Serendipity: Who’s Afraid Like Virginia Woolf?

British Author Virginia Woolf

British Author Virginia Woolf

The following is the beginning of a book review by Linda Colley of Jenny Uglow’s In These Times: Living in Britain Through Napoleon’s Wars, 1793-1815. The review is entitled “Facing Napoleon’s Own EU” and can be found in the November 5, 2015 issue of The New York Review of Books.

Throughout 1940, Virginia Woolf struggled with the terrors and mysteries of war. Neither of the Woolfs knew that their names were on the “black list” of Britons set to be arrested—and presumably killed—in the event of a successful Nazi invasion, but since [husband] Leonard was Jewish, the couple prepared for the worst. They hoarded gasoline in their garage so as to be able to kill themselves by inhaling carbon monoxide, and took the further precaution of of acquiring a deadly dose of morphine from a friend. But none of this protected them from hearing Hitler’s voice over the radio, or the noise of German bombers flying over their London house at night, rattling its windowpanes.

“Here they are again,” wrote Virginia in a famous essay published five months before her suicide. “It is a queer experience lying in the dark and listening to the zoom of a hornet which may at any moment sting you to death.” Earlier, she had written about how different all this was from British experience of the Napoleonic Wars. Both Jane Austen and Walter Scott lived through these conflicts, she noted, yet neither had mentioned it in their novels. This, she thought, demonstrated “that their model, their vision of human life, was not disturbed or agitated or changed by war. Nor were they themselves…. War were then remote:; wars were carried on by soldiers and sailors, not by private people.”

Unfortunately, Woolf was particularly prey to depression. Her house in London was destroyed by bombing, and her most recent book (a biography of her friend Roger Fry) was not well received. On March 28, 1941, she loaded her pockets with heavy stones and walked into the River Ouse, drowning herself. Her body was not found until weeks later. In her last note to her husband, she wrote:

Dearest, I feel certain that I am going mad again. I feel we can’t go through another of those terrible times. And I shan’t recover this time. I begin to hear voices, and I can’t concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don’t think two people could have been happier till this terrible disease came. I can’t fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can’t even write this properly. I can’t read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that—everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can’t go on spoiling your life any longer. I don’t think two people could have been happier than we have been.

So when you hear about ISIS and Donald Trump’s latest outrage, remember that it is still possible to survive, and even prevail. I look at Virginia Woolf’s face and cannot help falling in love with it.

 

Serendipity: Documents of the Ultra-Terrain World

“Blue Harbor” by Xul Solar

“Blue Harbor” by Xul Solar

While in Buenos Aires last month, I visited the museum of painter Xul Solar, friend of Jorge Luis Borges. It was Borges who wrote the prologue to the museum’s catalog, which is reproduced here in its entirety:

Man versed in all disciplines, curious of all enigmas, father of writings, languages, utopias, mythologies, guest of hell and heavens, chessplayer author and astrologist, perfect in indulgent irony and friendly generosity, Xul Solar is one of the most outstanding events of our epoch. There are minds which profess the truth, others indiscriminate abundance: the large creativity of Xul Solar does not exclude the strict honesty. His paintings are documents of ultra-terrain world, of metaphysical world in which gods take the form of the imagination of the ones dreaming. The passionate architecture, the happy colours, the many circumstantial details, the labyrinths, the dwarves and angels unforgettably define this delicate and monumental art.

The taste of our time vacillates between the more lineal preference, the emotive transcription and the realism of wall painters: Xul Solar renews, in his ambitious way of being modest, the mystic painting of the ones who do not see with physical eyes in the sacred world of Blake, Swedenborg, yogis and bards.

 

Serendipity: Camus on Travel

Albert Camus

Albert Camus

The text below is from his posthumously published Literary and Critical Essays:

Without cafés and newspapers, it would be difficult to travel. A paper printed in our own language, a place to rub shoulders with others in the evenings enable us to imitate the familiar gestures of the man we were at home, who, seen from a distance, seems so much a stranger. For what gives value to travel is fear. It breaks down a kind of inner structure we have. One can no longer cheat — hide behind the hours spent at the office or at the plant (those hours we protest so loudly, which protect us so well from the pain of being alone). I have always wanted to write novels in which my heroes would say: “What would I do without the office?” or again: “My wife has died, but fortunately I have all these orders to fill for tomorrow.” Travel robs us of such refuge. Far from our own people, our own language, stripped of all our props, deprived of our masks (one doesn’t know the fare on the streetcars, or anything else), we are completely on the surface of ourselves. But also, soul-sick, we restore to every being and every object its miraculous value. A woman dancing without a thought in her head, a bottle on a table, glimpsed behind a curtain: each image becomes a symbol. The whole of life seems reflected in it, insofar as it summarizes our own life at the moment. When we are aware of every gift, the contradictory intoxications we can enjoy (including that of lucidity) are indescribable.

