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Gothick

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An Engraving of a Scene from Ann Radcliffe’s The Mysteries of Udolpho

Not too many years ago, I would have laughed to scorn the works of Mrs Ann Radcliffe and indeed the whole 18th century gothic novel. Since then, I have undergone a change of heart: I no longer eschew melodrama. Instead, I recognize that there are degrees of quality in the works ascribed to it and that it is a legitimate genre. To date, I have read four of Mrs Radcliffe’s five novels, having only The Sicilian Romance (1790) and a number of shorter works to read. I have just finished her first novel, The Castles of Athlin and Dunbayne (1789) and found myself loving it.

Originally, I thought of the 18th century gothic novel as a failed attempt to create a horror novel. But then, in the closing paragraphs of Athlin and Dunbayne, its author explains what she is trying to do:

Virtue may for a time be pursued by misfortune,—and justice be obscured by the transient triumphs of vice,—but the power whose peculiar attributes they are, clears away the clouds of error, and even in this world reveals his THRONE OF JUSTICE.

In other words, unless there are numerous dank abbeys and castles in her work, there is no hint of the supernatural. She comes close to it in her most famous work, The Mysteries of Udolpho (1794), but is too devout an Anglican to fall prey to such dubious flimflammery. (That didn’t stop Horace Walpole in The Castle of Otranto (1764) from going whole hog, but then he was undoubtedly less devout, being a wicked Whig politician, and earl, and man about town.

The edition of The Castles of Athlin and Dunbayne which I read was published by Oxford University Press and contained a superb introduction by Alison Milbank on the subject of Mrs Radcliffe and the gothic novel. That didn’t prevent OUP from butchering her last name (by making it Millbank). Sic transit gloria mundi.

Ultimately Unknowable

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Ukrainian/Brazilian/Jewish Author Clarice Lispector

As much as I like her work, I think that Clarice Lispector is ultimately unknowable. Then why do I like her? Is it that I like living in her somewhat troubled (but ultimately sane) mind for several hundred pages? Her main character in <b>The Chandelier</b>, Virginia, is undistinguished. But she draws me in and makes me care for her. Her strange family, especially her brother Daniel and sister Esmeralda, her on-again off-again boyfriend Vincente—don’t really exist as persons outside Virginia’s field of vision, but Virginia, on the other hand, exists in spades.

At one point near the end of the novel, Lispector writes:

She’d always observed in old people something that couldn’t be summed up, that wasn’t exactly lack of desire, or satisfaction, or experience, ah, never experience—something that only the imponderable living of all the incomprehensible instants of sleep and wakefulness seemed to grant. So strange and imperceptible were the power and fecundity of the rhythm. Nothing would seem to escape the the continuous sequence, the intimate spherical movement, inhaling, exhaling, inhaling, exhaling, death and resurrection, death and resurrection. Anyway everything was the way it was, she thought almost brightly, almost cheerful—and that was meaning her deepest sensation f existence as if things were made of the impossibility of not being what they were.

As I read the book, I felt mesmerized, inhabiting for a short while the brain of a likeable woman, of no particular intellectual attainment, but of an honesty that never fails.

Smoke and Mist

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I am three quarters of the way through James Lee Burke’s Rain Gods (New York: Simon & Schuster, 2009). It is one of the author’s Hackberry Holland novels set in Southwest Texas. I am also beginning to think that its author has exceeded the limits of the genre and approached the level of literature. The following quote is what goes through the mind of a strange mass murderer who calls himself the Preacher as he sits cradling a Thompson submachine gun on his lap.

He did not know the hour and never wore jewelry or a watch when he worked. He did not measure the passage of time in terms of minutes or hours but in terms of events. There were no vehicles on the county road. There was no sign of activity inside the house he was about to invade. There were no insomniacs or early risers turning on lights in the neighborhood. There was a fire burning in the grass, and horses were nickering in the darkness, the smoke providing a plausible explanation for their sense of alarm. The sky was booming with thunderous explosions; not those of dry lightning but the kind that promised serious rain, perhaps even the type of monsoon that gave back life to a desert. In spite of the acrid tinge of smoke inside the mist, the night was as lovely and normal as one could expect during the late summer in Southwest Texas.

Preacher stuffed his trousers inside the tops of his boots and up-ended his Thompson in one hand, the other gripping his cane, then began walking through a thicket toward the ranch house in the distance, his face as impervious as molded plastic to both the brambles and the rain.

“The Mystery of All Mysteries”

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Isaac Bashevis Singer (1902-1991)

He wrote in Yiddish, yet he was one of the greatest storytellers who have ever lived. I have just finished reading his collection Gimpel the Fool and Other Stories and, for the first time in my life, I found all of the stories within to be great, with no falling off in quality from beginning to end as is usual. The following excerpt is from his story “The Unseen”:

On his last night, Nathan dreamed that Roise Temerl [his beloved first wife] and Shifra Zirel [his abusive second wife] were one woman with two faces. He was overjoyed at her appearance. “Why have I not noticed this before?” he wondered. “Why did I have to go through this trouble and anxiety?” He kissed the two-faced female, and she returned his kisses with her doubled lips, pressing against him her two pairs of breasts. He spoke words of love to her, and she responded in two voices. In her four arms and two bosoms, all his questions were answered. There was no longer life and death, here nor there, beginning nor end. “The truth is two-fold,” Nathan exclaimed, “This is the mystery of all mysteries.”

