalents of bison and wooly mammoth emblazoned on its walls. Physicist/astronomer Sir James Jeans wrote in 1930, the universe begins to look more like a great thought than like a great machine. Mind no longer appears as an accidental intruder into the realm of matter; we are beginning to suspect that we ought rather to hail it as a creator and governor of the realm of matter…

Bohr AtomBohr Model Atom: UNSW, Australia

We suspect mind and matter want to imagine themselves each mirrored by the other. In this way, they remain comprehensible to us. Pauli challenged that when he questioned Bohr’s visualization of the atom as a planetary system.  The last thing he wanted to do was destabilize that structure, but what he observed in the behavior of electrons made it impossible for him to do otherwise.

Pauli’s assault on Bohr’s atomic theory was inadvertent and devastating. Central to the theory was the image of the atom as a planetary system with electrons orbiting a nuclear “sun”. Pauli found himself moving away from Bohr’s solar model. His attempt to answer the questions it raised led him to what became known as Pauli’s “Exclusion Principle.” One of the conclusions Pauli arrived at was the existence of “spin” as a property of the electron. The fact that electrons “spin” in opposite directions explained why they didn’t collapse in a heap. But sub-atomic “spin” was impossible to visualize. Gravity-based, planetary spin did not operate inside the atom. Still, Pauli’s “spin” accounted for so much. Along the way, it dissolved any possibility of an inert core (sun) at the center of orbiting electrons.  By 1925, it was clear that Bohr’s model of the atom could no longer be sustained.

The atom had become unimaginable.

FLUDD Utriusque cosmi maioris scilicet et minoris [_] historia, tomus II (1619), tractatus I, sectio I, liber X, De triplici animae in corpore visione.Robert Fludd: Utriusque Cosmi Maioris Scilicet et Minoris, Tomus Ii (1619).

Arthur I. Miller’s book, 137, Jung, Pauli, and the Pursuit of a Scientific Obsession, describes the reaction of Pauli and his colleagues to the loss of this image. Visual support for atomic theory had provided a concrete link to shared experience. In its absence, the void beckoned. It triggered depression in Pauli, and created anxiety in his colleagues—especially Bohr. They tried to comfort each other. Pauli expressed his hope that eventually quantum theory would make sense of these ideas.  “Once systems of concepts are settled,” he told Bohr, “then will visualizability be regained.” (62)

Pauli moved forward even as he grieved over what had been lost. The products of his own formidable intelligence haunted him. As he would say about his notion of the neutrino:  “I have done a terrible thing. I have postulated a particle that cannot be detected.”

Aware that imagination was giving way to numbers, Einstein wrote, “There is no logical path to these laws; only intuition, resting on sympathetic understanding of experience can reach them.” He was talking about the only way he knew to glimpse “the ‘pre-established’ harmony of the universe.” (93)

quote-i-have-done-a-terrible-thing-i-have-postulated-a-particle-that-cannot-be-detected-wolfgang-pauli-71-21-59Wolfgang Pauli

With the collapse of Bohr’s solar model, atomic physics seemed to lie in ruins.

Arthur Miller writes about this turning point in intellectual history: “It was time for atomic physics to move on from trying to visualize everything in images relating to the world in which we live.” (63) Heisenberg put the fine point on it when he suggested that as scientists, and perhaps as a species linked by an inter-connected field of consciousness, we had moved into an area of nature that defied imagination.

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Fish Talk

frida_kahlo_1Frida Kahlo: Sun and Life (1947)

Gott ist tot, announced Nietzsche in “The Gay Science” in 1882. On the centennial year 1900 Freud’s “The Interpretations of Dreams,” revealed a hole in consciousness full of hidden meaning, dark fears and desires, repressed instinctive material. What we walled off in order to protect civilization, had spilled from the divided Victorian psyche as Mr. Hyde, Frankenstein, Dracula, and Jack the Ripper. Almost unnoticed, gods from Olympus, Saini, Ararat, Meru, Kailish, Machu Pichu, Zion had fallen into the cultural unconscious. By 1929 C.G. Jung observed that

the gods have become diseases;  Zeus no longer  rules Olympus but rather the solar plexus, and produces curious specimens for the doctor’s consulting room, or disorders the brains of politicians and journalists who unwittingly let loose psychic epidemics on the world. (Introduction to “The Secret of the Golden Flower.”)

We had swallowed our mythological offspring. No longer to be summoned by name, the archetypal energy the gods represented were now expressed in a variety of somaticized disorders—whole Pantheons translated into stress-related clinical symptoms.

Gertrude Stein made clear that the rate of change in the 20th Century was greater than in all of those preceding it.  The speed exerts a G-Force equivalent to that which affects astronauts in rockets attempting to burst free of earth’s atmosphere. We have yet to understand the long range effects, how this may change us as a species. But it is also true that the function and structure of the deep psyche hasn’t changed since our ancestors painted images on rock walls where the sun never shines. The cave of our unconscious and its content is as rich in imagery as those at Lascaux and Trois Freres. We visit this Paleolithic space in dreams.  Mythic figures come and go, accompanied by emotions that make our waking ones pale.

Vestiges of these immemorial images survive in comic books, cartoons, video-games, niche marketing campaigns and cinematic special effects—simulations of awe. Certain image rich fairy tales and cartoons stir the unconscious. I am thinking of “The Last Unicorn,”  “The Dark Crystal,”  “The Triplets of Belleville,” the Slavic “Baba Yaga,” and Hans Christian Anderson’s “The Little Mermaid.” Archetypal figures emerge in apocalyptic high-relief like the emotionally compelling robots in films like “Blade Runner” and “The Terminator,” or the perplexing amalgam of human and machine called Darth Vader, or in disguise as Robin Williams in “The Fisher King.”

Perhaps the richest archetypal figure for me is the original wounded Fisher King, Amfortas, portrayed by the 11th Century minnesinger Wolfram von Eschenbach in his romance, Parzival.  Once the custodian of the Holy Grail, Amfortas has violated his role by doing battle with a Saracen knight whom he kills. But he is wounded and lives unhealed, in perpetual pain, most severe when in the presence of the Grail. It is eased only when fishing. Amfortas, whose name means “without strength”, must wait for Parzival to arrive in order to heal him and restore what has become a Waste Land.

FishMap 3Wayne Atherton: Fish Map #3

Amfortas is every fisherman. I imagine that he may have been internalized along with all the other defrocked archetypes and now exists inside of us. I hope that for all our sakes he continues to ease his pain by fishing interior depths. And what happens if he feels a tug on the end of his line? I wonder what  he will bring to the surface.  In stories by the brothers Grimm, and Alexander Pushkin, it is a talking fish.

In Pushkin’s poem, “The Tale of the Fisherman and The Fish” (1835), an impoverished Fisherman catches a golden fish in his net who begs for his life. The Fisherman, moved by his plea, throws him back. But the Fisherman’s Wife, after hearing about this encounter, sends her husband back to ask the fish to grant a wish in return. The fish grants the Fisherman’s first wish of a house to replace their hovel. Not satisfied with the house, she sends her husband back repeatedly with an increasingly grandiose list of wishes. Along the way, his wife becomes a queen, and then a tsarina and finally the Ruler of the Sea in order to subjugate the fish to her will. In an earlier version of this folk tale collected by the brothers Grimm and published in 1812 as “The Fisherman and His Wife,” the fish, a flounder, claims to have been an enchanted Prince, but offers to grant the fisherman a wish in return for his life. The wife in an ongoing series of demands moves from a hovel to a castle surrounded by untold wealth. Her queenly crown is replaced by a Papal miter, and then the unvarnished demand that she become God. At that point the fisherman and his wife in both stories are cast back down into their original condition.

There are a couple of minor but noteworthy differences in these two versions. Pushkin describes a gold fish while in the Grimm tale it is an enchanted Prince turned into a flounder. One Fisherman mistakes the gold color for the promise of material wealth. The other one is blind to the omen that he is destined to flounder. Both fail to discriminate between the visible fish as a magical wish-granting function, and the unseen power it draws on. In spite of the fact that both couples have been living on what they draw from the sea, they make no conscious connection to what lies beneath the surface. With every new demand to grant a wish, the sea becomes increasingly disturbed. The princely flounder leaves a trail of blood as it sinks to the bottom. One can’t help but feel for the wounded fish, and the increasingly bloody body of water that shelters it, any connection to the submerged source of abundance eclipsed by the greed of the fisherman and his wife.

Impoverishment and greed remain at the end what they were at the beginning. No one is changed by the narrative—except perhaps the reader.  Andersen and Pushkin have given us a cautionary tale: those who mistake the talking fish for the source of its power, are in the end impoverished.This disconnection between the fish and the fisherman may be more important than what appears to be the moral center of the tale.

What does this mean for the Fisher King?

Will we grow numb to his wound, and lose connection to him in the deep psyche?

If we do, will he simply ride metatstaically through our liver, kidneys and lungs?

 On the other hand, if we invite him into our hearts, might he fish up a new image to reconnect us—or a quantum fairy tale?

Reframing the Questions

OWLOwl Mobbed By Other Birds, England, Beastiary, (1250)

There has seldom been a more moving example of the Fisher King than Wolfgang Pauli. Once the keeper of the Grail, now disconnected from it by the unhealed wound of his own devising, few have fished more passionately for what is hidden beneath the surface. At a time when physics and psychology were undergoing a sea-change, the boundary between them ever more unclear, Pauli wanted to reconcile mind to matter as a unified field. Perhaps we can best grasp the spirit of this period in astrological terms where the imagery describes the movement of the equinox as it shift from Pisces to Aquarius. In Pisces we swam like fish in the ocean of the unconscious. As Aquarians, we will hold the amphora dispensing the element that once contained us. Caught in the transition, Pauli sails into the unimaginable.

Let us say, to extend the Arthurian metaphor, that the loss of the imaginal function in Pauli’s physics was the equivalent to being disconnected from the Grail, and to its abundance. Quantum Knights of the Round Table were stunned by what they faced, the emptiness.  They understood that to reconcile gravity to spin (reclaim the Grail) required imaginal equivalents, but that these wouldn’t happen overnight. For the time being, they could only express their ideas as equations. Pauli, the Fisher King, confided in Werner Heisenberg: We must adjust our concepts to experience.

Pauli stood resolutely at the stern with his line in the water. He became such an exacting critic of his peers floundering theories he became known to them as “God’s whip.” The failure of the imagination to express ideas remained an unhealed wound.

His personal life, too, went into a downward spiral.  In 1927 his mother, Bertha, a brilliant journalist, poisoned herself in response to his father’s desertion following an extra-marital affair. Pauli’s marriage to a cabaret performer proved stormy and short lived. Back in Zurich, he went on drinking binges. His forays into the bars became increasingly violent and he began to argue with colleagues at the university. He might easily have been confused with Fredrick March in the hit movie of 1931, Dr. Jekyll and Mr. Hyde. Pauli may have started off as a Gold Fish at twenty-four, but at thirty, like the Princely Flounder in Grimm’s fairy tale version, he sank to the bottom trailing blood and the invisible neutrino.

In danger of losing everything, he sought help from C. G. Jung, whose vision of the collective unconscious mirrored Pauli’s understanding of the quantum universe. The relationship between the conscious and the unconscious in analytical psychology was analogous to that of particle and wave in nuclear physics. Working with Jung, Pauli recovered the application of his powerful imagination in the existence of the archetypes. These constellated patterns of energy could be expressed in physical form. Pauli used them to reclaim the sense-experience that had been lost to quantum physics.

Through the language of symbols that emerged in his dreams, Pauli once again harnessed the image-making faculty to his formidable analytic abilities in mapping out new terrain, one shared by science and psychology. It was as though someone had whispered in his ear, “What ails thee?”

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Briefly Mapping the Terrain

In Bronze Age cultures a temenos indicated a place apart, a sanctuary or sacred grove dedicated to a god. Represented archetypally as a circle squared, it is repeated architecturally in the traditional plaza—a square where (usually) four paths lead to a circular fountain at the center. Jung found the form represented universally in spiritual iconography as the Mandala. A symbol like the temenos is comparable to the neutrino. But its extension into the physical world is preceded by its existence as a psychological fact. Lacking an electrical charge, the neutrino moves through matter without creating a ripple, but holds it together.

CircletriangleSeal of Solomon

My client Perry, a charismatic fifty year old man, went into a tailspin when suddenly abandoned by the only women in years to capture his heart. In our sessions his voice trembled, he became tearful or angry. Then one day he appeared for our session composed, and presented a dream. He found himself on a rock ledge facing a cave. A green curtain covered the entrance. As he watched, a face formed in it, a mouth and eyes. He parted the curtain. It wasn’t damp inside, but warm, the air fragrant. In the middle stood a fountain with water streaming down four staggered round bowls into a square basin. When he stepped out again, the face in the curtain announced: “I’m here.”

Parting the veil, Perry had discovered the temenos within himself. It continues to inform him today. Though visible to no one else, he can enter and leave it at will. Perry now says that he goes there when he wants to collect himself. Pauli’s apprehension of the neutrino, and Perry’s encounter with the temenos, were experienced by senses interior to those we use when awake.  The absence of a visible image left Pauli uneasy. How could he fully know what he couldn’t see, even guided by his profound intuition. As Gertrude Stein pointed out after returning to Oakland, CA, and finding her childhood home gone: there is no there there.

Symbols like the temenos that bridge inner and outer worlds convey a comforting sense of intention. The naked intuition of the neutrino, on the other hand, alludes to a darker, impersonal mystery. In his work with Jung, trolling the waters of the unconscious, Pauli found his way back to the symbol-forming intelligence. The man who stripped sub-atomic physics of visual equivalents, fished up an image that links deep psyche to the creation of stars. It surfaced, like a talking fish, during his early years of dream analysis with Jung, but in this fairytale took the form of what Pauli called The World Clock.

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The Invisible Number

Pauli’s focus on dreams drew him into the mystery of archetypal representations and their transformative power; trolling these waters eased his pain. It also strengthened his conviction: the intelligence embedded in the unconscious, not logic, connected us to what Einstein called “the ‘pre-established’ harmony of the universe.” Ideas that knit the atom to the cosmos could be developed mathematically, tested in equations, but as mathematical formulae could never explain the mystery of consciousness, or account for intuition. As Miller tells it:  “Jung’s theory of psychology offered Pauli a way of understanding the deeper meaning of the fourth quantum number and…went beyond science into the realm of mysticism, alchemy and archetypes.” Pauli continued to flesh out his ideas with the symbolic language of these traditions independently, and in consultation with Jung, for the next twenty-six years.

Edvard_Munch_-_Jealousy_Edvard Munch: Jealousy

Pauli and Jung co-authored a book, The Interpretation of Nature and the Psyche, to probe the connection between science and psychology. In it they explored the notion of synchronicity, or “meaningful coincidence,” and its sub-atomic equivalent, “entanglement,” where two or more particles with nothing connecting them exhibit identical behaviors—what Einstein called, “spooky action at a distance.”

No better example of this phenomenon could be found than in what became known as “The Pauli Effect,” which was witnessed with some regularity by a number of people on various occasions over the years. When Wolfgang Pauli walked into a laboratory, test tubes shattered, beakers exploded, and objects fell off the shelves. There have been a number of theories put forth to explain this, among them his almost palpable stress-driven intensity, and an overly active pineal gland.

Synchronicity dogged Pauli’s footsteps.

Pauli’s mentor, Arnold Sommerfeld, discovered the number 137 as the value of the “fine structure” of light emitted and absorbed by atoms. Along with the fingerprint, or DNA of each wave length, 137 emerged as a dimensionless fundamental constant in nature, central to relativity and quantum theory and necessary to the existence of life. It is also the numerical sum of Hebrew letters in the word “Cabbala.” Pauli found the number resoundingly archetypal and linked to ancient wisdom traditions. Einstein and the Zohar employ “intuition resting on sympathetic understanding,” as a way to read the book of the world in number and symbol.  137, the constant of underlying unity was such a number, and perhaps a symbolic equivalent for the Holy Grail.

When questioned by a colleague as to what he might ask God if the opportunity arose, Pauli answered, “Why 137?”

On Friday, December 5th, 1958, Pauli collapsed while teaching, then complained of stomach pains. He was transported to the Red Cross Hospital in Zurich, where a friend, Charles Enz, who had accompanied him, noticed Pauli was agitated. When he asked why, Pauli indicated the number above the door. He had been placed in room 137, and announced to his friend quite accurately that he would not be leaving it alive. After the removal of a massive pancreatic carcinoma, on December 15th Pauli died in Room 137.

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Ending on a Synchronistic Note

Hubble-Pillarso Creation-Eagle NebulaThe Hubble: The Pillars Of Creation

Given his interest in time, and obsession with the fine structure constant, Pauli felt his dream image of The World Clock was a visual resolution to questions he had harbored for so long, and captured the mystery of the unified field. It might have amused him to learn that according to the calculation yielded by the Hubble space telescope measuring the speed at which galaxies are moving, the age of the Universe, that is the time elapsed since the Big Bang, is currently calculated at 13.7 billion years.

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Winding the World Clock

Wolfgang Pauli always felt incomplete as a scientist. Even though “The Pauli Exclusion Principle” revealed the structure of matter and predicted the death of stars, he might’ve been a visitor to the exploration that measures its conclusions in vanishing traces of light, and particles that exist for a femtosecond. String theory accounts for things otherwise unaccountable, like the teleological argument used by Thomas Aquinas to prove the existence of God. Pauli had spent his life in pursuit of a disembodied science that according to Heisenberg defied imagination.

Early in his career Pauli responded to the unimaginable by splitting in half. The professor who by day tail-walked quantum waves, turned by night into a dark figure who raged in bars and brothels. He might’ve split definitively had he not found a temenos in Jung’s psychology. It was already familiar. Pauli had earlier intuited an equivalence between the unconscious and the quantum universe: “even the most modern physics lends itself to symbolic representations of psychic process.”

Certain critics suggested Jung manipulated his subjects to produce the archetypal dream material. He took a pre-emptive approach to his work with Pauli by making sure the content of Pauli’s dreams was “…absolutely pure, without any influence from myself.” For this reason, when Pauli entered treatment, Jung assigned him to a fledgling student of his, Erna Rosenbaum.

During five months with Erna, Pauli retrieved hundreds of dreams. Jung found the symbols that appeared in them similar to those in Medieval Alchemy. Jung chose four hundred of Pauli’s thirteen hundred dreams for his research into alchemical symbolism in the modern psyche. Quite apart from Jung’s research, Pauli probed his own symbol production with detailed notes and illustrations. Included among these notes is a description of the “sublime harmony” he experienced followed his “great vision”: Pauli’s revelation of The World Clock.

As he predicted long ago to Bohr, once system and concepts settle “then will visual imagery be regained.” The structure in Pauli’s great vision is assembled to evoke consciousness as a process of interlocking geometries held in the mystery of the unconscious, which exists outside of space-time. Writing later of Pauli’s vision that arrived on the back of a blackbird (Hermes’ bird) on the wing, Jung says: “It seems to be an attempt to make a meaningful whole of the formerly fragmentary symbols, then characterized as circle, globe, square, rotation, clock, star, cross, quaternity, time, and so on.” He characterized the vision as proof of a “conversion.”

Jung used this “religious” term to indicate the depth of Pauli’s transformation: the wound that had divided his psyche was healed. This vision reconciled science and psychology, along with other formerly opposing elements of his personality, in a complex representation of cosmic harmony, the unus mundus.

Pauli wrote Jung from Zurich in 1938:  “The relationship of these images is strongly affective and connected with a feeling that could be described as a mixture of fear and awe.

Pauli_s_World_ClocknewW. Beyers-Brown: The World Clock

Pauli writes about emerging from his vision in a peaceful state. What moved his genius to significant discoveries in quantum physics was never accompanied by such a profound sense of well-being. Pauli tells us The World Clock brought to light “deeper spiritual layers that cannot be adequately defined by the conventional concept of time.” In that moment, he produced an image that was in itself, and through which he became, a vehicle for transcendence. Jung describes it as “a moment when long and fruitless struggles came to an end and a reign of peace began.”

/

Channel Fever

Channel Fever is a state of extreme agitation that afflicts seamen on their way into or out of the harbor. Settled on the beach one is anxious to get back to sea. Conversely, still in the channel returning from sea one can taste, see, and smell the beach. Observable symptoms: pacing the companion ways at night, painting valves and gauges in the engine room the wrong colors, compulsive masturbation and emotional lability. I recall watching an able-bodied seaman on a decrepit freighter spend an hour trying to heat a can of soup on a toaster. A more extreme case was the oiler who kept trying to go over the side while we waited for the pilot to take us into Port Newark. As though he might beat us there doing the back stroke. I ran into him a year later at the old Drum Street union hall in San Francisco. After a session with the union shrink, and a brief period on disability, he was again possessed by channel fever, and on his way back to sea.

Something turns inside out in those who spend days adrift in sea-time. Especially fishermen on the troll. Most seamen, when given the opportunity, will throw out a line.  Few would have difficulty accepting the idea that the man next to him at the rail has heard a fish talk. Or admit that he had been recently talking to one himself.

Years after disembarking in Seattle on my return from Vietnam to a world I didn’t recognize, I discovered the writings of those who sailed the unconscious, an order of seamen who not only talked about or to fish, but to a range of invisibles.  Jung cultivated relationships with figures in his reveries, dreams and reflections. Similar to Einstein’s “thought experiments, Jung called this practice “active imagination.” Both situations set up an interrogation of the psyche that allows the observer to engage the Other outside the constraints of space-time, to participate in what is observed like the man who is simultaneously in the train and on the platform.

Notable among the imagined figures Jung cultivated was Philemon, a wise old uncle who became over time Jung’s spirit guide. Many such encounters with archetypal figures can be found in Jung’s Red Book, a record of confrontations with his unconscious based on experiences between 1913 and 1917. It became the seed-bed of ideas he developed over the next forty-five years. In a reverie at the end of the Red Book, Philemon appears at Jung’s door with a gathering of dead souls and informs him: These were seekers and still hover over their graves. Their lives were incomplete, since they knew no way beyond the one to which belief had abandoned them.

Jung revised this discourse as Septem Sermones ad Mortuos in a private edition for friends. He later appended it to his autobiography, “Memories, Dreams & Reflections,” published posthumously in 1962, in which he also describes the occasion when the dead appeared to him in a reverie on Sunday, January 30th, 1916. It started with a restlessness that grew into a sense of other presences filling the room.  “They were packed deep right up to the door, and the air was so thick it was scarcely possible to breathe. As for myself, I was all a-quiver with the question: ‘For God’s sake, what in the world is this?’”

In the last version of Seven Sermons to the Dead, Jung’s doorbell rings and he answers it to find the Gnostic sage, Basilides, who flourished in Alexandria about 125 AD.  Basilides answers Jung’s question with the opening line from the Red Book:

The dead came back from Jerusalem, where they found not what they sought.  They prayed me let them in and besought my word and thus I began my teaching.

Jung studied the Gnostic systems for analogies to the structure of the psyche. Basilides conceived of gnosis as light descending from an ineffable God to become entangled in progressively dense layers of matter. Light generated by the deep unconscious is broken into dreams at the threshold of mind and matter. Sparks of that light known to the mind are held in the heart.  The Greeks called the soul-spark, synteresis, which Aquinas would later link to a “knowledge of first principles.” Today, symbols that capture its light, like a Mark Rothko painting, may be reduced to the size of a postage stamp.

ROTHKOSTAMPUS Postoffice: Mark Rothko’s Yellow & Orange (1965)

At Jung’s door, Basilides declared: Hard to know is the deity of Abraxas.

In the earlier draft, Philemon tells us that Abraxas is a God mankind forgot, though he stands above the one they remember. If Basilides were at the door today he might say simply that Abraxas is hard to hold.

Basilides could be describing the quantum world when he tells us: Abraxas is effect. Nothing stands opposed to him but the ineffective; hence his effective nature unfolds itself freely. The ineffective neither exists nor resists.

Before Heisenberg’s Uncertainty Principle, there was Abraxas.

abraxgemAbraxis Coin, Roman, (300AD)

He is improbable probability, that which takes unreal effect.  The forgotten god perfectly suited to a quantum world that defies imagination. The notion of scattered sparks of gnostic light may find equivalent in the scattered amplitudes of particle interaction in a quantum field. It is hard to explain the most recent advance of mathematical physics. But how does one visualize the Amplituhedron?

Basilides might say we could call it Abraxas. It is an all-inclusive geometric notion which is not built out of space-time, and described as a “multi-faceted jewel in higher dimensions” that encodes basic features of reality as “scattering amplitudes”?

amplitudaeronAmlituhedron

Where in the face of unimaginable amplitude do we cast our net into the waters of the imagination? A quantum net constellated to hold the stars and the unseen properties of an entangled universe. A net of entanglements to reassemble fragments of scattered light.

Abraxas = the Neutrino.

.

The Pre-conscious Step

In my reverie, I am sitting in the crew mess, and feel the rush of channel fever. I itch for solid ground. But I can’t see the beach, except as a distant shore. I remember fifty years ago climbing the ladder at the end of the shaft alley to the open hatch behind the paint locker and pushing myself into the storm. Standing at the rail as the fantail rose and fell, I merged with what I saw, what links psyche to the word soul, to know the horse, or a storm as Aristotle suggests we know anything, by becoming it.

philemonC.G.Jung: Philemon (The Red Book)

Even though I can’t see it clearly, I feel the ship that carries me coming into the channel. I consider raiding the “night lunch”, or heating a can of soup on the toaster but understand neither will address my hunger. I hunger to know what moves people to put a human face on transcendence, then die or kill to defend it. A hunger that verges on instinct. I hunger to be comforted by something greater than my hunger. In a world that defies imagination, I hunger for the reassurance of a fairytale.

I leave the crew mess. Standing at the rail on the bow, I scan what is ahead. The engines slow almost to a stop. We might be preparing for the pilot to come aboard, as we must before we can dock. He will take us in. The pilot knows the currents and shoals. But his boat is nowhere in sight. I wait, eyes closed. When I open them again I’m standing at the water’s edge holding a line. It appears I have caught and released a fish. The goldfish that pokes out of the water has Wolfgang Pauli’s face, complete with the square jaw tending to jowl. He tells me that he will grant one wish, and asks me what I want.  I reply that I would like to pull up from the depths the answer to my most profound question, which I have not yet framed even for myself.

Ancient+Roman+Mosaic+Revealed+Israel+_0IL5cgUVXQlAncient Roman Mosaic, (Israel): Fish

The Paulifish frowns, then declares he will do even better and instructs me on how to constellate a quantum-net to capture the theory of everything. I take mental notes, follow his directions precisely in drawing the plan.

When I get home, I find a pad and pencil, then draw what I remember, the directive voice clear in my head. I’m disappointed with the result. What I see on the paper looks like a newt.

I return to the shore. The Paulifish appears again.  I describe to him what happened when I followed his instruction. “I ended up with a newt, not a net.”

He repeats my words, a newt, not a net. Shakes his head.

I protest again that I adhered exactly to his directions.

You’re not even wrong,” he repeats his well-known response to a cowering student. Then laughs. “Newton’s net is not what it used to be. I’m talking about gravity. Highly over-rated in the scheme of things. Even a nitwit knows a newt is not a net.”

 It’s not supposed to work this way, I tell him. This interchange between us is supposed to be richer, magical, a way of riddling existence.

He is somber, this Paulifish, nods. If there is something I want from him, I must say it and stop demanding he both ask and answer my question.

“Fair enough,” I agree.

Again that smirk.

“Ok,” I tell him. “I want a concrete image to reveal what I know so deeply it remains invisible to me.”

“Be specific,” he insists.

“I need a pilot to guide me to the harbor I can’t see from the ship in my mind. And to see the ship from the beach where I now stand talking to you.”

“That’s two wishes,” he yawns.

“I want to know the world again as once I did, in full color,” I blurt. “When I could be in two different places at the same time.”

Paulifish nods as best he can, considering he has no neck. He repeats the advice he gave to Bohr when his solar model for the atom went belly-up. Systems and concepts have to settle, he assured me. I will perhaps be able to visualize again what is necessary for me.

“That’s not good enough,” I protest. “What about my quantum net?”

Paulifish tells me it’s too late to discuss this today. I might come back tomorrow. Or, better, in a week. Meanwhile, I should remember his words.

“What are those?” I ask, as if it mattered.

“Keep your line in the water.”

Egyptian-Symbol-Ouroboros-300x300 (1)Ouroboros

—Paul Pines

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Note One: From Synchronicity by F. David Peat

David Peat describes the physical characteristics of the clock following Jung’s in his book, Psychology and Alchemy.

Pauli's worldclockPauli’s Worldclock

There is a vertical and a horizontal circle, having a common centre. This is the world clock. It is supported by the black bird.

The vertical circle is a blue disc with a white border divided into 4 X 8 — 32 partitions. A pointer rotates upon it.

The horizontal circle consists of four colours. On it stand four little men with pendulums, and round it is laid the ring that was once dark and is now golden (formerly carried by four children). The world clock has three rhythms or pulses:

1) The small pulse: the pointer on the blue vertical disc advances by 1/32.

2) The middle pulse: one complete rotation of the pointer. At the same time the horizontal circle advances by 1/32.

3) The great pulse: 32 middle pulses are equal to one complete rotation of the golden ring. (p. 194)

…Jung identified the point of rotation of the disks with the mystical speculum, for it both partakes of the rhythmic movement yet stands outside it. The two disks belong to the two universes of the conscious and the unconscious, which intersect in this speculum. The whole figure together with its elaborate internal movement is therefore a mandala of the Self, which is at one and the same time the center and the periphery of the world clock. In addition, the dream could also stand as a model of the universe itself and the nature of space-time…

Note Two: Wolfgang Pauli and the Fine-Structure Constant By Michael A. Sherbon

Journal of Science (JOS) 148 Vol. 2, No. 3, 2012, ISSN 2324-9854 Copyright © World Science Publisher, United States www.worldsciencepublisher.org

Another interpretation of Pauli’s World Clock could be made comparing it to a basic yin-yang space-time model of brain-mind function describing hemispheric interactions [13]. Pauli associated the rhythms of the World Clock with biological processes (in particular the four chambers of the heart and its average rhythm of 72 beats per minute) as well as with psychic processes [14]. In Wolfgang Pauli’s visionary World Clock geometry the blackbird is a symbol for the “turning inward” at the beginning stage of alchemy and the messenger for the creative solar principle.

Note Three: Pauli & Jung: The Meeting Of Two Great Minds By David Lindhoff

Following the dream of “The House of Gathering,” Pauli experienced a waking vision that came to him with great clarity and left him with the feeling of “Sublime harmony.” He called it “The Great Vision.” The Text reads…

This vision of two cosmic clocks orthogonally related to each other by a common center challenges our rational prejudice as we contemplate the physical unrealizability of the construction of The World Clock. The image is a three dimensional mandala symbolically representing the structure of space and time, which have a common center point.

The empty center shows that there is no Deity within the symbol. Taking the vision to have collective significance, Jung observed that modern humans have the task of relating to the whole person, or the self, rather than to a god-image that is a projection of the self.

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Pines_Paul
PAUL PINES grew up in Brooklyn around the corner from Ebbet’s Field and passed the early 60s on the Lower East Side of New York. He shipped out as a Merchant Seaman, spending August 65 to February 66 in Vietnam, after which he drove a cab until opening his Bowery jazz club, which became the setting for his novel, The Tin Angel (Morrow, 1983). Redemption (Editions du Rocher, 1997), a second novel, is set against the genocide of Guatemalan Mayans. His memoir, My Brother’s Madness, (Curbstone Press, 2007) explores the unfolding of intertwined lives and the nature of delusion. Pines has published ten books of poetry: OnionHotel Madden Poems, Pines Songs, Breath, Adrift on Blinding Light, TaxidancingLast Call at the Tin Palace, Reflections in a Smoking Mirror, Divine Madness and New Orleans Variations & Paris Ouroboros. The last collection recently won the Adirondack Center for Writing Award as the best book of poetry in 2013. His eleventh collection, Fishing On The Pole Star, will soon be out from Dos Madres. Poems set by composer Daniel Asia appear on the Summit label. He is the editor of the Juan Gelman’s selected poems translated by Hardie St. Martin, Dark Times/ Filled with Light (Open Letters Press, 2012). Pines lives with his wife, Carol, in Glens Falls, NY, where he practices as a psychotherapist and hosts the Lake George Jazz Weekend.

 

Jan 312016
 

Ainsley as Cuchlain in At the Hawk's WellHenry Ainsley as Cuchulain in Yeats’s play At the Hawk’s Well, 1916.
Photo by Alvin Langdon Coburn, by permission of George Eastman House.

x

On Christmas Day 1888, Oscar Wilde read to Yeats “The Decay of Lying,” later published in Intentions. That collection also includes “The Truth of Masks,” an essay on theatrical costumes that ends with Wilde’s declaration that “in art there is no such thing as a universal truth. A Truth in art is that whose contradictory is also true….It is only in art criticism, and through it, that we can realize Hegel’s system of contraries. The truths of metaphysics are the truths of masks.”[1] That final aphorism might, in style and content, have been written by Friedrich Nietzsche. In fact, Wilde’s fusion of Hegelian dialectic with Blake’s insistence on the fruitful clash of “Contraries” would have particularly resonated with W. B. Yeats after the turn of the century, when his reading of Wilde became aligned with his earlier study of Blake and his “excited” recent reading of Nietzsche, that “strong enchanter” whose thought, he believed, “completes Blake and has the same roots.”[2]

W.B. YeatsYeats, 1932 by Pirie MacDonald.

It might also be said that, in many ways, Nietzsche “completes” Wilde. “A truth in art is that whose contradictory is also true,” says Wilde. Writing two years later, Nietzsche, affirming art and life over moral/philosophical conundrums, tells us that, for well-constituted spirits, such an “opposition” as that between “chastity” and “sensuality” need not be “among the arguments against existence—the subtlest and brightest, like Goethe, like Hafiz, have even seen it as one more stimulus to life. Just such ‘contradictions’ seduce us to existence.”[3] Obviously, Nietzsche, that master perspectivist, strenuously denies (to again quote Wilde) any “such thing as a universal truth,” and, from The Birth of Tragedy on, he elevated art above philosophy, dismissing (in Twilight of the Idols) Kantian Idealism with its physical reality-denying doctrine of the ghostly “thing-in-itself” as “that horrendum pudendum of the metaphysicians!”[4] Nietzsche’s axiom, from Part III of the material posthumously published as The Will to Power, is well-known: “We possess art lest we perish of the truth” (§822; italics in original).[5] Unsurprisingly, Nietzsche’s references to “masks” are in accord with Wilde’s equation of metaphysical truth with, or its replacement by, “the truths of masks.” Several of his formulations even help illuminate Wilde’s “pose.” Here are the half-dozen most crucial passages—all from Beyond Good and Evil, a book written in the same year (1885) as the original version of Wilde’s “The Truth of Masks”:

All that is profound loves a mask; the very profoundest things even have a hatred for images and likenesses. Shouldn’t the opposite be the only proper disguise to accompany the shame of a god?….Every profound spirit needs a mask; even more, a mask is continually growing around every profound spirit thanks to the constantly false, that is shallow interpretation of every word, every step, every sign of life he gives. (Part 2: §40).

