At the Peggotty’s

The Peggotty Boat House in Yarmouth

Some months ago, I made a stab at re-reading Charles Dickens’s David Copperfield but gave up. Somehow, I was just not in the mood. (That happens, but fairly rarely.) Today, I made another attempt, with vastly improved results.

What got to me before was the character of Edward Murdstone and his sister Jane. Murdstone marries David’s mother, Clara, but begins raising David in an abusive even sadistic manner. But before the grim scenes of marriage, with Clara being forced to suppress her love for Davy, there intervenes the magical Chapter III, “I Have a Change.”

Magic is rare in fiction, but not with Dickens at his best. Davy goes with his mother’s maid Clara Peggotty to visit her family in Yarmouth on the Isle of Wight. There, he stays in an odd beach house built from an old boat, with Peggotty’s brother Daniel as head of household. In the boat house live Ham Peggotty, an orphaned nephew; Little Em’ly, an orphaned niece; and the morose Mrs Gummidge, widow of a fishing partner of Daniel’s. It is an odd mixed-up family that somehow seems to work.

It all starts with the first view of the boat house on the sands:

Ham carrying me on his back and a small box of ours under his arm, and Peggotty carrying another small box of ours, we turned down lanes bestrewn with bits of chips and little hillocks of sand and went past gas-works, rope-walks, boat-builders’ yards, shipwrights’ yards, caulkers’ yards, riggers’ lofts, smiths’ forges, and a great litter of such places, until we came out upon the dull waste I had already seen at a distance; when Ham said,

‘Yon’s our house, Mas’r Davy!’

I looked in all directions, as far as I could stare over the wilderness, and away at the sea, and away at the river, but no house could I make out. There was a black barge, or some other kind of superannuated boat, not far off, high and dry on the ground, with an iron funnel sticking out of it for a chimney and smoking very cosily; but nothing else in the way of a habitation that was visible to me.

‘That’s not it?’ said I. ‘That ship-looking thing?’

‘That’s it, Mas’r Davy,’ returned Ham.

If it had been Aladdin’s palace, roc’s egg and all, I suppose I could not have been more charmed with the romantic idea of living in it. There was a delightful door cut in the side, and it was roofed in, and there were little windows in it; but the wonderful charm of it was, that it was a real boat which had no doubt been upon the water hundreds of times, and which had never been intended to be lived in, on dry land. That was the captivation of it to me. If it had ever been meant to be lived in, I might have thought it small, or inconvenient, or lonely; but never having been designed for any such use, it became a perfect abode.

Davy stays in the boat house for a couple of weeks, allowing his mother to be married to the grim Murdstone and provide an unhappy surprise when Davy returns to The Rookery at Blunderstone, only to find Murdstone in charge as paterfamilias.

Until then, there are a couple of weeks of grace, during which little Davy falls in love with Little Em’ly, and is showered with kindnesses he was no longer able to receive at home.

I remember the chapter vividly from my own childhood, when I read an abridged edition of David Copperfield. Even in its mutilated form, it was magical then; and now, it’s still magical.

Almighty God Art Works

The Almighty God Art Works in Kumasi, Ghana, is run by Kwame Akoto, an artist whose primitive but powerful work has garnered attention far from his native land. Akoto, who styles himself as “Almighty God,” is a convert to a Pentecostal Christian sect whose teachings have become the subject of much of his work. In one of his paintings, the following free verse appears:

The Supernatural eyes of God the Father
Sees all things.
So we must be extra careful.
When you go under the sea, the great eyes have seen you.
I am afraid of the eyes of God
If you hide under a mortar God have seen you
God saw you be careful

On Sunday afternoon, Akoto’s work impressed me when I visited the Fowler Museum at UCLA. His work, as well as the patterned textiles produced by the Aborigines of Northern Australia, convinced me that the art of Western Civilization is not the only game in town.
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The Almighty God Art Works is not only in the art business: Akoto paints signs for local merchants, signs that are every bit as good as his other work.

I suspect that our world is tired of works by Jackson Pollock, Mark Rothko, Willem de Kooning, and others of that ilk, of art that speaks only to the artist.

