A Mere Jonah

American Writer Henry Miller (1891-1980)

George Orwell got it right when, in 1940, he wrote an essay entitled “Inside the Whale.” About the rising American writer Henry Miller, all of whose books except one (The Cosmological Eye, which I am reading now) were banned in the United States and England, Orwell wrote:

Here in my opinion is the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past. Even if that is objected to as an overstatement, it will probably be admitted that Miller is a writer out of the ordinary, worth more than a single glance; and after all, he is a completely negative, unconstructive, amoral writer, a mere Jonah, a passive acceptor of evil, a sort of Whitman among the corpses.

Ever since I read his so-called “dirty” books in my youth—including Tropic of Cancer, Black Spring, and Tropic of Capricorn—I have loved Henry Miller’s work. He is a uniquely American writer, who could have appeared nowhere but in the United States, especially in Brooklyn, where he was born. He could be incredibly profound, as when he slams James Joyce in one of his early works:

Joyce is the lost soul of this soulless world; his interest is not in life, in men and deeds, not in history, not in God, but in the dead dust of books. He is the high priest of the lifeless literature of to-day. He writes a hieratic script which not even his admirers and disciples can decipher. He is burying himself under an obelisk for whose script there will be no key.

But then he could lapse into a goofiness all his own. Writing about film as art, he says, “It does not require millions to produce an artistic film; in fact, it is almost axiomatic that the more money a film costs the worse it is apt to be.” Then in a separate piece, a writes a film treatment with production costs that would exceed the gross Earth product (GEP?) in “Scenario.”

This is the first of two posts based on my reading of The Cosmological Eye (1939). The follow-up will appear tomorrow, God willing.

Fuge, late, tace

Big Sur Coastline, Central California

The last two days, I was revisiting one of my favorite authors, Honoré de Balzac. In his novel The Country Doctor (Le Médecin de Campagne), Doctor Benassis visits 5the Grande Chartreuse monastery in the French Alps and finds the following inscription left by one of the monks in an empty cell:

Fuge, late, tace

This is Latin for “Flee, hide, be silent.”

Which reminds me of Stephen Dedalus’s “Silence, exile, and cunning” from James Joyce’s Portrait of the Artist as a Young Man. It also makes me think of Russian poet Joseph Brodsky’s “If one’s fated to be born in Caesar’s empire, let him live aloof, provincial, by the seashore.”

I embrace this advice (except for the part about being silent, of which this post is a clear violation). At my advanced age, I have no hope of—or even desire for—success.

To quote the old antique dealer in Balzac’s The Fatal Skin (Le Peau de Chagrin):

Man depletes himself by two instinctive acts that dry up the sources of his existence. Two words express all the forms taken by these two causes of death: DESIRE and POWER. Between these two poles of human action, there is another principle seized upon by the wise, to which I owe my happiness and my longevity [the speaker is 102 years old]. Desire sets us afire and Power destroys us; but KNOWLEDGE leaves our fragile organism in a state of perpetual calm.

Alas, Balzac wasn’t able to follow his own advice. He burned through his life in 51 years, yearning for years to marry the Polish Countess Evelina Hanska. No sooner did he get his wish and return to Paris with his bride than he took sick and died.