Too noble for “Socratism,” Plato, the most daring of all interpreters,…took the whole of Socrates like a popular theme and folksong from the streets in order to vary it infinitely and impossibly, specifically into all his own masks and multiplicities. Spoken in jest, and moreover Homerically: just what is the Platonic Socrates if not “Plato in front, Plato in back, Chimaera in the middle” (Part 5: §190). [Nietzsche quotes the phrase in quotations in Greek, paraphrasing Homer on the tripartite chimaera (The Iliad VI: 181)].

That strength-cultivating tension of the soul,…its inventiveness and courage in enduring, surviving, interpreting…and whatever it was granted in terms of profundity, mystery, mask…: has all this not been granted…through the discipline of great suffering?….[in the] constant pressure and stress of a creative, shaping, malleable force…the spirit enjoys its multiplicity of masks…it is in fact best defended and hidden by precisely these Protean arts—this will to appearance, to simplification, to masks…. (Part 7: §225, 230)

Deep suffering makes noble; it separates. One of the most subtle forms of disguise is Epicureanism and a certain openly displayed courageousness of taste that takes suffering lightly and resists everything sad and profound. There are “cheerful people” who use cheerfulness because on its account they are misunderstood:—they want to be misunderstood. There are free impudent spirits who would like to conceal and deny that they are shattered, proud, and incurable hearts; and sometimes foolishness itself is the mask for an ill-fated, all-too-certain knowledge.—From which it follows that part of a more refined humanity is having respect “for the mask” and not practicing psychology and curiosity in the wrong place. (Part 9: §270)

Whoever you might be: what would you like now? What would help you recuperate? Just name it: what I have I offer to you! “To recuperate? To recuperate? Oh how inquisitive you are, and what are you saying! But give me, please—” What? What? Just say it!—“Another mask! A second mask!” (Part 9: §278)

Do people not write books precisely to conceal what they are keeping to themselves. Every philosophy also conceals a philosophy; every opinion is also a hiding place, every word also a mask. (Part 9: §289) [6]

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Nietzsche Beyond Good and EvilFriedrich Nietzsche Beyond Good and Evil.

In letters to Lady Gregory and John Quinn (who had sent him in 1902 a new anthology of well-selected writings of the German philosopher), Yeats praised what he called, with remarkable tonal accuracy, Nietzsche’s “curious astringent joy” (Letters, 379), which he related to Blakean delight in energy and to Nietzsche’s own exuberant, life-affirming “respect for the mask.” In annotating selections from Nietzsche in the margins of that anthology, Yeats set up a diagram that explains much, if not all, of his subsequent thought and work, including his dramatic assertion three decades later (in “Vacillation”) that “Homer is my example and his unchristened heart,”[7] and the assertion, three weeks before his death, when, filled with an “energy” he had despaired of recovering, he concluded, “When I put it 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” (Letters, 922).

Here is the diagram, based on Nietzsche’s major antitheses: Day vs. Night, Many vs. One, Dionysus vs. the Crucified, Homer vs. Plato/Socrates, Master Morality vs. Slave Morality; above all, the Nietzschean (and soon to be Yeatsian) distinctions between passionate, embodied being and cerebral, abstract knowing; and between power issuing in “affirmation” and ressentiment issuing in “denial.”

Night (Socrates/Christ) one god

Day (Homer) many gods

denial of self, the soul turned towards spirit seeking knowledge.

affirmation of self, the soul turned from spirit to be its mask & instrument when it seeks life.[8]

Yeats’s diagram graphically demonstrates how “Nietzsche completes Blake.” The Romantic poet’s mature dialectic stresses polar inclusion: “Contraries are positive, a negation is not a contrary,” he incised in reverse at the beginning of Book the Second of Milton (Plate 30). But Blake is more dramatically antithetical in the far better-known passage in The Marriage of Heaven and Hell in which he introduced his oppositional Contraries, and their distortion by the “religious,” blind to the Blakean/Nietzschean dialectic “beyond” conventional “good” and “evil”:

Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence. From these Contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy. Good is Heaven. Evil is Hell.[9]

Here is one source of the “energy” embodied in Yeats’s final letter and in the “frenzy” of “an old man’s eagle mind” in his late poem “An Acre of Grass.”   In both cases, Blake is “completed” by “Nietzsche, whose thought flows always, though in an even more violent current, in the bed Blake’s thought has worn.”[10] His Nietzsche-inspired diagram includes Yeats’s first recorded use of the term “mask.” A half-dozen years later, he wrote: “I think that all happiness depends on the energy to assume the mask of some other self; that all joyous or creative life is a rebirth of something not oneself.”[11] Yeats’s concept of the mask, as both a strategy for carrying on his quarrel with himself and an attempt to restore a lost Unity of Being, is identical to what he would later call, in “Ego Dominus Tuus” (1915), the “anti-self.” The last words of that dialogue between Hic and Ille (“This One” and “That One”) are given to Ille, whose position on mask and anti-self is so close to Yeats’s own that Ezra Pound (with his friend at Stone Cottage when the poem was written) famously observed that Ille should have been “Willie.” Seeking “an image, not a book,” Ille concludes that there is one, like yet unlike himself, who can “disclose/ All that I seek, and whisper it” in secret:

I call to the mysterious one who yet
Shall walk the wet sands by the edge of the stream
And look most like me, being indeed my double,
And prove of all imaginable things
The most unlike, being my anti-self.

Created “in a moment and perpetually renewed,” that mask of some “other self,” of “something not oneself,” is described in the 1909 diary entry as the “painted face” or “game” in which one “loses the infinite pain of self-realization.” It resembles Nietzsche’s “mask” concealing deep suffering, as well as Wilde’s “pose” and “mask,” artifices enabling the multiplication of personalities.

Yeats’s first public use of the term occurred in 1910, in “A Lyric from an Unpublished Play,” retitled “A Mask” three years later in ASelection from the Love Poetry of William Butler Yeats (Cuala Press). The first speaker in this three-stanza dialogue is anxious to discover whether his beloved’s dazzling “mask of burning gold/ With emerald eyes” conceals “love” or the “deceit” of an “enemy.” The reply: “It was the mask engaged your mind,/ And after set your heart to beat,/ Not what’s behind.” First worn by Decima in The Player Queen, this mask was initially inspired by Yeats’s mistress at the time, Mabel Dickinson. But since the poem appears in a slender volume (The Green Helmet and Other Poems, 1910) dominated by lyrics to and about Maud Gonne, and reappears in a selection from his “love poetry,” Yeats seems to want us to identify the masked figure with his Muse. To his anxious inquiry as to whether she is his “enemy,” she responds, “What matter, so there is but fire/ In you, in me?” Playing with fire is exciting but dangerous, especially if we are dealing with Maud Gonne, political activist, actress, and femme fatale. A Wildean Salomé in a mask, she is kin to that aloof young queen to whom the lowly jester, having had his “soul” and “heart” rejected, sacrifices his titular “cap and bells” in a beautiful early lyric that perversely flowers, four decades later, in Yeats’s Salomé-like plays for masks (especially A Full Moon in March) in which even colder queens demand severed heads, decapitation replacing the symbolic self-castration of “The Cap and Bells.”

Maud GonneMaud Gonne

“The Mask” was followed, five years later, by “The Poet and the Actress,” a prose-dialogue (unpublished until 1993) in which the dramatic poet urges an actress to cover “her expressive face with a mask.”[12] The Poet is echoing the man Yeats considered “the greatest stage inventor in Europe,” Gordon Craig, who had collaborated in Abbey Theatre productions for several years beginning in 1909, and who insisted, in the first (March 1908) issue of his magazine, The Mask, that “human facial expression is for the most part valueless…Masks carry conviction… The face of the actor carries no such conviction; it is over-full of fleeting expression—frail, restless, disturbed, and disturbing.” Yeats also knew Craig’s “A Note on Masks,” published the same year Yeats wrote his poem “The Mask.”[13]

Craig sought a theater “purged of hideous realism,” and he and Yeats agreed that the Ibsen school of “realism” must be replaced by a theatre of masks if artists were to do justice to what Yeats called in this long-unpublished dialogue, the “battle [that] takes place in the depths of the soul.” It was a conviction realized in Yeats’s own mask-plays, combining Japanese Noh drama with the theatrical insights of Wilde and of Craig, who stage-designed Yeats’s Cuchulain play At the Hawk’s Well, featuring costumes and masks by Edmund Dulac. Launching his “Phrases and Philosophies for the Use of the Young” (1894), Wilde asserted that “The first duty in life is to be as artificial as possible. What the second duty is no one has as yet discovered.”[14] He was being more than witty. Yeats agreed with Wilde and Craig, as with Nietzsche, that the purpose of artifice, specifically the wearing of a mask, was not merely to conceal, but to reveal deeper and immutable truths: gathering the audience, to adapt a famous phrase from “Sailing to Byzantium,” into “the artifice of eternity.”

Gordon CraigGordon Craig

There was also the theater of Eros. In diary notes written after the long-delayed sexual consummation (in Paris, in December 1908) of his love for Maud Gonne, Yeats proclaimed that, in “wise love,” both partners may achieve their masks: “each divines the high secret self of the other and, refusing to believe in the mere daily self, creates a mirror where the lover or the beloved sees an image to copy in daily life. Love also creates the Mask” (Memoirs, 144-45). But that night in Paris had been followed by a morning-after note in which Maud told Yeats she was praying he would be able to “overcome” his “physical desire,” and expressing the wish to revert to their old mystical marriage, an intimate but non-sexual relationship. His immediate grief triggered a mature reassessment, which included sublimation in the form of the century’s greatest body of love poems and affairs with “others.” After the execution of Maud’s estranged husband, Easter Rising leader John MacBride, Yeats had revived his hope of a sustained relationship with Maud: a dream that ended definitively with her final refusal of marriage, physical or mystical, in June 1917. Four months later, he married Georgie Hyde-Lees.

Of course, that “perverse creature of chance” (in “On Woman,” the first of the Solomon and Sheba poems) would continue to fascinate Yeats; and the acceptance of the attendant anguish plays a major part in his poetic embrace of Nietzschean eternal recurrence, both in “On Woman,” where the lovelorn speaker chooses to come “to birth again,” and in “A Dialogue of Self and Soul,” where the choice to “live it all again/ And yet again,” means plunging once more 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.”[15] As Yeats noted, paraphrasing Blake’s “old thought” (in both “Anima Hominis” and in a later letter glossing the erotic tension in “Crazy Jane Grown Old Looks at the Dancers”), it may be that “sexual love” is “founded on spiritual hate” (Memoirs, 336, Letters, 758). Indeed, the “mirror where the lover or beloved sees an image” will return to maliciously threaten the Self in the very poem in which Maud is depicted as “not kindred of my soul.”

 §

The power of Yeats’s best poetry springs from the dialectical tension between “contraries” (Hegelian, Blakean, Wildean, Nietzschean): “Contraries” without which, as Blake said in his most dialogical work, The Marriage of Heaven and Hell, there is “no progression.” At the heart of this Yeatsian antinomy is the gap between the “bundle of accident and incoherence that sits down to breakfast,” as he put it in the “Introduction” to the projected deluxe edition of his work—and the self dramatically “reborn”: the Mask, italicized and defined (in the 1937 edition of A Vision) as Will’s “opposite or anti-self.”[16] The internal Yeatsian drama of masks and personae is played out in interactions and oppositions beginning with St. Patrick and Oisin (The Wanderings of Oisin, 1889); Hic and Ille in “Ego Dominus Tuus”; Aherne and Robartes (‘Nineties’ personae revived for “The Phases of the Moon”); or gentler oppositions between the latter and the young girl in “Michael Robartes and the Dancer,” or between the blonde beauty and the Yeatsian old man in “For Anne Gregory.” The agon continues in the crucial “Dialogue of Self and Soul” and, in the Crazy Jane sequence, in the debates between the repressed and repressive Bishop and Jane, who dialectically double-puns that “Nothing can be sole or whole/ That has not been rent.” These tensions persist to the end. Proudly rehearsing his earthly and imaginative accomplishments in his final years, Yeats is challenged—“‘What then?’ sang Plato’s ghost, ‘what then?’”—by a more formidable spokesman of the spiritual Otherworld than the Soul in “Dialogue,” let alone Jane’s hypocritical Bishop. Even in the face of death, as we’ll see, the Yeatsian Man has to contend with his own sardonic Echo.

There are also singular anti-selves, impulsive figures such as lusty Red Hanrahan and the ghost of Leo Africanus, a 16th-century Moor conjured up by Yeats in séances beginning around 1909. Yeats imagined this adventurer and travel writer being “drawn to me because in life he had been all undoubting impulse,” while “I was doubting, conscientious, and timid.” There are several parallels having to do with the Gregorys and Coole Park. Among the “excellent company” frequenting the Great House was “one,” Yeats himself, “who ruffled in a manly pose/ For all his timid heart” (“Coole Park, 1929”), a description that illuminates several poems in The Wild Swans at Coole, as well as his private contrast between himself and the Gregorys.

On a rare occasion when his defense of Lady Gregory against attack had struck mother and son alike as inadequate, Yeats tried, in a letter to Robert, to explain. Because of his analytic mind, with its tendency “to exhaust every side” of a subject, he had lost the capacity for “instinctual indignation.” His “self-distrustful analysis of my own emotions” had, Yeats said, “destroyed impulse.” On this point, he found his stance “unreconcilable” with that of the Gregorys, whose instinctual “attitude toward life” had, like Maud Gonne’s, that “purity of a natural force” Yeats admired, envied—and left to others to embody.[17] And there is, of course, the ambivalent comparison with Robert Gregory himself: the Irish airman whose “lonely impulse of delight” made him one of those heroic men of action who “consume/ The entire combustible world in one small room,” while others, like sedentary Yeats, tediously “burn damp faggots” or count swans on the lake while shuffling among the autumnal leaves littering the estate Robert Gregory would have inherited had he not met his “fate/ Somewhere among the clouds above.”

But Yeats’s central hero—his most formidable opposite, mask, or anti-self—is the Celtic Achilles, impulsive Cuchulain, representing “creative joy separated from fear” (Letters, 913). Resurrected from ancient epic, he became the protagonist of a cycle of five Yeats plays and of several poems. The last of those plays, The Death of Cuchulain, and his final poem on the hero, the terza rima masterpiece “Cuchulain Comforted,” were written in the shadow of Yeats’s own impending death. In the poem, the slain hero is now in the Underworld; hence the Dantesque stanza-form, repeated in Eliot’s adaptation of terza rima in the encounter with the largely Yeatsian “compound ghost” in “Little Gidding.” The hero, nameless except in the poem’s title, lays down his sword to take up needlework; he joins a communal sewing bee, stitching shrouds among his polar opposites, “convicted cowards all.” He is soon to join them in their transformation as well. Those shrouded spirits, already described as “birdlike things,” suddenly sing, 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.” On an autobiographical level, this role-reversal, almost gender-reversal, by Yeats’s solitary, hyper-masculine, and defiantly non-conformist warrior-hero, tends to confirm the essential truth of one of Yeats’s most revealing self-appraisals, or un-maskings: his reference to himself, already cited, as “one who ruffled in a manly pose/ For all his timid heart.” Even here, in that birdlike “ruffling,” there is a faint vestige of the mask of the hawk-god, Cuchulain.

The Guardian of the Well in ‘At the Hawk’s Well’ (frontispiece). Illustration by Edmund Dulac for “Four Plays for Dancers” (1921)Edmund Dulac design for costume and mask for At the Hawk’s Well.
Illustration from Four Plays for Dancers, 1921.

There is a similar revelation of the sensitive man under the heroic mask at the conclusion of a dialogue-poem already referred to, “Man and the Echo.” Standing in the cleft of a mountain and confronting imminent death, the Man hopes to “arrange all in one clear view,” and, “all work done,” prepare to “sink at last into the night.” But the world is too contingent for such well-laid plans. Echo’s ominous repetition, “Into the night,” 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?” Finally, all philosophic thoughts stop together, interrupted by an intervention from the physical world, and a reminder of the suffering and radical finitude the poet shares with all mortal creatures:

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.

Mitchio Ito as the Hawk collageDancer in costume designed by Dulac,  At the Hawk’s Well, 1916.
Photo by Alvin Langdon Coburn, by permission of George Eastman House.

In some poets, such a conclusion might be sentimental. But it is precisely Yeats’s frequent deployment, especially after encountering Nietzsche at the turn of the century, of a heroic, pitiless mask that makes this moment so poignant. For here Yeats identifies—not, as he so often had, with the perspective of the predatory bird (with Cuchulain, son of that “clean hawk out of the air”)—but with the death-cry of a defenseless, pitiable victim. One recalls chastened Lear on the storm-beaten heath (“Take physic, pomp…. I have ta’en too little notice of this”) and Nietzsche’s final breakdown in Turin, tearfully embracing a beaten coach-horse.[18]

§

“Man and the Echo” (1938) is the last, and one of the greatest, in Yeats’s long litany of dialogue-poems. Given the tension between the provisional nature of his commitments and his attraction to a form of polarity that generates power, it is unsurprising that Yeats was repeatedly drawn to poems (over thirty in number, great and small) that take the traditional form of debate or dialogue, necessarily exercises in masking. “The Mask” itself, a brief early instance, would be followed by much more elaborate examples, beginning with “Ego Dominus Tuus.” Later Yeats presents us with more dramatic oppositions and dialogue-poems, such as the Crazy Jane and Man and Woman Young and Old sequences, and, along with “Man and the Echo,” the most resonant of them all, “A Dialogue of Self and Soul” (1927) and the appropriately-titled “Vacillation” (1931-32). That poetic sequence begins by explicitly laying out the antinomial tension between contraries that had, in the wake of his completion of Blake by Nietzsche, supplanted Yeats’s hitherto univocal vision. “All things fall into a series of antinomies in human experience” (A Vision, 193): an abstraction blooded in the opening lines of “Vacillation”:

Between extremities
Man runs his course;
A brand, or flaming breath
Comes to destroy
All those antinomies
Of day and night;
The body calls it death,
The heart remorse.
But if these be right
What is joy?

It turns out (as in “Lapis Lazuli” and its lesser companion-poem, “The Gyres”) to be a Nietzschean “tragic joy,” based on the antinomies (“Night/Day,” “Christ/Homer”) set up three decades earlier in the margins of that Nietzsche anthology. In the debate in section VII of “Vacillation” (“A Dialogue of Self and Soul” in stichomythia), the defiant Heart refuses the purifying fire proffered by the spiritual Soul: “Look on that fire, salvation walks within.” Temporally and thematically wrenching Augustinian Christianity into a pagan and heroic context, Heart, a “singer born” who indignantly refuses to be “struck dumb in the simplicity of fire,” responds: “What theme had Homer but original sin?” And, in his own voice, inflected by Nietzsche, Yeats asserts in the final movement of “Vacillation” that “Homer is my example and his unchristened heart.”

But not even that resonant proclamation ends the antinomy. The poem’s final movement had begun with a question: “Must we part, Von Hügel, though much alike, for we/ Accept the miracles of the saints and honour sanctity?” The spiritual side of the usual Yeatsian antinomy is here represented by the Catholic theologian and mystic, Friedrich, Baron von Hügel, whose The Reality of God and Religion and Agnosticism had been posthumously published in 1931. Yeats might be as moved by the miraculous state of the body of St. Theresa, which “lies undecayed in tomb,” as he is by the preservation of “Pharoah’s mummy,” yet

                                      I—though heart might find relief
Did I become a Christian man and choose for my belief
What seems most welcome in the tomb—play 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 Hügel, though with blessings on your head.

Citing Samson, who took honey from the bees swarming in the body of the slain lion, Yeats is adapting the Bible (Judges 14:14) to make his own recurrent point that it is “only out of the strong” that sweetness comes. The poem’s final line—a patronizing yet courteous, benign dismissal of the spiritual spokesman—was cited by Yeats in a 1932 letter to Olivia Shakespear, his first lover (“young/ We loved each other and were ignorant”) and most intimate lifelong correspondent. Having just reread his entire canon, and thinking of the old debate between Oisin and St. Patrick and of the more recent one between Heart and Soul in “Vacillation,” Yeats clarified what he now considered the power-producing tension dominating all his poetry: “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, 798)[19]

Yeats’s principal Celtic “swordsman” is Cuchulain rather than Oisin; but no matter, Saint and Swordsman emerge as Yeats’s ultimate antinomial “contraries,” and his most sustained “masks.” The blessing on von Hügel’s head is a terminal benediction by a man who, like von Hügel, believed in miracles, and who had also experienced such privileged moments as the epiphany recorded in section IV of “Vacillation,” when his “body”—that of a fifty-year-old poet sitting “solitary” in a “crowded London shop”—“of a sudden blazed,” and “twenty minutes more or less/ It seemed, so great my happiness,/ That I was blessèd and could bless.”

It seems to me no accident that in “Little Gidding,” his masterpiece and the very poem in which he encounters Yeats’s ghost, T. S. Eliot also alludes to Yeats’s dismissed saint, echoing von Hügel’s “costingness of regeneration” in referring to the cost (“not less than everything”) of refinement in spiritual fire. Eliot knew that, despite Yeats’s momentary sense that he was “blesséd and could bless,” everything was a price too high to be paid by the older poet, a “singer born” who refused (in section VII of “Vacillation”) to be consumed in the “simplicity” of spiritual “fire.” This is only one of several even more obvious allusions to “Vacillation” in the course of Eliot’s encounter with the “familiar compound ghost” in Part II of “Little Gidding.” That the recently dead Yeats plays the predominant part in that “compound” is demonstrated by both the drafts and the final version of this magisterial passage, as well as by Eliot’s explicit remarks in several letters. Nevertheless, it may be said that, as presented in the ghost-encounter in this final poem of Four Quartets, Yeats and Eliot emerge as one more example of opposites “united in the strife that divided them” (“Little Gidding,” III, 174).[20]

§

Four years before “Vacillation,” in “A Dialogue of Self and Soul,” My Self, anticipating the antinomies (day/night, death/remorse) set up at the outset of “Vacillation,” chooses “emblems of the day against the tower/ Emblematical of the night.” Yeats’s emblem of vital and erotic life is again a sword, but this time, a Japanese ancestral sword (the gift of an admirer, Junzo Sato) wound and bound in female embroidery. In his magnificent, life-affirming peroration, the Self embraces the entangled joy and pain of Nietzschean eternal recurrence: “I am content to live it all again/ And yet again.” Having read Nietzsche’s The Dawn, Yeats adopted the “privilege” of the autonomous self in that book “to punish himself, to pardon himself,” so that “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 yourself.”[21] The Yeatsian Self, spurning Soul’s ultimate doctrinal declaration, “only the dead can be forgiven,” a grim passivity that turns his own tongue to “stone,” asserts the right to

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.

Reversing a venerable tradition (running from Plato and Cicero through Marvell) of debates between Body and Soul, flesh and spirit, the Self is triumphant, reflecting the “movement downwards upon life, not upwards out of life,” Yeats had adopted in the first years of the new century. It was a movement he associated—in the remarks to Ezra Pound prefacing AVision—with “a new divinity”: Sophocles’ chthonic Oedipus, who “sank down body and soul into the earth,” an earth “riven by love,” in contrast to, or in “balance” with, Christ who, “crucified standing up, went into the abstract sky soul and body.” (Letters, 63, 469; A Vision, 27-28). But since My Soul is also a part of Yeats, the “Dialogue” ends in a state of self-forgiving secular beatitude, including the “joy” sought in “Vacillation,” with the Self employing the spiritual terms Soul would monopolize.

The Soul had summoned Self to imbibe from the Plotinian “fullness” that “overflows/ And falls into the basin of the mind,” and so “ascend to Heaven.” Self, embracing a pagan affirmation of life, began his peroration by defying Neoplatonic Soul, punningly declaring that, “A living man is blind and drinks his drop.” In effect, Nietzschean Self “completes” the climactic cry of Blake’s Oothoon, heroine of Visions of the Daughters of Albion: “sing your infant joy!/ Arise and drink your bliss, for every thing that lives is holy!”—a Blakean “praise of life” Yeats specifically connects with “Nietzsche…at the moment when he imagined the ‘Superman’ as a child.”[22] Hating the “same dull round” of all forms of cyclicism, Blake would have rejected Nietzsche’s doctrine (or thought experiment) of eternal recurrence as an anti-humanistic nightmare. But Yeats forces the “completion” on the basis of the energy and childlike joy in life shared by Blake and Nietzsche’s Zarathustra, prophet of the Übermensch.[23] The fusion, anticipating the more personal epiphany in “Vacillation,” enables Yeats to conclude that “We are blest by everything,/ Everything we look upon is blest.” The religious vocabulary conventionally reserved for the spiritual spokesman becomes, in the unchristened mouth of Self, a rhapsodic chant. For, as Yeats had memorably observed in the “Anima Hominis” section of Per Amica Silentia Lunae, “we make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.”[24]

In this psychomachia, this antinomial conflict between opposing aspects of the self, Yeats also completes Wilde with Nietzsche, whose stress on antithetical conflict, penchant for images of combat, and sense of discipline added hardness and virility to what Yeats had inherited from Wilde concerning mask, artifice, and pose. Thus Nietzsche helped forge the “mask” we think of as most distinctively Yeatsian: the poet’s own version of what he called in A Vision Nietzsche’s “lonely, imperturbable, proud Mask” (128). It is a Homeric mask, as Robartes makes clear in “The Phases of the Moon,” Yeats’s poetic synopsis of his lunar System. Eleven phases “pass, and then/ Athena takes Achilles by the hair,/ Hector is in the dust, Nietzsche is born,/ Because the hero’s crescent is the twelfth.”

And yet, as we’ve seen, in two of his latest and greatest poems, “Man and the Echo” and “Cuchulain Comforted,” the second describing the transformation of his own proud hero and anti-self, Yeats, who had earlier assumed the masks of Crazy Jane and a Woman Young and Old, also revealed a gentler, feminine, almost androgynous side of himself—perhaps what we might call the Wilde(r) side. It is no accident that Yeats’s greatest composite symbol, Sato’s sword, is not only sheathed, but protected and adorned by “That flowering, silken, old embroidery, torn/ From some court-lady’s dress and round/ The wooden scabbard bound and wound,” in effect, reenacting the rondural structure of the Winding Stair (as literal staircase in Yeats’s Norman tower, emblem, and book-title) as well as the spiral symbolic of both Goethe’s Eternal Feminine and Nietzsche’s Eternal Recurrence.

Oscar WildeOscar Wilde

§

Discussing the relation between “discipline and the theatrical sense” in Per Amica Silentia Lunae, Yeats outlined the “condition for arduous full life”:

If we cannot imagine ourselves as different from what we are and assume that second self, we cannot impose a discipline upon ourselves, though we may accept one from others. Active virtue as distinguished from the passive acceptance of a current code is therefore theatrical, consciously dramatic, the wearing of a mask.[25]

Yeats here combines the Blakean Contraries (“the active springing from Energy” preferred to “the passive that obeys Reason”) with the theatrical language of “The Truth of Masks.” But Yeats never acknowledged Wilde’s use of the term “mask.” Perhaps because, for all his importance as a precursor, Wilde had to be “completed” with Blake and Nietzsche, and with Yeats’s own theories, classical and occult, of hero and Daimon. In the “Anima Hominis” section of Per Amica Silentia Lunae, Yeats writes, “I thought the hero found hanging upon some oak of Dodona an ancient mask…that when he looked out of its eyes he knew another’s breath came and went within his breath upon the carven lips.” He tells us that “the Daimon comes not as like to like but seeking its own opposite”; that unity is achieved “when the man has found a mask whose lineaments permit the expression of all the man most lacks” and “perhaps dreads”; and that “the poet finds and makes his mask in disappointment, the hero in defeat.” (Mythologies, 335-37)

There are many sources (psychological, theatrical, occult) for Yeats’s inter-related but shifting aesthetic and ethical theories about what he called “the Mask.”[26] In “The Decay of Lying,” Wilde had asserted that “truth is entirely and absolutely a matter of style,” and Yeats insists that “Style, personality (deliberately adopted and therefore a mask), is the only escape” from the heat of “bargaining” and the “money-changers” (Memoirs, 139; Autobiographies, 461). Contemporary “reality” and the merely individual may be transcended by tradition, by elemental, ideal art, “those simple forms that like a masquer’s mask protect us with their anonymity.” A quarter-century earlier, in “The Tragic Theatre” (1910), Yeats had celebrated, as another “escape” from the “contemporary,” the expression of “personal emotion through ideal form, a symbolism handled by the generations, a mask from whose eyes the disembodied looks, a style that remembers many masters.”[27] The most recent of the masters to swim into Yeats’s ken at just the right time to shape his new style was “that strong enchanter, Nietzsche.”

Yeats Four Plays for Dancers

In prose and in many poems and plays written after 1903, Yeats adds to his arsenal Nietzsche’s theory of the mask, as well as his concepts of self-overcoming, the will to power, and the contrasts between Apollonian form and Dionysian energy, slave morality and magnanimous master morality. To a considerable extent, he also adopted the Nietzschean “critique of pity,” the masked endurance and transformation of “great suffering” inherent in Nietzsche’s noble morality and tragic vision. “What I have called ‘the Mask’ is an emotional antithesis,” Yeats writes, “to all that comes out of [the] internal nature [of subjective men.] We begin to live when we have conceived life as tragic” (Autobiographies, 189). Yeats’s subordination of “passive acceptance” to “active virtue” in the service of tragic joy was most notoriously displayed in his refusal to include in his Oxford Book of Modern Verse poems “written in the midst of the Great War.” It was idiosyncratic enough to presume to liberate Oscar Wilde’s stronger from his weaker self by cavalierly cutting lines in reprinting “The Ballad of Reading Gaol” in his Oxford anthology; quite another for Yeats to exclude altogether the war poetry of Siegfried Sassoon, Robert Graves, and Wilfred Owen.

Though “officers of exceptional courage and capacity,” and men whose vivid and humorous letters revealed them to be “not without joy,” as poets they felt themselves bound to “plead the suffering of their men,” suffering they made “their own.” Yeats is thinking of Sassoon and Graves, but primarily of Wilfred Owen, who announced from beyond the grave that his book was “not about heroes,” nor “concerned with poetry. My subject is War, and the pity of War. The poetry is in the pity.” As editor, Yeats said, he had “rejected these poems for the same reason that made [Matthew] Arnold withdraw his Empedocles on Etna from circulation; passive suffering is not a theme for poetry. In all the great tragedies, tragedy is a joy to the man who dies.” Repeating, as he often did, Coleridge’s striking image of mimetic passivity, Yeats concluded: “When man has withdrawn into the quicksilver at the back of the mirror no great event becomes luminous in his mind.” In explaining to Dorothy Wellesley why he had omitted the war poets (including Owen, killed in action on November 4, 1918, one week before the Armistice), Yeats repeated his point about “passive suffering” not being a theme for poetry, adding “The creative man must impose himself upon suffering.”[28]

The contrast between “passive acceptance” and “active virtue” is more palatably symbolized in the opening movement, “Ancestral Houses,” of Yeats’s sequence, Meditations in Time of Civil War. Fusing Coleridge’s mechanical-organic distinction with his own elegiac reverence for the Anglo-Irish aristocratic tradition, Yeats counters the fountain-image of Plotinus with an overflowing fountain of autonomous life associated with Homer and Nietzsche, whose will to power and morality of master rather than of slave is evident in the imagery:

Surely among a rich man’s flowering lawns,
Amid the rustle of his planted hills,
Life overflows without ambitious pains;
And rains down life until the basin spills,
And mounts more dizzy high the more it rains
As though to choose whatever shape it wills
And never stoop to a mechanical
Or servile shape, at others’ beck and call.

Mere dreams, mere dreams! Yet Homer had not sung
Had he not found it certain beyond dreams
That out of life’s own self-delight had sprung
The abounding glittering jet….[29]

In A Vision, Yeats distinguishes passively accepted “necessity and fate” from a chosen “destiny,” and antithetical “personality” (creative, active) from primary “character” (imitative, passive): “rhetorical” concepts and contrasts that play out in “A Dialogue of Self and Soul,” where Yeats makes “poetry” out of the “quarrel” with himself. Prior to Self’s triumphant recovery, he wonders how one can escape what Yeats called in “Ancestral Houses” that “servile shape”:

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.

In the end, what Hegel and, later, feminist critics would call the Gaze of the Other, must be countered by the assertion of creative autonomy. As Yeats famously declared, “soul must become its own betrayer, its own deliverer, the mirror turn lamp.”[30] In “A Dialogue of Self and Soul,” the servile mirror of passive acceptance is replaced by active self-redemption. The internal “quarrel” between Self and Soul issues in that “Unity of Being” Yeats always sought, but, after 1903, not through exclusion but through inclusion, an antinomial vision accepting, not half, but the whole dialectic. In the language of Heraclitus, a Greek philosopher as important to Yeats (who aligned him with Blake and Nietzsche) as to T. S. Eliot, “attunement” can only be achieved through the “counter-thrust” that “brings opposites together,” for “all things come to pass through conflict.”[31] As Soul-supporting George Russell (A.E.), “saint” to Yeats’s “poet” and “swordsman,” surmised in a letter to his friend about the poem, “perhaps when you side with the Self it is only a motion to that fusion of opposites which is the end of wisdom.”[32]

Those opposites—reflected in shorthand in the old diagram Yeats drew in the margin of his Nietzsche anthology, and played out in many of the major poems that followed—set the One, Logos, universal Truth, Eternity, and Divinity against the Many, Contraries, minute Particulars, Moments in time, and Humanity. But fusion, ultimate reconciliation at a dialectical higher level, requires that provisional clash of opposites; for (Blake again) “without Contraries is no progression.” The “Dialogue of Self and Soul,” perhaps Yeats’s central poem in terms of its ramifications throughout his work, before and after, is also his greatest exercise in creative, life-affirming masking. In the poem’s final fusion of opposites, or antinomies, or Heraclitean counter-thrusts, Yeats’s crucial precursors are Blake and Nietzsche (as well as Macrobius, whose Commentary on Cicero’s dialogue between ghost and grandson in “The Dream of Scipio” Yeats echoes in order to alter).[33] But a role is also played by Oscar Wilde, as audacious as the Romantic poet and the German philosopher in reminding Yeats that the play of antinomial “contraries” is artistic, and that “the truths of metaphysics are the truths of masks.”

Hildo Van Krop masks of Cuchulain, Emer, and Woman of the Sidhe Bronzes cast from Hildo Van Krop’s masks for 1922 Dutch production of  Yeats’s The Only Jealousy of Emer.
(From l. to r.) Emer, Cuchulain, Woman of the Sidhe.

—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 (2007).

