Jul 122017
 

McCarthy’s MC Hammer-Conrad connection speaks to the collection’s willingness to not only grant credence to the highbrow and the lowbrow in equal measure, but is also a call to ignore brow-ness altogether. As a consequence, the more disparate the subject matter McCarthy chooses to splice, the more surprising, and, yes, whimsical, the results end up. — Andrew MacDonald 

Typewriters, Bombs, Jellyfish
Tom McCarthy
New York Review Books, 2017
$16.95, 288 pages

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Before he made the avant garde novel cool again, Tom McCarthy was having trouble getting his first book, Remainder, past the marketing departments of big publishers. It was too weird, the plot too circuitous and repetitive. Eventually Metronome, a small art house publisher, took the novel on. It became a word-of-mouth success, the buzz culminating in a Zadie Smith review, ranking it among the greatest works of the last ten years. The rest, as they say, is history, though McCarthy himself would likely object to such a fraught, limiting term. Since Remainder, McCarthy has produced a book-length critical work on TinTin, the Booker shortlisted C, described by Jennifer Egan as “Pynchonesque revelry in signs and codes with the lush psychedelics of William Burroughs,” and another Booker-shortlisted novel, Satin Island, about someone named “U” who works for “the Company.” Given the success of his novels, it’s easy to overlook the dozen plus short critical pieces McCarthy has written about literature, art, technology and culture. With the publication of Typewriters, Bombs, Jellyfish, a collection of fifteen of those brilliant, challenging, and at times frustrating essays, readers have the chance to appreciate the intellect behind McCarthy’s longer fictional work.

The essays in Jellyfish cover broad terrain, from the films of David Lynch to the novels of Jean-Philippe Toussaint. Some of the pieces, like “Why Ulysses Matters,” started as invited talks or lectures; others found their way into places like Artforum or, as is the case with “18 Semiconnected Thoughts on Michel de Certeau, On Kawara, Fly fishing, and Various Other Things,” museum catalogues accompanying exhibits at the Guggenheim. Others tread more conventional paths, becoming introductions to critical works (like Kafka’s Letter to his Father) and critical essays The Guardian. They are a potpourri of critical thought that the author likens to masses of the eponymous seafaring invertebrates that often reach “a critical mass of goo in circulation . . . coming back, lodging, sticking.”

The obsession with discursive circulation, of coming back in loops to stick, lodge, and accrete, is among the collection’s chief interests. In “From Feedback to Reflux: Kafka’s Cybernetics of Revolt,” McCarthy contends that “no other writer…has presented a more fundamentally cybernetic aesthetic than Kafka.” Lest one confuse the term “cybernetics” with computational technology, McCarthy defines the term, coined by Norbert Wiener, as “a networked mechanism formed of and driven by a set of circuits, relays and, most importantly, feedback loops.” From K, the surveyor of Kafka’s The Castle‘s endless attempts to gain access, to the mise en abyme of judicial infrastructure Josef K must face in The Trial, McCarthy sees Kafka presaging the NSA and Google – institutional structures that contain loop after loop of information within themselves.

While the feedback loops of cybernetics are “corrective,” McCarthy dubs those in Kafka’s writings as “fuckuptive” – that is, the response pattern the loops engender is self-defeating. Put another way: “the circuitry or system-architecture here is configured in such a way as to render unworkable any operation that the user (Kafka) might actually want to use it to perform.”

Among the system-architecture of which McCarthy, a champion of the avant garde, is particularly distrustful is the ism – positivism, moralism, psychologism. In “Get Real, or What Jellyfish Have to Tell Us About Literature,” he presents us with a lengthy excerpt from Ford Maddox Ford to show how conventional realism, with its compulsive urge to reshape in accordance with post-facto logic, is at odds with “how both events and memory of them proceed: associatively, digressing, sliding, jolting, looping.” By creating fertile ground for the associative, the 20th century avant-garde, McCarthy argues, gets “the real” more than their 19th century counterparts, who, to their credit (and in opposition to those writing today who take up the ‘realist’ banner) nonetheless “fully appreciate the scaffolding of artifice holding their carefully wrought edifices up.”

Scaffolding, artifices, edifices – readers will detect in McCarthy’s lexicon more than trace amounts of the post-modernist’s distrust of tautologies. In an interview with The Guardian, McCarthy tells us that “the avant garde can’t be ignored, so to ignore it – as most humanist British novelists do – is the equivalent of ignoring Darwin.” Those who do are, in McCarthy’s eyes, “just a creationist” with “ostrich-like” tendencies.

When it comes to understanding McCarthy’s modus operandi, his role as “general secretary” of the International Necronautical Society is as good a place to start as any. Together with philosopher Simon Critchley, McCarthy founded the INS, a semi-parodic, semi-serious, maybe-performance-art-but-that’s-missing-the-point organization “devoted to mind-bending projects that would do for death what the Surrealists had done for sex.” Among the INS’s more public hijinks are cryptic radio broadcasts, the hacking of the BBC website, exhibits that may be called art and hearings with committees that may, or may not, host officials and organization members with such lofty (and possibly made-up) titles as INS Chief Obituary Reviewer, and INS Chief or Propaganda (Archiving and Epistemological Critique).

Maybe.

And maybe, a reviewer of the critical work of McCarthy might be inclined to say, the blurring between the factual and the fictional is perhaps the point. Or, possibly more accurately, that the point is to reject the ism of easy dichotomies altogether, in favor of more freewheeling signification, where meanings are swapped, integrated and ousted.

Take, for example, the weather. An early essay in the collection, “Meteomedia,” draws richly from sources as diverse as Seneca and close to home as McCarthy’s own apartment to arrive at a thesis possessing unmistakable echoes of McLuhan: not only is the meteorological a medium, it also constitutes media. “Like all media,” writes McCarthy of the weather, “it bears a plethora of messages – perhaps even the message – while simultaneously supplying no more than conversational, neutral, white noise.” Moreover, like a tree falling in the woods without its audience, so too is weather as media devoid of signal without an audience to receive it.

“Stabbing the Olive,” an essay on Jean-Philippe Toussaint, poses another mind-cruncher that nobody in history, apart from McCarthy, has likely asked: do Toussaint’s novels engage in “deconstructing literary sentimentalism or sentimentalizing literary deconstruction?” For McCarthy, and, eventually, his readers too, the distinction is everything. McCarthy sees in much of the work of Toussaint a refiguring of structure, a gesture away from the ism of realism: “we don’t want plot, depth, or content,” he notes, “we want angles, arcs and intervals; we want pattern. Structure is content; geometry is everything.” He goes deeper: “We exist and assume subjectivity to the extent that we occupy a plot in or traverse a grid: an implicit philosophical assert that’s part Descartes, part Deleuze.”

Passages like that, theory-rich and many-claused, will likely alienate some readers and entice others. However, a strength of the collection, and of McCarthy-as-Teacher (separate from McCarthy-as-Critical-Theorist), is his instinct for strategic simplification; he seems to know just how far to push his reader out to sea before throwing out a floatation device. He corks the above meditation on grids and subjectivity plotted thereupon by asking if there is a “retro-move going on [in later Toussaint]? A crypto-reactionary step backwards towards humanism, sentimentalism, positivism, and the whole gamut of bad isms that the vanguard twentieth-century novel has expended so much effort overcoming.” His answer: hard to say. Challenged to the point of breathlessness, we likely feel the same way and are, at the very least, enlivened at being privy to the discussion.

Devotees to art and film will also find much to love in the collection, since many of McCarthy’s finest essays focus on art and film. His piece on the painter Gerhard Richter, for example, expertly knits complex visual theory to practical visual analysis. For McCarthy, Richter’s work resists easy categorization, “reducing these binaries” – concept vs. craft-based, abstract vs. figurative – “to rubble.” Richter’s trademark is the blur, “a corruption of an image, an assault upon its clarity, one that turns transparent lenses into opaque shower curtains, gauzy veils.” Corruption becomes clarity, the transparent becomes gauzy – McCarthy’s critical skillset allows him to reconcile inverse values, creating, as all great paradoxes (and artistic works) do, a new species of idea.

McCarthy’s finest creation might be his essay on “The Prosthetic Imagination” of David Lynch. Casual viewers may have missed the proliferation of prosthetics in Lynch; not so with McCarthy, who notes that “the continual, almost systematic replacement in [Lynch’s] films of body parts and faculties by instruments…produces is a whole prosthetic order, a world of which prosthesis is not just a feature but a fundamental term, an ontological condition.” McCarthy sees the first of Lynch’s problem films (so-called) as “the outsourcing of the self and of reality to their prostheses.” Ditto Mulholland Drive, where “technology is no longer an appendage to the human; rather, humans have become technology’s prosthesis.” In the end, the prosthete serves those very bodily additions: prosthesis becomes puppetry, the prosthete a marionette.

Big ideas are at play here, but it would be a mistake to ignore the undercurrent of whimsy, wit, irony, and playfulness that flows beneath the surface of most essays in Jellyfish.

Exhibit A: first published in an anthology of fiction inspired by Sonic Youth, “Kool Thing” bears the provocative subtitle “Why I want to Fuck Patty Hearst.” McCarthy catalogues a panoply of Hearsts, dating to when he first heard the Sonic Youth song “Kool Thing,” featuring Hearst as lead singer. We get Marxist Patty Hearsts calling her parents bourgeois pigs, Patty Hearst as pulp novel-heroine, Patty Hearst as Che’s lover, then Patty Hearst as gaming heroine Lara Croft – Patty Hearst “multiplying into a thousand different women” before attaining one of the most addictive metonyms out there – the Patty Hearst McCarthy wants to fuck as America, “all of it, sitting in a motel bedroom, watching the apocalypse on television.”

For Exhibit B (Whimsy, McCarthy’s Use Thereof), see, “Recessional, or the Time of the Hammer,” a study of fictional time, from Conrad to Pynchon. The essay features a curious aside in which McCarthy describes listening to MC Hammer during the essay’s creation and finding, on some associative level, a niggling link between Hammer’s hit, “U Can’t Touch This,” and the writing of Conrad. The collision is no accident, for, as McCarthy laconically, notes, “for doesn’t [Hammer’s “Can’t Touch This”], like Conrad’s novella, feature a black man who tells us to wait?”

Cue guffaw.

McCarthy’s MC Hammer-Conrad connection speaks to the collection’s willingness to not only grant credence to the highbrow and the lowbrow in equal measure, but is also a call to ignore brow-ness altogether. As a consequence, the more disparate the subject matter McCarthy chooses to splice, the more surprising, and, yes, whimsical, the results end up.