Joan Didion Terrifies Me

Joan Didion (1934-2021)

I am alternately in love with and terrified by Joan Didion. Behind that seeming fragility is a mountain of strength and eyes that cut through the obscuring fog. On one hand, the young Joan Didion was beautiful; but her marriage to John Gregory Dunne was a stormy one, and her relationship with him and her adopted daughter Quintana Roo was interrupted by their early deaths. I keep thinking of her heroine Maria Wyeth in Play It As It Lays:

She took his hand and held it. “Why are you here?”

“Because you and I, we know something. Because we’ve been out there where nothing is. Because I wanted—you know why.”

Joan was never a safe, sensible woman. She saw clearly to the heart of things, yet dulled herself with large amounts of alcohol and was rarely photographed without a cigarette in her hands. The daughter of a rancher, she was raised in Sacramento, a fifth-generation Californian, whose ancestors just escaped being part of the Donner Party in the winter of 1846-1847. There is in her eyes both wildness and clarity. She, too, has been out there where nothing is.

Though in one sense she terrifies me, I love her work. When she died last December, I felt that California had lost its muse.

From the Top End

Aboriginal Screen-Printed Textile

Today, I visited the Fowler Museum at UCLA and was entranced by an exhibition hall filled with screen-printed textiles created by Australian Aborigines. According to the Museum:

This exhibition takes us on a journey around northern Australia, known as the “Top End,” and invites us to explore more than 70 distinctive, screen-printed textiles made by contemporary artists at five Aboriginal-owned art centers. Since the 1960s, these textiles have become a vibrant medium for Indigenous expression, perpetuating traditional knowledge and reinvigorating its visual manifestations. Today these fabrics both serve the needs of their communities and circulate as prized collectibles, interior furnishings, and fashion apparel. The Fowler installation, organized around the individual art centers, reveals the creativity and innovation of Aboriginal artists and their sources of inspiration. Accompanying videos offer glimpses of the process of screen-printing textiles and the ways artists have translated ancient painting techniques into new media. The videos also introduce local environments—escarpments, flood plains, waterholes, rivers, and seas—that shelter the local flora and fauna seen on fabrics in bold colors and striking patterns. Screen-printed textiles enable Indigenous artists to share their cultures and identities, while providing them with a sustainable livelihood. The exhibition pays tribute to the resilience and beauty of Aboriginal Australia and reminds us of the enduring connections between peoples and their lands.

In each case, the artists created their own “brushes” from a native sedge, as well as their own paints made from vegetable and mineral sources.

I have always though the Australian Aborigines to be the most elusive primitive peoples of earth. They are all very conscious of revealing only so much of their secrets, and no more. The exhibit also contained several videos showing the textiles in the process of preparation.

Many of them were strikingly beautiful in strange ways.

Burning the Candle at Both Ends

Edna St. Vincent Millay in 1914

This short poem is representative of the turbulent life of its author, Edna St. Vincent Millay (1892-1950). Until an auto accident left her in deep pain and dependent on morphine, Millay had lived an interesting and often promiscuous life.

Figs from Thistles: First Fig

My candle burns at both ends;
   It will not last the night;
But ah, my foes, and oh, my friends—
   It gives a lovely light!

Bosniaks

Old Fort, Travnik, Bosnia

I have spent half of the last week recovering from Covid-19, and half reading a superb novel about Bosnia in the early 19th century written by a Bosnian Serb named Ivo Andrić. Bosnian Chronicle describes life in the North Bosnian backwater town of Travnik when France opens a consulate there, and Austria follows suit, around 1807.

Described in loving detail by Andrić are the staffs of the two consulates and their families and aides; the three Ottoman Pashas in charge during the period covered and their aides; the local begs (first families) of the town; the religious leaders of the Islamic, Catholic, Jewish, and Orthodox Christian factions; the local doctors; and various peasants. The net result is a layered picture of Bosnian society and various French and Austrian “interlopers” during the height of the Napoleonic Era.

The book ends with Napoleon’s capture and exile on Elba, necessitating the closing of the French consulate, followed in short order by the closing of the Austrian consulate.