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Footnotes    (↵ returns to text)

  1. “The Truth of Masks,” in The Artist as Critic: Critical Writings of Oscar Wilde, ed. Richard Ellmann (New York: Vintage, 1968), 432. Intentions (1891) also includes “The Critic as Artist.”
  2. The Letters of W. B. Yeats, ed. Allan Wade (London: Rupert Hart-Davis, 1954), 379. This Yeatsian formulation may be one source of Harold Bloom’s theoretical conception (in Bloom’s term, tessera) of how a later poet, experiencing the “anxiety of influence,” imagines himself preserving his originality by “completing” a somehow truncated precursor.
  3. Genealogy of Morals, Third Treatise, §2. Nietzsche recalls and refutes Pauline dualism: “The flesh lusteth against the Spirit and the Spirit against the flesh; for these are contrary to one another” (Galatians 5:11). Citations from both the Genealogy and from Beyond Good and Evil are from Beyond Good and Evil / On the Genealogy of Morals, trans. Adrian Del Caro (Stanford: Stanford University Press, 2014). Here (pp. 287-88, as on p. 192, Beyond Good and Evil, Part 5 §198), Nietzsche couples his hero Goethe with the Persian poet Hafiz, who inspired Goethe’s final book of poems, West—Eastern Divan (1819).
  4. Twilight of the Idols, “The Four Great Errors”: 3, in The Portable Nietzsche, ed. Walter Kaufmann (New York: Viking, 1954), 495. When Wilde says that “the truths of masks are the truth of metaphysics,” he means, my colleague Michael Davis astutely suggests, two things. The first is that “metaphysics is itself a mask,” adding that “Pater and Wilde are sharply suspicious of metaphysics precisely because” it is “beyond the physical,” and “both were intent on breaking down the mind/body distinction.” The same, of course, is true of Nietzsche. Though “mask” can be “something like a false face, a merely superficial ideological construction,” it is also the case “that masks themselves might have an alternative value to metaphysics, an alternative site for the construction of meaning that might even undo metaphysics and replace it with another sort of truth.” Again, Nietzsche would be in total agreement. My paper was initially written in response to a presentation on Wilde, Yeats, and the Mask by Jean Paul Riquelme (Le Moyne College, November 2, 2015), which both Michael and I attended. His observations cited above were in response to that first draft.
  5. The Will to Power, trans. Walter Kaufmann and R. J. Hollingdale (New York: Random House, 1967), 435. The full context is instructive. “For a philosopher to say, ‘the good and the beautiful are one,’ is infamy; if he goes on to add, ‘also the true,’ he ought to be thrashed. Truth is ugly. We possess art lest we perish of the truth.” If Nietzsche is criticizing the famous equation uttered by Keats’s hitherto silent Grecian Urn, “Beauty is truth, truth beauty,” he might be less surprised than most to find Keats asserting, in his own voice, the inferiority of “poetry” to “philosophy.” Again, the full context—the entry for March 19, 1819, in Keats’s extended journal-epistle to his brother and sister-in-law in America—is illuminating. “Though a quarrel in the streets is a thing to be hated, the energies displayed in it are fine; the commonest man shows a grace in his quarrel—by a superior being our reasoning[s] may take the same tone—though erroneous they may be fine. This is the very thing in which consists poetry; and if so it is not so fine a thing as philosophy—For the same reason that an eagle is not so fine a thing as a truth.” The Letters of John Keats, 1814-1821, 2 vols. ed. Hyder E. Rollins (Cambridge, Mass.: Harvard University Press, 1958), 2: 80-81. Like Blake, Nietzsche, and Yeats, Keats contrasts univocal truth, longed-for yet rejected, with the clash of contraries: the antinomies that generate “the energies” finely displayed, whether in a “quarrel” in the streets, in the dynamic tensions energizing a poem, or in what Yeats called the “quarrel with ourselves” out of which we make “poetry.”
  6. Beyond Good and Evil, 41-42, 85-86, 129, 135, 185, 187-88, and 191-92.
  7. From the seventh and final section of Yeats’s poetic sequence “Vacillation.” All of the poetry is cited, by title rather than page-number, from W. B. Yeats: The Poems, ed. and intro. Daniel Albright (London: Everyman’s Library, 1992).
  8. Scribbled in the margin of p. 122 of Nietzsche as Critic, Philosopher, Poet, and Prophet: Choice Selections from His Works, compiled by Thomas Common (London: Grant Richards, 1901). The book is now housed in the Special Collections Department of the library at Northwestern University (Item T.R. 191 N67n.). In that last letter, leading up to the assertion that “Man can embody truth but he cannot know it,” Yeats told Lady Elizabeth Pelham, “I know for certain that my time will not be long….In two or three weeks—I am now idle that I may rest after writing much verse—I will begin to write my most fundamental thoughts which I am convinced will complete my studies. I am happy, and I think full of an energy, of an energy I had despaired of. It seems to me that I have found what I wanted.” The letter was written on January 4, 1939. Yeats died, or “completed” his life, on January 28.
  9. Poetry and Prose of William Blake, ed. David V. Erdman, commentary by Harold Bloom (Garden City, NY: Doubleday, 1965), 34. This is Plate 3 of the Marriage; for the reverse-passage from Milton, see 128.
  10. Essays and Introductions (London and New York: Macmillan, 1961), 130. The poem cited names Blake and alludes to the eagle-like soaring of Nietzsche’s “aeronauts of the intellect” (Dawn §542).
  11. Memoirs, ed. Denis Donoghue (New York: Macmillan, 1973), 191. Much of Yeats’s unpublished autobiographical material, including the important 1909 Diary, first appeared in this volume.
  12. First published in the expanded edition (1993) of David R. W. B. Clark’s Yeats and the Theatre of Desolate Reality (Dublin: Dolmen Press, 1965).
  13. Quoted in Denis Bablet, Edward Gordon Craig (London: Heinemann, 1966), 110. Yeats had been aware of Craig’s work since 1901, when he saw his celebrated production of Purcell’s Dido and Aeneus. For the appraisal of Craig as Europe’s “greatest stage inventor,” see Uncollected Prose by W. B. Yeats, 2 vols. ed. John P. Frayne and Colton Johnston (New York: Columbia University Press, 1976), 2:393.
  14. The Artist as Critic, ed. Ellmann, 433.
  15. The thought might make you “throw yourself down and gnash your teeth,” says Nietzsche’s demon in the passage introducing the thought-experiment or ordeal of eternal recurrence. But have you, even “once,” experienced a “moment” so “tremendous” that you “fervently craved” it “once more” and “eternally?” The Gay Science, trans. and ed. Walter Kaufmann (New York: Vintage, 1974), §341. Echoing that passage, the Yeatsian speaker in “On Woman” wants, should he come “to birth again,” to find “what once I had/ And know what once I have known.” He will accept sleeplessness, “gnashing of teeth, despair;/ And all because of some one/ Perverse creature of chance,/ And live like Solomon / That Sheba led a dance.” In the draft of a Solomon and Sheba poem published 80 years after it was written, Yeats depicts himself as a folly-driven Solomon perplexed by the “labyrinth” (a code-word for Maud) of Sheba’s mind. Will he be proven a wise man or “but a fool.” (See Yeats Annual 6: [1988] 211-13.)
  16. Essays and Introductions, 509; A Vision (London: Macmillan, 1962). For the “Rules for Discovering True and False Masks,” see 90-91. Each Phase in Yeats’s intriguing if bizarre lunar scheme has, along with its Will, Creative Mind, and Body of Fate, its Mask, True and False. Wilde is located, along with Byron and “a certain actress,” in Phase 19, “the phase of the artificial, the fragmentary, and the dramatic” (148). Nietzsche is the solitary occupant of Phase Twelve, that of “The Forerunner” and the hero (126).
  17. In this draft letter to Robert (Memoirs, 252-53, 257), which may or may not have been sent, Yeats describes this as the “one serious quarrel” he ever had with Lady Gregory. In “The People,” another poem in The Wild Swans at Coole, Yeats similarly contrasted himself, “whose virtues are the definitions/ Of the analytic mind,” with the impulsive Maud Gonne, who has not “lived in thought but deed” and so has “the purity of a natural force.” The poems alluded to later in this paragraph—“The Wild Swans at Coole,” “In Memory of Major Robert Gregory,” and “An Irish Airman Foresees his Death”—are the opening three poems in The Wild Swans at Coole, their bleak tone reflecting both the contrast with heroic Gregory and Yeats’s despondency in the aftermath of Maud’s rejection of his fourth and final marriage proposal.
  18. No sooner had he famously embraced the horse being viciously whipped than Nietzsche collapsed in the street: a collapse that proved mentally permanent. Yeats’s Nietzschean critique of “pity” as inappropriate to art explains his two most notorious public rejections: of Sean O’Casey’s The Silver Tassie for the Abbey Theatre, and of Wilfred Owen’s war-poetry from the Oxford Book of Modern Verse.
  19. The Olivia-poem cited is “After Long Silence.” In his attitude toward von Hügel, Yeats may be recalling another statement in The Marriage of Heaven and Hell, almost as famous as, and allied with, “Without Contraries is no progression.” This statement, “Opposition is true Friendship,” at the end of Plate 20 (Poetry and Prose, p. 41), is painted out in some copies of the Marriage, perhaps because Blake did not want readers to think he was reconciling with his opponent in the immediately preceding passage: the debate between himself and the conventionally religious “Angel” in the fourth and most important “Memorable Fancy.” That debate had ended with the Blakean figure declaring, “we impose on one another, & it is but lost time to converse with you whose works are only Analytics.” Yeats doesn’t want to reconcile with von Hügel, but his tone confirms that opposition need not preclude friendship.
  20. The correspondents in the letters referred to are John Hayward, Maurice Johnson, and Kristian Smidt. For details, see Helen Gardner, The Composition of “Four Quartets” (New York: Oxford University Press, 1978), 64-67. And see below, n. 29.
  21. §437, §79. The volume Yeats knew as The Dawn (a book that demonstrably influenced other poems as well, most notably “An Acre of Grass” and its companion-poem, “What Then?”) has been best and most recently translated by R. J. Hollingdale as Daybreak: Thoughts on the Prejudices of Morality (Cambridge: Cambridge University Press, 1982). I quote pp. 186-87 and 48 of this edition.
  22. Autobiographies (London: Macmillan, 1955), 474-75. In epitomizing Blake’s “praise of life—‘all that lives is holy’,” Yeats is fusing passages. Along with Oothoon’s chant (final plate, Visions of the Daughters of Albion), he is recalling the choral conclusion of The Marriage of Heaven and Hell: “For every thing that lives is Holy!” And his phrase “praise of life” also seems to echo Blake’s America, Plate 8:13: “For every thing that lives is holy, life delights in life.” (The Poetry and Prose of William Blake, 50, 44, 53). John Steinbeck, who puts the slightly misquoted line, “All that lives is holy,” in the mouth of his Blakean-Whitmanian prophet Jim Casy in Chapter 13 of TheGrapes of Wrath, was probably thinking only of the finale of The Marriage of Heaven and Hell.
  23. When Zarathustra jumps “with both feet” into “golden-emerald delight,” he also jumps into a cluster of images and motifs we would call “Yeatsian,” primarily but not only because of Self’s laughing, singing self-absolution, echoing Blake’s “every thing that lives is holy”:

    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? (Thus Spoke Zarathustra III:16)

    Along with Self’s final chant, one recalls the Unity of Being projected in the final stanza of “Among School Children,” an antinomy-resolving state where “body is not bruised to pleasure soul,” and we no longer “know the dancer from the dance.” And Zarathustra’s transformation of “spirit” into “bird” will remind us of the natural and golden birds of the Byzantium poems and the final transfiguration of Yeats’s central hero—in both The Death of Cuchulain and “Cuchulain Comforted”—into a singing bird.

  24. Mythologies (London and New York: Macmillan, 1959), 331.
  25. Mythologies, 334, and Autobiographies, 469.
  26. For a full discussion of the subject, see the essays gathered in Yeats Annual 19 (2013), titled The Mask, especially Warwick Gould’s long and characteristically thorough study, “The Mask before The Mask.”
  27. Yeats’s Preface to his early essays, collected in 1934 as Letters to the New Island, xiii. (The volume was re-published in 1989 (ed. George Bornstein and Hugh Witemeyer) in The Collected Works of W. B. Yeats. “The Tragic Theatre,” in Unpublished Prose 2:388.
  28. Letters on Poetry from W. B. Yeats to Dorothy Wellesley, intro. Kathleen Raine (London and New York: Oxford University Press, 1964), 21; cf. 124-26. Yeats, Introduction to Oxford Book, section xv. Matthew Arnold had de-canonized Empedocles on Etna because, he said in the Preface to his Poems (London: Longmans, 1853), “no poetical enjoyment can be derived” from situations “in which the suffering finds no vent in action” (viii). Nevertheless, Arnold’s decision was as regrettable as Yeats’s. Owen’s famous description is from a draft-Preface for a collection of poems he hoped to publish in 1919.
  29. The caveat (“Mere dreams, mere dreams!”) is followed by recovery: “Yet Homer had not sung/ Had he not found it [the abounding jet sprung out of “life’s own self-delight”] certain beyond dreams.” But the pattern of vacillation continues in the lines that immediately follow, since “now it seems,” in the twilight of the Anglo-Irish tradition, as if “some marvellous empty sea-shell” (a beautiful fossil that once housed life), and “not a fountain, were the symbol which/ Shadows the inherited glory of the rich.”
  30. This celebrated phrase, from the 1936 Introduction to the Oxford Book of Modern Verse, later supplied M. H. Abrams with both title and epigraph for his 1953 landmark study of Romantic theory, The Mirror and the Lamp.
  31. Charles H. Kahn, The Art and Thought of Heraclitus: An Edition of the Fragments with Translation and Commentary (Cambridge: Cambridge University Press, 1979), Fragment #8 (Diehls-Kranz enumeration). This passage was used by Eliot as the second of two untranslated fragments (the second is “The way up and the way down is one and the same”) as epigraphs to the first printing of “Burnt Norton,” the opening poem of what became Four Quartets. Both were later printed to apply to the sequence as a whole. See Jewell Spears Brooker, “Eliot and Heraclitus,” in New Pilgrimages: Selected Papers from the IAUPE Beijing Conference in 2013, ed. Li Cao and Li Jin (Beijing: Tsinghua University Press, 2015), 259-69. Brooker does not refer to Yeats in her paper, but, as earlier noted, in the ghost-encounter in the final poem of Four Quartets, Yeats and Eliot may be seen as one more example of opposites “united in the strife that divided them.”
  32. Letters to W. B. Yeats, ed. Richard J. Finneran, George Mills Harper, and William M. Murphy, 2 vols. (London: Macmillan, 1972), 2:560. Yeats wrote Dorothy Wellesley in 1935, “My wife said the other night, ‘AE is the nearest to a Saint you or I will ever meet. You are a better poet but no saint. I suppose one has to choose’” (Letters, 838). Yeats’s poem “The Choice” (1931) begins, “The intellect of man is forced to choose/ Perfection of the life, or of the work.” Finding, as Nietzsche said, “one more stimulus to life” in the “opposition” between “chastity and sensuality,” antithetical Yeats chooses sensuous poetry.
  33. For a discussion of the Commentary on Cicero’s Somnium Scipionis by the 4th-century Neoplatonist Macrobius, see Patrick J. Keane, Yeats’s Interactions with Tradition (London and Columbia: University of Missouri Press, 1987), 143-44.
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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Dec 042015
 

Gass author photo William H. Gass / Michael Lionstar New York Times

Eyes book photo

Eyes
William H. Gass
Knopf, October 2015
Hardback $26.00, 256 pages
ISBN: 978-1101874721

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Everything is the same except composition.

—Gertrude Stein

William Howard Gass was born in July, 1924, the year Gertrude Stein first published portions of The Making of Americans. In one of many essays about Stein, a writer who became his literary role model and inspired his experiments in composition, Gass writes that the first time he read Three Lives, circa 1948 while a graduate student in philosophy at Cornell, he stayed up all night and that his “stomach held the text in its coils as if I had swallowed the pages.”[1] William H. Gass, newly minted Ph.D., would go on to write over a dozen books composed of sentences the details of which work both symbolically and literally, sentences whose sound and syntax and structure lift worlds from the page.

With a literary career spanning more than half a century, William H. Gass has been praised for his artistry, the beauty of his writing, and the depth of his analytical acumen. He is the author of four novels (including Omensetter’s Luck, The Tunnel, and Middle C), a collection of novellas (Cartesian Sonata), and nine works of nonfiction (including On Being Blue, The World Within the World, and A Temple of Texts). His numerous honors and awards include, among many others, the 1996 American Book Award for The Tunnel, the National Book Critics Circle Award for Criticism (for Tests of Time, Finding a Form, and Habitations of the Word), the American Academy and Institute of Arts and Letters Award for Fiction (1975), and in 2000 the PEN/Nabokov award and the PEN/Nabokov Lifetime Achievement award.

For thirty years Gass taught philosophy at Washington University in St. Louis, Missouri, where he has been the David May Distinguished University Professor Emeritus in the Humanities since 2000. His most recent publications include a book of essays, Life Sentences (2012), Middle C in 2013 (winner of the 2015 William Dean Howells Medal), and in October of this year from Knopf, his newest book of fiction, Eyes, a superb collection of two novellas and four short stories. Now ninety-one, he lives in St. Louis with his wife Mary, to whom he has been married since 1952.

Despite the accolades, periodically Gass’s fiction has been accused of being “difficult” or “opaque” in much the same way as the usual postmodern suspects he is associated with, authors such as John Barth, Donald Barthelme, Robert Coover, Stanley Elkins, and John Hawkes. Like most artists, Gass dislikes labels, although when pressed, he has called himself a “decayed modernist.”[2] His fiction is language driven, his characters “locales of linguistic energy,”[3] his plots secondary to astonishing metaphorical matrices. When asked about criticism Gass once replied “How can you write well enough to write about Colette?”[4] He’s right. The writing should always speak for itself. For me, discovering Gass was like his discovery of Gertrude Stein the night he read Three Lives. I cannot write well enough to write about William H. Gass; nevertheless, I hope to lure you to trust an artist and master of fiction and explore the world through his eyes.

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Through a Glass, Darkly

In Camera opens as all the stories in this collection, with its own frontispiece: a black and white “selfie” of the author, possibly from the 1980s, with Gass standing in front of a large storefront window on an urban street. Thus the first image in a story bursting with imagery shows a literal camera, serves as a symbolic representation of the primary theme (our perception of reality), and is a visual pun on himself—a glass Gass. In the background, across the street, is a building with a door of steel panels similar to the steel shutters that protect the shop of Gass’s character Mr. Gab, a collector of vintage photographs—prints by Stieglitz, Atget, Sudek, and many more. The analogy of a camera shutter couldn’t be clearer.

The story is set in the present. Mr. Gab, seventyish, hides out in his shop in a derelict neighborhood where he spends long hours staring at his precious photographic prints. The shop itself becomes the next image, the shop as a camera—the first term for which was “camera obscura,” or “dark chamber,” which is exactly how Mr. Gab’s shop is described, except for the light that leaks through the shutters, projecting the image of shadows on the rear wall, shadows of external objects, objects outside Mr. Gab’s chosen hideaway. And so the images of cameras, photographs, shadows, and projections, begin piling up—all within the first few pages. If the imagery hasn’t been clear, Gass tips the reader to think beyond the surface story he’s telling to its philosophical underpinnings with the clause “but genius was a dark cave full of flickers” and we know we are in Plato’s allegory of the cave.

The seventy-five page novella is divided into four approximately equally long chapters. The third-person point of view uses the indirect internal monologue of Mr. Gab’s assistant (variously named the stupid assistant, you stupid kid, hey-u-stew-pid, u-Stu, Stu, and Mr. Stu in a wonderful progression that parallels the narration of the backstory), but the focalization shifts seamlessly when needed, and through Stu’s thoughts and Mr. Gab’s exposition (and thoughts) we learn how much the photos mean to Mr. Gab; they are his obsession, his raison d’être. The photographs are both for sale and not, as Mr. Gab would prefer to hoard his treasures; however, occasionally he is forced to sell a few prints to make ends meet and he acquires new stock by haggling with shady characters who visit the shop from time to time. His is a cash-only business, and he keeps no receipts so there will be no paper trail.

The stupid assistant, Stu, actually Mr. Gab’s stepson (Mr. Gab “had been his mother’s husband, but was not known to be his father”), is assumed by everyone to be mentally handicapped because of his physical handicaps, which are numerous. Although Stu walks with a limp, has only one good arm, and one good eye—like a camera—he is actually highly intelligent and during the long hours he spends observing the empty shop, perched on his stool like Quasimodo atop Notre Dame, he reads library books, including Walter Pater (another writer famous for his prose style and works on aesthetics, art criticism, and Plato).

During the course of the story, which covers Stu’s history with Mr. Gab, Mr. Gab explains his theory of art and life to Stu using his favorite prints as examples. Gass’s language is so intriguing and beautiful it is difficult to resist the temptation to Google the photos, which are real (at least the ones I looked up), and Mr. Gab’s tone of reverence is pitch perfect, as in this excerpt where he is describing a photograph:

There’s a dark circle protecting the tree and allowing its roots to breathe. And the dark trunk, too, rising to enter its leaves. In a misted distance—see?—a horse-drawn bus, looking like a stagecoach, labeled AI, with its driver and several passengers. In short: we see this part of the world immersed in this part of the world’s weather. But we also see someone seeing it, someone having a feeling about the scene, not merely in a private mood, but responding to just this . . . this . . . and taking in the two trees and the streetlamp’s standard, the carriage, and in particular the faint diagonals of the curb, these sweet formal relations, each submerged in a gray-white realm that’s at the same time someone’s—Alvin Langdon Coburn’s—head.[5] [Gass’s ellipses]

The phrase “in a private mood” works not only in context, but as a metaphor for “in camera,” Latin for the legal term meaning “in chambers” or “in private,” for we are in the most private of chambers imaginable, inside a mind, submerged in a “gray-white realm,” i.e. the gray and white matter of the seer’s brain. This description works metaphorically for the relationship between Gass and his reader as well, with Gass the “someone seeing” a scene and writing it down for us to experience (and don’t forget the frontispiece). Mr. Gab expands on his description, driving home the primary question Gass would have us contemplate:

Such shadows as are here, for instance, in these photographs, are not illusions to be simply sniffed at. Where are the real illusions, u-Stu? They dwell in the eyes and hearts and minds of those in the carriage—yes—greedy to be going to their girl, to their bank, to their business.[6]

Mr. Gab sees the photographers as “saviors” who “bore witness,” each a “stand-in for God . . . who is saying: let there be this sacred light.” The image of God, or gods, is present in all the stories of Eyes and is one of many intertextual links. The religious imagery continues with Stu stealing fruit from the local street market, a metaphor for the forbidden fruit and the tree of knowledge.

Gass once remarked (somewhat flippantly by his admission) that he writes to “indict mankind,”[7] and although that’s hardly the whole story, Gass’s pessimism is conspicuous throughout the collection, as in this example of Mr. Gab’s assessment of the world: “It is misery begetting misery, you bet; it’s meanness making meanness, sure; it’s calamity; it’s cruelty and greed and indifference . . . .”[8] Mr. Gab wants the pure perfection shown in the photograph. For Mr. Gab, the camera is rescuer and redeemer; for him, although the world is “full of pain, full of waste,” through the work of the photographers, “every injustice that the world has done to the world is forgiven.”[9] Stu isn’t so sure. He lives in the outer world, beyond the shop’s shadows, where he walks to and from his flophouse room, exposed before the world’s judging eyes.

Stu stands opposite to Mr. Gab, juxtaposing sun-filled reality with the illusory (though comforting) world of the shop’s shadows. The window in Stu’s flophouse room is unshaded and open all the time, compared with the shuttered shop, and Stu’s single form of recreation is to read (expanding his consciousness) in “sun-filled vacant lots”[10] while the entrance to Mr. Gab’s bedroom (above the shop, i.e. he never leaves) is described as a “hole that was even darker than the inside of a hose.”[11] However, it isn’t so neat and tidy; there is a distinct tension within Stu, the lure of the outside world—a world of color photography—versus his fear of losing the comfort of the concrete world of the shop, not to mention his meager wages. This serves as the story’s plot, as Stu becomes increasingly worried Mr. Gab will be arrested for dealing in stolen photographs. In many ways he wants to stay in the cave with Mr. Gab, and in an ending where the accumulated images culminate in a crescendo as achingly beautiful and sublime as Joyce’s “The Dead,” Stu’s choice is as subtle as a shadow.

Sudek CathedralJoseph Sudek, St. Vitus’s Cathedral, 1924-28

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The Giver

The second novella, Charity, presented as a continuous block of text without paragraph indentations, tells the story of a single character, a Washington D.C. lawyer named Hugh Hamilton Hardy and his obsession with being asked for charity. Continuing with Plato’s theory of Forms, the primary theme of the second novella is the Form of the Good. Like the first-person stories “The Toy Chest,” “Soliloquy for a Chair,” and “Don’t Even Try, Sam,” Charity delves into a single character’s consciousness, but here Gass uses a third-person point of view, allowing him to shift between levels of psychic distance and explore a stream of consciousness style. The narrative also shifts in time, cycling (often abruptly) between Hardy’s past and present, and sometimes these shifts can be jarring and force one to reread a sentence or two. The first few pages, in particular, can prove obfuscating in the same way Benjy’s thoughts cycle between past and present during the opening pages of The Sound and the Fury. Gass expects his reader to trust him and move forward, and it is worth the effort.

Despite such speed bumps, the story effectively pulls the reader into Hardy’s consciousness. The style creates a claustrophobic feeling, keeping the reader trapped in Hardy’s mind, where Hardy, of course, is trapped, imprisoned by his feelings of shame and humiliation and guilt, anger and resentment, hating all the beggars and hating himself for his inability to say no. Regarding obsessional characters, Gass said “I want closure, suffocation, the sense that there is nowhere else to go”[12] and this is exactly what he achieves in Charity. On one level, Charity can be read as an inventory of all the people and organizations pleading for his aid. Gass loves a great list, and he indulges his genius for multiplicity, using exaggeration as a rhetorical device to engender in the reader the same frustration Hardy feels upon opening yet another letter that begins “I understand you have helped people like myself in the past.”

As with In Camera, there isn’t a conventional plot, only the rising tension of Hardy’s obsession with giving. Hardy’s obsession is tearing his psyche apart and his work only makes matters worse. His job requires him to travel around the world to various companies who are failing to deliver quality products—either from negligence or fraud—and inform them that unless they fix the problem, huge lawsuits will follow. He’s basically legal muscle, an “enforcer,” and his presence is a de facto threat to force the companies to comply, an ironic parallel with the panhandlers asking him for money.

Hardy works for “Health and Haven”—Haven an allusion to Heaven and God as the ultimate good, the ultimate giver. Hardy sums up his situation:

although I can walk into a Prague or Padua or Paris office and terrify the paperclips simply by saying hello and unsnicking my slick black briefcase, shiny as Mephistopheles’s mirror, I can’t face down a scheming beggar on the street.[13]

The irony of his situation is clear: the big scary lawyer is terrified of panhandlers. Gass creates a wonderful double meaning for paperclips: first, the literal—Hardy is so intimidating that the actual paperclips tremble (and a nice intertextual link to “Soliloquy for a Chair” where all tools are sentient); and second, the metaphorical—that the people Hardy confronts are as witheringly insignificant as paperclips. The simile of Hardy’s briefcase being like a mirror—shiny and clear, something to stand before and be judged guilty—is pushed that extra notch by assigning it to the devil. And that mirror, held up for us too, won’t let Gass escape either, recalling the reflection photograph of Gass (as if in a mirror) that opens In Camera.

Hardy’s continuous internal rant is punctuated by thoughts of Molly, the woman he is dating; their relationship constitutes a subplot. In this excerpt, Gass uses parallel structure (isocolon) to emphasize Hardy’s torment and then segues by association to his thoughts of Molly:

He’d been shaken down at high noon, shaken in full public view, shaken till his change withdrew from an embarrassed pocket and fell out of his crestfallen paw. It was humiliating but she loved to have him lick her like a puppy. Why did he do it? He did it because he was a coward. He did it because she was better at being beautiful than any woman he would ever be likely to know.[14]

Hardy’s mind leaps from “paw” to “puppy,” effecting the transition of his thoughts, but then his thoughts aren’t so clear. Does Hardy’s question apply to Molly, to giving money panhandlers, to both? Gass delays the answer, mimicking how thoughts can overlap. Such mental flights are occasions for Gass to have some fun with transitions, allusions, and imagery. For example:

Hardy would slowly kiss her cute feet: toe one, toe two, toe three . . . She would grow moistly abundant. Resplendent, the thigh skin, stretching away to the mount. He thought just then of the Mount of Olives. Absurd the adventitious bridges between words. Yet it was astonishing how a sacrifice, a catastrophe could comprise a gift.[15] [Gass’s ellipsis]

The sentence about “adventitious bridges” is Hardy’s thought, but it is also a metafictional wink to the reader, a reminder to pay attention and a way for Gass to comment on the possibilities of language. In this passage Gass doubles the image of charity beyond the use of the word “gift”: the Greek for charity is agape, the love associated with brotherly love and the love of God, as opposed to eros, or sexual love. Hardy is capable of the latter, but not the former. The reference to the Mount of Olives and the sentence about sacrifice as a gift brings in the image of Jesus and thus again God as the ultimate giver, and finally, charity is one of the three theological virtues in Christianity, together with faith and hope.

Bad parents run like a scar through much of Gass’s fiction, figuring prominently in The Tunnel, the novella Emma Enters a Sentence of Elizabeth Bishop’s, and in “The Toy Chest.” In Charity, the protagonist’s parents are two of the worst, and the psychology that shaped young Hardy emerges as we learn of their stingy, insincere attempts at charity. During a pivotal episode of Hardy’s childhood, when his parents brought him along on an ill-fated attempt to deliver a box of donated items to a less fortunate family, Gass’s style amplifies the emotional resonance of the scene to such a degree, we cringe and squirm with discomfort. And it is this traumatic memory that will haunt Hardy to his breaking point.

 Begging

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The Utes

For Gass, a character can be “any linguistic location in a book toward which a great part of the rest of the text stands as a modifier.”[16] Ideas can be characters. It should come as no surprise then that in the next two stories inanimate objects are the main characters. In the tradition of Italo Calvino’s Cosmicomics, Gass offers us narrators in the form of a piano and a chair, and if Calvino (of whom Gass is an admirer) can write a convincing story from the point of view of a subatomic particle, Gass can certainly do so with a piece of furniture.

In “Don’t Even Try, Sam,” the piano featured in the 1942 film Casablanca speaks as if being interviewed and regales us with the inside story of this icon of American film. We get all the juicy backstage gossip—fastidiously researched, naturally—and for anyone who has seen the movie, it is obvious which actors (e.g. Beauguy and Miss Visit Stockholm) the piano is speaking about with her distinctly feminine voice. The story begins with a photo from the movie: a dour Rick leaning against the back of the piano as Sam plays, singing, the smiling crowd watching. This twenty-page story is the perfect thematic companion piece to In Camera and uses much of the same imagery. For what is Casablanca but a series of black and white photos? It is Mr. Gab’s stock, only animated—each frame its own collection of shadows, reflections, and glistening eyes, each only a simulacrum of reality. The piano’s grievance with the movie, and by extension, the world, is just this: it’s all a fraud. In the piano’s words: “If this is real life, real life must be a frigging fraud . . . . I go dum diddily dumdum but I don’t feel dum diddily dumdum.”[17] Of course the movie was false, movies are only representations. But the piano’s point is that there were layers of deception. For example, Dooley Wilson (Sam) wasn’t actually playing the piano—nor could he—and thus the title of the story sounds like what the piano might have said to Mr. Wilson during the famous scene when Ilsa asks Sam to play “As Time Goes By,” i.e. “Don’t even try, Sam.”

 Sam's Piano

“Soliloquy for a Chair” is another first-person biography told by an object—a foldable steel chair, named Mr. Middle. The chipper Mr. Middle (named for his placement among a group of seven similar chairs as seen in the opening black and white photo) introduces us to the Mississippi barbershop where he and his six companions have spent most of their lives. We learn he is a member of the race of Utes, who speak Utile or Toolese, for they are descendants of the first tools humans made “Back when the world had meaning.”[18] Mr. Middle’s tale consists of his observations of humanity interwoven with his story of how the barbershop became the target of a mysterious bombing. Gass uses rhyme and meter and sentence structure to engender a whimsical voice for the chair:

It was a friendly place, a little stuffy from piped-in warmth through the winter, but blossoming with habitués at all times of year because, as every person not cursed by baldness knows, hair in plenty grows, through droughts and blights and snows, but not in tidy rows. Not them. Not those.[19]

The philosophical parade continues with the story’s closing sentence (don’t worry, it isn’t a spoiler): “If it suits him in his heart to say it went this way, why not say it went this way, say I.”[20] Mr. Middle is commenting on the belief of Natty Know-it-all (who “got his name by being just the opposite”) that the Utes were the target of the bomber. The phrase “in his heart” implies the opposite of “in his head” (irrational versus logical); likewise “if it suits him” implies an irrational basis for his decision. Mr. Middle grants Natty the permission to believe whatever he wants, and stresses how little he cares with “why not.” If In Camera proposes the existence of an objective world, then this sentence suggests the opposite, and is as succinct as subjectivism can be. Leaving nothing to chance, Gass inverts the syntax, allowing him to end the sentence with “I”—a play on point of view and a pun (a favorite device) on “eye.”

 Steel Chair

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A Folktale and a Nightmare

For the frontispiece of “The Man Who Spoke with His Hands,” Gass chose an illustration from William James’s Principles of Psychology that diagrams the neuronal pathways necessary for writing. Sensory information enters through the eye, travels through the occipital lobe to the thalamus and parietal cortex and then motor control is delivered down to a writing hand. The image of the hand figures prominently in the story, and Gass ensures we pay attention for he repeats the title (or slight variations) as the first line in 14 of the first 19 paragraphs. Gass combines this anaphora with his usual rhetorical and lyrical devices to create the tone of a folktale; you can almost hear the missing “Once upon a time” at the beginning.

The narrator of this fifteen-page story is slippery, for although the story reads like a traditional third-person narrative, there are suspicious intrusions of a first-person “I.” The tale is about Arthur Devise, music teacher, widowed father of a college-aged daughter named Dottie, and the man who speaks with his hands—that is, he is constantly making gestures with his hands that don’t necessarily relate to what he may or may not be speaking about. Juxtaposed to Arthur are the other members of the music department, including Professors Rinse and Paltry (names to join the pantheon of such academics as Henry Fielding’s Mr. Thwackum and Mr. Square). The professors speculate extensively on what Arthur’s hand gestures might mean, only to find out that Arthur believes his hands are controlled by God. Paltry discounts this claim as madness and perhaps it is, since Arthur, whose wife was “terribly killed” and who must endure the “nymphomaniacal imposture” of his daughter (who is a student in Paltry’s class) might be suffering from a nervous disorder—which brings us back to William James’s Principles of Psychology. Much is left up for debate and the narrator delivers a barrage of sentences beginning with “perhaps” to close out the last two pages. Once again, the nature of reality is questioned, and the only conclusion is that nothing is certain and reality is subjectively determined.