The intrusion of MC Hammer highlights another of McCarthy’s habits – a willingness to use meta-textual asides where the author, in mid-writing, pauses to comment on the text he is in the middle of generating.

More Exhibits for the Court to consider:

While exploring the connection between jellyfish and literature, McCarthy writes: “As I wrote this essay I couldn’t remember what it was that Van has brought Mrs. Tapirov”;

Contending with the warp-speed productivity of the French novelist Toussaint, McCarthy informs us that “in the time’s taken me to write this piece, it seems [Toussaint]’s managed to knock out yet another novel”;

Finally, another essay with fixes itself at the time of its own creation: “Alain Robbe-Grillet died while I was writing this essay”.

McCarthy the funster, meet McCarthy the astute critic and thinker.

The production of text, wherein McCarthy has, for example, forgotten a detail and makes the choice to record that forgetting, and the reanimation of the forgetting, for the reader who now takes part, however ephemerally, in the construction of the very text he or she is reading, all of which could have been avoided had McCarthy, in the editing room, simply inserted the information forgotten in the first place.

Which is, given what we’ve covered so far, a lot to wrap one’s head around.

But you don’t need to dig this deep to enjoy the collection. Eating breakfast cereal with a spoon once used by a famous person can still be used effectively to eat breakfast cereal, whether or not it possesses that extra Benjamin-ian aura that comes with close contact with celebrity or fame[1].

In his essay on Richter, McCarthy introduces us to the term ansehnlich, “or ‘considerable,’ to describe the effect of rescuing an image from the endless rush of media and paying it the attention – the devotion, we could say – of crafting it into a unique work of art.” This is, in the end, what McCarthy seems to be after when he takes on his disparate subjects; his essays are devotionals in their own right, not fawning or strict in the sense of worship, but rather in the compulsive attention paid to each of them.

— Andrew MacDonald

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Andrew MacDonald won a Western Magazine Award for Fiction, has been shortlisted for two Canadian National Magazine Awards for Fiction, and is a four-time finalist for the Journey Prize. He has an MFA from the University of Massachusetts, Amherst, and lives in New England and Toronto, where he’s finishing a novel.

 

 

Footnotes    (↵ returns to text)

  1. Immersion in McCarthy’s critical works will also have the pleasantly deleterious effect of making its readers search for complicated metaphors to explain the world.
Jul 062017
 

Even though Saba’s text is incomplete, he gives us enough of a glimpse into pivotal events in the life of Ernesto to make his novella an important, historical piece of gay and bisexual literature.  — Melissa Beck

Ernesto
Umberto Saba
Translation by Estelle Gilson
New York Review of Books, 2017
160 pages; $14.95

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Umberto Saba’s unfinished novella Ernesto, published this year for the first time in English translation by The New York Review of Books, is part of an ever-growing body of recent literature that explores the idea that human sexuality is more pliable and fluid than the rigid labels to which we assign it. The recent novels by Bae Suah (Reciation), Andre Aciman (Enigma Variations), and Anne Garreta (Not One Day) have also opened up important conversations about experimentation with sexuality. But what sets Ernesto apart and makes it stand out among the works of these other authors is that it was written in 1953, a time in which many considered homosexuality scandalous, or often illegal.

Born in 1883, in the Mediterranean port of Trieste, Italy, Umberto Saba is best known for his deeply personal and honest poetry. Ernesto is, in fact, his only work of fiction. Written at the age of seventy when, after suffering one of his many nervous breakdowns, and confined to a sanatorium in Rome, Ernesto tells a loosely autobiographical coming-of-age tale about a boy’s burgeoning sexuality. Estelle Gilson, the translator, writes in her introduction to the NYRB edition, “What he was writing was for himself alone—his adolescent experiences in Trieste as they suddenly welled up within him and demanded release.”

Like his teenage protagonist in Ernesto, Saba was abandoned by his father, raised in Trieste by an aunt and a single mother, worked in a flour factory at the age of sixteen, and had serious questions about his sexuality. Because of the autobiographical and sexual content of Ernesto, Saba showed his drafts to a few carefully chosen confidants. In addition to his doctor at the sanatorium, one of the only other people to read Ernesto was Saba’s daughter, Linuccia, to whom he would send parts of the manuscript with very strict instructions about keeping his writings secret. In his letters to Linuccia, Saba requests that his daughter keep his drafts in a locked container and that she send his writing back to him immediately after reading it. Linuccia took her father’s instructions seriously and didn’t publish Saba’s novella until 1975, nearly twenty years after the author’s death.

Composed in five “Episodes” with an additional section entitled “Almost a Conclusion,” the strength of Saba’s writing lies in the bold and, at times, brutally honest language that he employs throughout his text. Set in Trieste, in the last few years of the nineteenth century, the sixteen-year-old protagonist is raised by his single mother and his elderly aunt. Ernesto’s world reflects the diversity of Trieste which, because of its location in northeastern Italy between the Adriatic Sea and Slovenia, was influenced by Italian, Slavic and German cultures. During this period of time, Trieste is an Imperial Free City within the Austro-Hungarian Empire, and had been under Hapsburg rule since the fourteenth century. Although most of its citizens were Italian and loyal to an Italian Republic, Germans controlled the bustling business and commerce of the city and held positions of power.

Ernesto works as an apprentice in a German flour factory where he meets a laborer, a lower-class Triestine, identified as “the man” with whom he has his first sexual encounter. Ernesto’s erotic exploits with the man leave him bewildered, ashamed and confused not only because of the illicit nature of his experiences, but also because he is still sexually attracted to women.

Ernesto’s sexual encounters with the man take place in the first Episode but the emotional consequences linger with Ernesto throughout the narrative. The language of Saba’s Ernesto is candid, especially when describing the titillating and erotic first sexual encounter between Ernesto and the man. The two negotiate the intimate details of what the sex will be like as Ernesto is both excited and scared about this new experience:

“There’s a lot of things you can do in an hour,” the man said urgently.

“And what do you want to do?”

“Don’t you remember what we were talking about yesterday? That you almost promised to do. Don’t you know what I’d like to do with you?”

“Yeah, put it up my ass,” Ernesto replied with quiet innocence.

In an essay entitled “What Remains for Poets to do,” Saba argues that “It remains for poets to write honest poetry.” Saba applies this pursuit of literary honesty to his prose as well when he inserts his own commentary into the text to explain and justify Ernesto’s explicit language. Saba’s interjection of his own voice into the narrative are some of the most beautiful and enlightening pieces of writing in the novella:

With that brief, precise utterance, the boy unwittingly revealed what many years later, after many experiences and much suffering would become his “style;” his going to the heart of things; to the red-hot center of life, overriding resistance and inhibitions, foregoing circumlocutions and useless word twistings. He dealt with matters considered coarse, vulgar (even forbidden) and those considered “exalted” just as Nature does—placing them all on the same level. Of course, he wasn’t thinking of any of that now. He had blurted the sentence (which practically had a laborer blushing) because the circumstance warranted it.

The episode ends with an act that deftly mixes emotions of both tenderness and shame: the man kindly turns over the stained sack of flour at Ernesto’s request so that no one will be suspicious of what happened between them.

Shame is a theme that Saba returns to repeatedly in his narrative as Ernesto attempts to find fulfillment, pleasure and love with a man and a woman. The fact that the man is never given a name is perhaps significant because Saba, likely through his own sense of shame at recalling these events, can’t bring himself to give Ernesto’s seducer a true identity. After two months, Ernesto decides that he can no longer keep having these sexual encounters with the man because they make him feel dirty and keeping such a secret from his mother feels shameful and wrong. After his trysts with the man, Ernesto has the overwhelming desire to prove himself a man and is impatient to have sex, for the first time, with a woman. He is ashamed because all of his friends have bragged about sleeping with women and the only sex he has had is with a man. Shame is what motivates him to seek out sex with a prostitute which erotic scene in the book is equally as tender and explicit as the one with the man. This time, however, he gives the prostitute a name because sex with a woman, even though it is a prostitute, is not as shameful as having sex with a man.   Once Tanda undresses Ernesto, she finds the best position that will give Ernesto the most pleasure for his first time. And after he climaxes she washes him with a disinfectant and his sense of shame and embarrassment cause him to excessively overpay her and leave suddenly.

Themes of loneliness, alienation and sadness—demons with which Saba himself wrestled throughout his life—also pervade Saba’s coming-of-age narrative. Ernesto is initially drawn to the man who propositions him with sex because the man loves the boy. Because of the absence of a father in his life, Ernesto wants to please the man who shows him affection and adoration. He likes the prostitute because she is warm and tender with him and this causes him to eagerly anticipate his next visit with her. Ernesto’s mother is stern with him and shows him little affection although affection is something he craves more than anything. Like many young people inexperienced with matters of intimacy and sex he mistakenly equates physical attention with emotional connection and love.

Some of Ernesto’s sadness, alienation and even shame is relieved by the unlikeliest of characters, his dour mother, who is the third point in the novella’s triangular structure—the man, the prostitute and Ernesto’s mother. His mother is a presence that lingers throughout the entire story and even when the man is trying to seduce him, Ernesto mentions his mother and the guilt he feels over keeping a secret from her. The woman, who was abandoned by Ernesto’s father before the boy was born, is overbearing and overprotective of her only child. Yet, she believes that she must be harsh in her rearing of the boy and must not show him very much affection. When Ernesto no longer wants sex with the man, he gets himself fired from the factory so he never has to see him again. The loss of his job devastates Ernesto’s mother and he feels compelled to confess his true reasons for not wanting to return to the factory. When Ernesto tells his mother in great detail about the whole affair with the man, the full force of the emotional connection between mother and son is fully revealed. Saba writes a touching scene that is sympathetic to both the character of Ernesto and his mother:

With his mother’s kiss and the sense that he would be forgiven, Ernesto felt himself reborn. It was one of the few kisses she had ever given him. (The poor woman wanted so much to be, and even more to be seen as, a “Spartan mother.”)