My Hungarian upbringing tends to make me more interested in Central and Eastern Europe than most other Americans. Fortunately, there is no lack of great literature east of Vienna: Ivo Andrić, for instance, a native of Travnik and a Bosniak himself, won the Nobel Prize for Literature in 1961 for The Bridge of the Drina. I have also read his Omar Pasha Latas: Marshal to the Sultan, which is available in a New York Review edition.

I turn to the East to look for literary treasures, and I have not been disappointed.

A Gas Station with Nuclear Weapons

Was this the same Russia that manhandled the Nazi menace at Stalingrad, Kursk, and all the way back to Berlin? Stalin was no more a sweetheart than Vladimir Putin, but I feel that—after some initial losses—he made better wartime decisions.

In an interview with Salon.Com, Colin Clarke had the following assessment of the war in Ukraine:

One of the big stories I see, in terms of international relations and diplomacy and statecraft, is the concept of great power competition. With that language we are thinking about the United States, China and Russia. The war in Ukraine shows us that Russia does not belong in that conversation anymore. Russia is not a great power, it’s essentially a gas station with nuclear weapons. The Russian military has performed so poorly, far worse than anyone could have expected, including many defense planners in the United States, who built the Russians up to be 10 feet tall.

We must never forget, however, all those nuclear weapons. Granted that most of their ICBMs may be pretty dodgy, but even one or two direct hits on a major U.S. population center would be truly horrifying. Living in Southern California as I do, I am sure that L.A. would probably be one of major targets of the Russian nuclear warheads.

Covid Finally Gets to Me

I fought long and hard, but Covid-19 finally caught up with me last Friday. I was super tired and couldn’t get up from bed without effort. At the same time, I had developed a wicked sore throat and a racking cough. At the time, I thought I had just developed a bad cold; so—lacking a pituitary gland—I upped my normal dose of hydrocortisone to help me fight the illness. (Without a pituitary gland, I have no adrenaline.)

On Saturday night, I got a call from a nurse friend of mine who suggested I get tested for Covid-19. Fortunately, I had sent away for free test kits, so I administered the test to myself. Sure enough, I had contracted the coronavirus.

I have no idea how I could have caught it, unless one of my vaccinated friends had it without presenting any symptoms. Or it could have just been a wild fluke, something in the air that suddenly took hold.

Fortunately, I have been vaccinated and boosted, so that by now (Tuesday), my symptoms have grown less; and I even had the energy to read again. Unfortunately, Martine caught the virus from me and has more severe symptoms. She, too, has been vaccinated and is not likely to wind up requiring medical care.

It’s a good thing that vaccines were quickly developed to fight the virus. Else both of us could easily have been at risk of a severe respiratory response.

Improbable Rhymes

No doubt you’ve heard of those one-of-a-kind words in English that just won’t rhyme with any other words. Well, it seems that the Futility Closet has punked three of those unrhymable words: month, orange, and oblige. Let’s have a look-see at Willard R. Espy’s poem on the subject:

Procrustes

It is unth-
inkable to find
A rhyme for month
Except this special kind.

The four eng-
ineers
Wore orange
Brassieres.

Love’s lost its glow?
No need to lie; j-
ust tell me “go!”
And I’ll oblige.

In the meantime, I’ll go searching for those four engineers wearing orange brassieres.

L.A.’s Police Museum

Yesterday, Martine and I drove to the L.A. Police Department Museum in Highland Park. When we were in Vancouver some years back, we visited the local police museum and were enthralled with what it said about the differences in Canadian vs. U.S. culture (or lack of same).

The 2½ floors of exhibits covered a wide range of subjects, but the best exhibits were all on the second floor:

  • The 1997 robbery of a Bank of America branch and the ensuing gunfight with the two well-armed burglars
  • The Patty Hearst kidnapping and the Symbionese Liberation Army (SLA) terrorists (1973-1976)
  • The kidnapping of two LAPD police officers and the killing of one of them in a Kern County onion field (1963)

In the garage of the museum were two cars with multiple bullet holes that were part of the 1997 shootout. Also there was a police helicopter which Martine sat in:

The museum was only a few blocks east of one of our favorite stores: The Galco Soda Pop Stop, which deserves a post of its own. Stay tuned.