 The last story in the collection is also the darkest. “The Toy Chest” is told in the first person by an unnamed narrator, now an adult, reminiscing about his childhood, his toy chest a Proustian source of involuntary memory. The narrator is agitated, claiming “Today is one of my more lucid days,”[21] and the text is fragmented in places suggesting both a broken typewriter and a fractured mind. Here Gass uses textual spaces as a rhetorical device in a manner reminiscent of his novels Willie Masters’ Lonesome Wife and The Tunnel. In fact, the narrator shares many family motifs with Kohler in The Tunnel including an alcoholic mother, a critical father, and an odd aunt. The narrator produced his own newspaper as a child and wrote headlines such as “Death Day Extra” and “Drunken Mother Throws Up At Birthday Party” and as he drops deeper into memory, we are delivered into the solipsism of a single mind’s reality.

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Worlds Within Words

When asked what he would concentrate on if he were to write an essay on his own work, Gass replied that he would “immediately start talking about the manipulation of language” and that he would “write about writing sentences.”[22] Anyone who has read Gass’s incredible essays knows what we might expect: detailed analysis of the structure of the sentence, spiral diagrams, etc. In the spirit of such an essay, consider the following excerpt from In Camera; it is from Stu’s point of view concerning a certain type of customer:

but occasionally there’d be some otherwise oblivious fellow who would fly to a box, shove off the bag of beans, and begin to finger through the photos as you might hunt through a file, with a haste hope might have further hastened, an air of expectancy that suggested some prior prompting, only to stop and withdraw a sheet suddenly and accompany it to the light of the good lamp in the rear, where he’d begin to examine it first with a studied casualness that seemed more conspiratorial than anything, looking about like a fly about to light before indifferently glancing at the print, until at last, now as intent as a tack, he’d submit to scrutiny each inch with tight white lips, finally following Mr. Gab, who had anticipated the move, through the rug to the card table and the cat in the kitchen, where they’d have what Mr. Gab called, with a pale smile that was nearly not there, a confab.

Concerning cost. This is what his stupid assistant assumed. The meeting would usually end with a sale, a sale that put Mr. Gab in possession of an envelope fat with cash, for he accepted nothing else . . .[23]

The first sentence (199 words including the part not shown) reports movement; it is what Gass would call a “scroll” sentence and describes a journey, a journey the customer takes from his entry into the shop, to the box of photos, to the rear of the shop, and finally to Mr. Gab’s kitchen. We are moving with the customer, and we are going to learn things about the world—including who lives in it—along the way. The sentence’s rhythm modulates as the traveler is either speeding along or stopping to contemplate the scenery.

A clear sound effect comes from the abundant alliteration, for example: “bag / beans / begin,” “hunt / haste hope / hasten,” “prior prompting,” etc., and assonance with “each inch” and “tight white.” Alliteration and assonance can create harmony or dissonance, and Gass uses both. Before the customer becomes “intent,” the alliteration is harmonious, mimicking his movement; however, after “until at last” the alliteration of the sharp ts becomes dissonant. The dissonance symbolically reflects the customer’s mood, his intense scrutiny, his eye attacking each square inch of the photograph. But the effects of Gass’s alliteration don’t stop there, it also affects the tempo of the sentence. Before “finally following” there are sixteen sharp ts beginning with “about to light” and two sharp ks (tack and scrutiny); after “finally following” there are seven sharp ts and seven sharp ks (including the sentence “Concerning cost”). The alliteration of all those stressed ts slows the pace as the buyer is scrutinizing the photograph (pronouncing all those ts slows the reading with almost a tongue-twisting effect). Further slowing the tempo while the customer scrutinizes his prize is the meter. Reading from “a fly about to light,” the meter is iambic until “last,” where there is a natural caesura and a convenient place for a comma. The meter then shifts to dactylic through “submit,” but breaks down between “scrutiny” and “lips” with multiple stresses. There are also caesuras between “submit” and “to” and between “scrutiny” and “each.” If you read this sentence aloud, you must pause, otherwise the words will overlap. Gass is constraining the system for effect, he wants us to move and stop with the customer. “Finally following Mr. Gab” with its easy alliteration and dactylic meter, releases the tension and resumes the forward momentum of the sentence as the customer is once again in motion, now being escorted by Mr. Gab; furthermore, now the sharp “k” sound predominates, symbolic of the location change. At the end of the sentence we have arrived.

Not so fast. It isn’t just sounds that Gass uses to create his effects, there is syntax (reflected in the meter) and structure as well. What about that odd paragraph break? If this were verse, we would call this an enjambment.

Enjambment is characterized by a line break without an end stop where the sentence carries over to a new line for poetic effect, for example for emphasis or surprise. Here Gass uses punctuation and a line break to alter the cadence just as enjambment works in poetry. Even though a period follows “confab,” it is clear this sentence doesn’t really end until after “Concerning cost.” Gass adapts enjambment to slow the cadence once again, to force the reader to pause and dwell on the secret haggling taking place behind the rug curtain. The reader makes a full stop at the period after “confab”; there is a natural pause in shifting to a new paragraph with the line break, and then there is another full stop after the two-word sentence “Concerning cost.”

What about Gass’s choice of words? “Concerning cost” is Stu’s assumption. The enjambment’s emphasis lends a sense of mystery—as if “concerning cost” was a euphemism for bribery or blackmail or theft, i.e. it is a genteel phrase Stu can apply to his master’s actions to maintain the illusion that all’s well and fair and legal and he need not worry about anything. If Gass had written (dreadfully) “About the price,” this effect would have been lost. The word “contraband” is used two sentences later with the same implication. There is also Mr. Gab’s “pale smile that was nearly not there,” which suggests conspiracy and coyness (and parallels the customer’s “tight white lips”), and the word “confab” is euphemistic for something less respectable, less legal. The customer first flies to the box of prints and is then compared to a fly directly—and flies are associated with refuse, carrion, disease. The history of each word becomes a part of the metaphor. Gass’s composition creates a metaphor for the customer’s movement, a metaphor for the customer’s and Stu’s state of mind, and metaphor for the moral character of the customer and Mr. Gab.

Lastly, the second sentence in the second paragraph brings the preceding into focus. This is all Stu’s interpretation, his judgment of what is happening, and where the larger metaphor of the story comes in: Because Stu can’t be certain of what is taking place behind the curtain—he can only assume—we know we are dealing with a question of epistemology, and that is the thematic base of the novella and a theme continued throughout the collection.

Magritte's The False MirrorRené Magritte, The False Mirror, 1928

Although each of the stories in Eyes was published separately, the themes and images connect them to produce an eclectic, yet unified whole. Gass’s ideal work of art is a thing in itself, a system of internal relations, and he hasn’t missed many opportunities to integrate these stories. Above all, there is the dominant image of the eye, around which other themes circle like “subordinate suns” according to his description. In Camera is replete with references to eyes, vision, observation, seeing; it is a story about photographs, images captured on film that were focused with eyes for eyes to see. Charity, a novella about a man who suspiciously regards the world, depends on the word “eye” as a verb (and as a noun); and all the stories draw from the definition of “eye” as a point of view, as judgment.

But beyond metaphors, shared themes, and intertextual links, the real quality unifying William H. Gass’s work is the composition, composition born from a belief in the beauty of language, composition that transcends the writing as a thing in itself to become a sublime affirmation.

The frontispiece opposite the title page is a black and white photo of a sculpture called Der Augenturm (The Eye Tower). It looks remarkably like a rocket ship, complete with a passenger sitting in the nose cone, ready for a journey. Marcel Proust wants us to believe that “The only real journey . . . would be to travel not towards new landscapes, but with new eyes, to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them can see, or can be . . . .”[24]

Be assured that William H. Gass’s journeys deliver some of the most exceptional views you will ever see.

—Frank Richardson

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Frank Richardson bio pict 2

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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Footnotes    (↵ returns to text)

  1. William H. Gass, A Temple of Texts: Essays (Champaign: Dalkey Archive, 2007), 127.
  2. William H. Gass, Interview by Lee Gutkin (Los Angeles Review of Books, 2013), Web.
  3. Thomas LeClair, “William H. Gass and John Gardner: A Debate on Fiction” (Conversations with John Gardner, Allan Chavkin, ed. Mississippi UP, 1990), 180.
  4. William H. Gass, Interview by Thomas LeClair (The Paris Review, No. 70, 1977), Web.
  5. William H. Gass, Eyes (New York: Knopf, 2015), 30.
  6. Ibid., 30-31.
  7. William H. Gass, Interview by Jim Neighbors (Contemporary Literature, Vol. 43. No. 4, Winter 2002), 633.
  8. Gass, Eyes, 40.
  9. Ibid., 41.
  10. Ibid., 37.
  11. Ibid., 72.
  12. Gass, Interview by Thomas LeClair, Web.
  13. Gass, Eyes, 100.
  14. Ibid., 82.
  15. Ibid., 97.
  16. LeClair, Conversations with John Gardner, 180.
  17. Gass, Eyes, 158.
  18. Ibid., 176.
  19. Ibid., 183-184.
  20. Ibid., 196.
  21. Ibid., 234.
  22. Gass, Interview with Thomas LeClair, Web.
  23. Gass, Eyes, 16-17.
  24. Marcel Proust, In Search of Lost Time: The Prisoner and The Fugitive (Ed. Christopher Prendergast. Trans. Carol Clark and Peter Collier. London: Lane-Penguin, 2002), 237.
Dec 032015
 

Aashish Kaul

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Les beaux livres sont écrits dans une sorte de langue étrangère. — Marcel Proust

Beautiful books are written in a kind of foreign language. There is already in this adage of Proust the notion of ‘making strange’ that was to be espoused by the Russian Formalists some years later. Proust may or may not be the best example to discuss the Russian Formalists, for he both validates and annuls their thesis, but in this instance there remains a commonality that may, for the time being, be enough to eclipse their differences.

For the Formalists, obsessed as they were to develop a more scientific basis for literary studies and make them an autonomous and specific discipline, it became necessary to exclude all mimetic and expressive definitions of literature. To see a literary work as an expression of its author’s personality led inevitably (and unacceptably) to biography and psychology, while to regard it as a picture of a given society led in turn (equally undesirably) to history, politics, or sociology.[1] What remained, therefore, was the peculiar nature of a literary work itself, and it was this peculiarity that the Formalists made the basis of literary scrutiny, a peculiarity which could be distinguished from any other material and which lent a literary work its especial aura or quality. The Formalist critic Viktor Shklovsky began with the idea that art refreshes our sense of life and experience. ‘If we examine,’ he wrote:

the general laws of perception, we see that as it becomes habitual, it also becomes automatic. So eventually all our skills and experiences function unconsciously — automatically…. And so held accountable for nothing, life fades into nothingness. Automatization eats away at things, at clothes, at furniture, at our wives, and at our fear of war…. And so, in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art…. By “enstranging” objects and complicating form, the device of art makes perception long and “laborious.” The perceptual process in art has a purpose all its own and ought to be extended to the fullest. Art is a means of experiencing the process of creativity. The artifact itself is quite unimportant (italics in original).[2]

Subsequent developments in theories about literature and the creative process may make Shklovsky’s observation look obvious, but they hardly obscure its truth. And would not Proust give his whole-hearted assent to this idea! — Proust, who poured all his later life into composing a seemingly endless book with the sole aim of granting the reader a few visions of pure perception amidst the deadening whorls of habit, that dull inviolability which Beckett memorably called ‘the ballast that chains the dog to his vomit.’[3]

The kind of enstrangement that Shklovsky advocates, namely, the one achieved by complicating form, is also at work in Proust, as it is at work in Joyce, in Virginia Woolf, in Faulkner — Borges wrote his stories as if they were expository pieces, while his essays repeatedly adopted styles and themes more suitable for fiction (though Shklovsky’s models are markedly older: Cervantes, Tolstoy, Sterne, Dickens). These formal/technical devices are for Shklovsky and others the very means of achieving ‘defamiliarization’ in a work of literature, and the final triumph of art over dull, automatized life. Literature, as Ezra Pound said, is news that remains news. But what is unfamiliar may become familiar, worn thin, itself automatized, with use and passage of time. So techniques and devices were needed to be perpetually juggled, some foregrounded over others for a period of time, to keep literariness alive across epochs.

Another kind of dialectic is at work here: the opposition between automation and defamiliarization. Having banished the author, having dispelled the biography, psychology, and historicity of a work, the Formalists were left simply with devices, and this could only lead to the astonishing pronouncement that there were in truth no authors, but only literary works (for example, Osip Brik, in ‘The so-called formal method’ (1923): ‘Opojaz proposes that there are no poets or literary figures, there is poetry and literature.’ He claimed rather provocatively that Eugene Onegin would have been written even if Pushkin had never existed, just as America would have been discovered without Columbus.). To be able to make a science of literary scrutiny, it was for them essential to mount a two-pronged attack: to demolish, in one stroke, the Romantic notion of the author as a vessel of divine inspiration and the utterly spurious, if deeply ingrained, distinction between form and content. Now the author was no longer either a visionary or a genius, but merely an artisan who arranged and rearranged material available at his or her disposal. The author’s job was to know about literature, the history of literature, the knowledge and skill in handling devices that made a work literary, and what he or she knew of life or reality was quite irrelevant.[4]

Shklovsky1 PSViktor Shklovsky

But psychology, biography, and the historic situation cannot be subtracted so easily from a given work; they are the very factors which make the rearrangement of material striking and novel in each case. For although a man’s life does not explain his work, the two are nevertheless connected. The truth, says Merleau-Ponty in his essay ‘Cézanne’s Doubt’, is that ‘this work to be done called for this life’. It is therefore impossible to separate creative liberty from the peculiar incidents that shape an artistic life:

If I am a certain project from birth, the given and the created are indistinguishable in me, and it is therefore impossible to name a single gesture which is merely hereditary or innate, a single gesture which is not spontaneous — but also impossible to name a single gesture which is absolutely new in regard to that way of being in the world which, from the very beginning, is myself. There is no difference between saying that our life is completely constructed and that it is completely given. If there is a true liberty, it can only come about in the course of our life by our going beyond our original situation and yet not ceasing to be the same…. In every life, one’s birth and one’s past define categories or basic dimensions which do not impose any particular act but which can be found in all…. Thus it is true both that the life of an author can teach us nothing and that — if we know how to interpret it — we can find everything in it, since it opens onto his work…. We never get away from our life. We never see our ideas or our freedom face to face.[5]

Then again, the muse was not the invention of the Romantics alone; she visited Homer and Virgil, too, was already Dante’s Beatrice, was the nature-song of the Tang poets in Classical China, touched Rilke in dreams. She is always there because she is not a phantasm, but only the mind’s effort to reify the wonder it feels, in creative, palpable moments, at its own ability to rearrange the lava flow of sensory data toward imaginative and artistic ends. Or perhaps she is but a place of negativity, not belonging to either the mind or language, for, as Giorgio Agamben tells us, ‘muse was the name the Greeks gave to the experience of the ungraspability of the originary place of the poetic word.’[6]

***

What makes a work defamiliar, that is to say literary or artistic, beyond the play of devices, then, is a certain ‘poeticity’ as Roman Jakobson called it. This poeticity, per Jakobson, was like oil in cooking; it cannot be consumed of its own, but when used as an ingredient in cooking other foods, it changes their taste completely.

In Sanskrit literature, in Indian classical music and other art forms, too, there appears a notion quite similar to Jakobson’s — that of the rasas. Quite literally, rasa means ‘juice’ or ‘nectar’, but what is really hinted at is that quality of a given work which evokes a particular mood in its reader or audience. In other words, it is the poeticity that lends a work its especial charm or atmosphere, and makes it unlike anything else one has experienced, foreign, rare, glittering like a jewel.

It is, then, the atmosphere of a literary work that makes its language feel foreign, unfamiliar, distant. This is the reason behind Proust’s paradoxical assertion. We could, of course, find another resolution, a Bakhtinian resolution, to this Proustian oddity, whereby it is a word’s internal dialogism, separate from its ability to form a concept of its object, that has the power to shape style: ‘The prose artist elevates the social heteroglossia surrounding objects into an image that has finished contours, an image completely shot through with dialogized overtones; he creates artistically calculated nuances on all the fundamental voices and tones of this heteroglossia’.[7] And so the greater the artistic nuances on the fundamental social tones of a language, the more foreign or unfamiliar will be the prose they generate.

Similar, too, is the belief of the Spanish writer Javier Marías, who once observed in an interview that what counts the most in a novel — and what we remember the most — is the atmosphere, the style, the path, the journey, and the world in which we have immersed ourselves for a few hours or a few days. The prime aspect of a novel, said Marías, is its setting, which of itself is a secondary issue.[8]

javier-mariasJavier Marías

Roman Ingarden is in agreement. In any literary work, he writes, there are metaphysical qualities or ‘essences’ which can neither be found in objects nor psychic states, but instead are revealed, in complex or disparate situations or events, as the overall atmosphere which penetrates and illumines everything with its light. An essential function, then, of objective situations in a literary work is the manifestation of such metaphysical qualities. Such manifestation, however, does not arise purely from objects or situations, but emerges from the structure of the work, from its organic unity. Metaphysical qualities are merely held in readiness — they are not manifested in the work, but rather in its concretization through the act of reading.[9]

Essences, poeticity, atmosphere. These qualities are difficult to segregate in practice since, as Ingarden states, they can neither be found in objects nor psychic states, but emerge from the structure of the work and the act of reading. And so any reader of, say, Wuthering Heights or The Trial is aware of the presence of these qualities, without necessarily being able to draw a tally of all the places in the text where they are made manifest. In Joseph Roth’s late work The Emperor’s Tomb, for instance, the inconsistencies and compositional flaws are redeemed by these very essences that Ingarden speaks of, by the muted melancholy and nostalgia of the novel’s atmosphere.

The Australian writer Beverley Farmer, for example, expertly mixes formal and metaphysical qualities in her palimpsestic work A Body of Water. Early in the book she gives a description of a cove near her house, a description which, because it is so truly phenomenological, creates an effect of both enstrangement and existential depth:

My first summer in this place. So hot and still a day, and I spent it on the sand, the cliff-shadow advancing over me, and now and then went to lie in one of the channels between the pale rocks and was washed cold…. Sometimes at twilight the water in the pools east of the pier went dark with a grey-brown glint, a half-light inside it; and at the same time the rocks at the rim were grey and water-blue. Until it was too dark to see, water was rock and rock water….  Sandstone is honeycomb in this still afternoon sun, pitted with swallows’ nests. All this beach is the same colour — sand, rock and rock pool. The small mouse-shrieks of swallows skim and soar. The wave-shaped, whale-shaped headland is dark in the spray of the western sky…. My footprints flatten the crisp arrowheads left by gulls. At the high tide mark, along the hairline of the marram grass, clumps of feathers, all hollowed out, clench empty beaks and claws.[10]

***

The emphasis on essences, poeticity, atmosphere in the discourse surrounding literary works is a direct result of the fusion of form and content. Every form produces its own idea, its own vision of the world, observed Octavio Paz. ‘Form has meaning, and in the realm of art only form possesses meaning; content stems from form, and not otherwise.’[11] Tzvetan Todorov, while using an essentially Structuralist vocabulary, makes the same point: ‘Every work possesses a structure, which is the articulation of elements derived from the different categories of literary discourse; and this structure is at the same time the locus of the meaning’.[12]

Writing near the later stages of the Russian Formalist and Modernist revolutions in literature, E.M. Forster, in his Aspects of the Novel, first published in 1927, while still lingering over concepts like ‘story’, ‘plot’, ‘flat and round characters’ into which modernist works had bored deep holes, acknowledged that in moving from ‘story’ to ‘plot’, the novel acquired a complexity favourable to the creation of ‘value’.[13] Now this ‘value’ cannot be found in plain narrative, but can only arise from the whole complex structure and is dependent on what Forster refers to as ‘pattern and rhythm’.[14] The novel has to be an aesthetic object and ‘rhythm’ helps toward this end. Rhythm cannot be imposed from outside and is not available to writers who plan their books beforehand. It must grow with and inside the narrative. Forster ultimately explains its effects as being analogous to those of music. In the triumph of plot over story, in the musical effects of pattern and rhythm creating value in the novel, we see again the Formalist preoccupation with literary devices, Jakobson’s poeticity, Ingarden’s metaphysical qualities. Julio Cortázar in his novel Hopscotch sums it up beautifully:

Why am I writing this? I have no clear ideas, I do not even have ideas. There are tugs, impulses, blocks, and everything is looking for a form, then rhythm comes into play and I write within that rhythm, I write by it, moved by it and not by that thing they call thought and which turns out prose, literature, or what have you. First there is a confused situation, which can only be defined by words; I start out from this half-shadow and if what I mean (if what is meant) has sufficient strength, the swing begins at once, a rhythmic swaying that draws me to the surface, lights everything up, conjugates this confused material and the one who suffers it into a clear third somehow fateful level: sentence, paragraph, page, chapter, book. This swaying, this swing in which confused material goes about taking shape, is for me the only certainty of its necessity, because no sooner does it stop than I understand that I no longer have anything to say. And it is also the only reward for my work: to feel that what I have written is like the back of a cat as it is being petted, with sparks and an arching in cadence. In that way by writing I go down into the volcano, I approach the Mothers, I connect with the Center — whatever it may be. Writing is sketching my mandala and at the same time going through it, inventing purification by purifying one’s self; the task of a poor white shaman in nylon socks.[15]

Julio CortázarJulio Cortázar, via Wikimedia Commons

As I have stated elsewhere, Cortázar is hinting at several things here. Among them is the foregrounding of rhythm, form, devices over story or characters. It is rhythm that structures a book, page by page, sentence upon sentence, and not the desire to mimic ‘reality’ or relate a tale that comes to the writer altogether whole from the very start; it is rhythm, too, that word by word creates the story from barely noticeable mental or physical impulses and ideas, and that leaves behind writing which is ‘like the back of a cat as it is being petted, with sparks and an arching in cadence’. Yet another is the notion of writing as a purifying rite, not dissimilar to Shklovsky’s comment above: ‘the perceptual process in art has a purpose all its own and ought to be extended to the fullest. Art is a means of experiencing the process of creativity’.

Cortázar tells us that the search for form enables rhythm to come into play, and that he writes from within this rhythm. For the American Marxist critic Fredric Jameson, this fact alone would be enough to classify Cortázar as a true modern writer, distinguished from those he refers to as late modernists and postmodernists, because, for Jameson, form, in the case of modernist writers, is never given in advance but is generated experimentally in the encounter, leading to formations that could never have been predicted, unlike the late modernists and their successors, to whom the structure of the form was known in advance (since the likes of Cortázar, Proust, and Joyce had already discovered it for them) and to which the ‘raw empiricities of content’ could then be made to submit.[16] Jameson arrives at this observation at the end of a long and nuanced thesis, which is well beyond our scope to explore here, but even assuming that the break modernism signified with an earlier world was anywhere as paradigmatic and total as Jameson would have us believe, I am unsure if it could be applied so readily and consistently to all writers working in the latter period. For barring the more superficial cases, it is difficult to say with any certainty whether form and content arise together or separately in any given work. Indeed, in the more formidable works, they must out of creative necessity arise in unison.

When content fades into form, the fictional reality becomes fluid and dynamic; it is not something given, hard and raw, that a writer need merely ornament and make palatable with his or her craft. Any moral or social purpose, indeed the characters and their story, gives way to the process itself. A book like Forster’s discussing ‘flat and round characters’ would be inconceivable today, simply because, as Todorov states, novels do not imitate reality but create it:

Although we no longer refer to literature in terms of imitation, we still have trouble getting rid of a certain way of looking at fiction; inscribed in our speech habits, it is a vision through which we perceive the novel in terms of representation, or the transposition of a reality that exists prior to it. This attitude would be problematic even if it did not attempt to describe the creative process. When it refers to the text itself, it is sheer distortion. What exists first and foremost is the text itself, and nothing but the text. Only by subjecting the text to a particular type of reading do we construct, from our reading, an imaginary universe. Novels do not imitate reality; they create it…. [Similarly,] the fictional character is a segment of the spatio-temporal universe represented in the text, nothing more; he/she comes into existence the moment referential linguistic forms (proper names, certain nominal syntagms, personal pronouns) appear in a text regarding an anthropomorphic being. In and of itself the fictional character has no content…. But, as soon as psychological determinism appears in the text, the fictional character becomes endowed with character: he acts in a certain way, because he is shy, weak, courageous, etc.…. Character, then, can be an effect of reading; there exists a kind of reading to which every text can be subjected. But in fact, the effect is not arbitrary; it is no accident that character exists in the eighteenth- and nineteenth-century novel and not in Greek tragedy or the folktale. A text always contains within itself directions for its own consumption.[17]

It is not a coincidence, then, that as content fades into form, and the fictional reality becomes fluid, the novel sheds its old skin, loses some of its neatness or artefact-ness (although this is not to deny the uniqueness of the fictional world, which is dependent on the uniqueness of the artistic consciousness); its personages abandon their literary rigidity, begin to distrust their own qualities to become, surprisingly, not less but more human and lifelike, as in the case of Robert Musil’s hero Ulrich, in the cunningly titled great modernist work, The Man Without Qualities.

This is the great heritage of modernism. Characters are not described to make them ‘round’ or believable, but to make them contextual in the larger narrative of the work. (Did not Chekhov himself believe that human character is essentially flat, and it is life instead that is complex?) Writing is an attempt to understand one’s position in the world, to find a relevance for one’s past, one’s memories in the forever-becoming present and an impersonal, abstract (or absurd) future. Most modern-day writers emphasize the structure of the work and the unity of its various parts that respond to an internal necessity rather than outward reality. Very often, a writer’s choice of a subject, together with the style and perspective he or she employs to express this subject, is enough to show where his or her affinities lie. And choosing an aesthetic itself amounts to a moral act, for, as Georg Lukács puts it, ‘the ethical intention in the case of the novel is an effective structural element of the work itself.’[18]

As the artistic vision turns more personal, it withdraws from the common ideas of social and moral exchange and the general categories we ascribe to reality, and the more singular it becomes, the closer it comes to defining reality in a clear, specific manner, away from the shared perception of the mass. The creative process in its coming into being and becoming is deeply personal, and needs the gift from the otherworldly, the aesthetic thrust that creates in the receiver a feeling of transcendence. The emotion it produces is a little outside words, even though emanating from them, like laughter. In such cases, the fictive world makes no effort to mimic the ‘real’, but engenders an entirely new, unfamiliar version, in the process defeating it.

But this defeat, or as Lukács calls it, self-destruction of reality, is of an entirely intellectual nature and is not immediately evident in a poetic or sensuous way. Genuine interiority, he writes, turns ideas of life into ideals, and the inability of the outside world, which is a stranger to ideals and enemy of interiority, to achieve an appearance of completeness within the novel can only be overcome when it becomes the focus of the artist’s mood or reflection.[19]

Hugo von HofmannsthalHugo von Hoffmannsthal

Fredric Jameson, on the other hand, has argued that this ‘enstrangement’ and obsession with form that makes the artefact preferable to reality is the result of late capitalism turning modernism into ideology and the crowning of aesthetic autonomy over life and experience in the midst of humanity, that is to say, history,[20] but in truth the twin notion that a book is a vision of the world and at the same time a thing added to the world is perhaps at least as old as the printing press. Don Quixote, for example, would not exist in the absence of this crucial theme. Much later than Cervantes but also much before the beginnings of modernism, in a fictional fragment, The Rose and The Desk, Hugo von Hofmannsthal could write:

I know that flowers don’t fall by themselves out of open windows. Especially not at night. But that’s neither here nor there. Briefly, the red rose was suddenly lying on the white snow of the street in front of my black patent-leather shoes. It was very dark, like velvet, still slim, not yet opened, and entirely without scent in the cold. I took it home with me, put it in a tiny Japanese vase on my desk and went to sleep. A short while later I was wide awake. There was a faint glow in the room, not from the moon but from starlight. I felt the scent of the heated rose wafting toward me as I breathed, and I heard a low voice. It was the porcelain rose of the old Vienna inkstand, which had something to say. “He has absolutely no feeling for style anymore,” it said, “no taste at all.” It meant me. “Otherwise he couldn’t possibly have put such a thing next to me.” It meant the living rose.[21]

—Aashish Kaul

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Aashish Kaul completed his doctoral studies at the University of Sydney. He is the author of A Dream of Horses & Other Stories (2014) and The Queen’s Play (2015).

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Footnotes    (↵ returns to text)

  1. Ann Jefferson and David Robey, eds. Modern Literary Theory – A Comparative Introduction. London: Batsford, 1986. p 27.
  2. Viktor Shklovsky, Theory of Prose. trans. B Sher. Normal, IL: Dalkey Archive Press, 1991. pp. 4-6.
  3. Samuel Beckett, Proust. New York: Grove Press, 1957. p. 8.
  4. Jefferson and Robey, pp. 31-34.
  5. Maurice Merleau-Ponty, Basic Writings. ed. T Baldwin. London and New York: Routledge, 2004. pp. 284-89. See also, Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre. trans. R Howard. Ithaca, NY: Cornell University Press, 1975. pp. 151-53.
  6. Giorgio Agamben, Language and Death: The Place of Negativity. trans. K Pinkus and M Hardt. Minneapolis: University of Minnesota Press, 2006. p. 78.
  7. MM Bakhtin, The Dialogic Imagination: Four Essays. trans. C Emerson and M Holquist. Austin: University of Texas Press, 1982. pp. 278-79, see also, pp. 298-99.
  8. Javier Marías, ‘Eight Questions for Javier Marías’, Voyage Along the Horizon. trans. K Cordero. San Francisco: Believer Books, 2006. pp. 175-82.
  9. Roman Ingarden, The Literary Work of Art. trans. G Grabowicz. Evanston, IL: Northwestern University Press, 1973. pp. 290-96.
  10. Beverley Farmer, A Body of Water. St Lucia: University of Queensland Press, 1990. pp. 4-6.
  11. Octavio Paz, Alternating Currents. trans. H Lane. New York: Arcade Publishing, 1990. p. 6.
  12. Todorov, 1975, p. 141.
  13. E.M. Forster, Aspects of the Novel. London: Penguin, 2005. pp. xiv, 86-87.
  14. Forster, pp. xv, 134-50.
  15. Julio Cortázar, Hopscotch. trans. G Rabassa. New York: Pantheon Books, 1986. p. 402.
  16. Fredric Jameson, A Singular Modernity. London: Verso, 2012. p. 208.
  17. Tzvetan Todorov, ‘Reading as Construction’ in Michael J. Hoffman and Patrick D. Murphy, eds. Essentials of the Theory of Fiction. Durham, NC: Duke University Press, 1996. pp. 259, 266-67. See also, Todorov, 1975, pp. 54, 93-95.
  18. Georg Lukács, The Theory of the Novel. trans. A Bostock. London: Merlin Press, 1971. p. 72.
  19. Lukács, p. 79.
  20. Jameson, pp. 176-79.
  21. Hugo von Hofmannsthal, The Lord Chandos Letter and Other Writings. trans. J Rotenberg. New York: New York Review of Books, 2005. p. 49.
Dec 012015
 

gabriel-josipoviciGabriel Josipovici

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The first time I read Gabriel Josipovici, it was a slim, glossy brown volume sent to me by Carcanet that looked at first glance as if it might be poetry. It wasn’t, it was a short novel entitled Everything Passes, but I was struck by the amount of white space the reader is confronted with on each page, the writing being confined to a slender column of dialogue that is itself intermittent, fragmented by vertiginous silences. I began to read the first few words and felt myself slipping, slipping, as if down a polished chute, those aching blank spaces dragging me across to the next portion of dialogue as if across a dangerous precipice. I had to put it down for a while because it frightened me. And for the same reason I had to pick it up again. When it was finished, I was stunned. It was quite the most extraordinary piece of writing I had encountered in a long time.

Why has Gabriel Josipovici never won the Man Booker Prize? Or the Goldsmith’s, or the Costa Book Award? It’s a common question among those of us who are thrilled by his work. His reception by the British critical establishment has been a rocky one over the past 45 years, which remains perplexing to me. A man who spent his career teaching literature, a published academic critic and a writer of novels, short stories and plays of striking originality, should surely tick the right boxes? Maybe there is an otherness about his writing that stems from his childhood in Egypt[1] that lingers in his books just sufficiently to disturb the mainstream mind? Maybe he has been too far ahead of his time, and only now are we able to catch up with him?

Over the past few weeks, Gabriel and I have put this interview together over email. During this period he celebrated his 75th birthday and a strong sense of retrospection grew out of our conversation, a chance to look at the entirety of his writing life. I told him our focus would be on creativity: his creativity, the creativity in his texts, the creativity that his writing draws out of the reader. This was the result.

§

Victoria Best (VB): Let’s begin with The Inventory, your first novel published in 1968. I’d like to get a clearer picture in my mind of your mid-twenties self, a literary critic by now but embarking on a work of fiction. What was the inspiration for this novel?

Gabriel Josipovici (GJ): I wrote The Inventory before I wrote The World and the Book (1966, 1965-70). I had been writing fiction at least since my early teens – Monika Fludernik, when she was researching for her book on my fiction and drama, came to the house to look through my files and unearthed a short story I’d published in the Victoria College school magazine in 1954 in Cairo, when I was thirteen. It concerned a road waiting for the road-mender who comes every day to work on a stretch of it and who doesn’t come that day and will in fact never come again because he’s dead. I read it with amazement, because though it was naïve and didn’t really know what it was doing it had the voice I associate with my later writing, showing that this ‘voice’ is something one is born with, or that is the product of one’s earliest years, and, however ‘formative’ the experiences of one’s teens and later life, it remains constant. I went on writing stories, and in the year I had off between school and university I tried to write a novel but it was so bad and I believed in it so little that I burned it. But a story I wrote then was kept for ages by Encounter, the leading cultural journal of the time, who eventually wrote to say that after long consideration they’d decided not to publish it, but they’d like to see anything else I wrote, which was encouraging. Then at Oxford I wrote and published stories in University magazines, and an enterprising publisher (now an agent), Gillon Aitken, got in touch and asked to see more of my work. I was tremendously excited, of course, but it turned out he only wanted a novel. I said I didn’t have one but would naturally send it to him if and when I did. Despite this, I couldn’t seem to write anything longer than short (very short) stories.

I have often spoken about how I came to write The Inventory. It was such a breakthrough for me and emerged out of such turmoil and anxiety that – I now realise – it has acquired in my mind something of the status of a founding myth. But I’ve recently been reading through some of my early working notebooks and I can perhaps take this opportunity to round the picture out a bit, to release it (for myself at any rate) from its mythic dimensions.