We can’t help but wonder if Saba’s own sense of shame and loneliness haunted him for the rest of his life and was the reason, at least partially, for his many depressive and nervous episodes for which he was hospitalized. He was married for many years, and although they remained married, the couple’s relationship was troubled and they spent quite a bit of time living apart. It is fitting that Saba writes Ernesto in the last few years in his life as part of his therapy in the sanatorium. But it appears that so many years of shame and hiding who he truly was became too exhausting for the author because he can’t gather enough strength to finish writing Ernesto. Saba writes about his decision to leave his novella unfinished: “Add to those pages Ernesto’s breakthrough to his true calling, and you would, in fact, have the complete story of his adolescence. Unfortunately, the author is too old, too weary and embittered to summon the strength to write all that.”

Even though Saba’s text is incomplete, he gives us enough of a glimpse into pivotal events in the life of Ernesto to make his novella an important, historical piece of gay and bisexual literature. It also helps us better understand Saba’s poetry which writing is equally as personal and intense as Ernesto. To this end, I include a particularly apt final poem of Saba’s called “To the Reader” filled with all the conflict and terror that Saba perhaps felt in composing Ernesto:

This book, Good Reader, though a balm to you,
shames its creator and should go unread.
Although he spoke as a living man, he was
(or should have been, for decency’s sake) dead.

— Melissa Beck

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Melissa Beck has a B.A. and an M.A. in Classics. She also completed most of a Ph.D. in Classics for which her specialty was Seneca, Stoicism and Roman Tragedy. But she stopped writing her dissertation after the first chapter so she could live the life of wealth and prestige by teaching Latin and Ancient Greek to students at Woodstock Academy in Northeastern Connecticut. She now uses the copious amounts of money that she has earned as a teacher over the course of the past eighteen years to buy books for which she writes reviews on her website The Book Binder’s Daughter. Her reviews have also appeared in World Literature Today and The Portland Book Review. She has an essay on the nature of the soul forthcoming in the 2017 Seagull Books catalog and has contributed an essay about Epicureanism to the anthology Rush and Philosophy.

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Dec 062016
 

green_loving_2048x2048

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

 

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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.

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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 062016
 

henry-green

I would argue that we should understand Green as a writer who suspends the literary categories of his time.—Dorian Stuber

green_loving_2048x2048

Loving
Henry Green
New York Review of Books, 2016
224 pages; $14.00

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The English novelist Henry Green wrote nine beautiful and elliptical novels, all worth reading, but Loving (1945) is the best of them, indeed, one of the best English novels of the 20th century. This new edition—part of a welcome plan to reissue his works in the US—is cause for celebration.

Loving is set during WWII at a sprawling estate in Ireland called Kinalty Castle. Kinalty is owned by the ironically named Tennant family; fittingly, the Tennants are newcomers who have purchased rather than inherited the property. Mr. Tennant is dead; his son is fighting in the war. Mrs. Tennant lives with her daughter-in-law, Violet, Violet’s two small children, and a large group of servants.

In classic upstairs-downstairs fashion, the masters are not particularly important in the book (indeed, they are off in England for much of the time). Instead the servants are front and center, and we follow their sometimes rancorous, sometimes affectionate relationships. There’s Charley Raunce, recently ascended from the position of footman to butler, full of bluster and fear and the occasional kindness who finds himself out of his depth when a flirtation becomes something more. There’s Agatha Burch, the much put upon head housemaid, who oversees Edith and Kate, the two lovelorn under-housemaids. There’s Mrs. Welch, the alcoholic and suspicious cook. There’s old Nanny Swift, who took care of Violet as a girl and now looks after her girls. There’s Albert, the pantry boy, naïve, kind, and touchy. And there’s Paddy, the Irish lampman (the house has no electricity), who only Kate troubles herself to understand.

Much of the material for Loving came from Green’s childhood; servants had always been part of his life. Born Henry Vincent Yorke in 1905—he took his deliberately banal pseudonym as a way to separate his writing and business lives—Green grew up at Forthampton, the family seat in Gloucestershire.

In his memoir Pack my Bag, Green claims, “Most things boil down to people, or at least most houses to those who live in them, so Forthampton boils down to Poole, who did not live in but was gardener about the place for years.” Young Henry was fascinated by Poole, even though the man did not like Green’s mother and spoke badly about her to the boy. (The family legend is that he never forgave her for making him bowl sugar beets across the lawn for her to shoot at.) Green, who adored his mother though he seldom saw her, was torn apart by these calumnies yet unwilling to repudiate the one who made them.

It seems that Green knew already at a young age what he would explore in this novel in particular: that loving is a messy business, bound to lead to hurt feelings. In his life and writing alike Green was at home with complexity, especially in terms of social class. Green, who memorably described himself as “a mouthbreather with a silver spoon,” at one stroke both acknowledging and ironizing privilege, said that his childhood taught him “the half-tones of class”. It’s fair to say that Green knew the family servants, to whom he devotes the first pages of his memoir, better than either his mother, whose primary interests were shooting and riding and with whom the boy spent only one precious hour a day, or his father, a formidable Victorian polymath who pursued an interest in archaeology while running a company that cleverly manufactured both beer-bottling equipment and bathroom plumbing.

Young Henry was sent to Eton, where his contemporaries included Eric Arthur Blair, who would himself take a pseudonym and publish under the name George Orwell. Later he went up to Oxford, where he befriended Evelyn Waugh and shared rooms with Anthony Powell. He hated both schools. At Oxford he drank a lot, went to the movies twice a day, and wrote his first novel, Blindness, before leaving without a degree. He went to work the floor of the family factory in Birmingham, an experience he fictionalized in his second novel, Living. Later Green moved from the factory floor to the office, rising to become managing director.

Green published his memoir in 1940, when he was only thirty-five, because he was convinced he would be killed in the coming war: “surely it would be asking much to pretend one had a chance to live.” Happily he did live, and even thrived. He published five books during the war years and during the Blitz served courageously and happily in the Auxiliary Fire Service. But Green’s production slowed markedly after the war. He wrote three more, increasingly laconic books (the last two composed almost entirely in dialogue). Then, after 1952, silence, even though he lived for another twenty-one years. Jeremy Treglown, Green’s excellent biographer, vividly describes him in his last years as a vagrant in his own home, drinking because he couldn’t write and unable to write because of his drinking.

The downward trajectory of Green’s life is at odds with the sly pleasures and enlivening strangeness of his prose. The first thing readers of Loving will notice is its vivid dialogue. Here’s Edith revealing to Kate her feelings for Raunce:

‘All right then I’ll learn you something, Edith said and she panted and panted. ‘I love Charley Raunce I love ‘im I love ‘im I love ‘im so there. I could open the veins of my right arm for that man.

And here’s Miss Burch responding to Kate’s half-fearful, half-longing speculation about what would happen to them should the Germans invade:

‘Mercy on us you don’t want to talk like that,’ Miss Burch said. ‘You think of nothing but men, there’s the trouble. Though if it did happen it would naturally be the same for the older women. They’re famished like a lion out in the desert them fighting men,’ she announced.

These examples are moving and funny and a little alarming—characteristic of the emotional roller coaster the book puts us through. The absence of punctuation paradoxically makes the pauses and emphases clearer. Green delights in the clichés and hackneyed images (“I could open the veins,” “They’re famished like a lion out in the desert”) of speech without looking down on the speakers.

But the novel’s narrative voice is even more memorable than its representation of speech. To be sure, narration is simply opposed to speech in the novel. Sometimes narration apes the agrammatical or idiomatic qualities of speech, such as when it uses adjectives as adverbs: “He picked it up off the floor quick”; “He stood face averted then hurried smooth and his quietest to the roll-top desk.” Sometimes it takes on the rhythms of speech, its unpunctuated flow: “Bert stood motionless his right hand stiff with wet knives.”

But sometimes the narration is stranger than anything we find in its speech. Whereas the latter aims at clarity, the former finds meaning in obscurity. Such uncertainty is especially true of its unsettling of traditional English-language syntax. In this example from early in the book, Kate and Edith come across Paddy asleep in the old stables. The windows of this room are covered in cobwebs. As, it seems, is Paddy himself:

Over a corn bin on which he had packed last autumn’s ferns lay Paddy snoring between these windows, a web strung from one lock of hair back onto the sill above and which rose and fell as he breathed.

Note the excess of qualifiers in the first half of the sentence: Paddy snores “over a corn bin” and “between these windows”; the placement of that last modifier emphasizes the phrase “snoring between these windows,” which highlights in a peculiar, excessive way the specificity of an action. “Snoring,” after all, is hardly dependent on place. (In fact, the verb here is not “snoring” but “lies snoring”: the inversion of subject and verb—“Over a corn bin… lay Paddy snoring” is odd, almost archaic.) Also typical, and related to this ambivalent specificity, is the demonstrative “these” rather than the definite article “the,” a tendency the critic Frank Kermode once described as Green’s way of hinting that the text is singular, not easily reducible to something else.

Certainly the most singular quality here—though it is in fact typical of Green’s style—is the sentence’s unstable grammar. The sentence pivots (or collapses, as the case may be) on the comma after “windows.” What comes after it—“a web strung from one lock of hair back onto the sill above and which rose and fell as he breathed”—seems at first to be a subordinate clause, but on re-reading proves to be something else, something agrammatical. Adding that ungainly phrase “and which” turns this subordinate clause into the dominant clause for the sentence’s final bit of information. Bewilderingly, “web” is both a predicate referring to Paddy (it is strung from a lock of his hair to the sill above) and a subject in its own right (it rises and falls as he breathes). On a first reading we expect the final “and” to connect “above” to another preposition (so that it would read something like: “the sill above and beyond him”). When this expectation is foiled, we stumble over what comes next, the adjective clause “which rose and fell as he breathed.”

Green’s prose disguises its strangeness as ordinariness. He’s not an overtly ostentatious writer. Yet his ostensibly straightforward prose is profoundly unsettling and unusually hard to parse. The longer we pause over a sentence like this one the weirder it seems. In this way, he reveals himself to be one of the most genuinely experimental writers in the English tradition, writing prose that both demands and resists interpretation. (Webs being a conventional figure for interpretation, we could read the spider webs in this scene as a joke about our felt need to make sense even of things that resist sense.)

What is true of Loving’s syntax is true of its use of plot and character as well. Neither of these attributes is as straightforward as it seems. In general, Loving is not much concerned with plot. Even the question of whether Raunce will get together with Edith—the event that most approximates a conventional plot arc—is supplanted by the more intriguing but more difficult to answer question of what the two even want from each other. Several subplots are braided around the Raunce-Edith relationship, each of which rises to a crescendo of antic complexity that would be more at home in a P. G. Wodehouse novel but each of which fizzles out before coming to any resolution.