 

 

Serendipity: The Ombú

Ombú Tree in Recoleta, Buenos Aires

Ombú Tree in Recoleta, Buenos Aires

I first grew curious about the Ombú trees of the Pampas when I read W. H. Hudson’s Tales of the Pampas. Following is the beginning of his short story entitled “The Ombú”:

IN ALL THIS DISTRICT, though you should go twenty leagues to this way and that, you will not find a tree as big as this ombú, standing solitary, where there is no house; therefore it is known to all as “the ombú,” as if but one existed; and the name of all this estate, which is now ownerless and ruined, is El Ombú. From one of the higher branches, if you can climb, you will see the lake of Chascomus, two thirds of a league away, from shore to shore, and the village on its banks. Even smaller things will you see on a clear day; perhaps a red line moving across the water—a flock of flamingos flying in their usual way. A great tree standing alone, with no house near it; only the old brick foundations of a house, so overgrown with grass and weeds that you have to look closely to find them. When I am out with my flock in the summer time, I often come here to sit in the shade. It is near the main road; travellers, droves of cattle, the diligence, and bullock-carts pass in sight. Sometimes, at noon, I find a traveller resting in the shade, and if he is not sleeping we talk and he tells me the news of that great world my eyes have never seen.

They say that sorrow and at last ruin comes upon the house on whose roof the shadow of the ombú tree falls; and on that house which now is not, the shadow of this tree came every summer day when the sun was low. They say, too, that those who sit much in the ombú shade become crazed. Perhaps, sir, the bone of my skull is thicker than in most men, since I have been accustomed to sit here all my life, and though now an old man I have not yet lost my reason. It is true that evil fortune came to the old house in the end; but into every door sorrow must enter—sorrow and death that comes to all men; and every house must fall at last.

Do you hear the mangangá, the carpenter bee, in the foliage over our heads? Look at him, like a ball of shining gold among the green leaves, suspended in one place, humming loudly! Ah, sefior, the years that are gone, the people that have lived and died, speak to me thus audibly when I am sitting here by myself. These are memories; but there are other things that come back to us from the past; I mean ghosts. Sometimes, at midnight, the whole tree, from its great roots to its topmost leaves, is seen from a distance shining like white fire. What is that fire, seen of so many, which does not scorch the leaves? And, sometimes, when a traveller lies down here to sleep the siesta, he hears sounds of footsteps coming and going, and noises of dogs and fowls, and of children shouting and laughing, and voices of people talking; but when he starts up and listens, the sounds grow faint, and seem at last to pass away into the tree with a low murmur as of wind among the leaves.

As a small boy, from the time when I was able, at the age of about six years, to climb on to a pony and ride, I knew this tree. It was then what it is now; five men with their arms stretched to their utmost length could hardly encircle it. And the house stood there, where you see a bed of nettles—a long, low house, built of bricks, when there were few brick houses in this district, with a thatched roof.

The ombú in the photograph stands in front of La Biela, an old café that Jorge Luis Borges and his friend and collaborator Adolfo Bioy Casares used to frequent. It is on Plaza Francia not far from the entrance to Recoleta Cemetery.

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Serendipity: Summoning Up the Genie

César Aira

César Aira

I have written before a couple of times about Argentinian author César Aira, the man from Coronel Pringles (not related to the potato chip). Today, in the August 13, 2015 issue of The New York Review of Books, I finally read an article that seems to understand him. It is called “Staggering Local Wonderlands” and written by Geoffrey O’Brien, For your delectation, here are the concluding paragraphs of the article:

Finally one sticks around because of the tantalizing possibility that Aira may yet get to the bottom of something that seems to have no bottom. He is the master of a method whose application and ultimate purpose remain in perpetual doubt. He might be a rationalist demonstrating the irrationality of what is; a naturalist of the impossible; a maker of allegories, or of parodistic pastiches of allegories, of parables whose precise lessons deliberately elude clarification. He is just as likely demonstrating that such forms as allegory and parable are no more than imperfect attempts to capture a reality more elusive—“real reality, so distinct from the pale fantasies of reason” (The Miracle Cures of Dr. Aira, 2002). Aira seeks to improve on such earlier, approximate methods by means of his mad-scientist investigation into the neurology of story-making.