After two years as a graduate student at Oxford and two as a young assistant lecturer at the University of Sussex, writing short stories no-one wanted to publish, I was getting more and more frustrated, feeling the need to write something longer than a short story, partly because I desperately wanted to have something substantial to work on for months rather than weeks at a time, and partly because I felt that if I didn’t write a novel I couldn’t really consider myself a proper writer (I had not yet read Borges or Robert Walser, who might have made me think differently), and partly of course because, as Gillon Aitken had shown me, publishers weren’t interested in short stories from unknown authors. I had even got to the point of feeling that much as I loved my work at Sussex, I would have to give it up, since I didn’t want to spend the rest of my days living the comfortable life of an academic but feeling deep down that I had betrayed the most intimate part of myself out of laziness or fear or for some other unfathomable reason. But the trouble was that, as I’ve said, much as I wanted to write something extended I found myself totally incapable of doing so. For if I worked out a plot I found it so boring to flesh out that the whole business of writing suddenly seemed meaningless, while if I didn’t have a plot the impetus petered out after a few pages.

A word had come into my head: inventory. Simply repeating the word to myself gave me gooseflesh. I realised that this was because the word seemed to pull in two totally opposed directions at once: in the direction of unfettered subjectivity, invention, and in the direction of absolute objectivity, an inventory list. I discovered that they actually derived from two different Latin words, invenire and inventarium, but that didn’t matter, there they both were, nestling inside the single English word. And suddenly I had a subject I was excited about: someone has died and the family, with the help of a solicitor, is making an inventory of the objects he (it soon became obvious to me it had to be a he) has left behind. As they do so the objects lead them into recollection or perhaps even invention of the person they had known and of their relationship to him.

But though I elaborated my basic plot I could not get the novel going. There seemed to be an insuperable gap between what I sketched out in my notebooks and any actual novel I might write.

I had a term of paid leave coming up at the end of my third year of teaching, and all through that year I pushed myself to write The Inventory (I knew my title) and all through that year I found I just could not get started. The three months I would have to myself (officially to write a critical book) grew and grew in importance. This was going to be the crunch. If I failed here I knew I would have to leave academic life for good and I had absolutely no idea what sort of job I would be able to get to keep myself and my mother – all I knew was that it would be a good deal less enjoyable and satisfying than the job I had. So, once the summer arrived, I knew there were no longer any excuses.

A beloved cat of mine had recently died and I decided, to take my mind off my anxiety, to write a children’s story about him. I had no children of my own but I did know and like very much a colleague’s three little girls, who had been very fond of my cat. So I imagined myself telling them his ‘story’. Day after day I simply sat down and wrote what I heard myself telling them. He had been a large neutered Tom, already an adult when we had got him, and when he sat out in the garden contemplating the world he looked rather like a triangle with soft edges. I called the story Mr.Isosceles the King.

The advantage of a children’s story was that I had no great expectations of myself and so no inhibitions to be overcome. I also had a clear audience in mind. And so I found myself, day after day, while on holiday in Italy, writing about Mr.Isosceles, until one day it was finished and I realised I had a book there which I had had no idea I would write and certainly no idea of the form it would take a month or two previously. So, as summer turned to autumn and autumn to winter, I had a new sense of confidence that just sitting and writing for a few hours every morning would yield something. Yet that did not allay my mounting sense of panic. I would wake up every morning drenched in sweat, my heart pounding. I knew it really was now or never. But fear, I discovered, can be a very useful thing. It can push one past all the inhibitions that have been holding one back and get one across that seemingly insurmountable barrier between notebook and novel.

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VB: You’d already discovered the Modernist writers you loved and your relationship to them as a critic is clear. But what was your relationship to Modernism as a fledgling artist at this point? What did you hope to explore or elaborate in creative writing?

GB: The answer to the second question is: nothing. One writes because one has to, not to explore or elaborate anything. The answer to the first is, I suppose, that I had read Proust and Mann and Kafka, and Mann had made me understand that our modern situation is different from anything that has gone before, and fraught with difficulty; Kafka had made me understand that I was not alone in my sense of not belonging anywhere or having any tradition to call on; and Proust had given me the confidence to fail, had driven home to me the lesson that if you come up against a brick wall perhaps the way forward is to incorporate the wall and your effort to scale it into the work. I had read Robbe-Grillet and Marguerite Duras, and been excited by the way they reinvented the form of the novel to suit their purposes – everything is possible, they seemed to say. But when you start to write all that falls away. You are alone with the page and your violent urges, urges, which no amount of reading will teach you how to channel. ‘Zey srew me in ze vater and I had to svim,’ as Schoenberg is reported to have said. That is why I so hate creative writing courses – they teach you how to avoid brick walls, but I think hitting them allows you to discover what you and only you want to/can/must say. Not always of course. The artistic life is full of frustrations and failures as well as breakthroughs. You are alone. No-one can help you. I think that’s what Picasso means when he says that for Veronese it was simple: you mapped out the territory, started at one corner and worked forward. But for us, he says, the first brushstroke is also the last.

So: to go back to the genesis of The Inventory. I had my first scene in my head: the solicitor arrives at the house and meets the family of the deceased. I could visualise the street and the house. But how to put that down in words? Now I was sitting at the desk determined to write the book rather than simply thinking about it, this suddenly became a crucial issue. Did I use one sentence, one paragraph or one page to describe the scene? As I scribbled I found myself rejecting one effort after another: they were not in my voice, not what I wanted. They were in all the voices of all the novels I had ever read. How then to find how I wanted to say it? And suddenly, under pressure, the breakthrough occurred. I realised I was not interested in describing the scene, what I wanted was to get the characters talking to each other, to get the thing under way. And it came to me that I could simply drop all description and find ways of conveying the scene entirely through dialogue. With that the book became a challenge and a pleasure instead of a dutiful chore. I had my lists of possessions, my inventory, and I had my characters, and that was all I needed.

Years later I read Stravinsky’s account of a similar breakthrough he had experienced as a young composer (it was when working on Petrushka I think): ‘It was as though I had suddenly been given an extra joint in my fingers,’ he said. And years after too that I began to understand why I was so resistant to description, and why dialogue on the contrary seemed exciting. It was not description as such that I felt I simply could not (my body would not) do; it was that I could not countenance the introduction of an impersonal narrator who would be able to describe the scene from a privileged position outside space and time. It might seem that a first person narrator would solve the problem, but unless he was a sort of Tristram Shandy (and I found that much as I loved that book its wonderful playfulness was not something I was drawn to emulate) there would be exactly the same problem: in life things slip past us, we are always in the midst of them, we do not stop and describe, we simply take in our environment as we go. The traditional novel pretends to be doing that but in fact the first person narrator, when there is one, stands free of such pressures and simply tells the story. The descriptions he or she provides are meant to orient the reader, to act like stage directions. But I did not want such dead wood in my book. I wanted it to be alive from start to finish, from the first word to the last. And in dialogue it could be alive, for what dialogue did was provide words where (in the fiction) the characters would be providing words. Why the words are spoken, how speaking them affects the situation and what they ‘mean’ can be left as open as in any encounter in real life.

That was how, much later, I came to explain my peculiar aversion to description and my recourse, here and later, to dialogue. At the time I merely felt that I was embarked on an exciting journey and it was up to me to keep going till I got to the end.

VB: I’m also intrigued by your use of repetition – very strong in The Inventory, but also to be found in many other of your works. What is it about repetition, do you think, that brings us closer to the real?

GJ:I discovered, as I worked, that I could do without transitions. I could simply juxtapose fragments of dialogue and build up a rhythm in that way. Repetition was part of that process. As I soon discovered, Stravinsky worked in rather the same way. Instead of the development so central to the Western classical tradition he worked with small cells which he juxtaposed with others or transformed by various processes. And his descendants, I realised, were living and working in here England – Peter Maxwell Davies and Harrison Birtwistle, then young radicals setting out on their own paths, influenced by Stravinsky as well as by Varèse and Messiaen, but also harking back to late medieval and early Renaissance ways of building large works by other means than classical development. I spent many exciting hours at the concerts of the Pierrot Players, the Fires of London and the London Sinfonietta. And in the course of that discovered Stockhausen, Berio and Ligeti, very different composers, but all rejecting the linear, developmental processes of classical music and finding their inspiration in the musics of the Middle Ages, India and the Far East. It was an exciting time.

VB: What did the experience of writing this first novel teach you?

GJ: One other thing I discovered on the way was that under pressure of the situation all sorts of unexpected things occur. A writer I had not really thought about much, Raymond Queneau, became a great source of strength as I struggled with the book. Recalling his ability to maintain wild flights of fancy and yet hold on to ‘the real world’ of the France he knew, particularly in Zazie dans le métro, gave me the confidence to let go in ways I had never been able to do in my short fiction. It was frightening but exhilarating, a roller-coaster ride with no assurance that I would land on my feet at the other end. But, somehow, I did (I learned that if you let go you often do).

queneauRaymond Queneau

VB: How was it received?

GJ: Respectfully. I think it was possible to read it as a version of the English realist novel. And those were perhaps more open times, in the late sixties. Iris Murdoch’s first novel, Under the Net, was, after all, dedicated to Queneau and this was the time when John Berger and David Drew, Europeans to their core, were writing in the back pages of the weeklies. Critics only turned against me with my fourth novel, Migrations, which was a break from the predominantly dialogue novels I had been writing till that point.

VB: As a critic, how would you define the role of the reader?

GJ: I’ve no idea. Perhaps we should drop such notions as ‘the role of the reader’. Reading, as you know, is the most natural of activities. I’ve seen children who can’t yet read grab the book from their father’s hand and sit there, imitating him, turning the pages, willing themselves to read, as it were. I was fortunate to grow up in a pre-television and pre-computer age, so that there was nothing else to do if you were on your own except kick a ball around or draw or read. There came a moment when my mother put down the book she was reading to me to go and do something and I picked it up and went on with it. She came back and I handed the book to her to continue, but she only smiled and said she was busy and perhaps I could go on on my own. And of course I did. I wanted to find out what happened next. And I remember lying by the pool in the sports club in Maadi, near to Cairo, where I grew up, and looking up at the big clock on the wall and thinking: soon it’ll be time for lunch and after that I can go on with my book. And I felt a tingling in my whole body at the thought. I think the book in question was Enid Blyton’s The Castle of Adventure – I’ve never read anything more thrilling, though I’ve had many similar moments of looking forward to a blissful evening with a book I was absorbed in.

VB: I ask this because Migrations is an exemplary novel in the singular effect it has on me as a reader. Your narratives have such extraordinary elasticity; they open up new spaces in my mind. I find myself drawn to the trope of migration itself, and the way your characters often walk and talk, or walk and think; their movement echoes the mental travel I undertake reading you. Do you have such a figure as Iser’s ‘ideal reader’ in your own mind when you are writing? What do you think your novels ask of the reader?

GJ: I think one writes the books one would like to read but that no-one has written. So as you write you write for yourself as reader. That figure is not in your mind so much as in your body. He is not ideal at all, he is this person: you as reader of books.

But the first part of your question deserves a fuller answer. Quite a few years ago now I received a letter from a reader of my work who told me she had had M.E. [Myalgic Encephalomyelitis, the name previously used for Chronic Fatigue Syndrome, though some argue the two illnesses are different] for many years, and for a long time no doctor would take her seriously, though she had fought hard to get her condition recognised (as of course it now is). She said reading my work had a physical effect on her, actually did what medicine and therapy could not do, that while she was reading my work she started to move better, to feel more like her old self. We corresponded and it turned out she was actually in a wheelchair, but clearly a very determined lady (in earlier life, she told me, when the disease was less virulent, she had acted and even taken a small company on a tour of Africa). She asked me if I thought she should do a PhD on my work, and tried to get in to various universities to do that, but for one reason or another it didn’t work out. I suggested to her that PhDs were probably not a good idea in the Humanities (a view I hold generally), and that if she felt driven to write about my work she should just do so. Over the course of the next years she did that and in the end had a substantial book. I read it with interest because I had always been fascinated by the kind of thing Oliver Sacks was doing and loved the idea that books could have a physically, not just emotionally or intellectually, restorative effect on the reader, not just on the writer. I had hoped that in the wake of Sacks’s popularity a publisher might be persuaded to publish her book, but alas no-one would and I remain one of its sole readers. But I cherish my copy as a witness to the effect art can have.

I don’t think there’s anything uniquely ‘restorative’ about my work; if she had happened to read someone else I’m sure that would also have done the trick. Not anyone else, but I have certainly found that the authors I warm to affect my body and not just my mind. And in essays and books like Writing and the Body I’ve tried to explore in an amateur way why that should be the case. But while neurologists have been (rightly) alert to the therapeutic effects of music, and even painting, poetry and fiction have not in the past been examined from the same perspective. This has, though, recently become a topic of research, and Terence Cave, for example, has devoted some of the money he received from his Balzan prize to setting up a team in Norway to look into it, while Paul Davis and a team at Liverpool are engaged in the same enterprise. Both of them though seem to me overly scientific and abstracting. I just wish the topic would find its Oliver Sacks.

As for Migrations and migration, that work was indeed another breakthrough for me. I had grown to feel that the dialogue form I had developed in The Inventory and which I had adopted for my next two novels, Words and The Present, was no longer satisfying. I had had a few plays publicly performed and been made welcome in the wonderful BBC Third Programme and the Radio Drama department, presided over by Martin Esslin, and full of great producers able to call on the best actors in the land. My play Playback, which I worked on with that great producer, Guy Vaesen, kicked off a season of radio plays exploring the possibilities of the form. I felt more at ease in my teaching role at Sussex now it was established that part of my time at least would be spent writing. Yet in personal terms 1972-5 were very difficult years for me. A good friend committed suicide. My beloved collie dog, who had developed epilepsy in a very violent form, grand mal rather than petit mal, with fits lasting all of 36 hours, had finally had to be put down, and I could not get out of my head the look in his eyes as he felt a fit coming upon him and with no idea, of course, as a human being would have, of what was about to engulf him. I had behaved very badly to a number of people who were very close to me. All I wanted to do was beat my head against the wall and scream. In those circumstances the lightness and humour of my early novels did not seem to be of any help. I wanted to be engaged in something that went deep and that (as I put it to myself) wound round and round and round, and in the writing of which somehow the shackles I felt were binding me tight might get released. I felt I needed to go down into my own life, but when I did so I found I had no ground to build on – I had no maternal country to dream about, not even a maternal language. I felt I was a sort of absolute migrant – someone on the move from my birth on, with no place to return to and no place to go to. How, in that condition, to find any solid base on which to stand to build something substantial? Yet as I thought about all this I began to wonder if perhaps my condition was more typical of the human condition at large than our culture (any culture?) was willing to recognise. Most people have a patria and a maternal language and the notion that these are primal is somehow unquestionable. But is it true? Or is it perhaps just another myth. Perhaps if one dug down deep enough one would find only shifting sands. I started to read quite a lot of French psychoanalysis (my close friend John Mepham was a great resource there), and in particular André Green. And I began to feel that perhaps I could find a fictional form for all this.

Two images came into my mind under the pressure of trying to find my form: a Francis Bacon image of a man vomiting into a lavatory, bent double over it, a painting I must have recently seen; and Epstein’s great sculpture of Lazarus rising, the shrouds that had been wrapped about his body starting to come loose, which I had discovered in New College chapel when I was a student down the road at St.Edmund Hall and which I often used to go and contemplate in my time at Oxford. I was also listening to the current work of Peter Maxwell Davies, those enormously slow, enormously long works audiences at the time were walking out of, like Worldes Blis and the Second Fantasia on John Taverner’s In Nomine, which developed almost imperceptibly, like their great late medieval models, from tiny cells to monumental structures. And then I heard Harrison Birtwistle’s The Triumph of Time, and I knew I had to write my book. It knocked me backwards, that long long slow ritual on strings and percussion, punctuated by the piercing, beautiful descant of the clarinet. Towards the end of the huge single movement there is a glimpse of something found, then that too is swallowed up in the funereal march. Finally, I was just starting to learn biblical Hebrew in order to read the Hebrew Bible in the original language. I was also reading the Bible in English quite intensively. I came across this phrase in the prophet Micah: ‘Arise and go, for this is not your rest.’ (Micah 2.10) I loved the sound of it in Hebrew: c’mu velochu ki lo zot ha-menuchah, and I was excited to discover that the word for rest, menuchah, is also to be found in various other places in the Bible, notably when the dove is sent out of the ark by Noah but can find no rest for her feet because the earth is still covered by water. I knew then that I had found the epigraph to my book, and, after much internal debate, decided to leave it in Hebrew to give a sense of its otherness and strangeness, and since the precise reference would allow anyone interested to look it up in an English Bible.

I had been driving up and down the road that leads from Brixton to New Cross, a road that filled me with horror every time I took it, it was so endless, so run down and desperate (it must have changed dramatically, like all of London, in the forty years since I was there), and I took that as my location. I hoped that by facing that despair and the despair of the man in Bacon’s sealed room vomiting into the lavatory, by finding a way of writing it, I might regain a modicum of balance. But I was terrified that so instinctive a procedure would lead to nothing more than a mess, so that though I wrote it straight, day after day, never looking back, once that first draft was done I subjected it to more analysis and drew more grids than I have ever done before or ever want to do again. I found that the pattern 9+1 was a recurrent one, tweaked it here and there, and decided on a title with nine letters plus the sign for the plural. And so Migrations was completed.

I had been so deeply immersed in it, and it had seen me through such a bad time, that, once my only reliable reader (relied upon to criticise as well as praise, which is essential), my mother, had read it and said she was deeply moved, I felt happy to send it to Gollancz, who had published my previous three books, including my first volume of short stories, Mobius the Stripper: Stories and Short Plays. That volume had been awarded the Somerset Maugham Prize, a wonderful accolade for a young writer, news I had received on returning from a brief holiday to try and come to terms with my friend’s suicide, but at the last minute the prize was withdrawn on a technicality (I had not had an English passport when I was born, a fact I had never tried to hide, but which it seemed was a stipulation by Maugham for the award of the prize, even though in his lifetime he had waived that requirement in a couple of instances, and which the publishers, who submitted the book, had overlooked) and Gollancz, who had slipped bright yellow wrappers announcing the award on all copies of The Present, which they were about to publish, had to hurriedly remove these. Insult was added to injury when the chair of the Society of Authors, which managed the prize, Antonia Fraser, wrote more or less accusing me of deliberate fraud and ended with the chilling words: ‘However, I am sure you will agree that the publicity you are getting more than makes up for the withdrawal of the prize.’ Be that as it may, Gollancz took one look at Migrations and turned it down. When it was eventually published it was rubbished by the critics, Susan Hill, for example, saying (was it in The Observer?) ‘If you like that sort of thing then that is the sort of thing you will like.’ It was my first encounter with the entrenched conservatism of the English media and especially of established English writers, a conservatism I now suspect (after the similar outburst of bile that greeted my recent critical book, What Ever Happened to Modernism?) is due more to anxiety than to anything else.

mobius

VB: The other figure that recurs across your works is the figure of the man alone in his room. This makes me think of both the reader and the writer, who are often in such a situation. What draws you to this figure, or perhaps better to ask, how was this figure thrust upon you?

GJ: I think I’ve answered this in relation to Migrations. As for its larger or deeper significance, all I can say is that my pulse quickens when I see paintings or listen to music or read books where the constraints are fairly tight – where a room hems in the figures, as in Vermeer or Hammershøi or some of Giacometti, or the musical resources are limited, as in Renard and Histoire du soldat. Why it should do so is a difficult question, better left to others.

VB: I wonder if we might bring in your notion of art-as-toy here; something material and real in its own right but invested with imagination and fantasy. Do you think, as both author and critic, that the ‘toy’ of art is different – invites different kinds of play – for its creator than for its consumer?

GJ: Not sure I understand this. Art is making, poiesis, and what I like about much modern art is that it acknowledges this, indeed, makes a virtue out of it. We may be nostalgic for the organic, for art growing as a tree grows, but to accept that art is made by someone at some moment is exhilarating for me. That’s why I love Tristram Shandy. Of course there are dangers. If one starts to think of it as simply artificial one is set firmly on the conceptual route, and though I am interested in Duchamp, who was a complicated and conflicted figure, I am not much interested in his followers. A key moment in What Ever Happened to Modernism?, to my mind, though no-one has mentioned it, is the confrontation I set up between Duchamp and Bacon. Both of them want nothing to do with mere description, nor do they want to go down the road of abstraction, but where Duchamp views every artistic gesture with suspicion, Bacon is prepared to trust the moment, to trust his painterly gesture. Duchamp has all the philosophical answers, but Bacon is a bit like Dr.Johnson confronting Bishop Berkeley: he kicks the stone. Duchamp will never be accused of self-indulgence or losing the plot, but my heart is with Bacon. And more than my heart. I believe that if we realise that a child lives the toy, lives with the toy, while never for a moment thinking it is anything other than a toy, then we perhaps have a better model of our relationship to art than the conceptual one. I at any rate dream of making a work that is like some complicated toy you can dismantle and put together again and that is always not just more than the sum of its parts but in a different dimension. So I love works like Perec’s La vie mode d’emploi or Birtwistle’s Carmen Arcadiae Mechanicae Perpetuum and Steve Reich’s percussion pieces – but of course I also love works which are not like that at all, such as those of Kafka and Beckett and Stockhausen and Kurtág.

What ever happened

VB: Perhaps we might address the influence of Jewish elements in your works. It would be foolishly reductive to call you a ‘Jewish writer’; yet patterns of migration and exile are evocative, and many of your protagonists identify themselves as Jews (in a way that is often serious and amusing at once). How would you describe these elements in your writing?

GJ: Until well into my thirties I knew I was Jewish, knew my mother and I had survived in France during the war more by luck than anything else, yet I had no connection with things Jewish. My first books were written by someone without any contact with organised religion or with any religious tradition. So I was intrigued when, years later, a German colleague at Sussex, who was working on the way in which the Nazis took over the flats of Jews in Vienna after the Anschluss, told me she felt The Inventory was a very Jewish work: ‘It’s a book about the fragile remains of one person’, she said, ‘and the memory of that person in the objects he leaves behind and in the lives of those who survive. Surely you were obliquely writing about the war?’ I assured her that that was not the case, but of course accepted that sometimes we write more than we know.

Then, as I have said, at the time of writing Migrations I was starting to read the Hebrew Bible intensively. And what I found in the narratives there was a kind of writing that I had only come across in the work of Marguerite Duras: narratives denuded of description or psychologising, narratives which draw their power from the way dialogue and the stark description of ‘what happens’ hint at depths which evade even the speakers themselves. It was very exciting. And at the time too I became friends with a number of wonderfully thoughtful and interesting religious Jews, mainly Reform, Francis Landy, Geoff Newman, Jonathan Magonet. I found they shared one of the central attitudes I had been delighted to find at Sussex when I joined the University, a belief that one need not always have the answers, that sometimes genuine puzzlement is more fruitful than clear solutions. I admire and respect their devotion but because I never had any religious education or went to synagogue as a child I feel a little bit outside it all, but they – and they are still good friends – seem to accept me as I am. And like them too I despair of what is happening in and to Israel. The Jewishness I cherish is the one that stresses wandering as the human condition, not any sort of possession of a promised land.

So I would say that the feeling that I am Jewish is now more informed than it was, but it remains, like my awareness of Proust and Kafka, a support and a comfort rather than anything else.

VB: When I put down one of your novels, I feel that something significant and real has happened, and maybe it’s a case of Eliot’s belief that ‘mankind cannot take too much reality?’

GJ: Naturally I’m delighted you feel that way about my books. I suppose what I discovered in writing The Inventory is that I want a work to live its own life from the first word to the last. With the first word something unusual is happening, something for which there is no justification, which is a cheat, and yet which is also magical, wonder-full. I want to celebrate that, embrace it, not deny it, as do most works of fiction. I’m not interested in telling a story. I love the narratives of the Hebrew Bible and the narratives of the Border Ballads and of the Grimm tales, but most so-called classical novels turn me off – I don’t want to be filled with Stendahl’s or George Eliot’s inventions, or even Tolstoy’s, all those descriptions of clothes and rooms and the rest – I want books that leave a space for me to discover myself, like Proust’s or Kafka’s, or that get my body dancing, like those of Queneau and Muriel Spark. Lots happens in Balzac and Dickens, but I’d rather read Chandler or Wodehouse, writers who know that what they are doing is neither ‘significant’ nor ‘real’. But that’s no criticism of the classic novel (or the contemporary Goncourt or Booker contender), just that it’s not for me. As Stravinsky said of Mahler: ‘Our pulses beat at different rates.’

VB: And yet, I’m not sure I’ve read anything in which you abandon full characters. I’m thinking now particularly of the monologue novels like Moo Pak and Infinity, where you have Jack Toledano and Tancredo Pavone vividly depicted by their friends and servants, Damien Anderson and Massimo, who frame their stories. Wodehouse gives his characters easy, ridiculous, robust emotions, but what touches me about these two novels in particular is the love, friendship and loyalty, the very real emotions that drive the narrative. Friendship, suffering, the drive to create; I feel your works are very rich in emotion ‒ but entirely empty of sentiment. Would that be fair to say?

GJ: I’ve always felt that while a short story can spring out of an idea or a phrase a novel has to have characters I can empathise with. You have to have something genuinely invested in it if you are to spend a year or three of your life with a piece of fiction – there has to be something you want to explore and something you are moved by. For a long time I worked with the initial conceit of Infinity, and with the figure of the eccentric avant-garde Italian composer Giacinto Scelsi, but it was only when I opened myself to the human dimension of the relationship between Pavone and Massimo that the novel finally came. On the other hand I always conceived of Moo Pak as a dialogue novel with one part of the dialogue missing. ‘Rich in emotion but empty of sentiment’ – I can’t think of a nicer description of my work or one I would be happier with.

Moo Pak

VB: I’m also very intrigued by the ghosts of real people behind some of your novels – Giacinto Scelsi in Infinity, Pierre Bonnard in Contre-Jour, Joseph Cornell in Hotel Andromeda. I don’t for one second think this is a biographical urge, so what do these real figures offer you in terms of inspiration or structure or… maybe something else entirely?

GJ: I too have been intrigued by that question ‒ ever since I worked on The Air We Breathe, behind which lies the figure of Claude Monet, and which was sparked off by my looking at a book of photographs of the aged Monet and his wife – sitting on the beach in Dieppe, pottering about the garden in Giverny, etc. – and then found myself following it up with a book loosely based on the life and work of Pierre Bonnard, Contre-Jour. Enough, I said to myself, or people will start thinking of you as a novelist who only writes oblique biographies of painters. And then I found myself writing a book at the centre of which was Marcel Duchamp, The Big Glass, and fifteen years later a book in which Joseph Cornell figured prominently, Hotel Andromeda. It’s true that in between I wrote a number of novels – Now, Only Joking, After, Making Mistakes – which do not have an artist at the centre, but even so, what was going on? All I can say is that something in the life of this or that artist does more than intrigue me, it grabs me to such an extent that I cannot rest till I have had a go at discovering why, and doing so in the only way I know, by writing a piece of fiction. With Bonnard it was hearing a talk about why he painted his wife Marthe so frequently lying stretched out in the bath (because, said the speaker, she was a compulsive washer); with Duchamp it was reading about how, when he learned that the work on which he had spent so much time and energy, The Large Glass, had been damaged in transit to an exhibition, the glass panels cracked beyond repair, his response was: ‘Wonderful!’ With Scelsi it was reading the crazy remarks he made to interviewers and some of which were printed in the sleeve-notes to his CDs (‘I was born in Mesopotamia 2800 years ago’; ‘Other composers like to hold up their profiles to the photographers and to show off their noses; I have a finer nose, a perfect Roman nose, much finer than any of them but I have never let myself be photographed.’). With Cornell it was seeing those photos of him in old age in his garden or his study in the house in Utopia Parkway he had lived in most of his life, looking like a figure already passed over to the other side. But in every case I had to love the art or at least to find it highly interesting. I could not spend a year or more of my life with someone with whom I was not in some sort of sympathy.

And I think too that the combination of work that I found fascinating and a life that intrigued me and which I could identify with acted a bit like the double focus of that word ‘inventory’ with my first novel – it gave me the rudiments of a plot, and a form. Already in some very early stories I had found myself trying to find literary equivalents of paintings by Picasso, Vermeer, Dix, and others, and taking as the ‘content’ of the story what the painting represented: two large women running on a beach, a woman at the harpsichord, a mirrored room in Brussels during World War I. So it’s clearly more than a passing fad.

hotel

VB: I am particularly interested in the depiction of creativity that comes out of your work. There seems to me to be one constant feature uniting the artists in your pages and that is their absolute dedication to art. What makes this something you want to write about?

But I am also curious about the way that these characters suffer ‒ or make those around them suffer ‒ for creativity. Do you think that creativity is necessarily costly; that it always demands a measure of sanity or love or peace of mind to be paid?

GJ: That, I suspect, is the deeper reason for my fascination with these artists. Artists are the saints of our day, no? Surely, they argue by their choices, life is in the end about something other than money and status, life is a quest, a puzzle and a gift. On the other hand there is something ridiculous about this stance. Something quixotic. For already in the early seventeenth century Cervantes sensed that the dedicated life was an absurdity, whether that life was passed in dedication to God or to knight errantry or to the writing of books. I think that is one reason why I write novels and not critical books about Bonnard, Duchamp etc. Because fiction can show up the absurdity, even the self-delusion (Infinity), or the costs to others (Contre-Jour) of the obsessive artistic life, as well as its wonder and glory. That’s the beauty of art, of fiction, that it can accept and reveal complexity, even contradiction, and leave you simply pondering how life is.

VB: On that note of costly creativity, maybe we can return to you in the 80s and 90s. You’d been a young man longing to create works of literary fiction and here you are doing so, an established author. Had the experience been as you expected it would be? How had it changed you (if indeed it had)?

GJ: I’m not sure about ‘established’. After the débacle of the Somerset Maugham Prize and Migrations (1977) I had been labeled an ‘experimental’ writer once and for all and routinely abused and dismissed in reviews or else ignored altogether. With each new book of course I thought: This time they’ll get it, this time they’re bound to see what I’m after, but it didn’t happen. Publishers would take one book, swear they were in it for the long haul, then drop me when no-one bought the book, until I finally found a home in Michael Schmidt’s then expanding Carcanet fiction list. Carcanet have stood by me for the past thirty plus years, though during that time their fiction list has had to shrink and almost disappear (I think I am the last remnant of a once-vibrant list that included Clarice Lispector, Natalia Ginsberg, Leonardo Sciascia and Christine Brooke-Rose). When Contre-Jour was taken by Gallimard I thought: at last I will find a public to appreciate me. But Gallimard pushed it as a novel just about Bonnard and it fell flat and they lost interest. It wasn’t till the late nineties that a Swiss publisher, Gerd Haffmans Verlag, began to take my work and to publish it in Germany that I felt I had found a public. It wasn’t just that reviewers were kinder to the work, it was that the reviews were intellectually on a different level to the English ones and engaged with the work (Haffmans Verlag brought out Now, ContreJour and Only Joking when that book had not even found an English publisher) in ways inconceivable to English editors and reviewers. When I gave readings from my work in Germany I found people responding to it on its own terms, instead of more or less asking me to justify myself, as I felt on the rare occasions I had done readings or interviews in England. But then Haffmans went bankrupt, a seemingly common fate with any press that took me on. Finally in the new century dedicated small presses in France (Quidam) and Spain (Raig Verde, Complices) began to bring out my books in those countries, and first Zweitausendeins and then Suhrkamp and Jung & Jung in Germany. But it’s really only in the last few years (with the rise of the internet and blogs like yours and Steve Mitchelmore’s) that I’ve ceased to feel I’m there on sufferance and the sooner I disappear the happier the literary establishment will be.

Of course all that has its good as well as its bad side. I remember my Oxford friend, the composer Gordon Crosse, saying to me all those years ago: ‘For the artist there are two dangers, success and failure.’ Wise words. I’ve seen what success has done even to writers I admired (Golding and Pinter for example, even Claude Simon) and felt in a way glad it had never come my way. Failure – it depends how you define it. When all public responses are not just negative but dismissive it’s sometimes hard to keep going. We are not Buddhists, we need some sense that what we are doing is more than self-indulgence. But of course in the end we go on writing because we have to/want to. (David Plante once said to me: ‘Remember, Gabriel, no-one asked you to do this.’ More wise words.) I have now accepted that I will always only appeal to a very small section of readers, anyway in this country, but probably everywhere, but I have also come to feel in the last few years (not in the eighties and nineties) that there is a growing body of people for whom my writing really matters, and that is heart-warming and encourages me to keep going.

Contre-Jour

VB: You have written the most moving tribute to your mother, the translator Sacha Rabinovitch, in A Life, the memoir of your relationship. What do you think she gave you as an artist?

GJ: It’s so difficult to say. She gave me life, of course, and then she saved us both when we were stranded in France during the war. When I was fifteen she once again showed courage and determination when we left Egypt for good in 1956, just before the Suez crisis. She left her sister, her only remaining family apart from me, her beloved dogs and all her possessions to face a totally unknown future. She had no idea if she would be allowed into England, where I was going to finish my schooling, and, if not, what would happen to her. So my being in England and becoming an English-language writer I also owe to her forethought and determination.

All that might have been a heavy burden for me to bear, but she was also the most generous and the most loving of people, and gave me all her love without (I think) spoiling me – a difficult balance. But the real miracle was that as I became an adult (in fact from the moment I came back from Oxford, where I had been on my own for three years, for the first time in my life) we found we had a great many shared interests ‒ and even tastes – in books, in music, in art, animals, in walking – and became firm friends. Which doesn’t mean of course that we did not have quarrels, sometimes terrible ones, when people are that close it’s probably inevitable. But it was wonderful to have a friend in her to whom I knew I could always turn. When I began to write she was naturally the first person to whom I showed my work. And she was invariably encouraging though quite ready to make critical comments when she thought they were justified. Her response to The Inventory was typical. When a draft of that book was finally finished I left it with her to read and went off to London for the day. When I entered the house on my return my heart was beating. I felt that this was the moment of truth. I had no idea if what I had done was very good, quite good, or just plain rubbish. Her first words were: ‘It’s wonderful.’ And as the sense of relief flooded through my body she added: ‘I think you’ll have to work on the ending, though.’

So I suppose in answer to your question I have to say: she gave me everything. The deep confidence of knowing that, however out of step I was with the prevalent culture of the time, someone else thought the work good, someone I could trust. I would not have written what I have had it not been for her, and one of the hardest things about her death was losing my best and most reliable critic.

VB: Let’s talk about Goldberg: Variations, which strikes me as your most widely-reviewed novel to date. I also find it quite different to everything else you’ve written without being able to put my finger on why that should be so. It is such a unique piece of fiction – how did it come into being?