Take, for example, the business with the peacocks. The castle’s extensive grounds are ornamented by some two hundred of the birds. When they suddenly disappear, Mrs. Tennant summons Raunce for an explanation. Raunce, new at his job and insecure, as well as constitutionally shifty, does not want to tell her what has really happened: namely, that the nephew of the cook, a belligerent nine-year-old recently evacuated to Kinalty from London to escape the bombing, has strangled a peacock that had the temerity to peck at him, and that Paddy, the Irish lampman, has locked the rest of the birds up for safekeeping.

In his interview with Mrs. Tennant, Raunce equivocates about the convoluted, variously incriminating event. Unsatisfied, Mrs. Tennant continues to mull over the matter. She confides to her daughter-in-law that Raunce seemed afraid of something, adding:

“Frightened of what I’d like to know? I put it to Raunce. But he couldn’t or wouldn’t say.”

“Which is just like the man,” the younger woman interrupted. “Always hinting.”

Violet’s insistence here reflects her unshakable belief that everyone is always talking in code about her affair with a neighbouring landowner. The exchange between Mrs. Tennant and Violet is typical: Loving’s characters repeatedly talk at cross-purposes. But the passage is unusual in that by explicitly referencing hinting it talks openly what is otherwise hidden: that Loving challenges our interpretive abilities. Everything is a hint, nothing is a clue.

The novel’s distinctive narrative voice is particularly vexing. Unlike many writers of the period, Green doesn’t have much use for free indirect discourse: his third-person narration doesn’t slip into and out of the perspective of particular characters. We rarely have access to what characters are thinking or feeling. Consider a passage in which Raunce studies the notebooks left behind by the previous butler, Eldon, and learns that Eldon has been systematically cheating his employer, for example about her whisky:

Not only had Mr. Eldon never credited her with the empties, that was straightforward enough, but he had left whole pages of calculations on the probable loss of the volatile spirit arising from evaporation in a confined space from which the outside atmosphere was excluded. He had gone into it thoroughly, had probably been prepared for almost any query. Charley appeared to find it suggestive because he whistled.

Admittedly, we could read this material as coming from Raunce’s perspective: the aside “that was straightforward enough” could certainly be his. Yet the passage’s use of names is puzzling: we might expect Raunce to call Eldon “Mr.” but he in fact is anything but deferential to his predecessor’s memory. Something like “the old man” would have fit better. And why Charley, rather than Raunce, which is what the text usually uses? Moreover, the description of the evaporation—“the probable loss of volatile spirits”—doesn’t sound like Raunce at all, he’s nowhere near that articulate. Are we supposed to think Eldon has written something like this in the notebooks that Raunce is parroting, as if reading aloud? Impossible to say: we know almost nothing about Eldon.

But the strangest thing here is the passage’s final sentence. Just when we would expect the prose to inhabit Raunce’s consciousness most clearly so as to tell us what he makes of the situation, we’re left with nothing but uncertainty: Raunce “appeared to find it suggestive.” Why doesn’t the text know?

Green answered this question in a radio interview from the 1950s:

And do we know, in life, what other people are really like? I very much doubt it. We certainly do not know what other people are thinking and feeling. How then can the novelist be so sure? … We get experience, which is as much knowledge as we shall ever have, by watching the way people around us behave after they have spoken.

For Green, art follows life. All a narrator can do is to observe what people say and how they behave and then make guesses about the relationship between them. Loving is littered with such expressions of narrative uncertainty:

“Well now if it isn’t Arthur,” this man said hearty and also it appeared with distaste.

“And that reminds me,” he went on seeming to forget he had just given another reason for his presence.

Then she added as though unable to help herself, “It should do you a mort of good.”

Miss Burch fixed a stern eye on Kate so much as to say a minute or so ago just now you were about to be actually coarse.

“Ah Mrs Jack,” Miss Burch put in as though sorrowing,

“It was Edith,” he answered at random and probably forgot at once whom he had named.

On the one hand, these narrative amplifications tell us much more than a simple “he said” or she replied.” Moving down our list of examples, we learn that one man dislikes someone called Arthur, though he pretends he doesn’t; another man can’t keep his stories straight; a woman is at the mercy of her (at least ostensible) concern for another person; and so on down the list.

And yet on the other hand they tell us much less. We learn only that characters seem to say things in a particular way, with particular consequences or implications. “Seems” and its variants “Seeming” and “seemingly” appear regularly; they are accompanied by similar expressions of doubt: “it appeared,” “so much as to say,” “as though,” “probably.” We always have to choose between the specificity of these descriptions and the hesitant manner in which they’re offered. Whenever the narrative tells us something it casts doubt on that telling.

This is, to say the least, disorienting for the reader. When Edith and Raunce argue over whether to give back a missing ring they’ve stumbled upon, Edith throws the ring into the fire before hastily rescuing it:

“Ouch it’s hot,” she said, dropping the thing on the rug. They stood looking down and from the droop of her shoulders it could be assumed that her rage had subsided.

Are we able to ignore the suggestion that Edith is no longer angry? Once the hint’s been made, aren’t we forced to take it? But hints can’t be hints if they’re really just disguised orders. We have to hear the “it could be assumed” as much as the “her rage had subsided.” Loving doesn’t let us naturalize its repeated qualifications. We have to take them seriously, for the book’s aim is to force us not just to read about but also to experience the uncertainty that its characters feel towards each other and in relation to their historical moment, in which it is by no means clear how the war will end.

This uncertainty is mirrored in Green’s title. Whether we take it as a gerund or as a progressive verb, “loving” is hard to pinpoint. The noun would refer to an abstraction that doesn’t just apply in a single case. The verb would describe a continuous action nullified or completed were it ever to stop and therefore without beginning or end. Words like “loving”—Green titled several of his novels in similar fashion: Living, Party Going, Concluding—suspend meaning. Like Raunce in Violet’s description, they are “always hinting” but never resolving.

I would argue in similar fashion that we should understand Green as a writer who suspends the literary categories of his time. True, he was published by Leonard and Virginia Woolf’s Hogarth Press and possessed like many modernist writers a brilliant, inimitable style. And yes, he had gone to school with or traveled in the same social circles as many of the leading writers of the 1930s and wrote social comedies that sympathize with the working class. Yet Green is neither a modernist nor a social realist. He wriggles free of categories, the true strangeness of his prose not always evident until we slow down to see it has been hiding in plain sight.

Yet it wouldn’t be right to say, as earlier readers have done, that Green is like no one else. (The American novelist and screenwriter Terry Southern, for example, famously called him not a writer’s writer but a writer’s-writer’s writer.) Instead, Green is like a handful of other English writers from the middle part of the century who don’t fit into prevailing narratives of twentieth century literature, writers who subtly distort realism without abandoning it, writers like Ivy Compton-Burnett, Elizabeth Bowen, and Barbara Comyns. Like them, Green hints that there is still much to be discovered in a literary tradition too often thought of as timid and unadventurous.

—Dorian Stuber

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Dorian Stuber teaches at Hendrix College. He has written for Open Letters Monthly, The Scofield, and Words without Borders. He blogs about books at www.eigermonchjungfrau.wordpress.com.

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Sep 142016
 

di Benedetto

Di Benedetto precisely evokes themes of alienation and absurdity through Zama’s futile supplications for promotion and the humiliations…. Evocative of history without being a historical novel, Zama shares in a rich tradition of existentialist fiction. — Frank Richardson

zama

Zama
Antonio di Benedetto
Translated by Ester Allen
New York Review Books Classics, 2016
224 pg, $15.95

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Adead monkey, drowned but undecomposed, washes against a pier where a man stands, alone, separated from his family by half a continent of jungle, desperate to escape, dreading the suspicion he will share the same fate as the corpse drifting in the water. And so we meet Don Diego de Zama, the eponymous antihero of Antonio Di Benedetto’s most celebrated novel. First published in Argentina more than sixty years ago, Zama—extolled by Julio Cortázar, Roberto Bolaño, and Juan José Saer—is now available for the first time in English courtesy of NYRB Classics and master translator Ester Allen.

Born in 1922 in Mendoza, Argentina, to parents of Italian descent, Antonio Di Benedetto studied law before turning to journalism. In 1953 his first short story collection, Mundo animal, was awarded a prize by the Sociedad Argentina de Escritores, juried in part by Jorge Luis Borges. His first novel, Zama, appeared in 1956 and was followed by the novels El silenciero (1964) and Los suicidas (1969; made into a film in 2005). A collection of his selected stories is forthcoming in English from Archipelago Books and a film adaptation of Zama is due out in 2017.

Antonio Di Benedetto traveled the world and lived a life as incredible as any fictional character, including, unfortunately, the horrors he suffered under the Videla dictatorship. For reasons unknown, he was imprisoned after the 1976 military coup d’état and held for eighteen months, during which time he was tortured and stood in front of a firing squad four times (a terrifying experience to have in common with Dostoyevsky, his literary role model). Ester Allen’s insightful preface includes the remarkable story of Di Benedetto’s release, in part due to efforts by Heinrich Böll and Ernesto Sábato. A testament to his spirit, Di Benedetto continued to write stories in prison, stories he published as the collection Absurdos in 1978 while living in exile in Spain. He wouldn’t return to Argentina until 1984 and died in 1986 in Buenos Aires.

Castaway

Don Diego de Zama, the protagonist-narrator of this first-person tale of existential descent, is a castaway in the midst of a crowd. Appointed by the Spanish Crown as a court councilor in the remote colonial outpost of Asunción, Paraguay, Zama’s greatest desire is escape—preferably by promotion. Zama reports to the provincial governor (Gobernador), but despite his high rank, the Gobernador treats him with disrespect since Zama is an americano, a criollo—of Spanish descent, but born in South America—unlike the other Spanish-born officers living in the small community. Ironically, the fact that Zama works for the Spanish government alienates him from the americanos. Isolated from his family, isolated within his own community by prejudice, and given his own admitted “nonexistent capacity for making friends,” his hope for escape becomes for him a “long soliloquy,” a record of his frustration and fear and anger and pain as the years tick by and he falls farther and farther away from his expectations and dreams. He sums up his situation:

Here I was, in the midst of a vast continent that was invisible to me though I felt it all around, a desolate paradise, far too immense for my legs. America existed for no one if not for me, but it existed only in my needs, my desires, and my fears.