The act of storytelling is nowadays conventionally prized for its universal, ageless, benevolent associations. It is our shared heritage of magic; it is a defining human trait. With Aira we are just as aware of the essential cruelty of storytelling—or rather its cosmic indifference, an indifference only partly disguised in the oldest myths and legends and fairy tales. Finally there is nothing to cling to. Emotions are free-floating, personhood itself is free-floating—a state of affairs only thinly masked by the reassuring “thereness” of the voice-over commentary. The stories here do have a life of their own, and it is a life offering much surprise, much humor, much brilliance of observation and invention, but little in the way of even momentary consolation. They summon up a genie who can do everything but fulfill our wishes.

The reader feels at moments as if he has washed up in some successor state of literature, in which outward forms, characteristic tropes and techniques, are carefully maintained, but where former purposes have given way to some new and not yet decipherable intent. Yet in such a situation the old forms are perhaps more potent than ever: they regain the mystery of the incomprehensible that stories are always promising, in vain, to explicate. One of the stories in The Musical Brain begins: “Circumstances had reduced me to begging in the street”: a perfect narrative set-up for The Arabian Nights, that most wonderful, as well as supremely cruel, work. Aira’s reconceiving of such a compendium of all possible stories might be called an Arabian Nights of the corner drugstore; but then it is fair to say that The Arabian Nights itself was an Arabian Nights of the corner drugstore.

Serendipity: A Yellow Rose

Italian Poet Giambattista Marino (1569-1625)

Italian Poet Giambattista Marino (1569-1625)

Over the last couple of days, I have been re-reading Jorge Luis Borges’s A Personal Anthology. For the nth time, I was struck by this short piece, which I reproduce here in its entirety. It is called “A Yellow Rose.” The Translation is by Anthony Kerrigan.

The illustrious Giambattista Marino, whom the unanimous mouth of fame—to use an image dear to him—proclaimed the new Homer and the new Dante, did not die that afternoon or the next. And yet, the immutable and tacit event that happened then was in effect the last event of his life. Laden with years and glory, the man lay dying in a vast Spanish bed with carved bedposts. It takes no effort to imagine a lordly balcony, facing west, a few steps away, and, further down, the sight of marble and laurels and a garden whose stone steps are duplicated in a rectangle of water. A woman has placed a yellow rose in a vase. The man murmurs the inevitable verses which—to tell the truth—have begun to weary him a little:

Blood of the garden, pomp of the walk,
gem of spring, April’s eye …

Then came the revelation. Marino saw the rose as Adam might have seen it in Paradise. And he sensed that it existed in its eternity and not in his words, and that we may make mention or allusion of a thing but never express it at all; and that the tall proud tomes that cast a golden penumbra in an angle of the drawing room were not—as he had dreamed in his vanity—a mirror of the world, but simply one more thing added to the universe.

This illumination came to Marino on the eve of his death, and, perhaps, it had come to Homer and Dante too.

 

Serendipity: The Burning Coal, A Zen Tale

“A Buddhist Parable”

“A Buddhist Parable”

This passage comes from p. 182 of Thomas Pynchon’s Bleeding Edge. It’s not a bad description of some people I know.

Shawn tells her the Buddhist Parable of the Burning Coal. “Dude is holding this burning hot coal in his hand, obviously suffering a lot of pain. Somebody comes by—‘Whoa, excuse me, isn’t that a burning hot coal in your hand, there?’

“Ooh, ooh, ow, man, yes and like, like it really hurts, you know?’

“I can see that. But if it’s making you suffer, why do you keep holding on to it?’

“‘Well, duh-uhh? ’cause I need to, don’t I—aahhrrgghh!’

“You’re … into pain? you’re a nutcase? what is it? Why not just let it go?’

“‘OK, check it out—can’t you see how beautiful it is? lookit, the way it glows? like, the different colors? and aahhrrhh, shit …’

“‘But carrying it around in your hand like this, it’s giving you third-degree burns, man, couldn’t you like set it down someplace and just look at it?’

“‘Somebody might take it.’

“So forth.”

“So,” Maxine asks, “what happens? He lets go of it?”