GJ: I think it was in the early nineties that I came across that anecdote about Bach’s writing of the Goldberg Variations. It derives from Forkel, Bach’s first biographer, but I can’t remember if I had been reading Forkel or another book on Bach or perhaps it was just a passing mention of the story in something on quite a different topic. (Scholars, it is worth saying, now cast doubt on every aspect of the anecdote.) It seems that Count Keyserlingk, a Leipzig nobleman, had insomnia, and he asked his court musician, the harpsichordist Johann Gottlieb Goldberg to play to him at nights in the hope that that might send him to sleep. Goldberg in turn asked Bach to write him a suitable piece, and that was how one of the greatest works of music ever written came into being. I thought it would be fun, as a sort of homage to Bach, to see what happened when I transposed the story to Britain and turned Bach from a composer to a writer. And I conceived the idea of an English nobleman in the late eighteenth century developing a debilitating insomnia and calling up his not too distant neighbour, the renowned writer of German-Jewish descent, Samuel Goldberg, to come and read to him, and then to insist that he read something he had written that day. It was an amusing jeux-d’esprit, and I got it written without too much difficulty. As I was finishing it I heard Judith Weir, a composer I knew slightly, talking on the radio about the importance to her and to so many modern composers, of Bach. I decided to send her the story, something I regretted doing for the next few years, because she wrote back quite soon to say she had much enjoyed reading it on a train journey to Manchester and when would I have the other twenty-nine variations to show her?

Of course once the seed has been sown in your mind it’s impossible to dislodge. I loved the Variations and every time I heard them I was deeply moved by the fact that when the Aria with which it starts returns, unchanged, at the end, we hear it completely differently, because of the long road we have travelled. I also loved the idea of a piece that would be made up of a number of discrete yet interlinked parts and that would yet be more than the sum of its parts. But I had set my initial ‘variation’ in England in the late eighteenth century, and while it was possible (for me) to write a piece of historical fiction that covered twenty pages I was not sure I could – or would want to – keep it up over a whole novel. I am not a historical novelist and am not interested in historical novels. Certainly not in twentieth century ones. Nevertheless, I thought I ought to give it a go. After all, I greatly admired William Golding’s The Spire, set in the Middle Ages, admired it particularly for the fact that Golding made the setting feel completely authentic yet hardly went out of his way to ‘set’ his novel in a bygone time. Perhaps I could learn from him.

Over the next few years I struggled with the project, periodically growing sick of it and turning to other things, yet always coming back to it. I couldn’t get it off the ground and I couldn’t quite let it go. I cursed Judith Weir. But in the end I had to let it go. I had written half a dozen ‘variations’ and roughed out the end, but it seemed terribly false and arch to me and I dropped it. I turned to contemporary subjects with relief and wrote Moo Pak and then Now, both set in present-day London. But after my mother’s death and the emotional turmoil that followed, I found myself spending more and more time in Berlin where a friend had a flat and a bicycle to lend me, and perhaps it was the distance and the unfamiliarity of my surroundings, but I found myself turning to my abandoned novel again. As I cycled along the canal or river towpath in Berlin, stopping off at beer houses with shady gardens, I pondered the problems of my book and found myself starting to work at it again. I realised that perhaps what I should do was punch a window into the present in the fabric of the building I had erected, so to speak, and let the later ‘variations’ enter the modern world. And then other things began to fall into place. I had decided from the start that I would not follow Bach’s variations slavishly, writing a very fast or a heavily ornamented variation when he did, etc. Yet there were a few landmarks in the landscape of his mighty work that I felt I would like to incorporate into my feeble effort, in particular the moving slow and lyrical variations to be found, one towards the end of the first half and one halfway through the second, and also the rumbustious knockabout variation with which he concludes. I had also, like all listeners to the work, been struck by the fact that Bach does not, after the Aria, begin with any sort of overture, but keeps that back till variation 16, the start of the second half. I decided that for that grand piece ‘in the French style’, I would transpose another Bach anecdote to late eighteenth century England. The story goes that by the end of his life Bach’s fame and his ability to improvise complex music had spread to the court in Potsdam, and it was there that the King invited him and gave him a theme which he asked him to improvise on. The result was another astonishing masterpiece, The Musical Offering. I decided that my naturalised English writer would also compose a number of variations on a theme given him at court by George III.

I had had a postcard of an extraordinary late work by Paul Klee on my desk in Lewes for some time. Called Wander-Artist, which means something like travelling showman and performer, it depicts, in stark black, a crudely drawn figure striding from left to right across a red background, itself hemmed in by a rough black frame, and waving as he goes. The whole is painted to look more like a poster than an artwork, and I loved it and was moved by it, for reasons I could not begin to fathom. But as I worked with renewed energy on my homage to Bach that figure suddenly intruded into the fiction and even began to speak. That was when I knew that finally the thing was coming together and one day I would have a book.

When it was done and I had my thirty variations I racked my brains to try and decide how to compose the Aria that in Bach starts and finishes the work. And it gradually dawned on me that that may be the difference between our age and the age of Bach, that his can have an opening and closing Aria, which anchors the piece and set the parameters, while ours can only have variations. In other words, there was a good and profound reason why I could not find it in me to write my Aria. And with that thought came the further thought that for this book the Aria would have to be the Klee Wander-Artist, which I would ask the publisher to put on the front and back covers, as though the only Aria for us to countenance today would have to be a collage onto mine of someone else’s work, and would be a work that itself cast doubt on the notion of the artist, suggesting as it does, like other works of Klee, such as Ghost of a Genius, that today the word can only be used mockingly, artist reduced to artiste, genius to ghost.

With that my work on the book came to an end. But my feeling, after working at it for far longer than for any of my other novels, was mainly one of relief, not of triumph. And of course it was the first novel of mine that I could not show to my mother. As to whether it’s all that different from my other works, I’m not sure. In some ways of course it is, and I’ve tried to explain why. But the central figure of the Wander-Artist is another of my walkers, isn’t he? His roots I think probably go back to Migrations. But it’s really not for me to say.

Goldberg- Variations

VB: Goldberg was received wonderfully well in France. Reading the reviews, I feel they really ‘got’ you, if you know what I mean. As you mentioned with the German reading public, they responded so deeply to what you are doing in your fiction. I wonder why your writing works so well with a European sensibility that seems lacking in the Anglo-Saxon temperament of the British?

GJ: But it took twelve years to appear in translation. Haffmans Verlag had commissioned a translation but the firm went bankrupt before they could publish it, and so far no other foreign publisher has dared take it on, apart from Quidam, my intrepid and wonderful French publisher, who brought it out last year. I did finally feel then that I had found my public, something, as I said earlier, that I had hoped for with Contre-Jour but which never materialised at the time.

As to why my books get more intelligently reviewed in Germany and France, there must surely be many reasons. There is now a clear divide between the cultural life in England and America on the one hand, and on the continent on the other. You go into a French bookshop and the main table is spread out with books on philosophy; in an English bookshop, with books on food or gardening, or with biographies of footballers. The Net Book Agreement holds in France and hardly anyone uses Amazon, preferring always to buy through their local bookshop. And there are still several of these, independent bookshops, in every quarter of Paris, each with its devoted band of readers. Bernard Hoepffner, my brilliant French translator, and I read together from Goldberg in a small Paris bookshop last year. We occupied the only two seats they could get into the small space, but it was packed with people who had already read the book, listened attentively, and asked good questions, standing for over two hours. And that’s not just true of Paris, but of most French towns. With Bernard we took the train to Tours and read in a bookshop there (the tickets and our hotel paid for by the bookshop owner). Same story, except that the place was big enough for seats to be brought in. Drinks were served afterwards. When we did the same in Brussels, the owner said he couldn’t stay to have dinner with us. He had made his money, it turned out, in business, and then at the age of 30 retired and started the bookshop. At ten that night he was taking part in a 160-kilometre bicycle event. So he was living the life he wanted to live. In England I suspect someone in his position would have opened a wine-bar. So it’s a whole cultural thing. Proust, Blanchot, Merleau-Ponty, Derrida, Mann, Heidegger, Celan, are living presences for most educated readers in France and Germany. In England? One just has to ask the question to see the problem.

It’s a shame, though, because I feel a dose of English irony and even scepticism would sometimes be useful when French or German intellectuals ascend into the stratosphere, and I love the deflationary irony of the best of Evelyn Waugh and Kingsley Amis. But it can so easily become a cheap and sneering cynicism, which is really a kind of schoolboy panic in the face of what they feel is beyond them. In their disciples only the cynicism is left.

VB: I’d like to mention a couple of your novellas, now, beginning with Everything Passes, the first of your books I read and still one of my favourites. The pliancy of this narrative astonishes me every time. Can we talk about white spaces? They’re a feature of several of your works and give them a particular, striking effect. What does that blank space bring to your narrative, do you think?

GJ: Not sure I can answer your questions, but I’ll have a go. First of all, ‘novellas’. I don’t know when the term was invented, but it is clearly helpful when the expected length for a novel was between 500 and 1000 pages. It helps us distinguish Bartleby from Moby Dick and The Death of Ivan Ilych from War and Peace. But I’m not sure it’s helpful with the modern writers I’m interested in – Woolf, Spark, Duras, Bernhard, Appelfeld – very few of whom write long books. Proust wrote one enormous work of fiction, basically, but the many short novels of Woolf or Bernhard can also be seen as parts of a single project. Whether my books should be seen like that or not it’s not for me to say – they certainly feel like that from the inside.

I’m glad you responded to Everything Passes – I had been thinking about it for a decade or two before I wrote it and a great many different elements went into it – hearing Schoenberg’s late String Trio, that extraordinary expressionist work which, he said, attempted to describe what he felt like when he technically died and had to be resuscitated with an injection; a photo of Francis Ponge looking out of a dirty window with a broken pane I once saw in a newspaper and could never forget; much else. But you are asking me about the way it is written. One of my earliest pieces is a long ‘story’ called ‘Distances’. I think the epigraph is from Rilke: ‘those feelable distances’. I am drawn to the idea of the distance between people, and even between ourselves and ourselves, as a space that is vibrant with unspoken feeling. The works of art that touch me are those where that is in play – in Vermeer’s painting, in Velazquez’ Las Meninas, in Hammershøi’s silent rooms – works which have an enigmatic quality, a sense of waiting for something to happen, where the waiting is more important than the happening. I love the idea of a work of fiction which can catch that. And as I discovered with The Inventory, you really don’t have to spell out the transitions, and you can use repetition to convey rhythm. I love the border ballads for that reason, and the late medieval ballades and many of Dunbar’s poems. As with the Aria in the Goldberg Variations, these refrains and repetitions are never exactly the same when they return, precisely because now they have been heard before. And I suppose I’ve never got over my first hearing of those long slow works of Maxwell Davis and Birtwistle which seem quite static but where something is slowly stirring and by the end you find you have travelled a long long way, even if that way is not linear.

Does that start to answer it?

VB: Also in Everything Passes, your protagonist, Felix, discusses Rabelais and the moment in European culture when Rabelais understands that he has ‘gained the world and lost [his] audience’. I wondered what you felt about that in relation to contemporary audiences. Do you think we are undergoing another seismic shift in terms of the reader and his or her capacity for attention and understanding?

GJ: You know, I wanted Felix to sound pompous and just gave him something pompous to say. Schoenberg, who is vaguely behind Felix, lost his first wife to a much younger friend. I suspect she could not bear his ponderous certainties, his propensity to lecture one at the slightest opportunity. But of course I stand by the gist of his comments. I do think Rabelais and the whole tradition of which he is the head – Cervantes, Sterne – wrote out of just such a sense of print as both liberating and crippling. But whether this is being repeated today – are you referring to the internet etc? – I wouldn’t know. I still read books and trust that anyone who bothers to read me will do the same. And, interestingly, Patrick Wildgust, the director of the Laurence Sterne Trust who runs Shandy Hall, tells me he is sure the renewed interest of young people in Sterne has something to do with the internet. People blame the internet, he says, for sapping readers’ ability to stick with a linear narrative for several hundreds of pages, but by the same token Sterne, who is all digression and no linearity, is the ideal author for the internet age. Of course there are few works with the originality and zest of Tristram Shandy, and I suspect one needs to know how to commune with a book in silence to respond to Woolf or Duras or Bernhard.

VB: After is an extraordinary novella (published in a Carcanet edition with Making Mistakes). There’s an exchange in it that thrills me: ‘genuine puzzlement is much more productive than false clarity’, your protagonist says, to which comes the reply: ‘I wonder if your theory is not a little dangerous when applied to life and not to the problems of the mind.’ What gave you the idea for this story with its profound exploration of memory and knowledge?

GJ: I’m so glad you like After – and was so moved by your review of it when it came out all those years ago. It was another of those books which just refused to come. I eventually forced my way through to the end in a rather tense period of six months I spent in Paris, teaching once a week at the American University. I had had a bad two or three years in my personal life, compounded by the fact that my German publisher had gone bust and Carcanet were uncertain whether they would be able to go on publishing fiction at all. Writing it was a kind of lifeline for me. I felt I just had to write it to stay sane, and in fact it’s a pretty mad novel. I don’t know what I think of it. In a way it’s a reprise of The Echo-Chamber. At times I feel deeply embarrassed by it and ashamed of it, at others very proud. I can’t say any more than that.

VB: We haven’t really talked about your short stories. Would you like to say a few words about them?

GJ: There are writers like Bellow for whom short stories are really shards dropped from the novels or ideas for novels that never quite developed. And there are writers like Beckett and Robbe-Grillet who used the short story form to test out their style and vision in their early years. There are also writers like Borges or Ambrose Bierce whose fictional output consists of nothing but short stories. And finally there are those, like Hawthorne or Malamud, who have written both short stories and novels and recognised that these are rather different forms, each with its strengths and its weaknesses. I feel I belong to this group. I’ve always loved short stories, enjoy the fact that you can control every word in them in ways you can in a poem but not a novel, and some of my happiest moments have come when I realise I have finally nailed one. This happened with one of my earliest, ‘Mobius the Stripper’, with a small group of stories I wrote in the eighties, ‘Second Person Looking Out’, ‘He’, ‘That Which is Hidden is That Which is Shown…’, ‘Steps’ and ‘Volume IV, pp.167-69’, and with a couple of more recent ones, ‘He Contemplates a Photo in a Newspaper’ and ‘Heart’s Wings’. In fact, I’m not sure, if I were asked which of my books I feel happiest to have written, if I would not plump for ‘Heart’s Wings’ and Other Stories, a volume of recent and selected earlier short stories which Carcanet published in 2010, with a fine cover designed by my son.

Hearts wing

VB: You used to write stage and radio plays. Why did you stop?

GJ:After my first two novels had been published a theatre was built in the new University where I had gone to teach, at Sussex, and the students asked me to write several plays for them. The challenge was very exciting. I wrote a monologue for Nick Woodeson, who later rose to become a distinguished actor, one of those Pinter regularly turned to, and two plays for a group of students. Then I worked very intensely on a collaboration with the Australian composer, Peter Sculthorpe, who had come to the University as a visiting professor while he was trying to get started on an opera commissioned for the opening of the Sydney Opera House. Our collaboration came to nothing, but as a result of our discussions and my immersion in things Australian I wrote a play, Dreams of Mrs Fraser, which was premiered at the Royal Court Upstairs. Then for a while I wrote for the little theatres which were starting to proliferate in Britain in the early seventies. Unfortunately they soon started to concentrate on more overtly political kinds of drama, and I found that my plays fell between two stools: too ‘avant-garde’ for the conventional stages but not political enough for the little theatres. Later, and for several years, I teamed up with a Brighton-based company, and wrote a number of lunchtime pieces for them, but they eventually disbanded and commissions dried up. I find that while I will always write fiction, which I do on my own in my own time, and which, thank God, I have always eventually found publishers for, with the theatre you have to have a specific commission, to know what kind of company and space you are writing for, even though you always hope that if the work is good enough it will find other homes elsewhere after a first outing.

I did have one very exciting commission at the time. The newly-formed Actors’ Company, which included Ian McKellen and Caroline Blakiston, invited me to write a half-hour play for five actors, with minimal props as they were short of funds, to be performed at lunchtime in Edinburgh where they were doing a season of Shakespeare and Chekhov. In half an hour you can’t really waste time having people go in and out, so this forced me into attempting something I had only ever half-thought about: a play of five intertwining monologues performed by actors seated facing the audience. I had always felt that my trouble with most post-Renaissance art is that you are meant to face it head on, while it stands still, so to speak, and stares back at you. Yet in life things are constantly slipping past us, just caught out of the corner of the eye, or only half-heard. I liked the idea of an audience trying to hold all five monologues in mind at the same time but of course being unable to do so, and gradually letting go of some in order to make sense of one or at most two. The rehearsals were very exciting, my brilliant and virtuoso cast rising to the challenge I’d set them. The trouble was there was no room for hesitation, and if you lost your place there was no way of finding it again. And invariably one or other of the cast would lose their way. In the end the director, Edward Petherbridge, had to decide whether to keep going with rehearsals to the end and hope for the best or cut his losses and set up lecterns in front of each so that they could read the words. And this is what he did. The result I felt (and Howard Hobson in The Sunday Times, agreed with me) was unnerving and powerful, but it was not nearly as powerful as it had been in rehearsal, where the actors’ anxiety and fear of not getting to the end without coming unstuck, became part of the tension of the whole and where their very vulnerability in front of the audience made for very powerful theatre. The play has been done once or twice since, but always with lecterns, and I long to see it done without. It would have to be a young and fearless company to do it though.

Flow, as I called it, and Comedy, the second of the plays I wrote for the Sussex students, and which almost got done professionally in a boxing ring, which would have been perfect (the backers pulled out at the last moment) – these are the plays I’d most like to see revived in really bold productions.

Though work in the theatre dried up by the end of the seventies, I was starting to write quite a lot for radio. I had always loved the idea of radio drama and in the radio drama team at the BBC, I found I had people who believed in me and were prepared to commission work with absolutely no strings attached. The result was a series of very happy collaborations, from Playback in 1973 to the mid-eighties. When Guy Vaesen retired (though he returned to produce my 90 minute monologue, Vergil Dying, written for Paul Scofield and performed by him on radio) I teamed up with another fine producer, John Theocharis and together we worked on a number of productions, two of which were chosen by the BBC as entries for the Italia Prize, AG, a mad and highly irreverent reworking of Aeschylus’s Agamemnon, and Mr.Vee, an attempt to find an audial equivalent for the play of mirrors in Velazquez’s Las Meninas. Many of them were also translated into German, for Germany has a rich tradition of the Hörspiel. But by the nineties the BBC had begun to change, The Third Programme had become Radio 3, a mainly musical station, and had lost its glittering array of distinguished producers, while in Germany too the effects of reunification were felt even in the rarefied world of the Hörspiel, and there was a severe reduction in their transmission of foreign plays. I greatly miss those intense two or three days of working with dedicated actors and producers of the highest calibre, but it looks as if the days of really innovative radio drama are gone for good.

VB: I have concentrated on your fiction in this interview, because I feel that that is where you’ve done your most important work. But there is a question anyone who has read your criticism as well as your fiction will want to have answered, and that is what you consider the relation between the two to be. You’ve pointed out again and again in your answers to my previous questions that fiction certainly does not spring for you from any desire to make critical or theoretical points. But where then do you see your criticism, which is fairly substantial, with books on subjects as diverse as the Bible, the sense of touch, the notion of trust, and Modernism, fitting into your oeuvre as a whole?

GJ: I said at the start, talking of the genesis of The Inventory, that I thought I would have to give up teaching because living with books, talking about books all the time, made me unduly self-conscious and made it impossible for me to write my own fiction. But I wrote that novel and stayed on teaching at Sussex for 35 years, the last fifteen or so part-time, teaching from October to March and having April to September to myself. This actually was ideal. I did something I enjoyed doing and that I felt was worthwhile, so that even if I got nowhere with my writing I could still feel, at the end of the year, that I had made a contribution of some kind to the country that had after all taken me in and given me free university education with a job at the end of it. On the other hand come April I was not exhausted mentally and physically, as I had been by the end of June when I taught full time. In fact I had a free conscience and I felt I had earned my time to myself, so that those months of April and May were utterly blissful and a time of great creative upsurge. Since I’ve retired completely I don’t get that lift and if the work is not going well I have nothing to take its place, while I rarely feel I’ve earned any sort of break.

But teaching literature and writing criticism are not the same thing at all. I have always felt that writers make the best critics, and love the critical writings of Proust, Woolf, Auden and Mann, and the comments on books and writers one finds in the letters of Lawrence and Eliot and Beckett. Writing about the books and authors you love seems a natural extension of writing your own fiction or poetry, a little less fraught of course, since the threat of failure is not so imminent – I will always be able to finish an essay on a writer I love or a topic that interests me, but that is certainly not true of a story or a novel. In fallow periods Pinter turned to writing film scripts. They are often very good, and clearly by him, but obviously not of the same importance as his major plays. Alas, no-one asks me to write film scripts, and that is why in fallow periods I have found myself accepting reviewing and other non-fiction commissions or even following up an idea and writing a whole non-fiction book, as with Touch.

The book on the Bible [The Book of God] was a little different. It’s more bound up both with my personal life and with my teaching. As I think I said earlier, I was not brought up religiously in any way, but on the other hand I always had a strong sense of being Jewish. Nevertheless when as an adolescent I had my religious crisis it was a Christian religious crisis. After all, I had been reading Dostoyevsky and Kierkegaard, not Buber and Rosenzweig. Did I believe in Jesus Christ? Could I commit my life to such a set of beliefs? Like most adolescent religious crises, this one passed. I went on teaching Donne and Herbert, Dante and Dostoyevsky, but in my thirties I began to think again about my Jewish roots. It was really a cultural thing. At Oxford and then at Sussex I had felt that the friends I made shared a European outlook with me, but at some point it became clear to me that there was a part of me, the part that had its roots in my family and in Egypt, which was not catered for by the idea of Europe. Perhaps that point came when I received that ill-fated Somerset Maugham Prize and decided to use it (it was a travelling grant, but when the prize was taken away from me the University, in the form of its then Vice-Chancellor, Asa Briggs, generously insisted I take a term of paid leave, so the effect was the same) to return to Egypt with my mother to see my aunt and any old friends who might still be there. I had begun to teach a course on The Bible and English Literature with a remarkable Anglican colleague and friend, Stephen Medcalf. At Oxford we had often been told: ‘You can’t understand English literature before the twentieth century if you don’t know your Bible’, but no-one did anything about it. It seemed to us that Sussex, always open to new courses, would be the ideal place to try to fill that gap. It was a fascinating course, both in itself and for the variety of students it attracted – from those whose parents, reacting to their own parents, had brought them up in ignorance of the Bible and who now felt the need to find out about it as we at Oxford had felt the need to find out about Kafka or Kierkegaard, to those steeped in this or that version of a Bible-based religion and found it difficult to treat the text as the narrative it after all primarily is.

But I soon realised that to teach the course I really had to learn biblical Hebrew. So Stephen and I and several of our colleagues sat at the feet of a new recruit to Religious Studies, an Anglican priest called Michael Wadsworth, who was also a semiticist and had just completed a thesis under Geza Vermes at Oxford, and learned the rudiments of biblical Hebrew. We also found ourselves gathering informally to discuss books such as Frank Kermode’s The Genesis of Secrecy, which had just been published, and which excitingly married biblical criticism with modern theory, and to revisit the first chapter of Erich Auerbach’s extraordinary Mimesis, written in Istanbul during the war and one of the founding texts of the School of European Studies. And gradually I found myself lecturing and writing on the Bible and on why (as it seemed to us) both the theological and the archaeological approaches to it, the two predominant scholarly approaches, left so much, perhaps even the essence of that strange great book untouched. And we found ourselves part of a movement that took in America, Britain and Israel, a movement with roots in the writings of Buber and of Jewish scholars like Umberto Cassuto, as well as Auerbach, but which had taken wing with the publication of Robert Alter’s Aspects of Biblical Narrative. We were a tiny minority in the sea of biblical scholarship, but nevertheless, a vocal and significant one. It is the only time I have understood what it means to feel part of an international scholarly community, and it was a very nice feeling.

I remember a walk over the Downs with my composer friend Jonathan Harvey in which I said to him: ‘I feel I have a book on the Bible there somewhere, but I’m not sure I want to devote the time to it it’s clearly going to need when I have so much fiction I want to write as well.’ And he said: ‘No, you’ve talked about it enough, and it sounds important to me, I really think you should do it. It will feed into your fiction, don’t worry.’ Over the next few years, as I tried to balance the teaching, writing fiction and thinking and then writing about it, I often cursed the moment when I had fallen under the spell of the Hebrew Bible, but in the end the book got done and, looking back, I’m glad I did it. Whether Jonathan was right about its feeding my fiction, I’ve no idea.

Book of God

VB: Looking over your collected works and the experience I’ve had reading them, I’m reminded of Barthes and his comment that some of his best reading occurs with the book face down on his lap, staring into the middle distance. There is something so potent that happens when your writing comes into contact with my imagination. There’s a concept you may have heard of – the ‘unthought known’ – created by psychoanalyst Christopher Bollas. It refers to the immense store of knowledge that we own unwittingly, having never put it into words because we became aware of it in a wordless fashion. Bollas says: ‘There is in each of us a fundamental split between what we think we know and what we know but may never be able to think.’ Some of it will never be articulated and so, he says it’s important to ‘form a relationship to the mysterious unavailablity of much of our knowledge.’ And somehow, this is how I feel reading you. You take me towards the unthought places without ever speaking them yourself. It’s the spirit of the Between, if you like, who has his own chapter in Goldberg. Does that make any sense to you?

GJ: Yes, it makes a lot of sense. It’s what I look for in my writing, what I want to read and can’t find in the writing of others. I’ve never read Bollas, but what he says makes perfect sense to me. I wouldn’t even call it a ‘fundamental split’ – I think rather that our bodies know more than we do and that the task of art is to find forms and words that will allow the body to speak.

VB: Finally, Hotel Andromeda, which I read for the first time a few weeks ago. Your most recent novel and, for me, one of your finest. How did you come to bring together Joseph Cornell’s artworks and the trouble in Chechnya?

GJ: I began to think of writing a novel about Joseph Cornell back in the eighties. I think it may have been the show of his work at the Whitechapel in 1981 that set me thinking, but I’d also seen some photos of him in old age taken by Hans Namuth. In his back garden. In his ‘study’. He was living alone by then in the house in the wonderfully named Utopia Parkway he had lived in all his adult life with his domineering mother and his brother Robert, who had cerebral palsy. He looks haunted in those photographs, on the threshold between life and death. I longed to do something with those photographs.

The problem for me was that there seemed to be no ‘centre’, to either the works or the man in the photos. And from what I could find out about him he seemed both utterly focussed, knowing exactly what he wanted and yet strangely ego-less. I’m drawn to such figures. Kafka, obviously, but Vermeer too, and Bonnard – the opposite of such dynamic artists as Lawrence, Rembrandt, Picasso. And it seems to be a minor but powerful American type: Melville’s Bartleby, Emily Dickinson, Hopper – to set against the Whitmans and Mailers and Pollocks. Fascinating, haunting figures, but in their emptiness, their stillness, their lack of forward thrust, going against the very nature of the novel. Anyway, I dropped the idea and went on to other things.

However, Cornell went on haunting me and towards the end of the nineties a biography finally appeared, Deborah Solomons’ Utopia Parkway. It’s a brilliant example of the genre, sensitive to both the life and the art, neither obtrusive nor evasive. Cornell comes through as an even more curious figure than I’d imagined, neither quite an outsider artist like Henry Darger, the Chicago janitor in whose apartment, after his death, was found an enormous stack of vast paintings telling the epic story of a group of little girls with penises pursued by hunters, nor quite a professional artist like Duchamp and de Kooning, both of whom he knew. The catalogue for the recent wonderful Royal Academy exhibition of his work is silent on all this, or rather, makes a conscious effort to show us Cornell as a mainstream artist. I can see why – you don’t want to present him as a freak. The Royal Academy is a serious institution with a deservedly high reputation. Nonetheless, it has to be admitted that Joseph Cornell was decidedly odd. He was infatuated with one young starlet or ballerina after another – and not just starlets. Susan Sontag was one of his brief passions, and young waitresses in their uniforms too cast their spell upon him. He would make them boxes which he would send them, befriending them and even occasionally helping them financially, but he remained a bachelor and probably a virgin all his life, living out his days in the house in Utopia Parkway with his mother and his sick brother Robert. He found it difficult to communicate with people yet had a huge number of acquaintances and admirers; he made avant-garde films and works of art that have lasted better than those of his more famous contemporaries, such as Pavel Tchelitchew, as the RA exhibition testifies, yet he never put pen to paper or held a camera. And so on. My feeling is, that like Glenn Gould, say, he was at the Asperger’s end of the spectrum, odder than fellow-artists but not totally cut off from society.

And it’s not just the biography that shows these contradictions: the art does as well. Many of the boxes and collages are rather twee, with their dolls and ballerinas and the evident longing for a world of lost innocence. This is an aspect of nineteenth century sensibility I am not overfond of, and I rejoice at its deflation by the Modernists. On the other hand there are plenty of works that are to my mind among the greatest of the twentieth century: the Hotel series; the aviaries; the beautiful abstract homage to Emily Dickinson, his films, which you can see on YouTube – and I would urge everyone to have a look at the beautiful, original and haunting three-minute film, Angel.

Solomons’ biography renewed my interest in Cornell and made me keener than ever to write a novel about him. But it also laid out starkly the inner problems of such an undertaking. I couldn’t write it in the first person because there was no ‘first person’ there. A film like Angel is so haunting because it is so still, so directionless, not just lacking human presence but making us question human anguish and striving by its very form and content – how then could I have a first person at the heart of my novel? And it’s the same with the third person – Le Rouge et le Noir and The Adventures of Augie March present us with the same thing: a young man, freed from ancestry and tradition, out to make his way in the world. This is what the novel was created to depict, and it does it supremely well. But I am drawn to its opposite – the small un-American novel, if you like, the opposite of the Great American Novel. And Cornell is my perfect subject – except that for that very reason it seemed impossible to write about him – as if to do so was a violation of his very being. Yet I’m a novelist because narrative is what I love and can do – even if it is unorthodox narrative.

Anyhow, though I tried to write my Cornell book I just couldn’t. There is an anecdote in Solomons about Cornell, who, late in life, when he was living alone in the house in Utopia Parkway, loved to entertain his young and beautiful female friends to tea. But he was exceedingly mean. Once, having invited three young artists and starlets to tea, he produced one tea bag, which he passed from cup to cup, talking all the while.

These conversations of his were like those of Glenn Gould, long rambling mumbles, barely comprehensible. He would, like Gould, call friends up on the phone and talk to them for hours. They would grunt every now and then, go off to prepare a meal or answer the door, and when they returned to the phone he was still talking. And for a while I toyed with the idea of writing a novel about just such an occasion, with my hero taking his friends round his house, meandering off into the past, barely aware of their presence. But it didn’t work. Cornell is not the stuff of Bernhard-like novels. His oddity and his genius does not express itself in words.

So the project stalled again. But this time it wouldn’t let me go. Once again Proust came to my rescue: if you reach an impasse try incorporating the impasse into the novel. I had been toying with another idea, a novel with a form I am very fond of, what I call the X form, where two people in firmly established positions at opposite ends of the spectrum, slowly change sides in the course of the book, each in some sense becoming the other. I had tried it with two couples in In a Hotel Garden and again in Making Mistakes, and I had tried it out with just two people in a little story called ‘Brothers’, and I had been thinking of a larger canvas, a novel about two sisters, one in some sedentary job in bourgeois London, the other a nurse or perhaps running an orphanage in some war-torn country like Chechnya. And it came to me that the sedentary London-based sister could be an art historian writing, or trying to write, about Joseph Cornell. And then might the house she lived in itself become a sort of Cornell box, filled with other voices, other lives?

And so the book got written.

VB: What lies ahead for you? May we hope for a new novel?

GJ: I hope so too. I can’t conceive of a life without writing and just hope I can go on till I drop.

—Gabriel Josipovici & Victoria Best

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Victoria Best small photo

Victoria Best taught at St John’s College, Cambridge for 13 years. Her books include: Critical Subjectivities; Identity and Narrative in the work of Colette and Marguerite Duras (2000), An Introduction to Twentieth Century French Literature (2002) and, with Martin Crowley, The New Pornographies; Explicit Sex in Recent French Fiction and Film (2007). A freelance writer since 2012, she has published essays in Cerise Press and Open Letters Monthly and is currently writing a book on crisis and creativity. She is also co-editor of the quarterly review magazine Shiny New Books

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Footnotes    (↵ returns to text)

  1. Josipovici’s mother was born in Egypt and living in France at the time the Second World War began. She and her son narrowly survived, as Jews, the Nazi persecution. She managed to return to Egypt in 1945.
Oct 082015
 

Victoria Best small photo

 

IN HIS SHORT STORY ‘The Liar’, Tobias Wolff’s narrator is a 16-year-old boy who can’t quite confine himself to the truth. Most upset by this is his mother, a woman who ‘did not consider originality a virtue’ and whose healthy existence is frequently rewritten in her son’s hands. She finds she’s been reported as coughing blood, or suffering from leukemia; there are people ‘stopping her in the street and saying how sorry they were’. The doctor and family friend she turns to tells her he’ll grow out of it. ‘What if he doesn’t grow out of it?’ his mother asks. ‘What if he just gets better at it?’ James is her last son at home, his father has died, his siblings are dispersed, and he makes her feel ‘like a failure.’ So James is sent to his brother, Michael, in San Francisco. Naturally he lies to his mother, and takes a different bus to the one she expected.

This bus goes on a long circuitous route, and when it breaks down, the passengers start to chat. James moves effortlessly into a performance. He says he works with refugees from Tibet (his parents, until their death, being missionaries out there) and, in possession of his audience’s rapt attention, he mesmerises them all with his rendition of the Tibetan language. His lies clean of criminality in the moment, James is transformed into an entertainer, an oracle. The liar has become a storyteller.

The term ‘fiction’ looks two ways at once, its products both legal and illegal. People who make things up compulsively often become writers as often as they become law-breakers. There is a difference, some may insist, between a lie and a story, for with the former there is intent to deceive. And yet, fiction writers often intend to mislead and startle their readers; they play their cards close. The real difference is in reception, with readers seeming to know instinctively that lies in the form of stories are necessary. If we need fiction, it makes more sense to ask ourselves, what’s good about lying?

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The Talented Liar

Tobias Wolff is, by his own account, someone who just got a lot better at it. The theme of deceit and its consequences recurs across his works, and is exquisitely elaborated in his memoir of childhood, This Boy’s Life. It’s the story of a young boy who dreams up a life of wealth and adventure to write to his penpal, who refuses the blame for graffiti in the school toilets which he most certainly put there himself, who grows into an adolescent who makes it into a fancy school on the basis of an entirely faked application and letters of support. You can’t help but admire the persistence, the tenacity with which he hones his skills, the innovation with which he finds new outlets for them.