Di Benedetto precisely evokes themes of alienation and absurdity through Zama’s futile supplications for promotion and the humiliations he endures at his bureaucratic job—themes similarly explored by Kafka, to whom Di Benedetto is frequently compared. Called to the Gobernador’s office, Zama is “condemned” to wait in the antechamber, “writhing with impotence,” “humiliated” at being of “apparent equality of status” with a group of locals waiting for an audience with the governor. The irony of the situation becomes clear when the Gobernador tells Zama that he has summoned him to deal with the troublesome old man and young woman with whom he has been waiting. When told, he storms out past the petitioners and into his own office where he broods:

First they would have to grow weary of waiting for their audience with the governor. They would bestir themselves and approach the secretary, only to be informed that it was the learned councillor they should see. Then they would wait another long while before they were received at last and came to the realization that the learned councillor was none other than myself, that is, the very man in whose presence they had already wasted an irrecoverable half hour.

Zama will reap what he sows, for he too will “grow weary of waiting,” he too will “bestir” himself (and to the point of madness), he too will dwell on “irrecoverable” time. The 198-page novel comprises 50 numbered chapters distributed in a 3:2:1 ratio across three sections labeled by date: 1790, 1794, and 1799. These sections represent discrete states of mind for Zama and the dwindling ratio mimics Zama’s psychological dissolution as he spirals toward destruction.

Terribly alone, Zama’s only preoccupation besides leaving is sex. The 1790 period of the narrative is dominated by his almost hysterical lasciviousness for any woman, and his pursuit of conjugal relations is simultaneously pathetic and comical. Zama does miss his wife, but he also convinces himself that “No man . . . disdains the prospect of illicit love.” His primary would-be paramour, Luciana (the wife of a colleague), when she realizes his interest in her, strings him along, teasing him with promises, then kisses, then the hope of a midnight assignation. She deliberately fuels Zama’s expectations with no intention of ever consenting to his desires. When Luciana won’t have him, he tries Rita, the daughter of his host, despite a growing paranoia that people are laughing at him behind his back over his overt concupiscence. One night, in passing a random woman in the street, he is convinced she’s attracted to him and follows her home. A comically absurd moment ensues when the woman’s dogs emerge to defend her and Zama, believing himself her deliverer, attacks them with his sword in a seizure of quixotic lunacy.

Zama’s conflicts drive him to constant contradiction. The episode of anger at work distracts him from the aid he promised an injured native woman. When he learns that the help he finally sends is in vain, he feels “so disoriented that my unease and remorse were visible, my guilt at neglecting a human being . . . .” He sees himself as a faithful husband, yet behaves lecherously. He sees himself as a good Samaritan, yet neglects the ones he would help. He sees himself as dignified, but behaves pettily. While we can assume he began his exile with some of the character traits that define him, his isolation exacerbates some and creates others and all are amplified as months turn to years. Don Diego de Zama is no hero, but he is a complex, vibrant character through which Di Benedetto ingeniously illustrates the contradictions and flaws that make us human.

paraguayNicolaus Bellin, Carte du Paraguay et des Pays voisins Pour servir a l’Historie Generale des Voyages, 1760

Descent

By the end of the first part, almost all of the people Zama knows have left Asunción. Four years pass and 1794 opens with Zama in the same town with the same job, but living with a Spanish widow, Emilia, with whom he has a son, born “sickly.” But Don Diego has only changed for the worse, and his namesake becomes symbolic as neglect reduces him to an animal-like state:

Propelled by his knees and his filthy little hands, the child moved about on the dirt floor. With no one to clean them, his nostrils dripped, and the two streams of snot had reached the upper lip . . . The little one rubbed his face, smearing the snot around with a dirty hand . . . His viscous little fingers then dug back into the dirt, which made a revolting mud. . . .

My son. On all fours and so filthy that in the twilight he was indistinguishable from the earth itself: a kind of camouflage. At least—like an animal—he had that defense.

When Zama’s wages are overdue from Spain he must sell almost everything including his sword. He soon abandons Emilia and his son and moves to the cheapest lodgings he can find where he exists in the fog of his own expectations; thinking only of the future, the present decays into hallucination. Neurotic and at times feverish, he is alternately lucid and confused, lost in fantasy. Zama’s oneiric narration during this period is similar (though not nearly as stream of consciousness in style) to the surreal “Report on the Blind” section of Ernesto Sábato’s 1961 novel On Heroes and Tombs. Sábato’s character Fernando, obsessed with a conspiracy of the blind, plunges into the depths of his unconscious, metaphorically represented by the sewers of Buenos Aires; Di Benedetto’s Zama, plagued by an interminable isolation created by forces both without and within, loses himself in fantasies of women. The internal forces prove most destructive, a fact Zama will eventually realize when he reflects that “the search for freedom . . . is not out there but within each one” (Di Benedetto’s italics). In an essay on Sábato’s novel, William H. Gass wrote that Sábato “believes deeply in the reality of evil, in the hell that each man is . . . whereas for the kingdom of heaven, or the reality of the good, he has only hope.” In his isolation, Zama creates his own hell and the possibility of a heavenly future remains only a hope.

Leaves of Existentialism

Zama shares many of the themes associated with existentialism, including, but not limited to estrangement, anxiety, despair, and the absurd. His alienation from family, colleagues, and community is self-evident, and although Zama’s “soliloquy” gives the reader a sense of his anxiety and despair, Di Benedetto doesn’t rely on Zama’s exposition alone. In his afterword to Di Benedetto’s Animal World, Jorge García-Gómez notes the parallels between Di Benedetto’s fiction and Kafka’s in their use of animal imagery to elucidate a character’s existential state. For example, while Zama contemplates the drowned monkey—a striking image itself—a fellow officer joins him on the pier and tells him of a fish that “the river spurns, and the fish . . . must wage continual battle against the ebb and flow that seek to cast it upon dry land.” Disturbed by his colleague’s story, Zama walks into the jungle where, minutes prior to spying on a group of bathing women, he imagines a puma and reflects “on games that were terrible or that could turn terrible.” In another example, while adjudicating the case of a murderer, Zama discovers the man believed he had grown a bat wing and in a frantic attempt to cut it off, had, in reality, stabbed his wife to death.

And, there are insects.

Zama the predator (puma) becomes symbolic prey when Luciana tells him of the pompilid wasp nest she found in her room; female pompilids prey on spiders, paralyzing them with venom so that the wasp’s young, when they hatch, will have something fresh to eat.

waspPompilid Wasp

Another layer of Di Benedetto’s representation of Zama’s psyche is his prose style. Allen wrote that that recreating Di Benedetto’s prose was a great challenge, that the style of Zama is “sui generis: choppy, oblique, veering and jolting from sentence to sentence, often rather opaque, a bit mad.” All the more perfect for this novel, for capturing the nature of this character’s consciousness. For Zama is oblique, he does veer from thought to thought, from plan to plan, and he is certainly more than a bit mad.

When his psychological state is most strained, sentences are separated by line breaks as if to punctuate the manner in which Zama experiences his world—through curt, dour moments, isolated inside his own mind:

I slept very late.
I did not leave the room until I sensed an absence of light outside.
I perceived the moon, like a woman seated on the horizon, naked and fat.
I went to the rear yards.
I searched for something to chew on in the kitchen garden but it was much neglected and had no fruit trees.
I drank maté in the kitchen.
I was not thinking of the dead girl. By now she was far away. I remembered the blond boy. He had reappeared now, with four years gone by, under incomprehensible circumstances. I did not devote much thought to him. . . .
I was isolated, besieged, defenseless.

In the final part, 1799, Zama joins a company of soldiers sent to apprehend a local bandit, Vicuña Porto, and as the company rides deeper into a heart-of-darkness jungle, the prose becomes even terser:

The wind would topple the cross. Later, someone would carry off the stone.
Bare earth.
No one.
Nothing.
I shuddered, without moving.
This could not be. This could not be for me.
I must go back, expose myself to this no further.
Give up the search.

With all the white space on the page and the pauses between lines, you can almost hear Zama taking deep breaths between each thought.

In style, Zama is similar to Camus’s L’Étranger. Camus’s novel also features a disturbed first-person narrator, and although Meursault and Zama have different stories, characters, and motivations, nevertheless they assume a similarly abrupt tone, and what both characters do not say often echoes as loudly as what they do.

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Evocative of history without being a historical novel, Zama shares in a rich tradition of existentialist fiction. For much of his life Antonio Di Benedetto lived in Mendoza, a self-imposed outsider apart from the literary scene of Buenos Aires. Through Zama he gives us a glimpse into the human condition that is alienated, absurd, comical, desperate, afraid, and yet, hopeful. Zama’s life is one of unfulfilled expectations, one of waiting, reflected in Di Benedetto’s epigraph: “A las víctimas de la espera / To the victims of expectation.” At the end, during a moment of clarity, Zama thinks:

. . . that uncertain though I was as to our goal, I became possessed of the certainty that my fate would be the same anywhere.

I asked myself not why I was alive but why I had lived. Out of expectation, I supposed, and wondered whether I still expected anything. It seemed I did.

Something more is always expected.

Something more is always expected. But isn’t this one of our greatest strengths? Unfulfilled hope is not hope in vain. One thing is certain, we can be grateful that Antonio Di Benedetto’s novel will now reach generations of new and eager readers all replete with their own great expectations.

— Frank Richardson

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Frank

Frank Richardson lives in Houston and received his MFA in Fiction from Vermont College of Fine Arts. His poetry has appeared in Black Heart Magazine, The Montucky Review, and Do Not Look At The Sun.

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Feb 072015
 

Charlie-Hebdo-L-Amour

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In comments made aboard the papal plane en route to the Philippines in early January, Pope Francis spoke about the Paris terror attacks. According to the AP, he defended “free speech as not only a fundamental human right but a duty to speak one’s mind for the sake of the common good,” and he condemned the murderous attack on the offices of Charlie Hebdo. Such horrific violence “in God’s name,” far from being justified, was an “aberration” of religion. In fact, he said, “to kill in the name of God is an absurdity.” Perhaps; but we also know that, absurd or not, killing in the name of God accounts for many of the more irrational streams of blood staining what Hegel famously called the “slaughter-bench” of history.

