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“A Naked Stranger”

David Lindsay’s VOYAGE TO ARCTURUS

The sea tempted him. He made up his mind to bathe, and at once walked toward the shore. The instant he stepped outside the shadow line of the forest trees, the blinding rays of the sun beat down on him so savagely that for a few minutes he felt sick and his head swam. He trod quickly across the sands. The orange-coloured parts were nearly hot enough to roast food, he judged, but the violet parts were like fire itself. He stepped on a patch in ignorance, and immediately jumped high into the air with a startled yell.

The sea was voluptuously warm. It would not bear his weight, so he determined to try swimming. First of all he stripped off his skin garment, washed it thoroughly with sand and water, and laid it in the sun to dry. Then he scrubbed himself as well as he could and washed out his beard and hair. After that, he waded in a long way, until the water reached his breast, and took to swimming—avoiding the spouts as far as possible He found it no pastime. The water was everywhere of unequal density. In some places he could swim, in others he could barely save himself from drowning, in others again he could not force himself beneath the surface at all. There were no outward signs to show what the water ahead held in store for him. The whole business was most dangerous.

He came out, feeling clean and invigorated. For a time he walked up and down the sands, drying himself in the hot sunshine and looking around him. He was a naked stranger in a huge, foreign, mystical world, and whichever way he turned, unknown and threatening forces were glaring at him. The gigantic, white, withering Branchspell, the awful, body-changing Alppain, the beautiful, deadly, treacherous sea, the dark and eerie Swaylone’s Island, the spirit-crushing forest out of which he had just escaped—to all these mighty powers, surrounding him on every side, what resources had he, a feeble, ignorant traveller to oppose, from a tiny planet on the other side of space, to avoid being utterly destroyed?… Then he smiled to himself. “I’ve already been here two days, and still I survive. I have luck—and with that one can balance the universe. But what is luck—a verbal expression, or a thing?”—David Lindsay, A Voyage to Arcturus

 

Follow the Bouncing Ball

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Argentinean Author César Aira

Most traditional literature is somewhat like a series of nested matryoshka dolls: You come back out the way you go in. In the process, all unresolved issues are neatly resolved (one hopes), and one has experienced a real 19th century experience.

Well, that doesn’t seem to be happening any more, except perhaps in some whodunits. It certainly isn’t happening in the slim novels of César Aira, an Argentinean from Coronel Pringles who writes the way a Roomba vacuum cleaner robot cleans: He just moves in a straight line until he encounters a barrier that sends him off in another direction.

In Varamo, we are in the city of Colón in Panama some 20 years after the Panama Canal was built. Varamo is the name of a Chinese-Panamanian who works for one of the government ministries in Colón. The story begins when, as his pay, he is handed 200 counterfeit pesos which he at once recognizes and is afraid to cash. He walks to the cafe one evening and witnesses an accident in which one of the government ministers is severely injured. That makes him late to the cafe, where he runs into three pirate publishers who urge him to write a book, which Varamo gladly does. It turns out to become a Central American poetry classic: The Song of the Virgin Boy.

Along the way, he encounters other adventures, but this will do for now. In the last paragraph, Aira gives a kind of apologia for his own highly individualistic writing style:

The result was Varamo’s famous poem, except that it was less a result in itself than a way of transforming what had preceded it into a result. It produced a kind of automatism or mutual fatality, by which cause and effect changed places and became the same story. Far from diminishing the poem’s initial vigor, this circle intensifies it. Which is, in fact, what always happens. If a work is dazzlingly innovative and opens up unexplored paths, the merit is not to be found in the work itself, but in its transformative effect on the historical moment that engendered it. Novelty makes its causes new, giving birth to them retrospectively. If historical time makes us live in the new, a story that attempts to account for the origin of a work of art, that is, a work of innovation, ceases to be a story; it’s a new reality, and yet a part of reality as it has always been for everyone. Those who don’t believe me can go and see for themselves.

Now there’s a manifesto! Aira’s “new reality” has, with me, fallen on receptive ears. I have read every Aira book that I could get my hands on. They are all relatively short, but always succeed in defying any attempt at speed-reading. This Argentinean knows how to throw curve balls that bounce all over the place. Following their trajectory across space and time is not only great fun, but also profound, in a weird way.

Photo Credit: The above picture—a favorite of mine—comes from the Buenos Aires BAFICI website (dedicated to independent filmmakers).

Series Business

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On one hand, people are not reading as much as they used to. On the other hand, the one part of the publishing business that’s still booming is the Young Adult (YA) series market, as best exemplified by the Harry Potter novels, Stephenie Meyer’s Twilight series, and now The Hunger Games.

Without passing judgment, I think overall it’s a good trend, as it indicates that books do indeed have a future. Some of these series are good (I read all the Potter novels as they came out), and some are probably dreck. (But remember, I’m not naming names here.)

Even among adults, it appears that mysteries, romances, and science-fiction series tend to predominate. Certainly that’s the case for Kindle e-books. Currently on the Kindle best seller list are such series as Fifty Shades, the Hunger Games, Penryn & the End of Days, Bone Secrets, the Century Trilogy, the Inn BoonsBoro Trilogy, Books of Bayern, Songs of Ice and Fire, and Elemental Mysteries.

Now I have been partial to a number of series, most particularly:

  • Bernard Cornwell’s Sharpe Books and Saxon Series
  • The Inspector Dalgliesh novels of P. D. James
  • The George Smiley novels of John Le Carré
  • The Aubrey/Maturin novels of Patrick O’Brian
  • Dorothy Sayers’ Lord Peter Wimsey stories
  • P. G Wodehouse’s Jeeves novels and stories
  • Georges Simenon’s Inspector Maigret novels and stories

… and the list goes on—in fact for quite a while—because I guess I’m just as susceptible as YA readers to the power of sequels. When I’ve finished a challenging BAB (that’s technical for Big-Ass Book), I feel like relaxing with something that’s not too challenging and very like something else of the same sort that I’ve read and liked. For instance I’ve just finished seven days of Anatoly Rybakov’s novel Fear, about Stalin’s purges of the late 1930s—to the tune of 686 pages. Before I cut out on my trip, I’m going to want to read something that doesn’t send me dragging through any concentration camps or NKVD interrogation sessions.

Isn’t that funny? I started writing this post with the idea of lambasting Stephenie Meyer and her ilk, but I would have to point the finger of blame at myself for occasionally indulging in light reading. (Not that I avoid books of substance, but rather that I enjoy variety as much as anybody.)

I suppose that if I read nothing but Stephenie Meyer and Harry Potter, I would deserve a sneer from a literary snob such as I picture myself to be. Oh, well, let he who is without sin cast the first stone!