Of course the paradoxical beauty of such a memoir is that it remains transparently honest to the narrator’s dishonesty. The story of a liar’s career can only be told truthfully. The young Tobias (or Jack, as he prefers to be called, after his hero, Jack London) lives with his divorced mother, and he loves her very much, though her bad luck with men frequently gets them into trouble. His father, who we learn elsewhere was a consummate liar himself, is sorely missed by his neglected son, who is forced to make him up ‘out of dreams and memories’. His stepfather, Dwight, is violently abusive. In the midst of this mess of absent and over-active fathering, the stereotypes of the daredevil alpha male lassoe Jack’s imagination. He likes to dress up in the army greatcoat of one of his mother’s boyfriend and lie across the sofa, aiming his rifle through a gap in the blinds. He hangs out with male friends at school, breaking windows, throwing eggs at convertibles, smoking in the toilets and exchanging ‘interesting facts not available to the general public about women.’ He is a stud, a rogue, an outcast, though really, he likes The Mickey Mouse Club.

‘Because I did not know who I was, any image of myself, no matter how grotesque, had power over me’, Wolff writes. And it’s a common thing, this rehearsal of possible roles, this testing of reality against the imagined options. Jack gains a friend, Arthur, who is ‘a great storyteller’. Arthur ‘refused to accept as final the proposition’ that his ordinary parents were his real parents, attempting to convince Jack he was adopted and descended, in fact, from the followers of Bonny Prince Charles. Jack then decides he comes from Prussian aristocrats. ‘We listened without objection to stories of usurped nobility that grew in preposterous intricacy with every telling. But we did not feel as if anything we said was a lie. We both believed that the real lie was told by our present unworthy circumstances.’

But what, then, if he didn’t grow out of it but just got better at it? As he turns adolescent, so he becomes ever more unmoored, unhinged, unanchored. His carefully practised ability to evade the law reflects a world that won’t prevent him from indulging his worst flaws. The idea of faking an application to a prestigious school starts with the ridiculous ease of doctoring his sinking grades. ‘The report cards were made out, incredibly enough, in pencil, and I owned some pencils myself.’ And the stakes in the identity games just get higher. As the gap between his reality and his ambitions increases, he finds himself ‘wanting, at any price, the world’s esteem’, and feeling ever more reckless and desperate.

The problem is that he keeps getting away with it. In his essay ‘On Getting Away With It’, psychoanalyst Adam Phillips recalls Freud’s remark that the child’s first successful lie is both the moment when s/he realises that s/he is not in fact the subject of omniscient deities who read minds, a eureka of freedom; and also the point when s/he realises s/he is alone, abandoned, adrift. ‘If you get away with something,’ Phillips writes, ‘you have done well and you have done badly. You are released but you are also unprotected. You have at least provisionally freed yourself from something, but then you have to deal with your new-found freedom.’ What will Jack Wolff do with his? There is a logical progression for those who limbo under the bar of morality, Phillips says: ‘The Good Person would be replaced by the Impressive Person.’ And this is precisely Jack’s aim, and the destination his exquisite memoir confirms. The liar, who must keep his lies a secret to evade punishment, becomes the storyteller, whose command of fiction is both impressive and protected, made viable, worthwhile, enviable. He’s found a way to get really good at it.

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The Compulsive Liar

A compulsive liar goes to see his psychoanalyst and recounts to him a typical event. That morning, he had been late for work because of a row with his wife, who was threatening to leave him. When his boss asked him what happened, the liar said he would scarcely believe it. His car was pulled over by the police and he was handcuffed and shoved into the back of a van. From there he was taken to the local precinct and placed alone in a cell, indignant, afraid, but also curious. After about an hour, a plain-clothes detective arrived and apologised for the confusion; he was free to go. Talking to his analyst, the liar is astonished at his boss’s gullibility. ‘I don’t know why I said what I did. I could easily have said I had a flat tyre. But instead I chose this outlandish story. And the poor fool believed me. He believed me. You see, as long as I can do this and get away with it, then I have no worries whatsoever. What is reality if I can do this?’

The analyst is Christopher Bollas, the patient called Jonathan, the case history is called ‘The Liar’, and the question is indeed, what is reality?Yet if the liar has to tell an analyst about his behaviour, there must be some desire to reconnect with the real world, to stop getting away with it quite so convincingly.

Bollas says that Jonathan is more truthful than he at first seems; the trick is to read the lie as a metaphor. Had Jonathan said his journey to work had been like a horrible incarceration, it would have been quite sane and negligible; a story without impact. Instead he said that it was a horrible incarceration, arousing a much more vivid response in his listener, and expressing an encoded truth. Bollas knew that Jonathan was afraid of how he might react if his wife actually left him; in many previous sessions he had expressed fear of his desire to kill her and keep custody of their children. He knew such actions would likely end in his arrest. But in the story he told, although he played with the possibility of arrest, he was then set free, innocent and absolved, by a plain-clothes detective. His fear had been soothed by the fantasy of a different kind of escape. On hearing the story, Bollas understands that the plain-clothes detective, the man to set him free, must be Bollas himself.

The metaphorical lie is a way of accessing a far more powerful and intriguing reality than bald facts suggest. Bollas recounts how: ‘Jonathan’s lying brings him to life and coheres him in a way in which his narration of actual lived events does not. He lies, he often tells me, because lying is living. It is only by lying that he remains alive.’ Jonathan does not like to tell the kind of lies that are the stuff of normal social living, the lie that hides a little secret, that protects another person. Such lies make him almost as anxious as the thought of telling the truth. No, Jonathan likes the big, complex, entirely unnecessary lie, the ongoing saga that can be sustained and exaggerated over weeks. His lies are not to protect his self and his truths, but to create his self and his existence; they are grandiose and extraordinary. He doesn’t want to be a Good Person; he wants to be an Impressive Person.

What could have caused him to behave this way? Jonathan’s background was a secure and moneyed one. His parents were ambitious intellectuals who had met with much success in their careers, and so his early childhood was divided between various members of household staff: a housekeeper, a maid and a rather sadistic nanny, with brief visits from his mother at each end of the day. His father he never knew very well, as he was busy and didn’t have much time for him. It’s not a very impressive genesis for a pathological liar, with no abuse or trauma to awaken a ready sympathy in the listener, nothing, on the face of it, that will explain or excuse. As a story, it lacks impact.

In one ‘particularly intense period’ in analysis, Jonathan asked Bollas about the nature of confidentiality in their relationship. He wanted to know what circumstances would cause him to disclose protected information. After much discussion on this topic, Jonathan admitted that he was planning the murder of someone he knew well. Bollas was not at first convinced, but as Jonathan provided ever more elaborate detail as to his methods and strategies, Bollas began to fear that he might have genuine intent. The situation quickly became intolerable, as he was not sure what to think, what to do. Eventually he took the problem to a colleague who suggested he tell his client that he would certainly inform the police if he did murder anyone. Bollas was relieved to have this solution and then baffled at his own inability to come to it. It was, he felt, because he had been in such confusion over what was truth and what was fantasy.

Having told Jonathan of his intentions, the murder plot was not spoken of again. And Bollas had a particularly provocative experience of how it felt to be on the receiving end of a lie that has been exposed as such. Like others who had caught Jonathan out, he felt betrayed. He wondered if he would ever manage to achieve a proper relationship with him. His trust was shattered. He felt anger at his own gullibility, and sadness that whatever made Jonathan behave this way was not about to stop any time soon. And Bollas realised he was caught up in the experience of a powerful, extended metaphor. He felt, in short, the turbulent and bewildering emotional responses of a child repeatedly abandoned by his parents: the loss of trust, the sense of betrayal, the anger against his own hopeful beliefs, the sadness that he could not prevent it happening again.

Jonathan had created for his analyst a situation that illuminated his feelings of extreme inadequacy and insecurity, and which could help Bollas to understand the ‘crime’ of the lie: here was a child who was never with a parent long enough to create a real relationship, who had to fall back on his own fantasies time and again until the fantasies themselves seemed more solid, more enlivening, more realistic than the truth, which was only anxiety-inducing. Telling the lie gave Jonathan a safe place to be, hearing the lie, when revealed as a lie, put the listener in the place that Jonathan could never find the words to explain to another, in the midst of the emotions that had created him.

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The Confused Liar

For just about seven years, between the autumn of 1998 and the winter of 2005, I was a compulsive liar. I gave an account of myself to everyone outside my immediate family that was very far from the truth. I said that I was fine, when in fact I was suffering from a debilitating chronic illness.

I had fallen ill with viral pneumonia over the Christmas of 1997. At that point in my life I had a three-year-old son and an almost-completed doctoral thesis. I also had a post to take up at a Cambridge college in the autumn of 1998. When the illness dragged on for the best part of a year, and there was no explanation for why this should be, or any obvious cure on the horizon, I began to understand that the illness had become unacceptable. I was not cured, yet there was no reason why I was still ill. For this situation, I understood that I was at fault. The term ‘chronic fatigue syndrome’ did not have much currency back in 1998, and what it did have was of an outlawed and reprehensible nature. There had been cases among the students and I had heard how they were described. They were malingerers, cowards, or just plain lazy. Now this was not someone I wanted to be. I was a hard worker, a reliable friend, and a person who kept her promises; I wanted very badly to be a good mother and an admirable academic. These were truths in desperate need of preservation from an illness with the power to wreck them; I never even felt I was lying, just keeping the faith with what I knew above all else to be true.

About a year after the pneumonia, I found I could appear like my normal self in public for a while. The fact that the symptoms of chronic fatigue – racing heart, low blood pressure, nausea, dizziness, headaches, sore throats, muscle ache – were all invisible was extremely helpful. The trickiest problem was that I felt energetically like a leaky car battery. The longer I acted myself, the quicker my vitality drained away, and in no time at all I would be running on empty and afraid, knowing the symptoms would steadily increase in severity. But no matter how ill I felt, I still got away with it. Does that sound implausible to you? Well, people are ridiculously easy to fool when there’s nothing much to see, and I was good at self-discipline, a natural dissembler.

But I admit I was confused. As the years went by, and I kept on pretending and getting away with it, it became harder and harder to distinguish my own reality. I was strung out between two contrasting images of myself that held mortal sway over me: an Impressive Person, who was good and reliable and held down a demanding job while bringing up a child. Lots of ticks in boxes there. Or a Weak Person, who gave in to a nameless, invisible illness that most people didn’t believe existed. My mother often told me with loving exasperation that I was ‘doing it to myself’. My mother-in-law told my husband it was ‘all in my mind’. I felt like the worst placed person to figure out the truth. Most of the time I was too busy sustaining my façade to have any energy left over for philosophy.

Seven years. Everyone wanted so badly for me to be well; that helped prolong the lie. But what the experience felt like is so hard to explain, I can’t do it without metaphors. When I forced the symptoms out of my way, I could attain a sort of cruising speed, which was a lot like driving without brakes, propelled by momentum itself, exhilarating in its way but fraught with the imminent danger of a crash. In those cruising moments I was alive in a grandiose way, against the odds, but when I crashed and was too ill even get myself out of bed, I wondered what the hell I thought I was playing at. What exactly was I doing to myself? This was an illness where I could never clarify my role as either culprit or victim, but was constantly a mind-bending amalgam of both.

Eventually, I developed a symptom that was non-negotiable. When I struggled through brain fog to recall the details of the texts I was teaching, a moment of reckoning came. I went to see my doctor – something which in its futility I had abandoned as helpful years ago – and described my condition as truthfully as possible. It was the scene for my final lie. ‘How long do you think you’ll need to take off work to recuperate?’ he asked me. And I said, ‘Two weeks.’ It was in fact three long years before I would be well enough to return.

During that time, my perception of myself executed a radical u-turn. Whereas before I had never breathed a word about chronic fatigue, now I told everyone upfront, far too often, that this was what I had. Which meant: this was who I was. In the first year or so, when I spent most of my time in bed, it did indeed wreck the identity I had so carefully – and at such cost! – preserved. I was just an invalid, with an illness that still carried a great deal of stigma. But I was functioning at the level of what was undeniable and issuing a big, bold bring it on. Let them call me malingerer, coward, sloth. I was sick and tired of lying. Finally I could tell the truth and be bad.

..

The Playful Liar

Readers tend to be picky about the truth content of the memoirs they read, especially after the furore that greeted James Frey’s admission that A Million Tiny Pieces was somewhat embellished and embroidered. So what to do with a memoir that states its intention to be dishonest and tricky from the outset? Lauren Slater’s creative non-fiction memoir, Lying, recounts her experiences with an unusual form of epilepsy, unusual in that it may not be epilepsy at all. But to describe what she suffers as epilepsy provides a powerful extended metaphor for the deepest, most twisted realities in her life, and a way into a story that has been ‘eluding me for years.’ The book begins with an introduction written by Hayward Krieger, professor of philosophy, that is also a warning:

‘[U]sing, or suggesting, the use of metaphor as a valid vehicle to convey autobiographical truths – thus her insistence that this book is, indeed, a nonfiction memoir – is a new and unsettling idea. Perhaps more unsettling and exciting is the writer’s insistence on not revealing to us which aspects of her disease are factual, which symbolic, which real, which fantastical, and by doing so asking us to enter with her a new kind of Heideggerian truth, the truth of the liminal, the not-knowing, the truth of confusion, which if we can only learn to tolerate, yields us greater wisdom in the long run than packaged and parceled facts.’

Naturally, Hayward Krieger doesn’t exist.

But in the afterword to the memoir, where Slater acknowledges the reader’s desire for the ‘real facts’, she points out that her diagnoses through the years have been ridiculously varied, from borderline personality disorder, to epilepsy, to Munchausen’s, depression, OCD and autism. ‘All I know for sure,’ she writes, ‘is this. I have been ill for much of my life. Illness has claimed my imagination, my brain, my body and everything I do I see through its feverish scrim. All I can tell you is this. Illness, medicine itself, is the ultimate narrative; there is no truth there, as diagnoses come in and out of vogue as fast as yearly fashions.’ Not that this cuts much ice with some critics. Janet Maslin in her New York Times review said the reader could be ‘forgiven for wanting to throttle the narrator’, and the memoir could be considered as ‘either postmodern fun and games or pure exasperation between hard covers.’ Yet what about that Heideggerian truth of confusion that the fictional Krieger mentions? Is there a better way for readers to understand it than to experience it?

When she was still a child, Slater claims, she developed a form of temporal lobe epilepsy which is described in a medical paper included in the memoir as ‘both a seizure and a personality disorder. A significant number of patients, although by no means all, display a series of dysfunctional character traits that include a tendency towards exaggeration and even outright disingenuousness (mythomania)’. At first glance, the personality disorder seems to belong more to her overwhelming, attention-seeking mother. On a holiday in Barbados, Lauren’s mother embarrasses the hotel audience with her loud criticisms of the piano player, who then invites her to take his seat and do his job better. Lauren is well aware her mother can’t play the piano at all, but her mother allows her bluff to be called, seating herself at the keyboard for a while before finally saying, ‘I suppose not,’ and walking away. That night is the first night Lauren has a seizure, as if it were the first serious faultline opening up in her mother’s powerful grip on the family.

Her mother is ashamed of the illness and determined not to take it seriously. ‘“If you pay attention,” my mother said to me, leaning in close, “if you try very hard, you’ll be able to stop these seizures.”’ But as puberty comes around, everything gets worse – her seizures, her relationships, her sense of self. Finally she is sent to a specialist who operates upon her brain, leaving her with just the powerful auras she experiences before a fit, no longer the fits themselves. She’s also left with a personality disorder – the tendency to lie or exaggerate or dissemble. Unable to find her place in school and missing the attention her epilepsy brought her, Lauren takes to staging fits in hospital emergency rooms, fascinated by the effect she can produce.

And at this point, the narrative begins to dissolve, as Lauren starts to lie more openly – in front of her readers, that is. In late adolescence, writing takes on a major significance in her life, and she writes a short story about falling out of a cherry tree when she was a child, an incident her mother (not too strong on the truth herself) denies outright. When an unhappy affair with her writing tutor ends, leaving her in turmoil, she goes to her college counsellor who takes her life story – and the medical paper on her epilepsy – apart. The epilepsy she describes does not exist, he says, no such operation would be performed, there is no specialist called Dr Neu. When he asks to see her scar, Lauren accuses him of sexual misconduct and leaves, never to return.

So what are we to believe? Slater regularly calls a halt to the narrative to tot up the balance sheet so far. Maybe this is an orthodox narrative, 99% true except for the odd memory glitch. Or maybe it’s the epilepsy that causes her to lie and exaggerate. Or maybe she is just her mother’s daughter, brought up to have a fluid relationship to the truth. Or maybe the story she is telling is a metaphorical one, designed to get to grips with an experience for which she has no other words. In a letter to her editor, entitled ‘How To Market This Book’, she argues ‘I am giving you a portrait of the essence of me.’ And what if ambiguity really is the essence of Slater’s life? What if she is more honest than most of us about the half-truths we live with, the uncertainties we turn into firm convictions, the character flaws that we iron out for our personal self-inspections?

What if all our identities were composed of a mix of half-remembered events, powerful and distorting emotions, memories, fantasies and dreams? What price truth then? Storytelling and its metaphors would be the only honest expression we had left.

***

The thing about lies – or we can call them stories if you prefer – is that they are just too essential to our survival to be given up. They hold cherished parts of ourselves that have been driven out of sight; they allow us to express the truth of experiences that no facts can convey; they are often the repositories for realities that no one really wants to face. We want the lie to be a unit of genre fiction, a nice, clear readable chunk of badness, when really it is a highly complex literary construct. A thing of layers and implications and irresolvable paradox. And in the desire to master our lives, to be the people we want to be, and to explain ourselves as best we can, we all get really good at them.

—Victoria Best

 

Victoria Best taught at St John’s College, Cambridge for 13 years. Her books include: Critical Subjectivities; Identity and Narrative in the work of Colette and Marguerite Duras (2000), An Introduction to Twentieth Century French Literature (2002) and, with Martin Crowley, The New Pornographies; Explicit Sex in Recent French Fiction and Film (2007). A freelance writer since 2012, she has published essays in Cerise Press and Open Letters Monthly and is currently writing a book on crisis and creativity. She is also co-editor of the quarterly review magazine Shiny New Books (http://shinynewbooks.co.uk).

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Oct 032015
 

MARGRET-OF-ANTIOCHMargret of Antioch

See how slow and
sure I glide. See my organs
wings. And you, little

fish I once plunged for
–nameless invisible fish in
deepest darkest ocean.

 Changing, Richard Berengarten

 

Breakfast at Nick’s

For several years after returning from Vietnam to the bewildering streets of New York’s lower East Side, I spent hours every morning at Nick’s Diner on the corner of 2nd Avenue and 4th Street recording dreams. The images that I brought back nightly from sleep, embedded in dramas that pointed to meanings I could almost but not quite understand, were irresistible and relentless. The old Greek proprietor in his lightly stained white apron and half smoked cigarette, the pale blue eyes peeking out of thick, black rimmed glasses was a guardian at the gate. At Nick’s I could sink into my dream-world and feel safe. I would later think of the place as an Asclepian incubator, where I could follow the procession of images to their destination as the smell of coffee, home-fries and bacon wafted from the grill.

Now and then, I’d find the diner closed and knew the proprietor had gone to the track. Otherwise I could depend on the white haired man leaning on the counter to nod as I entered. There were seldom more than five or six customers, mostly on the stools, perhaps one or two at a table. But not my table, a small two seater at the window with a view of Café La Mama across the street. One of the regulars at the counter, a man who made random duck noises, bothered no one. In minutes, Nick set my toasted bran muffin and mug of coffee down next to my open notebook. He did it soundlessly, then returned to his post. I ate slowly, seated next to the one piece of nature in the room, a drooping potted snake plant, and began to write what I recalled. At first I felt lucky to remember one or two dreams. Slowly, my ability to retain whole sequences of dreams increased until I was spending as much as three hours every morning at the task. More time than I’d thought possible. Once dreams were recorded, I floated through them, over them like a man in glass bottom boat above a vibrant coral reef. I never felt rushed. Nick appeared to understand that I was fishing for something important in much the same way he handicapped the Daily Racing Form. I did this for three years, until the bleachers at Aqueduct fell on Nick and the diner disappeared and almost instantly, as in a dream, became a bodega.

What started at Nick’s shaped my exploration as a poet, and later my practice as a psychotherapist. In the privacy of my office I worked with clients’ dreams, fishing for images that might yield insight into patterns and impulses that drove their lives unseen. In this respect I think of myself as part of a lineage dating back to the god Asclepius in the 4th Century BC who healed through dreams. Not surprisingly, I picture Asclepius in a white apron behind a Formica counter reading the Racing Form.

Before Socrates died of self-administered hemlock, he asked his faithful friend Phaedo to remember to bring Asclepius a cock in payment for an old debt. I can easily believe that in his search for truth, Socrates recognized this alternate dialectic with the unconscious that occurred in the Asclepian dream-chambers. And the manner of payment, a cock, represented this as a wakeup call.

Nick’s diner was my dream incubator.

Perhaps I’m taking my penchant for reading things symbolically too far, but I believe there are correspondences between Nick and Asclepius. Both Greeks died violently. Asclepius from a thunderbolt hurled by Zeus as punishment for bringing shades back from the dead. Nick, under falling bleachers while calculating the odds on the Trifecta. Socrates as we know died at his own hand in his own time, refusing the opportunity Phaedo offered him to escape the death sentence imposed on him for corrupting the youth of Athens in his pursuit of knowledge. Whatever he had uncovered in this pursuit left him unafraid to cross the threshold. And it was at this point he acknowledged his debt to Asclepius and asked Phaedo to honor it.

In this respect, I believe Nick was Socratic. I’d like to think that in the eternal instant that precedes death as the bleachers fell on him, Nick managed a smile.

I continue to search the dark reaches of sleep for images that fill me with awe and fascination, and to remain in touch with the intelligence that produces them. 

DREAMSs“Dreams” by Douglas Leichter

Trolling these waters, I learned that my nightly dreams constituted a personal myth, but that Mythology functions as our collective dream. Both divulge meaning through symbols and archetypal imagery and serve as portals for information that enlarges waking consciousness. A key function of dream and myth, personally and collectively, is the integration of experience, without which the psyche would split, exist in what might be compared to a schizoid state, “beside itself.” As Carl Jung might have put it, The Spirit of the Times must be informed by The Spirit of the Depths.

Mythologist Joseph Campbell introduced me to Minnesinger Wolfram von Eschenbach’s 13th Century romance, Parzival. Parzival, a Holy Fool searching for the Holy Grail, arrives at the Grail Castle where the wounded Grail Keeper, Amfortas, awaits one who will heal him. Amfortas eases his pain by fishing, and so becomes known as the Fisher King. Moved blindly on his mission, Parzival is allowed a glimpse of Grail and the Castle. It is like a dream from which he wakes. In the morning, the spectacle disappears. Parzival has glimpsed the Grail’s power, but can’t understand the experience. Slowly he becomes aware that the Grail calls out to one who is worthy of it, and only that one will be able to heal Amfortas and the Waste Land that mirrors his condition. Until that time, the Fisher King daily floats his line in the water from the back of a boat to ease his pain.

The myth resonated inside of me from the start. Years after Nick’s diner had disappeared like the spectral Grail Castle, where I had glimpsed the Intelligence that composed and delivered my own dreams, I grasped the central meaning in the myth: in order to heal the wounded Fisher King Parzival must expose his own hidden wounds. Parzival’s journey through the Waste Land echoed my own.

In February 1966 at the age of twenty-six, I disembarked from the S.S. Esparta at Seattle-Tacoma after six months in Vietnam. The journey was from a war ravaged land to one torn by civil strife. I’d watched homeless orphans in Saigon sell mariposas to GIs, while counter-culture children in Haight-Ashbury got high and pinned flowers in their hair.Timothy Leary instructed his audiences to “turn on, tune in and drop out,” as Henry Kissinger advocated carpet bombing and the use of Agent Orange. Protestors chanted to end the war. Vilified soldiers brought the abyss back with them.

Saturn devoured his children.

IMG_2353“The Despot” by Marc Shanker

The cultural nightmare also laid waste to any claim to sanity by those in authority, balance and trust, all required for healing.

The Post-internet Waste Land is even more deceptive because the new technology that can spin any condition to appear to be its opposite. Hyper-stimulation and desensitization walk hand in hand. Pain hardens into confusion, or explodes in acts of terror. Disconnection looms at every intersection of the Information Super Highway. Environmental degradation proceeds in tandem with urban gentrification. The inherent contradiction in this behavior is no less telling than the one in Parzival’s world where knights left children orphaned in the name of love.

It seems to me that the Fisher King is still in pain, floating with his line in the water, waiting for one who can address the disconnection in the human heart.Parzival may be the first tale on record to identify the wound in Western culture as a failure of intimacy.

I’ve worked with countless dreams, my own and others, since Nick perished beneath the Aqueduct bleachers. At the rate of change in our culture, decades register as centuries. We are on a rocket ship, pressed by the G-force and fortified against it by all manner of desensitizing devices. But the basic structure of the human psyche has not changed since our ancestors inscribed their images swimming in the Paleolithic darkness of those great caves.I have no idea how to approach the problem on a massive scale, but as a therapist I try to do it one person at a time. But while the structure of the psyche remains the same, the environment that surrounds it has changed dramatically.Von Eschenbach mythos speaks to me through the mists of time. But it was brought to light eight centuries ago. What do the Fisher King and Parzival look like today and how are they embedded in the particulars of our lives? The messages received nightly in sleep may provide the best clue.

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A Case History

chaim-soutine-by-Tekkamaki[68597]“Chaim Soutine” by Tekkamaki

Perry is Parzival, or as closely cut from that physical cloth as anyone today might imagine. At 6’2”, he has linebacker shoulders, blue eyes are set deeply under a ridge of brow that give him the look of an eagle focused on a world of prey below. The warrior aspect is softened by blond hair, and an open smile. Heads turn when he enters a room. A survey of his gifts reveals that he is a discerning collector of folk art, stalwart conservationist and outdoorsman, formidable chef and sommelier, and a canny business man. In the course of fifty years, Perry has made a living as a rock drummer, night club owner, music producer, and currently as a high-end realtor. His version of the Grail mission is contained in his ambition to be the best possible human being he can, which includes helping those he cares for in any way he can.Women are drawn to him as they might be to a knight who will save them from loneliness, disappointment, and a history of trauma.

Perry projects the fantasy lover to many of the women he meets. The question that troubles him most is his own inability to sustain intimacy. Parzival’s confusion upon leaving the Grail Castle after glimpsing the Grail, might describe what Perry feels after a glimpse, followed by the loss of intimacy. It’s the source of great pain and self-doubt. Perry doesn’t understand why the condition exists, or what to do about it.

Perry’s romantic relationships have been mostly short term, fragmented, and hit-and-run. Certain women endure his brief appearances and longer absences in their lives for months, or even years—until it becomes intolerable to one or both of them. Our sessions over five years have focused on Perry’s wounds sustained at the hands of a sadistic father, and an enabling mother. Physical and emotional violence suffuse his earliest memories. As a child, when things heated up, Perry retreated to his room where he beat out rhythms with drum sticks on a practice pad and imagined he was a rock star in silver tights.

When we first met, Perry exuded a strong bonhomie. The traumatic events of his youth appeared to have disappeared into a life rich in friendship, fine wines and gourmet meals balanced by regular workouts at the gym. Only his painful experiences in relationships stopped him from addressing the void left by a sadistic father and sacrificial mother. The most promising preludes led inevitably to feeling trapped in an intolerable domesticity that made him flee in fear. Most attempts to develop a relationship sent him fleeing out the back door in a matter of weeks.

Until he met Cassandra.

gh3 Crowning of the Poet“Crowning of the Poet” by Grace Hartigan

There was something about Cassandra that would not let him go. From the first, he held on to her even when she pushed him away. She was the one who doubted she would be enough to fill his needs. He insisted his roster of friends, parties and shared enthusiasms for folk art and music, would not threaten their closeness. For the first time he felt no desire to run. Six months into the relationship, they’d moved from casual content to talk of commitment. Cassandra balked. Perry insisted they take it slowly, carefully. He wanted to be careful with her, remembering what it felt like to be overwhelmed.

Cassandra had her own unaddressed but elusive wounds. Her early sexual abuse by her step-father, denied until this day by her mother, had not affected her ability to conduct her daily life as an office manager and mother of three cats. Impeccably dressed during business hours, she was happy to lounge around in sweats on weekends.

Perry found her Nordic good looks irresistible.

Cassandra preferred to stay home, and to avoid unfamiliar social situations. Naturally social, Perry tried to accommodate her without giving up what he felt important for his own well-being. Cassie complained when he spent time hunting, fishing, or socializing with friends. Perry invited her to work on their issues in couples’ therapy. Cassandra appeared for several sessions and then declined to continue.

Perry appeared upset at our next weekly session. He’d caught Cassie going through his emails, and cell phone records. She responded by questioning him. He tried to field her suspicion of any communication with another woman, mostly in the course of doing business. Perry could say little to defend himself from her invective. He explained one of the women was an old friend. He assured Cassie that her suspicions were unfounded, but they continued even after he had provided explanations and alibis. This frustrated Cassandra even more. She couldn’t pin it down, but was certain he’d been unfaithful.

“There is no way to reason with her,” he told me.

Perry insisted that he couldn’t continue with her under these conditions. He was unable to fix what’s broken in Cassie. His partner of almost a year was forcing him out. He is full of grief.I try to comfort him, compliment his work on this relationship, regardless of the way it ends. It’s ground gained.

“What ground?”

In drawing close to Cassandra, I tell him, he’s glimpsed what it might be like to be loving and unafraid. While it doesn’t relieve his grief in the moment, this glimpse of who he might become, moves him.

.

What We Fish For

Blakelock-Corcoran RYDERMoonlight” 1886-1895 by Ralph Albert Blakelock

Parzival finds the Grail Castle at dusk following directions given to him earlier that day by a man he encountered fishing, who later awaits him in the Great Hall.Bathed, unarmed, and wearing a white robe, Parzival follows a maiden similarly robed to the banquet. He is struck by the scale of the hall, and the abundance of the table at which he is seated. The Fisher King, on the divan beside him, engages him briefly, then cries out in pain. As in a dream, Parzival cannot hear or see his host clearly. The procession displaying the Holy Lance and Grail leaves him in awe. He has only a limited awareness of anything else. Under the spell of these numinous objects, the underlying meaning of the spectacle eludes him. He registers the signs of anguish in his host, deepening furrows, compressed lips, but he has been taught as a knight not to question his host. Parzival fails to ask the Fisher King the healing question. In a state of satiety and confusion he is abruptly taken back to his chamber. He has no idea of the disappointed expectations he’s left behind.

Only years later, after Parzival has felt the weight of his own grief would he be able to fully acknowledge the grief of another. Until that time, he remains tongue tied, buried in false assumptions, and burdened by failure.

It’s not unusual at some point to find ourselves dumbfounded at the banquet of life. A few of us glimpse the image of our unique destiny. Though it may not be fully recognizable, it propels us into the larger mystery of the consciousness—the field from which form arises. The Glimpse, however it appears to us, activates feeling and intuition, a drive to grasp what waits to be named before we can name it.

.

The Glimpse

Parzival, too, has such a glimpse shortly after he first arrives at the Grail Castle. On his way to the banquet hall he stops in front of a small room on his left. The grey bearded elder lying there lifts his head to meet the young knight’s eye.Parzival feels something familiar stir. The old man seems to float on a bed of light. Suddenly Parzival’s heart is filled with tenderness, an emotion he has not encountered before. He wants to find out more about this man, and learns only that his name is Titurel, before the attendants urge him on to the Great Hall, the scene of his epic failure.

fisher_king_detail2“The Wounded Fisher King”

In the morning no one is present in his room or the corridors. His horse awaits but there are no other horses in the stalls. The castle appears empty. He hears jeering from the walls as he rides out. They accuse him of lacking a heart as well as a tongue. The draw bridge closes behind him. Parzival begins to suspect he is the object of derision. Unseen voices mock him from the battlements, ask why he failed to ask the question.

“What question?” he calls back.

What follows is confusion. The nature of his offense eludes him, until after riding for several hours be encounters a women keening over a dead knight. She reveals herself to be his cousin, Sigune. The corpse she holds, and refuses to let go of, is her lover who died in defense of Parzival’s kingdom during his absence. This corpse is just one of many who have died for his sake, some by his own hand. She then makes clear the depth of his failure to ask Amfortas the healing question. Parzival is struck dumb. What he imagined to be a legacy of noble deeds is in fact a list of failure upon failure.

Parzival has failed because he is unconscious. His mission had been a vague thing, and his intervention the consequence of his inherent knightly virtue. He has yet to learn the whole truth about himself, and the role he must play. The fact that he may be part of the Grail lineage has at no time crossed his mind. Not even as he rode away, or registers the truth as Sigune details it to him.He rides away leaving her with her corpse, the Waste Land unchanged.

What he did take with him was the feeling evoked by his memory of the old man on a bed of light in the room off the corridor. That glimpse had been accompanied by an emotion that connected him to the object of his gaze in a way he could not have understood—that he had in that moment made contact with the original Grail King, his great uncle, Titurel.

The importance of The Glimpse must be noted; it’s a crucial milestone in Parzival’s development. The Glimpse activates the process of becoming conscious.  It will take Parzival twenty years of wandering, struggle and disappointment before he will realize his destiny.

What might he have registered upon seeing Titurel through a crack in the door?

For Parzival, this glimpse is accompanied by a compelling new field of emotions. Perhaps it’s what he saw mirrored by that senex, the wise ancestor who has known the end from the beginning. Did Parzival glimpse himself, redeemed, in the loving gaze of the original Grail Keeper, hidden in a room of the unconscious?

My client Perry, as well, might early on have glimpse the possibility of his redemption in the Cassandra’s loving gaze, or projected that potential on to her. Like Parzival, he may have experienced in that moment the promise of a compelling new emotional field offering something he had never experienced before. Both Perry and Parzival felt rather than understood the depth of this connection, though neither could have explained it.Perry, like Parzival, drawn to that part of himself he struggled to imagine, the part that makes one whole, what we fish for, color flashing under the surface, Osiris’ phallus swallowed by a fish.

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Enter the Fisherman

Perry is a life-long fisherman. He is at his best on the bank of a trout stream casting out line. His years have taught him to read the water for patterns, flow and bottom. Perry chooses his lure carefully, and knows where and how to place it. In our sessions, we talk about his dreams in the language of fishing. It has made the symbolic references of the exploration easier to understand.

Dreams and lucid visions hit Perry’s line regularly. The catch can be playful, or smart, or if he is not attentive, it can easily snag and break the monofilament.He is however quick to tell me that fishing for dreams differs significantly from what he does at a trout stream in one respect. Fishing for dream content, he is at times repelled, and at others fascinated by what he reels in. But certain things hold true for both.

“I don’t always catch something, or keep what I catch.”

I ask Perry if he ever throws the most remarkable images back.

Perry smiles. Clearly fishing for trout holds none of the potential dangers inherent in fishing his dreams. The sense of utter vulnerability is absent. The variables are inviting rather than confusing. He loves getting lost in the senses. He insists that standing in the stream, knee deep in waders, watching light and shadow shift along the banks, hearing the current murmur, feeling a breeze touch his cheek, make the experience sufficient unto itself. Some of his finest days are those when he doesn’t get a bite.