Francis is aware of the paradox. His very insistence that when it comes to religion “there are limits to free expression,” anticipates his overt conclusion that a “reaction of some sort” to the Muhammad cartoons was “to be expected.” If not inevitable, a response was hardly unlikely. Most Muslims consider any representation of Muhammad, even the most benign, image-worshiping and therefore blasphemous. And radicalized Islamists, a small but virulent minority of Muslims, have demonstrated a willingness to resort to violence when they feel their Prophet has been offended. The pope was not speaking ex cathedra, not pronouncing authoritatively on faith and morals. Still, he was talking about “faith,” insisting that it must never be ridiculed. “You cannot,” he declared, “insult the faith of others. You cannot make fun of the faith of others.” Though these “Shalt Nots” go too far for some, many will be inclined to agree with the pope. In a gentler world I would myself. But this is decidedly not that world.

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This seems counter-intuitive. Surely in the post-9/11 world, a world in which the blood-dimmed tide of theological passion has been loosed, it would make all the more sense not to intensify those passions. One strand of the Enlightenment interprets free speech as universal tolerance, including the acceptance of everyone’s right to practice his or her own religion on its own terms, with its own codes and beliefs. But another strand of the Enlightenment—reflecting the same reaction to the preceding century or more of religious conflict, obscurantism, and superstition—is radically secular, and therefore more likely to be dismissive than tolerant of religion in general, especially those creeds whose adherents cling to what seem to secularists atavistic mores—which is to say, counter-Enlightenment values.

That’s our Enlightenment, of course: European and then transatlantic. But, as everybody knows or else should know, Islam had its own sustained enlightenment. During that 500-year period, a unique Islamic culture flourished, while, simultaneously, Muslim scholars became the saviors and conduits of much of Greek philosophy, literature, and science: a rich deposit that eventually resulted in the European Renaissance. The Islamic Golden Age, beginning in the Abbasid caliphate of the great Harun-al-Rashid (789-809) and stretching beyond the 13th century, occurred during a half-millennium when Europe was mired in what, at least in comparison with contemporaneous Muslim culture, actually were the fabled “Dark Ages.” Benjamin Disraeli once squelched in Parliament an Irish MP who had alluded to the Prime Minister’s Jewish heritage by reminding the unfortunate Celt that while “the honorable gentleman’s ancestors were living in caves and painting their bodies blue, mine were high priests in the Temple of Solomon.” Disraeli’s contrast might be applied, mutatis mutandis, to the contrast between European and Muslim civilization between, say, the 8th and the 12th centuries.

But that Golden Age of Islam is long past, replaced by a post-colonial world of vast petro-wealth for the few and abject poverty for the many. The current Muslim Middle East is beset by fundamentalist versions of Islam, protracted violence, widespread illiteracy, lack of opportunity, and the growing sense of parents that neither they, nor their children nor their grandchildren, are likely to develop the skills required to function in a modern global economy. Their region is multiply afflicted by authoritarian despotism in the oil-rich states; sectarian strife between Sunni and Shia; tribal and civil chaos; and the rise of ever-more zealous and brutal jihadists, with ISIS in particular now trying to slaughter and terrorize its way to a grotesquely distorted version of the long-lost Abbasid caliphate.

Western secularists understand, may even admire, Muslim rejection of our often sordid materialistic culture. But from the perspective of enlightened reason, fatwas and jihad are another matter. Bans on images of the Prophet can fall into the same dubious category. Such prohibitions, even if they seem excessive, are understandable to most Western observers. This likely majority would include believers, who, having their own religious faith, have no wish to insult an article of Muslim faith. It would also include secularists committed to the thread of Enlightenment thought that stresses tolerance and a respect for the beliefs of others, even those we may consider idiosyncratic.

There are, however, secular defenders of free speech for whom these prohibitions regarding images of the Prophet become intolerable when reinforced by the threat of violence. That is the camp in which I find myself, awkwardly caught on the horns of a dilemma. How can those of us defending freedom of expression in the name of secular values avoid falling into a binary opposition pitting “us” against “them? Yet what are we to do if our response to Islamist terrorism is to insist, in this matter of banned images, that our secular faith in freedom of thought and expression requires us to insult the religious beliefs not only of Islamist fanatics but of virtually all Muslims? There is no easy answer, and perhaps no middle ground, for those of us who might wish, in the name of amity and mutual respect, to honor such a ban, but resist being bullied into it by the threat of violence and death if we do not.

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Pope Francis, though adamant in condemning violence in the name of religion, advocates tolerance and respect for the “faith of others,” both as an intrinsic value and because he is the world leader of a faith he also wishes to see respected by others. One reason his recent comments received such worldwide attention is that, quite aside from being, for Catholics, the Vicar of Christ, this charismatic pope has quickly become a popular celebrity in the secular world. As such, it might be argued, his observations to intimates on a plane should be taken as just another instance of the unscripted utterances that have charmed those who share this remarkably informal pope’s vision of a less pompous pontificate—though these same spontaneous observations unnerve the Vatican Curia and send church officials scurrying to preempt any potential fallout. Forget it. Given Francis’ immense personal appeal and his spiritual prestige as pope, his comments cannot be reduced, as they were the day after by a Vatican PR spokesman, to merely “casual remarks.” His utterances all carry significant weight.

The troubling aspect of his remarks on the plane—for those who were troubled—had to do not only with those “cannots” regarding religion, but with the immediate political context in which they were pronounced. I applaud his effort to bring together rather than divide. But to condemn, as Francis did on this occasion, “insults” or “fun” directed at “faith” suggests—in the context of the politically and religiously motivated slaughter of cartoonists who did not share that reticence—a partial misreading of events, and of the issues at stake. Some, even admirers of this pope, of whom I am one, have been disturbed by what struck us as a less than full-throated condemnation of religiously-inspired violence, even if the killings in Paris represent, as they do, an “aberration of religion,” in this case, of Islam.

In his remarks on the plane, the pope—reaching out, as always, to what he calls “the peripheries”—was advocating tolerance and mutual respect rather than engaging in a debate about freedom of speech. The complicating factor, as recently noted by Timothy Garton Ash—Isaiah Berlin Fellow at Oxford and leader of the Oxford-based Free Speech Debate project—is that in our contemporary world, a world where writers and cartoonists can be murdered for engaging in religious satire, “the argument for ‘respect’ is so uncomfortably intertwined with fear of the assassin’s veto.” But there may be safety in anonymity. Writing on January 22, Ash proposed, as a way of “Defying the Assassin’s Veto” (New York Review of Books, February 19, 2015), the establishment of a “safe haven”: a website “specifically dedicated to republishing and making accessible to the widest readership offensive images that are of genuine news interest, but which, for a variety of reasons, many journals, online platforms, and broadcasters would hesitate to publish on their own.”

Fully aware of the “no-holds-barred French genre of caricature as practiced by Charlie Hebdo,” Ash does not expect widespread endorsement of the often grossly outrageous satirical attacks the magazine has long launched against a wide spectrum of religious and political figures. Nor does he glibly charge with “cowardice” those editors around the world who, dealing with genuinely difficult choices, elected not to republish the Charlie Muhammad cartoons. But he does applaud Nick Cohen’s refreshingly frank observation, made during a panel discussion at The Guardian (which did not reprint the original cartoons though it did publish, a week later, Charlie Hebdo’s memorial cover, depicting a weeping Muhammad saying “all is forgiven”). Cohen said: “If you are frightened, at least have the guts to say that. The most effective form of censorship is one that nobody admits exists.” As if in response, the Financial Times columnist Robert Shrimsley wrote the following day, “I am not Charlie, I am not brave enough.”

“I am not Charlie” prose quickly became, as Ash remarks, a “subgenre.” In his January 9 NY Times column, “Why I Am Not Charlie Hebdo,” conservative commentator David Brooks made several characteristically sensible points; but not, it seems to me, when it came to what he thought the “motivation” behind the French people’s “lionizing” of Charlie Hebdo. The mass response in Paris and elsewhere had to do, not so much with approval of the offending cartoons; nor even with approval of Charlie Hebdo’s laudable exposure (one of the traditional targets of satire in Rabelais, Molière and Voltaire) of the use and abuse of religion by hypocrites and fanatics. The marchers were “motivated” by a felt need to defend freedom of expression, to champion liberté, rightly seen as under direct assault by the forces of ignorance, religious bigotry, and militant fanaticism.

The perspective of the pope, as of David Brooks, seems to be shared by most media outlets, which had, until recently, refused to reproduce the “inflammatory” cartoons for the general public. True; free speech is not unlimited. There are considerations of sensitivity, respect for the feelings or beliefs of others. And there is the question of public safety: one mustn’t, to cite the usual cliché, shout “fire” in a crowded theater. In addition, especially in the U. S., many—left, right and center—are quite willing to sacrifice freedom of expression when it comes to voices they disagree with, ranging from speech codes on campuses and college committees disinviting controversial speakers, to attempts to ban flag-burning. And, to cite an example mingling outrage, bias, politics, and self-censorship, there is about as much chance of hearing a favorable word about Israeli policy in the UN General Assembly as there is of hearing a disparaging one in the U. S. Congress.

The crucial question posed by the onboard remarks of Pope Francis has to do with his specific defense of religion set in the specific context of a contemporary world threatened, not by Islam, but by radicalized Islamists ardent to participate—as organized terrorists, as affiliates of al Qaeda and its various offshoots, or as lone wolves—in some form of jihad. Religion’s defense of itself against freedom of speech is nothing new, as attested to by the pitiless but pious burning of “heretics” at the stake; the cherum (ritual of expulsion) pronounced against the noble Spinoza, cursed, damned and driven from his synagogue; the imprisonment of writers and thinkers charged with “blasphemy.” The old lethality resurfaced dramatically in 1989. In the year the Soviet Empire collapsed (fittingly, the 200th anniversary of the start of the French Revolution), Ayatollah Khomeini issued his notorious fatwa against Salman Rushdie for the irreverent (but brilliant and very funny) chapter on Muhammad’s wives in his 1988 novel, The Satanic Verses.

Though they joined in deploring the death-sentence against the author, the Vatican of John Paul II, the archbishop of New York (John Cardinal O’Connor), the archbishop of Canterbury, and the principal Sephardic rabbi of Israel also united in taking a stand against “blasphemy.” Pope Francis, not given to dogmatic pronouncements, did not use the word “blasphemy.” But, like Francis now, all these leaders insisted in 1989 that “there is a limit to free expression” when it comes to religion. I may seem to be having it both ways: acknowledging that Francis did not refer to “blasphemy” and at the same time making him guilty by association with those who have employed this term. Not quite.