Shawn gives her a nice long stare and with Buddhist precision, shrugs. “He lets go of it, and he doesn’t let go of it.”

 

Serendipity: “Nothing Perishes”

C. K. Scott Moncrieff, Translator

C. K. Scott Moncrieff, Translator (Painting by Edward Stanley Mercer)

This is a translation of a passage by the Roman poet Ovid from The Metamorphoses. The remarkable thing is that is was made by a thirteen-year-old boy who later grew up to translate Marcel Proust’s multi-volume masterwork, In Search of Lost Time:

Everything is changed but nothing perishes. The spirit wanders, going hence, thither, coming thence, hither and takes possession of any limbs it pleases. With equal ease it goes from beasts into human bodies and from us into beasts, nor in any length of time does it fail. And as wax is easily moulded in new shapes, nor remains as it had been before, nor keeps the same form, but is yet itself the same; so do I teach that the soul is ever the same, but migrates into different shapes.

Although many think that Scott Moncrieff’s translations are growing a little long in the tooth, there is no doubt of their excellence. As Walter Kaiser wrote in The New York Review of Books (June 4, 2015):  “Not surprisingly, Scott Moncrieff’s translations from Latin and Greek in the examination that year [1903] were awarded higher scores than anyone else’s, for it turns out that the astutely ingenious, poetic use of language for which he is celebrated in his great translation of Proust was his from an early age.”

 

Serendipity: Calvino’s Ersilia

Giorgio di Chirico’s “Italian Plaza with a Red Tower”

Giorgio di Chirico’s “Italian Plaza with a Red Tower”

I have been reading Italo Calvino’s masterful Invisible Cities, inspired in equal part by Marco Polo’s Travels and the paintings of Giorgio di Chirico. In turn, it inspired Geoff Dyer’s The Search.

Picture to yourself Marco Polo describing to Kublai Khan the cities he has passed through to reach the Celestial Kingdom. Each city is more fanciful than the next. Here, for instance, is Ersilia:

In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade,  authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain.

From a mountainside, camping with their household goods, Ersilia’s refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing.

They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away.

Thus, when traveling in the territory of Ersilia, you come upon the ruins of abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form.

Serendipity: Roman Street Scenes

Scene from Ancient Roman Drama

Scene from Ancient Roman Drama

I was surprised as I read Juvenal’s Third Satire how vivid the ancient Roman street became. When we think of the ancients, we don’t usually see them in any way as if they could be our contemporaries. Here the satirist says goodbye to a Rome which he feels is going to the dogs as a result of corruption:

So farewell Rome. I leave you
To sanitary engineers and municipal architects, men
Who by swearing black is white land all the juicy contracts
Just like that—a new temple, swamp-drainage, harbour-works,
River-clearance, undertaking, the lot—then pocket the cash
And fraudulently file their petition in bankruptcy.

What is worse, those wily Greek immigrants are taking over everywhere:

One small dose of venom
(Half Greek, half personal) dropped in that ready ear
And I’m out, shown the back-door, my years of obsequious
Service all gone for nothing. Where can a hanger-on
Be ditched with less fuss than in Rome?

During the ten hours after sunrise, carts were forbidden to drive through the streets of the city. During the night, however, it is a different matter: The streets are also crawling with lowlifes:

But for me, a lonely pedestrian, trudging home by moonlight
Or with hand cupped round the wick of one poor guttering candle,
He has no respect whatever. This is the way the wretched
Brawl comes about (if you can term it a brawl
When you do the fighting and I’m just cast as punchbag).
He blocks my way. “Stop,” he says. I have no option
But to obey—what else can one do when attacked
By a huge tough, twice one’s size and fighting mad as well?
“Where have you sprung from?” he shouts. “Ugh, what a stench
Of beans and sour wine! I know your sort, you’ve been round
With some cobbler-crony, scoffing a boiled sheep’s head
And a dish of spring leeks. What? Nothing to say for yourself?
Speak up, or I’ll kick your teeth in! Tell me, where’s your pitch?
What synagogue do you doss is?” It makes not a jot of difference
Whether you try to answer, or back away from him
Without saying a word, you get beaten up just the same—
And then your irate “victim” takes you to court on a charge
Of assault and battery. Such is the poor man’s “freedom”:
After being slugged to a pulp, he may beg, as a special
Favour, to be left with his last few remaining teeth.

Juvenal shows us it’s not all togas and decorum. His Rome reeks of boiled sheep heads and spring leeks.