An Evening Prayer

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Sir Thomas Browne (1605-1682)

He was one of the greatest writers of prose in the English language. Religio Medici and essay “Hydriotaphia, or Urn Buriall” are my favorites among his works. The following comes from Religio Medici:”:

We term sleep a death; and yet it is waking that kills us, and destroys those spirits that are the house of life. ’Tis indeed a part of life that best expresseth death; for every man truely lives, so long as he acts his nature, or some way makes good the faculties of himself. Themistocles, therefore, that slew his Soldier in his sleep, was a merciful Executioner: ’tis a kind of punishment the mildness of no laws hath invented: I wonder the fancy of Lucan and Seneca did not discover it. It is that death by which we may be literally said to dye daily; a death which Adam dyed before his mortality; a death whereby we live a middle and moderating point between life and death: in fine, so like death, I dare not trust it without my prayers, and an half adieu unto the World, and take my farewell in a Colloquy with GOD.

And here is a devout prayer he wrote:

An Evening Prayer

THOU whose nature cannot sleep,
On my temples sentry keep;
Guard me ’gainst those watchful foes,
Whose eyes are open whilst mine close;
Let no dreams my head infest,
But such as Jacob’s temples blest.
While I do rest, my soul advance;
Make me to sleep a holy trance,
That I may, my rest being wrought,
Awake into some holy thought;
And with as active vigour run
My course, as doth the nimble sun.
Sleep is a death. Oh, make me try
By sleeping, what is it to die!
And as gently lay my head
On my grave, as now my bed.
Howe’er I rest, great God, let me
Awake again at last with Thee!
And thus assured, behold I lie
Securely, or to wake or die.

Sonchai Jitpleecheep

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Bangkok at Night

During this hottest summer of my life, I have entertained myself by reading all the Sonchai Jitpleecheep novels by John Burdett. Sonchai is a member of the Royal Thai Police, while at the same time serving as a pimp in the Soi Cowboy brothel run by his mother and his boss, Colonel Vikorn. In all, there are six novels in the series:

  • Bangkok 8 (2003), named for the Bangkok police district controlled by Colonel Vikorn
  • Bangkok Tattoo (2005)
  • Bangkok Haunts (2007), with the word “haunts” to be taken literally
  • The Godfather of Kathmandu (2009)
  • Vulture Peak (2011)
  • Bangkok Asset (2015)

I assume that, since no new titles have appeared in the last eleven years, that the series is complete.

Reading the novels, you get a great picture, not only of Bangkok, but of several other Asian countries as well, including Laos, Cambodia, Kathmandu, and Dubai. The picture that emerges of Bangkok is a crowded one, like the above photo, but one tempered by the Buddhism of Jitpleecheep in an atmosphere of outrageous criminality.

Burdett has also written several other books, which I will eventually evaluate—though I feel that the Bangkok novels are going to be tough to beat.

I have always loved reading mystery fiction set in other countries, such as the Inspector Ghote novels set in India by H.R.F. Keating; the Napoleon Bonaparte novels set in Australia by Arthur Upfield; the Mario Conde novels set in Castro’s Cuba by Leonardo Padura; the Inspector Espinosa novels set in Brazil by Luiz Alfredo Garcia-Rosa; and the Judge Dee novels set in Tang Dynasty China by Robert van Gulik. And that’s just to name a few.

A One-Man Band

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Did I say one-man band? Actually, he was a one-man symphony orchestra. Fernando Pessoa (1888-1935) was not only a poet, writer, translator, and philosopher. He was eighty poets, writers, translators, and philosophers. Born (and died) in Lisbon, Portugal, Pessoa wrote under approximately eighty heteronyms.

These heteronyms were like pseudonyms, except that each wrote in a different style. In a way, Pessoa constituted an entire literary movement. The work for which he is best known, The Book of Disquiet, is a collection of fragments in no particular order—and probably one of the greatest works of the Twentieth Century.

There are several editions of The Book of Disquiet. I have read the Penguin edition translated by Richard Zenith.

Today, while eating lunch at the Mitsuwa Marketplace in Mar Vista, I was reading an old New York Review of Books and came across this passage in a new translation by Margaret Jull Costa:

To say things! To know how to say things! To know how to exist through the written voice and the intellectual image! That’s what life is about: the rest is just men and women, imagined loves and fictitious vanities, excuses born of poor digestion and forgetting, people squirming beneath the great abstract boulder of a meaningless blue sky, the way insects do when you lift a stone.

I first learned about Pessoa when IO read José Saramago’s The Year of the Death of Ricardo Reis (1984). It turns out that Ricardo Reis was a poet and prose writer, author of Odes and texts on the work of Alberto Caeiro. Interestingly, Reis and Caeiro were merely two heteronyms of Fernando Pessoa.