But the pope does seem to me guilty of mixing messages and muddying the waters by using the occasion of the murderous attacks on Charlie Hebdo to inform us all that we must always be respectful, and “never make fun” of anyone’s “faith,” at the very moment he is also telling us (listen up, ye cartoonists and satirists!) that we and they have to “expect” retaliation of some sort when we violate that taboo. The pope was speaking off-the-cuff and with the best intentions. Nevertheless, this is a taboo he shares, in however benign a form, with most orthodox Muslims and, alas, with Islamist terrorists. In a more formal imprimatur of the “casual” assertion of Francis that “you cannot insult” or “make fun of the faith of others,” there has been a recent joint declaration by leading imams and the Vatican strongly urging the media to “treat religions with respect.”

That may seem reasonable and civilized, but in our particular historical-political context, such respect, normally to be encouraged and embraced, presents a threat to both reason and civilization. Conscious of the secular challenge to Christianity as well as to Islam, but fully realizing that a robust defense of freedom of expression (in practice rather than mere theory) virtually requires secularists to risk insulting Muslims, Pope Francis insists that religion must invariably be treated with respect. Like Timothy Garton Ash, I attribute the self-censorship seen in most media around the world less to a decent respect for the faith of others than to fear of violent retaliation. Despite the polarization it simultaneously reflects and intensifies, my own position, succinctly stated, comes down to this: a conviction that it’s precisely the threat of terrorism that makes it incumbent on the West to refuse to sacrifice its deepest value, freedom, to uncritically “respecting” religion—especially when the particular religion in question seeks to blackmail the rest of the world into “respecting” (under some “only-to-be-expected” threat of death) its own ban on images of the Prophet. That prohibition derives, by the way, not from the Qur’an, but from the Hadith, posthumous tales of Muhammad’s life. Ironically enough, Muslim scholars often cite a passage in the Hebrew Bible in which Abraham (whose father, Terah, was a manufacturer of idols) declares the worship of “images” a manifest “error.” The further irony is that the Islamic ban, intended to discourage the worship of idols, has turned the prohibited images, these absent presences, into another and potentially lethal form of idolatry.

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Current Muslim resentment and, in its most toxic form, Islamist terrorism, have been fueled by Western colonialism and, more recently, by U. S. military intervention in the Middle East. The colonialist legacy has been, for the most part, unambiguously negative, culturally and politically. In economic terms, the victims of colonialism had imposed upon them an imported labor market management model that encouraged a race to the bottom in pursuit of comparative advantage in cheap labor. Through conquest, and with the strokes of various pens, Western colonialism created states that were less “nations” than multi-cultural entities, subject to authoritarian despots in varying degrees initially subservient to Western interests: kings and shahs and presidents-for-life propped up by the oil-thirsty West, and who, even when they asserted their independence, tended to brutally oppress their own people. In several Middle Eastern states, people ripe for revolution rose up in the exhilarating but tragically short-lived Arab Spring. That revolution, like so many others (notably including the great French Revolution itself), consumed its own idealistic children, and what emerged, or re-emerged, was military dictatorship, Islamic extremism, and another wave of emigration from North Africa and the Middle East to Europe. And some of those immigrants, especially but not only in France, became a fifth column: poor, unassimilated, embittered, and therefore susceptible to the siren call to jihad. From their ranks came the killers who lashed out at the “blasphemous” cartoonists in Paris.

In a Le Moyne College open discussion of the attack on Charlie Hebdo, four faculty presenters explored “issues behind and exposed by the murders,” murders “no one could accept.” As the organizer, history professor Bruce Erickson, rightly insisted: “we do not defend the terrorists, or justify the murderers, or reject the Enlightenment, if we ask questions about how to integrate the multi-cultural world and nations that we created through colonialism.” Though most Muslim immigrants to the United States have assimilated well, many living in France and other Western European countries have not, some choosing to self-segregate. Though the “no-go zones,” alleged Muslim enclaves governing themselves under Sharia law, turned out to be a myth, subsequently recanted by its perpetuators at Fox News, this hardly diminishes the problem, nor does it sever the connection between the colonialist past and the terrorist present. The French failure to integrate the children and grandchildren of immigrants generated just the sort of recruits who became the murderers who attacked the offices of Charlie Hebdo.

As an explanation of Islamic radicalism, these recent colonial developments, though crucial, may be more symptomatic than causal. The deep roots of jihad (whether interpreted as internal struggle or as external battle against the infidel) are to be found in the “sword-passages” of the Qur’an; and the historical expansion of Islamic extremism came with the transformation of large elements of a once relatively open and intellectually dynamic faith, the Islam of the Golden Age, into puritanical sects—primarily but not exclusively Wahhabism. That, of course, is the narrow-minded brand of Islam (a main source as well of much of the treatment of women and gays deplored in the West) globally disseminated through madrassas funded primarily by our “moderate” friend and supposed ally in the region, oil-rich Saudi Arabia.

To trace Islamic radicalization exclusively to Western provocations would be to “infantilize” Muslims, to hold them utterly blameless for their own actions. In saying that past European colonialism and more recent U.S. intervention have “fueled” Muslim resentment, my point (to flesh out the metaphor) is that these Western phenomena have fed, fanned, and intensified the flames of radicalization and reactionary terrorism. Hardly a complete explanation, let alone an excuse, for Islamist extremism, the impact of this history seems incontrovertible. I have already referred to the cumulative, corrosive legacy of the old colonialism; but here are examples of obvious Islamic reaction to Western provocations.

The original Muslim Brotherhood was reacting to colonialist secularization in Egypt. The Iranian theocracy established in 1979 by the Ayatollah Khomeini sealed the revolution against the secularist Shah, installed in 1953, after the coup against the legitimately-elected Mossadegh government: a coup engineered by petroleum-protecting British Intelligence, and orchestrated with a reluctant but still complicit American CIA. Osama bin Laden founded al Qaeda in reaction to the presence of U. S. troops in “holy” Arabia in preparation for the first (for many of us, the “justifiable”) Gulf War. And over the past decade and a half thousands of jihadists have specifically attributed their radicalization to U.S actions, whether in actual conflict and the carrying out of drone strikes, or in response to the pointless atrocities of Abu Ghraib and to the more systematic employment of torture in CIA “black sites.” The al Qaeda terrorist attacks of 9/11 preceded the invasions of Afghanistan and Iraq, but came after our first Gulf War. And jihadism intensified and metastasized in the wake of our duplicitous, inept, and counterproductive 2003 invasion and subsequent occupation of Iraq. Donald Rumsfeld has proven to be prophetic. In one of his myriad “snowflake” memos, the then Secretary of Defense feared that we “might generate more terrorists than we could kill.”

Given the role of the West in, not creating, but certainly exacerbating, Islamic extremism, it is worth noting that the ban on images of the Prophet intensified during the early period of European colonization when Muslims were most anxious to differentiate their religion from “image-worshiping” Christianity. The prohibition is particularly stressed by Saudi Wahhabism and Iran’s clerical theocracy. Because of the impact of these most puritanical forms of Islam, what is for most Muslims anti-iconic “respect” becomes, for many of us in the West, an idiosyncratic, irrational, regressive, and intolerant shibboleth regarding “images of the Prophet.” And yet it is a ban we are to “respect,” not on the moral grounds of sensitivity to the beliefs of others, but under compulsion: the “assassin’s veto,” the clear and present danger of retribution, including fatwa and death.

Many, probably most, Christians, Jews, Buddhists, and Hindus wish to be respectful of the beliefs of others and tolerant of difference. When the stakes are as high as they are now, however, this misplaced “tolerance” gives at least the appearance of justifying ignorance and barbarism by labeling religion’s satirists disrespectful, for some, blasphemous. With the advent of contemporary Islamist extremism, the old tensions between the religious and the secular and between freedom and limitation of expression have taken on a new urgency, becoming, literally, matters of life and death. Making fun of faith can put you in the grave.

The pope’s point about predictable retaliation, given the history of the past few decades, is non-controversial. But instead of stating the obvious, that some sort of reaction was “to be expected,” he ought to have questioned how things have come to this pass. Such a discussion would have included the background (Western colonialism), but should also have made it clear that, whatever the oppressive historical circumstances in which it evolved and to which it is reacting, Islamist extremism in its current militant form deserves to be criticized, and needs to be resisted. However flawed the West may be, civilization is preferable to barbarism.

Of course, resisting religious extremism can produce, as unthinking backlash, its own form of religious extremism. To shift from the charge that criticism of religion is “blasphemous,” consider the following manifestation of religious fanaticism, this time Christian, from a Fox News radio host and Fox News TV “contributor.” In recently attacking critics of the box-office blockbuster American Sniper, dramatizing the 160-kill exploits of sharpshooter Chris Kyle in Iraq, Todd Starnes announced that “Jesus would love” the film and would personally thank snipers for dispatching “godless” Muslims to the “lake of fire.”[1]

Far from invoking Jesus to justify violence against Muslims, Pope Francis called for “respect” toward Islam, and, indeed, all religions. In defending religion, theirs and others, from criticism, some Christian and Jewish leaders have invoked the specter of “blasphemy.” To his credit, as earlier mentioned, Francis did not employ that incendiary term, and he was right to refrain. Rather than join them in leveling the charge, we should leave such labeling to the thoughtless defenders of their particular faith, to God-and-country jingoists and to Islamist fanatics.

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It’s not necessary to applaud the often scurrilous Charlie Hebdo cartoons in order to defend the cartoonists’ freedom of expression. Unlike American satire (aside from two of its greatest practitioners, Mark Twain and H. L. Mencken), French satire has a long history of being anti-religious and anti-clerical, as well as being offensive—savagely and equally—across the board, skewering every sacred cow in sight. French satire, like the French state itself, is fiercely secular, as is most of post-World War II Western Europe. This is precisely why the previous pope, the conservative Benedict XVI, was so determined to re-Christianize Western Europe. And this is why the French people and their leaders came out in such numbers in the immediate aftermath of the lethal assault on Charlie Hebdo. Aside from expressing outrage against these particular religiously-inspired murders and this specific assault on free speech, the French marchers were defending their twin, and notably secular, heritages: the Enlightenment and the Revolution—at least the Idea of the Revolution, stain-free, the bloody guillotines of the Jacobin Terror conveniently repressed.