This may be true for the Fisher King as well.

I read between the lines. The problem arises fishing in psychological space/time, in which the depths rise up. Perry gets scared when a submerged danger is about to break the surface.“Can you pull in Leviathan with a fish hook, or tie down its tongue with a rope?” says God in Job 41. When Perry hears that voice his habit is to take a break from therapy, women, and socially uncomfortable gatherings. Even a fleeting glimpse of what might be brought up from the depths, imprinted with the numinous, can be deeply disturbing to one who is unprepared.

Most spiritual traditions warn against it. In the Jewish tradition, Merkabah mystics are warned to avert their eyes, never to gaze directly at the Throne, lest they instantly become a cinder. Only a divinely ordained but clinically mad Ezekiel, or Moses on the mount cautioned where to gaze, can risk drawing close to the ineffable. God warns Job directly not to stare too deeply into the depths where numinous power exists as the Leviathan:

L'Ange_du_Foyeur Ernst“L’ Ange de Foyeur,” by Max Ernst

His snorting throws out flashes of light; his eyes are like the rays of dawn. Firebrands

stream from his mouth; sparks of fire shoot out. Smoke pours from his nostrils as from aboiling pot over afire of reeds.

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The Fisherman’s Lament

“I feel empty,” Perry opens our session. “Nothing seems to last. Nothing of value.”

I hear Parzival cast back into the Waste Land.

In Perry’s case, the Waste Land is a workshop he participated in along with other real estate brokers who deal in multi-million dollar properties facilitated by a noted motivational speaker. After briefly assuring them all that they were a dynamic group of high achievers, she challenged them to close their eyes and picture what success looked like to each of them. More specifically, she wanted to know how they saw themselves at the height of their success, and what they would choose to do with their money. It was meant to be a goal orienting exercise, a glimpse of their destination, the longed-for reward each worked so hard to realize.

“I started to cry.” Perry flushed.

“Why?”

For him, this was a glimpse of the abyss.

“Unbecoming in a man after forty-five.”

“What do you make of it?”

“I don’t know.” He rubbed his chin, a Perry tell expressing stress. “They keep urging us to reject pain, and embrace pleasure. But for some reason, I’m always moving in the opposite direction.”

I repeat Victor Frankel’s contention that for most people the dream of material wealth fills the void left by the absence of meaning. Perry has read Frankel’s Man’s Search for Meaning, and agrees. Still, it is hard for him to let go of the material dream. On the other hand, after so much time pursuing it, material success feels meaningless to him. Surrounded by those at the workshop, all of whom are driven by the desire for wealth, he became nauseous, and frightened he’d throw up.

“Maybe that’s a good thing,” I offer.

“Easy for you to say. But where does it leave me?”

Perry’s attempt to fill his inner emptiness with intimacy had produced the same reaction. The recent breakup with Cassandra left him almost permanently nauseous. He had been determined not to follow his past pattern to run away when things became difficult. And he had held firm until the accumulated weight of her accusations had forced him out. She had constantly misread his slightest look as flirtation with a waitress or woman on the bus, continued to check his phone and computer logs. At every turn, Perry found himself litigating in his own defense, attempting to show her that she was mistaken, he was not her predatory step-father.

She would not be persuaded.

“I don’t understand how the nurture and trust I offered a partner for the first time in my life, provoked so much anger and suspicion.”

“Focus on her pain for a moment.”

800px-The_Wounded_Angel_-_Hugo_Simberg“The Wounded Angel” by Hugo Simberg

This is the only way he will be able to ask the healing question.

“I can’t!”

“Because your pain gets in the way.”

“Yes,” he nods. “If only I could get rid of this neediness, kill that part of myself…”

“No, no. You don’t want to do that.”

I suggest that killing feelings rather than understanding them is no solution. There is meaning in pain. To deny it invites substitutes like the pursuit of material wealth and power to fill the vacuum.In time he will be able to separate his pain from hers, and at that point see her more clearly

He confesses to drinking too much.

I tell him to watch his dreams.

“Maybe I’ll go fishing.”

“Good idea,” I reply. “There’s something healing about casting that line, just floating the lure.”

Perry knows I’m talking figuratively, about dreams. He nods, then winces—Parzival hearing the castle gate close behind him.

“I’ll call you,” he says.

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Dressing the Wound 

Perry calls two weeks later for an appointment.He hasn’t had the energy before this for a session, but is determined not to run away. There is too much confusion surrounding the situation. He’s ready once again to talk about his dreams. And there is one in particular he wants to explore.

I look forward to the meeting. Perry’s dreams are fluent. His unconscious is often visionary, personal issues enriched by symbols and archetypal content. Facing me from the couch, his back ramrod straight, he recounts the dream that sent him here.

 I’m standing in front of a green curtain that slowly transforms into a face, one I find frightening. At first it is mostly a large mouth, like a tear in the fabric, except it grows lips. Then the other features press against the surface as if they are trying to fix themselves but can’t. The surface is wrinkled like an old cloth. Then it becomes transparent, and parts. I hesitate, but can’t do anything else than step through it, and find myself in a cave. There’s a waterfall at the far end. It falls into a pool, the kind where wild animals come to drink. There may even by foot prints at the edge. Then I notice a fountain at the center of the cave. Water spills from a circular dish into a catch basin. The sound of water falling surrounds me. Musical, almost harmonic. With so much water and stone, the cave isn’t damp. On the contrary. I can feel a breeze which is surprisingly dry and sweet smelling. I start to relax, even sink into a peaceful state, until I sense something watching me, a powerful presence; it seems to be everywhere. I wonder if it is malevolent, means to do me harm. I’m sacred, but fascinated, wait for whatever is watching me to speak. But it doesn’t. There is only silence. I am stuck to the spot. Can’t move. Finally I summon the courage to call out, “Declare yourself!” As soon as I do, the whole scene fades and I am facing the green curtain. The surface wrinkles, lips form then answers me: “I’m here!”

Perry recalls every detail. He had visited a place where his senses registered changes like seismographs. Hyper-reality, he calls it. It was clearer to him than any other concrete place he had been in recent memory. He wondered if what he experienced had been a form of possession, and the presence he felt there with him a demon.

“What you entered,” I suggest, “is a sacred space. Jung refers to it as a temenos.”

“What’s that?”

A temenos, I explain, is an eternal dimension within the psyche. Reflected in its geometry—the circle squared—the temenos refers to a center of personality. It is a space that contains the realized self. As an archetypal form it’s describes the classic mandala. It is commonly expressed in the design of most plazas, a circular fountain at the center of a square. King Arthur’s Round Table is the temenos at the center of Camelot. In Perry’s dream, it’s presented in its archaic form, a fountain at the center of a cave in which the air smells sweet and without dampness, though full of running water.

Perry’s eyes grow wide, Parzival in the presence of the Grail.

“I was terrified,” recalls Perry. “Like I might die.”

“You had a glimpse of wholeness behind nature’s curtain. The green mask of the Great Mother, which you’ve mistaken for a demon, has assured you from disembodied lips that she’ll be there to receive you again, when you’re ready.”

“I guess.”

“Remember what she said?”

“Sure. She said: I’m here!”

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Gone Fishing 

grailtable1temenos“King Arthur’s knights, at Pentecost, see a vision of the Holy Grail’. From Lancelot and the Holy Grail.

Perry cancels his appointment the following week, texts that he’s not “running away,” just wants to spend an indefinite time trout fishing. It’s the start of the season, streams are stocked. His gear is packed. We both understand what this means. I hope that in addition to catching trout, he will pull something else out of the deep pool of his sleep. Maybe the Oxyrhynchus, the fish which the Egyptians believed swallowed the phallus of Osiris.

“’Ripeness is all,’” I text him back.

When I see him two weeks later, he reports the following dream.

I am fly fishing in a stream surrounded by high banks of exposed roots from the trees above. Suddenly I feels a tug at the line, pull back, set the hook, then try to reel in, but the line is heavy and appears stuck on the bottom. I give it a tug. The line becomes free, but there is a significant weight on the other end. It doesn’t fight or run, but requires enormous exertion to move. Eventually I can see a shadow in the water, and then make out this huge brook trout, many times the size of a normal one. As it comes closer I notice there are a lot of little fish attached to it, feeding on it. When I lift him out of the water, the small fish fall away and the trout comes up clean. I see that its nose is slightly bent, which happens to very old fish, and that it has a mouth full of razor sharp large teeth. But I’m not scared to touch it. Maybe because it doesn’t resist in any way. I lay it out gently on the bank. It doesn’t try to bite me. I am confident that it won’t hurt me, and my heart is suddenly full of a mixture of sadness and joy, wide open, raw, with an overpowering emotion I realize is love.

Perry shakes his head, still in the grip of that emotion. The dream unfolds of its own accord. Before he says a word, we share an understanding of this one. What he catches in the dream is no ordinary fish, but his wounded core. This ancient creature has been buried in the sunless depths of his soul all his life. It has grown old inside of him. Because of his determination to confront his pain, and our work together, because he is a fisherman who has kept his line in the water, the fish chose to emerge at this time.

fish“Swordfish,” Brunetto Latini’s  Livre de Tresor

He will always experience it, even as a memory, in the present. It waits in the shadows of the stream, where Perry is likely cast his lure. At first the creature hugs the bottom, low enough to resist being pulled up, but eventually allows it. Perry is struck by an unexpected emotion: he feels tenderly about the creature. The feeling grows stronger as he reels. He is moved by the sight of creature’s bent nose, an indication of its age.

“Very old,” he repeats.

Its eyes are large black holes that glow, like one of those blind fish that live near thermal vents at extreme depths where there is no light, it is a perfect formulation of his woundedness. Clusters of smaller fish clinging like barnacles fall away as Perry lifts it out of the water. These he recognizes as collateral conditions that fed on his pain. The creature, too, seems relieved to shed them, revealing the iridescent hues that were hidden, green and blue, visible in the daylight.

The emergent form and details of his ancient sorrow, what had been shapeless terror now given shape, gives him palpable relief, almost a lightness of being. He spreads his catch on the bank, whole and clean; its razor sharp teeth pose no danger to him. In the light of making so much material conscious, Perry sees through a clear lens.

He admires the fish where it lies, old, venerable, then drops to his knees overwhelmed. What he registers in the creature’s blind eye pierces his heart like blade.As Parzival discovered by “piercing through,” there is no greater intimacy than the gratitude that opens when the hardened accretions that feed on despair fall away like old barnacles. His heart swells like a vessel unable to contain its contents, so full it is about to spill over. Perry is convinced that he will never love anything more than he does this old fish at his feet.

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Daedalus Delivers

r6Gypsy’s Diner

I am sitting at Nick’s tasting the last of my toasted bran muffin, getting ready to record last night’s dream in the notebook open beside the coffee mug veined with grime that will never wash out. There are a few regulars at the counter: and ambulance medic named Bob, a beefy man in a blue official jacket; Yuri, the scientific chiropractic Ukrainian masseur, and the old man who makes duck noises. Outside, homeless men fresh from the shelter on 3rd Street make their way slowly down Second Avenue, find empty doorways, talk to themselves in front of the Emigrant’s Bank on the other side of the street.

I remember last night’s dream clearly, a fragment, but as if it were a lived experience—as real as my memories of Vietnam, or my Brooklyn childhood around the corner from Ebbets Field.

 I am looking at a man walking quickly from Gem’s Spa towards Houston Street along 2nd Avenue. He is casually dressed in jeans, and s black sweatshirt on the front of which embossed in white block letters the legend: “Daedalus Delivers.” I note his purposeful walk and repeat the words on his sweatshirt, then conclude that he is a messenger on a mission. I repeat the phrase, “Daedalus Delivers.” Then answer: “And he does.”

It will take me months, maybe years, to understand that the messenger is the message of this dream. As such, the dream possesses an origin and an intention, a way of delivering the message. Everything speaks of an intelligence at work that is independent of our own, what Jung refers to as the Objective Psyche, and the Romans understood to as the Genius. Here, the intelligence alludes to itself as Daedalus, the mythic craftsman who constructed the labyrinth on Crete to contain the Minotaur.

It is a dream that comments on itself and the very archetype of The Dream. In the meta-sense it points to the idea that in its construction a dream is a labyrinth which conceals something at it center that may be monstrous or grotesque, a concealed mystery waiting to be revealed. The indication is that it contains a core-meaning that must not be seen directly, in day light. The creature/meaning in question, sensed, even suspected, lies buried beneath the heart of the city.

Daedalus, the inventor of wings that can simulate those of birds, carry one as in a dream high above the ground over great distances. On the other hand, like the unchecked dream, it offers a perilous power for those like his son, Icarus, who are temperamentally unsuited to flight.

This early dream image flourished in my storehouse of images, and proved so rich it survived three decades undiminished. Attached to it the smell of old urn coffee, and another artificer, Nick, guardian of my morning ritual in the temenos that is his diner. The Racing Form from which he seldom looks up challenges him daily with the riddle of fate vs free-will, what can be calculated and what escapes the scope of probability.

His presence was a secure incubator, a place where the images could emerge from my night-sea journey like companions on the boat I steered into the morning, collaborators in the unfolding of my own hazy destiny. Nick made me feel we shared this purpose. His old watery eyes when I left followed me out the door, and into the room where I practice today with other peoples’ dreams as well as my own.

I have learned patience in this pursuit.

For one thing, my boat is more stable, and the lines steady. I fish for what informs me in science, as well as in the humanities and the arts. My navigation skills have been honed by survival years on the lower East Side, in embattled zones of South East Asia and Central America. But there has been no better place to cultivate the clues to judging depth, or the potentials of a weed line than in a marriage, or parenting a child. And by my every reckoning, as well as those of my clients, I remain convinced we possess a submerged intelligence that generates messages that form and transform the patterns governing our lives.

Which is why the Fisher King addresses his pain by fishing.

squaring-the-circle“Emblema XXI” by Michael Maier, 1618

He demonstrates what it means to float on the unconscious. Just to knowingly touch its vastness brings comfort.This is true for all who troll the field from which form emerges. Sooner or later, those waters will yield what we must see. Many are sustained by that promise. A few, like Perry, fish only to feel the late afternoon breeze, and light on the water.

There’s no faith or institution necessary, nor any need to convince another of the experience of the inner intelligence, what the Roman’s called the Genius, is available to you. It is numinous, and one can use the language of myth to describe it. My dream at Nick’s diner named that intelligence Daedalus, after the Greek artificer. Socrates said he failed to listen to his Daemon to his detriment. European romance refers to it as the Grail, or the Philosopher’s Stone that can confer immortality.Carl Jung referred to it clinically as the Objective Psyche, or the Self. Like the Hindu Brahman/Atman it is embedded in our psyches, and in the universe at cellular and cosmological level. What we may experience in our waking mode is that intelligence can evolve slowly starting with the early wound, separation from the womb/mother, to the possible apprehension of the ground of consciousness itself, a glimpse of which opens the heart as it did for Parzival and Perry.

Thomas_Cole_-_The_Voyage_of_Life_Childhood,_1842_(National_Gallery_of_Art)“The Voyage of Life,” by Thomas Cole

The ancient fish representing Perry’s unconscious suffering spread out on the bank in his dream, is a message from the same Objective Psyche as my Daedalus in his black sweatshirt walking briskly down Second Avenue. Both convey a touch of the numinous. The Grail which sustains the banquet Parzival observes is also a representation of the intelligence that spills dream images into our sleep, as is the stranger in the boat who directs him to the castle. A glimpse of this reminds us that we are everyone in the dream. Each of us is Parzival, challenged to heal the Fisher King; each of us a Fisher King waiting for our Parzival, as well as the fish who has swallowed Osiris’ phallus swimming in the sea of consciousness. Every morning, I write down what I’ve brought back from the dark waters over coffee, absent the toasted bran muffin, and Nick—whom I failed to engage directly, and ask the healing question.

 —Paul Pines

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by Jay Hunter

Photo by Jay Hunter

Paul Pines grew up in Brooklyn around the corner from Ebbet’s Field and passed the early 60s on the Lower East Side of New York. He shipped out as a Merchant Seaman, spending August 65 to February 66 in Vietnam, after which he drove a cab until opening his Bowery jazz club, which became the setting for his novel, The Tin Angel (Morrow, 1983). Redemption (Editions du Rocher, 1997), a second novel, is set against the genocide of Guatemalan Mayans. His memoir, My Brother’s Madness, (Curbstone Press, 2007) explores the unfolding of intertwined lives and the nature of delusion. Pines has published twelve books of poetry: Onion, Hotel Madden Poems, Pines Songs, BreathAdrift on Blinding LightTaxidancing, Last Call at the Tin PalaceReflections in a Smoking MirrorDivine Madness, New Orleans Variations & Paris Ouroboros,  Fishing On The Pole Star, and Message From The Memoirist. His thirteenth collection, Charlotte Songs, will soon be out from Marsh Hawk Press. The Adirondack Center for Writing awarded him for the best book of poetry in 2011, 2013 and 2014. Poems set by composer Daniel Asia have been performed internationally and appear on the Summit label. He has published essays in Notre Dame Review, Golden Handcuffs Review, Big Bridge and Numéro Cinq, among others. Pines lives with his wife, Carol, in Glens Falls, NY, where he practices as a psychotherapist and hosts the Lake George Jazz Weekend.

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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.

~

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).

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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.

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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).
Sep 092015
 

16_BBallengee_w_great turtleBrandon Ballengée with an endangered alligator snapping turtle. Photograph by Peter Warny.

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The Wampanoag people of eastern Massachusetts had a tradition of digging a hole at the site of an important event. A member of the community would then be tasked with maintaining that hole and, once a year, telling the story of what happened there.

History, as we understand it today, is the story we tell ourselves about ourselves. Restless now, rootless, we add to this story, decade after decade, embellishing and embroidering, until, in time, it takes on a life of its own, staggering out of the woods or fields into the halflight, out of the bars or towers or conference rooms into the glow of headlights, streetlights. It feels alien, other. We squint our eyes. This is not who we are. This is not who we were. This has nothing to do with me.

There are many reasons to dig holes.

We plant crops, we plant trees—and why not? We want food, we want shade. We need a place to bury our trash or hide our treasure. Where else should the bodies go? But in these instances we cannot ignore the underlying expectation of exchange, the ritualistic reciprocity: what is removed shall be replaced, what we hide will stay hidden, what we plant shall grow. A seed into a tree. A body into a laser-etched NASCAR headstone.

The Wampanoag cut into the earth where, and in a time when, the earth mattered, and by leaving that cut, by refusing to fill it in, instead filled the landscape with memory, fusing narrative with the land, entwining story and place. For generations the responsibility was passed on: to tend the hole, to tell the story.

Most of our monuments consist of objects added to the landscape: cenotaphs, statues, plaques. Loss symbolized by addition, the absence of something commemorated by the presence of something new. Perhaps we’re afraid of looking into the void created by the lives, the people, the time, the whatever it is that’s gone missing. In this disconnected culture, stories wander placeless. Memories have no home. We seek replacement rather than understanding.

Brandon Ballengée is an artist, biologist, and activist who has dedicated himself to tending absence. Absence, it could be said, is his medium. The disappearing and extinct species that have been and remain his inspiration and focus, in both his artwork and his scientific research, could not have hoped for a better reciter of their stories, linking them to place, but also time, time past, time running out.

Last spring’s Armory Show in Manhattan brought welcome attention to Brandon’s work, specifically to one of his various ongoing projects, Frameworks of Absence. Since 2006 he’s been researching animals that have gone extinct in the Americas over the past four centuries, selecting prints contemporaneous with the species’ demise and then painstakingly cutting the creature’s image from the page, leaving a hole.

There are holes everywhere.

With climate change already threatening the environment, with overhunting and habitat destruction continuing nearly unabated, with predictions that a new mass extinction event is underway, Brandon wants us to see what we’ve already lost, to mourn so that we might act. He is telling a story, a story of this place, of any place made less wild by the disappearance of its insects, animals, birds, all the things that make it a place. This is our story, as it turns out, and it’s one we need to hear.

The Frameworks of AbsenceThe Frameworks of Absence. 2006-Ongoing. Artist cut and burnt historical artifacts. Installed at the Armory Show, New York, NY, 2015. Photograph by Casey Dorobek. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

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Brandon and I conducted this interview via email starting in late spring, corresponding through the first few weeks of August. He is passionate and thoughtful, and despite the grim context of his work, retains an admirable and hopeful optimism. What follows has been condensed and edited.

Q&A

DARREN HIGGINS: As I began to think about your work and consider what questions I wanted to ask you, I noticed that my six-year-old son was outside studying insects and creating habitats for the ones he caught. So I’d like to start by asking about how you came to be interested in studying nature. You said in a recent interview that “I had a lab in my parents’ basement and I had an art studio in our barn.” Did you ever consider any other career, or was your path set from early on?

BRANDON BALLENGÉE: From my earliest memories, I was always fascinated with aquatic animals and insects. I would document and draw them while trying to understand how they worked and lived. At one point I had so many aquariums in my bedroom that my parents moved me downstairs—they were worried that the floor might fall through! This is where the basement lab came from.

DH: And when did art enter the picture? It sounds like your interests in science and art have always been intertwined.

BB: I have always loved to draw. Drawing was always a natural way for me to try to understand the world. Growing up, I would spend hours looking at the illustrations in field guides and zoology books. Later, as a teenager, I became very influenced by modernist paintings—Motherwell, Kline, Rothko, and others were big inspirations. I even began making large-scale abstract paintings, focused on composition and asking how the eye can be moved through a two-dimensional plain. I was also interested in how colors and forms can influence feeling in a work. I still utilize these formalistic considerations while making art.

Science and art are both ways to explore and understand the world outside and within ourselves. They are often viewed as dichotomous, even complete opposites, coming from one or the other side of the brain; however, human beings are not solely “right or left brained”—we are far more complicated and interface with the world poetically as well as pragmatically every day. Creativity manifests itself through both art and science. The fields are complementary, not opposites.

That said, one of the most challenging times in my life was sorting out how to combine art and science academically and, later, professionally. As an undergrad, I managed to take courses in both and then found a dual Swiss/British graduate-to-Ph.D. program, which let me fully combine my practices in art and science. Here my scientific focus concerned causes and potential impacts of developmental deformities in frogs and toads within agricultural landscapes in England and Canada.

My desire to work with amphibians was a response to the current population crisis they face as more than 40% of known species are considered in decline and more than 200 species have gone missing in recent decades. These are ancient marvels of evolution with a wonderful array of shapes, forms, colors, and behaviors. They are “keystone” species to our terrestrial ecosystems, meaning that when they are gone many other species are impacted. They are disappearing so fast. It is both tragic and alarming. My series of artworks, Malamp Reliquaries, is my artistic response to this study of deformed and declining amphibians, as well as hopefully a means to inspire people to help protect these amazing creatures.

01 BBallengee_DFA156.PersephoneDFA 156: Persephone. Unique digital-C print on watercolor paper. Cleared and stained Pacific tree frog collected in Aptos, California, in scientific collaboration with Stanley K. Sessions. 45 7/8 x 33 7/8 inches. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

DH: You mentioned species in decline—disappearing or missing species. I’ve been focusing on extinction in my own work recently, which is, I think, one reason why I found your Frameworks of Absence project so profound and moving. How did the idea for that first come to you?

BB: The death of our friends, family, and ourselves is very hard for us to comprehend. Even further, the permanent loss of a group of organisms is an almost abstract idea. So how does one give visual form to this absence? For years I have attempted to create art that captured this phenomenon. I experimented sculpturally using preserved specimens backlit to create silhouettes, to suggest species decline and loss, such as in An Illustrated Key to the Fishes of Jamaica Bay ca. 1974- 2024 AD (2002-04) and the installations the Apparitions (2009-ongoing) made with taxidermy specimens lost in natural-history-museum collections. Also, in my work Collapse (2012), empty jars were placed among a myriad of marine specimens to recall species loss.

02_BBallengee_CollapseCollapse. Installed at Ronald Feldman Fine Arts, New York, NY, 2012. Mixed-media installation including 26,162 preserved specimens representing 370 species following the 2010 Deepwater Horizon oil spill. Glass, Preffer, and Carosafe preservative solutions. 12 x 15 x 15 feet. In the background: Vertical Fall in the Winter call that dances in the spring nocturnal… 2010/12. From the series A Season in Hell. Unique digital Chromogenic print mounted on aluminum. 64 x 90 inches. Photograph by Varvara Mikushkina. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

For two-dimensional works, I first tried to depict extinct species by drawing silhouettes of them using Japanese ink. Then ink was use to cover depictions of now-gone species in old field guides. Yet the black mass still had visual form. Influenced by Robert Rauschenberg, who erased a piece by Willem de Kooning, I later tried erasing out the animal depictions. The remaining traces of pigment created a kind of ghost-like image, but still there was a presence.

In 2005 I carefully cut a pair of passenger pigeons out of an old guide using an X-Acto blade and surgical scalpel. The altered print minus the avian forms created an intricate structure, still beautiful but incomplete. Visually, this created a kind of void in the picture-scape, like the actual loss of species from real ecosystems. I had found a way to frame absence.

Brandon Ballengée - Framework of Absence - RIP Passenger PigeonRIP Passenger Pigeon, 1937/2006. Artist-cut page from the 1937 first edition, Macmillan Publishing Ltd.’s John James Audubon’s The Birds of America, 6 1/2 x 4 1/2 inches. Photograph by David W. Coulter.

DH: How do you decide which creatures to focus on? And how do you select the artwork to cut out?

BB: For the last two decades I have been collecting information on extinct and declining species. For the Frameworks of Absence, I maintain a database that groups lost species by continent, era, and taxonomic group. My goal is to create a Framework of Absence for each known species that has gone extinct during the Anthropocene.

For selecting the artwork, it is a matter of finding a print or artifact produced at the time in history when the species depicted disappeared. In some cases, these prints are the only visual and physical presence remaining of the species.

DH: I’m really curious about that process: Why do you choose to use an original print, for example, instead of a facsimile? And, as I understand it, you also burn the image that you cut from the print…

BB: Using original historic prints or artifacts is a fundamental concept underlying the Frameworks of Absence. Such “real” artifacts resonate history—a shared time with the species they depict and the cultural landscape of our own species at that moment in history. As the depictions are removed, the Frameworks of Absence create a void in our own history attuned with the loss of actual species gone from nature. I then burn the depictions of the lost animals. This is a personal cremation ceremony that connects me to these lost species.

The Frameworks of AbsenceThe Frameworks of Absence, 2006-ongoing. Funerary urns, ashes. Photograph by Michael Ahn.

The ashes are placed into black glass funerary urns etched with the name of the lost species. People are then asked to scatter the ashes in the place where the species lived. This scattering of ashes is meant as an individual embodied experience for that person—meant to be a deep and transformative experience. I call these rituals Actions of Mourning. Releasing the remains of others is a powerful and life-changing event, a reminder of our own mortality and the fragility of all life.

By cutting such historic objects I hope to question our sense of value. Such artifacts have worth, often in the monetary sense, but more importantly in the sphere of human history and our changing attitudes along with behaviors towards the natural world. As Aldo Leopold said, “We stand guard over works of art, but species representing the work of aeons are stolen from under our noses.”

11_BBallengee_RIP Pied or Labrador Duck-cuttingBallengée cutting a burnt hand-colored stone lithograph, “Pied Duck” (Labrador duck) by John James Audubon from the limited Amsterdam edition of Birds of America, etched glass urn, and ashes. Photograph by Anthony Archibald J.

As we currently find ourselves in the middle of a human-caused mass extinction event re-evaluating our collective value systems and ethics is paramount. Each of our individual everyday actions has an impact on ecosystems and the greater living community. Some positive and some negative, each action in a sense is a value judgment, what we choose to hold dear and protect.

DH: Ritual clearly plays a critical role here. Can you expand a bit on its importance to your work?

BB: Our lives are filled with daily rituals, although these now, in the technologically enhanced world we live in, often commonly involve interfacing more with the virtual than the physical. The late philosopher of science Edward Reed discussed the loss of direct learning experiences in post-technological societies and stated that direct physical or embodied actions of inquiry were becoming “endangered.” More recently, author Richard Louv has talked about a growing “nature-deficit disorder” among youth and adults resulting from an increasing disconnect with experiences in the natural world. The result is a widespread non-understanding of ecosystems, other organisms, and even ourselves as part of a living community. Our connection to nature is becoming absent. In response, I try to engage audiences physically and mentally through actions.

The Actions of Mourning are ritualistic, but not in reference to specific procedures in a religious sense nor grounded in any particular set of beliefs. Instead, they are personal actions that participants perform, when and how they decide. Such intimate actions are a transformative means of connection to other species living and gone.

Likewise, through my participatory ecological field surveys, Eco-Actions, I connect people to local ecosystems through physically immersive experiences, collecting data on aquatic species and reflecting on these experiences after. Philosopher Bruno Latour discussed the idea of science being performative. With my Eco-Actions, participants perform science to study ecosystems while being reminded through art that they are a living part of a larger whole of life.

07_BBallengee_Eco-actions_Lough_BooraLough Boora Eco­Actions, 2010. Eco-Actions (public field trips) in Lough Boora, Ireland, in April 2010, organized by Sculpture in the Parkland in celebration of International Save the Frogs Day. Photograph by Kevin O’Dwyer.

DH: Can you talk about your Book of the Dead? Is it a kind of companion piece to the work itself? Do you see it growing into a book in its own right?

BB: It is a complementary component to the overall project. Here pages of the book show close views of the animals’ faces from pre-cut depictions of the Frameworks of Absence. Conceptually, readers look into the eyes of the lost species to have an interpersonal experience. It is available for download for free here.

DH: You referenced Aldo Leopold earlier. In one of his essays, he writes about the numenon, or the essence of a place—”The grouse is the numenon of the north woods.” What do you think has been, and is being, lost with these extinctions?

BB: What’s being lost is our collective legacy as living beings among a huge community of other living beings on this remarkable planet.

DH: But what happens to places when they lose their presiding numenon? Though there is no one alive who can remember the wild “biological storm” (another Leopold line) of the passing flocks, what is North America today, for example, without the passenger pigeon?

BB: Sadly, it is less profound. It’s a less profound place. It’s nearly impossible to imagine the skies darkened by passenger pigeons or the lesser-known Rocky Mountain locust.

RIP Rocky Mountain Locust: After L. Trouvelot, 1880/2015. Artist cut and burnt halftone lithographs, etched glass urn, and ashes, 14 x 27 3/8 inches. Photograph by Casey Dorobek. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

RIP Rocky Mountain Locust: After L. TrouvelotDetail: RIP Rocky Mountain Locust: After L. Trouvelot.

However, we still have a wonderful diversity of life and ecosystems here in the United States. For example, the Appalachian Mountains alone account for the highest diversity of salamander species on the planet. Although, we have already lost at least one that we are aware of—the Ainsworth Salamander, which disappeared from Mississippi.

RIP Ainsworth’s Salamander: After James Lazell, 1998/2015. Artist cut and burnt photolithograph from scientific publication, etched glass urn, and ashes. 12 7/8 x 15 7/8 inches. Photograph by Casey Dorobek. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

Much of this richness of life we still have is under imminent threat and it should be a national priority to preserve these species and the habits they need to survive. Such actions would transform the role of our species and are ethical, as suggested by Leopold when he came up with his idea of the “land ethic.” As he stated, “a land ethic changes the role of Homo sapiens from conqueror of the land-community to plain member and citizen of it.” Leopold suggested a paradigm shift in outlooks toward nature, ourselves, and seeing the connection between the two.

DH: You are an artist and a biologist, but you’re also an activist: Do you hope to influence your audience in a particular way?

BB: Yes, to inspire discussion and actions toward conservation. Often people feel that environmental problems are too large and too widespread for individuals to make a difference. This is absolutely not the case. All of our individual actions every day have an influence on ecosystems and biodiversity: what we chose to eat; how we live; where we live; how we travel; if we own land, what to do with it; how we discuss these ideas with others; and on an on. We are part of a larger living community and can individually and collectively make large differences.

In the 1990s environmental workers Silvio Funtowicz and Jerome Ravetz came up with the concept of “post-normal science,” which suggested using the tools of varied disciplines and the expertise of local stakeholders to address complex social and ecological issues where risks are high and results urgent. Today we find ourselves globally in a “post-normal” situation, as such siloed disciplinary approaches fall short. However, stakeholders from diverse backgrounds working in creative collaborations can bring increased complexity to real-world problem-solving.

DH: I imagine that it can sometimes be a challenge to strike the right balance between art and activism.

BB: When I first began exhibiting my work in NYC in the 1990s it was critiqued as being too “activist” or “science and not art.” As a result, I primarily exhibited work in Europe for almost a decade. Times have changed now, though, and the U.S. art world seems to be more open and supportive of conservation issues addressed through art. Globally, climate change, species loss, and ecosystem collapse are much more a part of our collective vernacular now. Perhaps this growing awareness and concern for the environment is an emerging adaptation for our own species survival.

DH: Do you chose galleries or exhibition locations based on who you might have a chance to reach or influence?

BB: As much as possible, I try to exhibit works in venues that allow me reach audiences with different cultural and disciplinary backgrounds from my own. It’s important to start to have a dialogue, look for common ground, and realize that we all as humans have an equal stake in what is being lost ecologically.

10_Eco-actions_TroyTroy Eco­Actions. Eco-Action (public field trip) in Troy, NY, in August 2014, with residents from the underprivileged North Troy neighborhood in collaboration with the Sanctuary for Independent Media. Photograph by Kathy High.

DH: Despite any progress that’s been made, I admit that I can’t help but fixate on what’s being lost. I started thinking of this earlier when you talked about the Actions of Mourning, but I wonder, at the risk of ending on a dark note, do you, yourself, mourn? And is mourning a critical element in your work?

BB: Yes, without mourning there is no remembering. In the remembering we can choose to take steps to stop further loss of life through our everyday actions and long-term planning along with creative means of conservation. Such actions are just, the time is now, and our own long-term survival along with that of numerous other species is at stake.

As conservationist Laurens van der Post said, “If life on earth were to survive, not a single man, plant, bird, or animal must be allowed to lose its life except through some great necessity of life itself. And in the losing all men should join in with every plant and animal and bird to praise it and mourn its passing as that of something infinitely precious that had given life the service for which it had been conceived and rendered itself well.”  Let us not forget so that we may save.

RIP Glaucous Macaw: After Gustav MützelRIP Glaucous Macaw: After Gustav Mützel. 1878/2014. Artist cut and burnt hand-highlighted chromolithograph, etched glass urn, and ashes, 18 5/8 x 14 5/8 inches. Photograph by Casey Dorobek. Courtesy the artist and Ronald Feldman Fine Arts, New York, NY.

—Brandon Ballengée and Darren Higgins

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Darren Higgins

Darren Higgins is a writer, editor, and artist living in Waterbury Center, Vermont, with his wife, two sons, and a cat who never comes when she’s called. A graduate of the Vermont College of Fine Arts, he has written poems and stories for a variety of publications, essays for a couple of local newspapers, and commentaries for Vermont Public Radio.  

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