The man constituted an entire literary movement in his person!

Obviously, I had to get to know more about Pessoa. I plan to read more of his work if I had world enough and time.

Two Blind Warriors

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Shintaro Katsu as the Blind Swordsman Zatoichi

I am thinking of two incredible blind warriors. One is from the Japanese cinema circa 1970s; and the other is from the literature of Edwardian England, around the time of the First World War.

During the 1970s I was a big fan of Daiei Studio’s Zatoichi films. At the time, Daiei owned two movie theaters in Los Angeles: the Sho Tokyo in Downtown L.A.’s Little Tokyo and the Kokusai on Crenshaw just south of Adams. Both theaters are long since gone.

Zatoichi was a blind masseur and gambler who also was a samurai-grade swordsman who could slice his opponents to ribbons due to his superior hearing ability. Between 1962 and 1989, Daiei produced some 26 Zatoichi films starring Shintaro Katsu. At the time, Daiei had some excellent action directors such as Kazuo Ikehiro, Issei Mori, Tokuzo Tanaka, and Kenji Misumi. Probably my favorite title was Zatoichi’s Fire Festival (1970).

Skipping to the other blind warrior, we have Private Investigator Max Carrados created by Ernest Bramah, a London tea merchant, who was also responsible for the Kai Lung stories, which can be described as fantasy Chinoiserie.

Max Carrados may not have been a swordsman, but his skills were no less incredible.In “The Coin of Dionysius,” a man named Carlyle investigates a Sicilian tetradrachm, taking it to the blind detective:

For a few seconds Carrados handled the piece with the delicate manipulation of his finger-tips while Carlyle looked on with a self-appreciative grin. Then with equal gravity the blind man weighed the coin in the balance of his hand. Finally he touched it with his tongue.

“Well?” demanded the other.

“Of course I have not much to go on, and if I were more fully in your confidence I might come to another conclusion—”

“Yes, yes,” interposed Carlyle, with amused encouragement.

“Then I would advise you to arrest the parlourmaid, Nina Brun, communicate with the police authorities of Padua for particulars of the career of Helene Brunesi, and suggest to Lord Seastoke that he should return to London to see what further depredations have been made in his cabinet.”

Both the Zatoichi films and the Max Carrados stories are highly entertaining, even if a bit fanciful.

Astonishing Strides

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Food Vendor at a Bangkok Night Market

It is strange to be suddenly confronted by truth in places that one had not thought to look for it. Such was the case this evening when I encountered it in a little-known mystery novel set in Bangkok. The Sonchai Jitgpleecheep novels of John Burdett have been a recent preoccupation of mine during this hot and seemingly endless summer in Southern California. Then, like a Buddhist burst of contemplation, there it was a fifth of the way through Bangkok Asset, the sixth novel in the series:

Man has made astonishing strides recently in all things inessential. The price we’ve paid is enormous. Stuck with an infantile description of reality that cannot come to terms with death or even lesser challenges, the eternal infant must torture himself for lifetime after lifetime, probably without end.

This is what happens when one is a serious bookworm. The truth is out there, even in seemingly unusual places, like genre series novels.

Sometime this month, I’m going to tackle the Collected Stories of William Faulkner. For some reason, I’ve always liked to read Faulkner during the hottest month of the year. I might suddenly find some pearl of wisdom that stands out, or I might not. On the other hand, I might read some arrant piece of trash an find myself at the edge of a cliff that stretches to the horizon.

“The Pleasures of Fantastic Kind”

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As I am currently reading Lord Dunsany’s The Charwoman’s Shadow, I thought I would give you a poem by H. P. Lovecraft, who admired Dunsany’s fiction:

Fact and Fancy

How dull the wretch, whose philosophic mind
Disdains the pleasures of fantastic kind;
Whose prosy thoughts the joys of life exclude,
And wreck the solace of the poet’s mood!
Young Zeno, practis’d in the Stoic’s art,
Rejects the language of the glowing heart;
Dissolves sweet Nature to a mess of laws;
Condemns th’ effect whilst looking for the cause;
Freezes poor Ovid in an iced review,
And sneers because his fables are untrue!
In search of hope the hopeful zealot goes,
But all the sadder tums, the more he knows!
Stay! Vandal sophist, whose deep lore would blast
The grateful legends of the storied past;
Whose tongue in censure flays th’ embellish’d page,
And scorns the comforts of a dreary age:
Wouldst strip the foliage from the vital bough
Till all men grow as wisely dull as thou?
Happy the man whose fresh, untainted eye
Discerns a Pantheon in the spangled sky;
Finds sylphs and dryads in the waving trees,
And spies soft Notus in the southern breeze
For whom the stream a cheering carol sings,
While reedy music by the fountain rings;
To whom the waves a Nereid tale confide
Till friendly presence fills the rising tide.
Happy is he, who void of learning’s woes,
Th’ ethereal life of bodied Nature knows;
I scorn the sage that tells me it but seems,
And flout his gravity in sunlight dreams!