But despite the heartening response in the streets of Paris and elsewhere, rallying in support of Charlie Hebdo (like many others, I wondered where President Obama was, or at least Biden or Kerry), the Islamists have already won to the extent that almost everybody else in the world was, at least initially, too “terrified” to even reproduce the Charlie Muhammad cartoons—just as they were too afraid of violent retaliation to reproduce the famous “Danish cartoons” in 2005. And thereby hangs a cautionary tale about the threat of lethal violence. Though many Danish papers republished the Charlie Hebdo images, they were, significantly, not reproduced in Jyllands-Posten, where the original “Danish cartoons” had appeared. Citing the paper’s “unique position,” and concerned for employees’ safety, the paper’s foreign editor, Flemmings Rose—hardly a coward, indeed, the very man who had commissioned those Muhammad cartoons a decade earlier—candidly admitted to the BBC: “We caved in,” adding that “Violence works,” and that “sometimes the sword is mightier than the pen.” One understands his caution, and the dangerous alternative. But there is an even greater danger in surrendering the pen to the sword. Islamists, whose preferred method of terrifying infidels and recruiting fresh jihadists is the publicly exhibited decapitation of prisoners (or, most recently, burning them alive), may, paradoxically, have made it necessary to be religiously offensive in order to defend the Western concept of freedom, now faced with a challenge as theocratic as it is political.

Not showing the Charlie Hebdo cartoons, or labeling them offensive, insulting, or, worse yet, “blasphemous,” is no longer simply a matter of “good taste” or “respect for others.” In the context of a growing threat by Islamist extremists—ranging from self-appointed jihadists to organized armed forces aiming to establish by the sword a new Islamic caliphate—such normally laudable sensitivity becomes, instead, a caving-in to intimidation by fanatics. The momentarily most ruthless of them (ISIS or ISIL) is determined, in God’s name (Allahu akbar!), not only to forcibly install an “Islamic State” in the heart of the Middle East, but to repeal the Enlightenment and the modern world.

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One can make nuanced arguments against both the Enlightenment and modernity, but NOT when the alternatives are irrationality, atavism, and—for unbelieving secularists—superstition. In the end, in the view of skeptics, the leaders of organized religions, Francis included, are in the business of defending their vested interests, their own particular accumulations of doctrine, tradition, and (for agnostics and atheists) “superstition.” But believers who are not fanatics have a particular responsibility to be unequivocal in condemning religious fanaticism.

No one in the world is better positioned to do so than this deservedly popular pope. The emphases and values that dominate his papacy were forged in the 1970s. When, in 1973, Jorge Bergogli became Provincial Superior of the Jesuit order in Argentina, he distanced himself from a Catholic hierarchy that had acquiesced in the brutal repression by the military junta; intensified his compassionate and Jesuit commitment to the poor; and, while avoiding direct confrontation of the military regime, struggled (in the words of Eamon Duffy, Emeritus Professor of the History of Christianity at Cambridge) “to reconcile the demands of justice and compassion for those suffering atrocity with the need to preserve the order’s institutions and mission and to save Jesuit lives” (the later accusation that he betrayed politically radical Jesuits to the junta is baseless slander). As cardinal, he exercised the same wise leadership and again stressed compassionate concern for the poor.[2]

As pope, taking his name from Francis of Assisi (a notably humble saint cherished for his protective love of the earth and of animals, and for his ministry to the poor), the former provincial and cardinal has, true to both his Jesuit heritage and to the spirit of his chosen name, continued his own focus on the poor and wretched of the earth. In his apostolic exhortation Evangelii Gaudium, on the joy and true meaning of the gospel, he pointedly denounced, to the annoyance of many conservatives, the “economics of exclusion.” He has also emphasized the dangers to the environment presented by global climate change, and even speculated that there might be a place in heaven for animals: a charming thought of which the original Francis might approve, but which doctrinally-concerned Vatican spokesmen felt the need to quickly walk back. In his first Holy Week as pope, Francis performed the solemn Maundy Thursday foot-washing ceremony not, as usual, in the Lateran Basilica but in an institution housing young offenders. He washed and kissed the feet of a dozen prisoners, one of them (though this was, traditionally, a males-only ritual) a Muslim woman, a gesture that, as Eamon Duffy notes, “predictably scandalized the liturgists and canon lawyers.”

As practiced by this pope, the imitatio Christi, following the example of Jesus, differs from the emphasis of sin-obsessed Augustine, and even from the focus on the interior life and withdrawal from the world of Thomas à Kempis in his 15th-century devotional book Imitatio Christi. This Francis follows his namesake, stressing the path of Jesus, born in a manger, preaching to the poor, practicing humility. Unlike his two immediate predecessors, who tended to treat opposition as “dissent,” Francis has been humble and conciliar in conducting meetings, encouraging a frank expression of views. In opening the Synod on the Family in October 2014, he told the bishops that, in discussing what were certain to be controversial issues, no one should be silent or conceal his true opinion, “perhaps believing that the Pope might think something else.” During the papacies of John Paul II and Benedict XVI, deviation from the official line had courted reprimand, even removal. Thus, as Eamon Duffy emphasizes: “For a pope to encourage fearless public outspokenness among the bishops was a startling novelty.” [3]

Given that attitude, one might have expected, if not quite “encouragement,” at least greater “respect” for the “fearless public outspokenness” exhibited by the massacred Charlie Hebdo cartoonists. At the very least, the pope, a remarkably empathetic man pastorally sensitive to suffering, might have displayed greater tact by mourning the dead a bit longer, before admonishing us, with the bodies not yet buried, to always “respect” religion and never “make fun of the faith of others.”

But here, the admirable Francis fell short. At least as viewed from the perspective of a secularist committed to virtually uninhibited freedom of expression—not least when it comes to religion. But that is not the only perspective, and not—as is hardly necessary to add—one shared by Francis. As pope, he is necessarily a man to double business bound, at once a condemner of violence and a defender of religion—any religion, since, in his view, none deserves to be insulted. That includes, of course, his own religion. Just as he had protected the Argentinian Jesuits in his care in the 1970s, so it is his duty now, though a reformer critical of some of its salient shortcomings, to protect the church as a whole.

On that papal plane, in responding to the Charlie Hebdo cartoons and to the retaliatory murders that followed, Francis was talking common sense, decency, civility, and mutual respect. That’s all to the good. In a chaotic world of already inflamed religious-political passions, his intention was obviously to condemn the murders in Paris without adding fuel to the fire. But his equanimity was not altogether disinterested. In asserting his own ban—“You cannot make fun of the faith of others”—the pope was also defending the Company Store: the Roman Catholic branch of a global theological enterprise. In that sense, and to that extent, he was aligning himself, not with the massacred humorists, but with their murderers: fanatics who had killed the cartoonists precisely for “making fun” of the fanatics’ own distorted version of Islam.

Like politics, theology can make strange bedfellows. But far more than this momentary convergence of interests would be required to bridge the moral abyss stretching between Pope Francis and murderers. That would be especially true of murderers who violate his own deeply-held conviction that “to kill in the name of God is an absurdity. ” For him, what happened in Paris was the commission of a supposedly religious act that is, in fact, an “aberration” of the religion and of most of the teachings of the Prophet in whose name they claim to act.

Acknowledgment

Though I learned from the previously-mentioned Le Moyne open forum on the roots of, and responses to, the Charlie Ebdo murders, this essay was originally generated by a casual but serious email exchange with three friends, all Le Moyne graduates: Scott, Jack, and Markus. Some reservations of the latter about the initial draft were incorporated in the revised version. My thanks: to Jack in general, and, on this particular occasion, to Scott, for sending along the AP item that started us off. I’m particularly grateful to Markus, for critically reading the first draft and helping to sharpen and clarify my thoughts, not all of which he will endorse. The same is true of Bruce Erickson, the organizer of the Le Moyne forum, who, along with the four faculty presenters, enriched my understanding. Bruce also responded to my penultimate draft, thoughtfully, graciously, and productively challenging my position.

—Patrick J. Keane

January/ February 2015

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Patrick J Keane smaller

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. I have two problems with the well-made American Sniper, one political, one cinematic. Once we are in Iraq, we see Chris Kyle skillfully picking off targets, all of whom, he is certain, are “terrorists” and (as described in his book) “savages.” They were enemies, and in killing 160 of them, Chris Kyle saved the lives of countless American troops; he is a “hero.” Yet many of those he killed do not fit into either of Chris’s categories. But back up: how do we get to Iraq? That political quandary is solved by cinematic legerdemain. In an early domestic scene, Chris and his wife are watching on TV the collapse of the smoldering Twin Towers. A sudden cut, and we are instantly transported to combat, not in Afghanistan, but in Iraq! The effect, intentional or not on Clint Eastwood’s part, is to “fuel” (there’s that verb again) or, rather, refuel, the myth (peddled above all by Dick Cheney) that Saddam Hussein was somehow involved in 9/11 and was also harboring al Qaeda. In short, the invasion of Iraq, whatever our fears about WMD, is still being sold to a gullible or manipulated public as justified retaliation for 9/11. If it’s good enough for a hero like Chris, it should be good enough for us.
  2. Duffy, “Who is the Pope?” New York Review of Books (February 19, 2015), p. 12.
  3. The most celebrated demotion by Francis has been that of Raymond Cardinal Burke, removed as head of the church’s supreme court, the Apostolic Signatura. A conservative American traditionalist and harsh critic of the “confusing” doctrinal views of the new pope, Burke had been especially “outspoken” at the Synod on the Family, and had certainly violated protocol in describing the church under Francis as “a ship without a rudder.” But he may have been sent off to a largely ceremonial post in Malta at least as much for a sartorial extravagance utterly alien to the humble spirit of this papacy. Though it was long out of favor, even before the advent of Francis, Burke habitually sported the capa magna, a twenty-foot-long train of scarlet watered silk.
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Must read. Not only because it’s about Kafka, but also because it is by John Banville. See my Banville reviews and interview here.
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What are we to make of Kafka? Not, surely, what he made of himself, or at least what he would have us believe he made of himself. In a letter to his long-suffering fiancée Felice Bauer he declared: “I am made of literature; I am nothing else and cannot be anything else.” This was a constant theme of his mature years, and one that he expanded on in a highly significant diary entry from August 1916: “My penchant for portraying my dreamlike inner life has rendered everything else inconsequential; my life has atrophied terribly, and does not stop atrophying.”

Of course, Kafka is not the first writer, nor will he be the last, to figure himself as a martyr to his art—think of Flaubert, think of Joyce—but he is remarkable for the single-mindedness with which he conceived of his role. Who else could have invented the torture machine at the center of his frightful story “In the Penal Colony,” which executes miscreants by graving their sentence—le mot juste!—with a metal stylus into their very flesh?

Read the whole essay at A Different Kafka by John Banville | The New York Review of Books.