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Sunday, November 30th, 2008
The first chapter of The Stone Raft is pretty dreamy. Saramago has got me wondering though, with his silent dogs of Cerbère, whose barking will herald the end of the world -- this seems like a weird detail to invent, but I'm not finding any reference to it with Google. I want to know if this is a real folk tale or a creation of Saramago's. And a couple of things to do with translation: what is referenced by "And to all appearances definitive," at the beginning of the last sentence of the long paragraph on pp 2-3? There is no obvious subject for the modifier. And on page 1, "a dog with three heads and the above-mentioned named of Cerberus," ("named" clearly a typo for "name") makes me do a double-take -- the name Cerberus has not been mentioned, although the French form of that name is Cerbère, the same as (though etymologically unrelated to) the village where the dogs are barking. Is Saramago counting on the reader to know this? Or is the Portuguese form of Cerberus the same as the French?... This chapter consists mainly of introducing some characters by name and discussing what they were doing at a particular moment in time, the moment (as I know from reading the blurb on the back cover*) when Iberia breaks away from the continent of Europe. It is cute and whimsical -- but there are some passages that pull the reader below the surface to look at the underpinnings of the structure that this novel will build. José Anaiço is walking through a field at the fateful moment, when a flock of starlings rises into the sky and wheels around.
...birds don't have reasons, just instincts, often vague and involuntary as if they were not part of us, we spoke about instincts, but also about reasons and motives. So let us not ask José Anaiço who he is and what he does for a living, where he comes from and where he is going, whatever we find out about him, we shall only find out from him, and this description, this sketchy information will have to serve for Joana Carda and her elm branch, for Joaquim Sassa and the stone he threw into the sea, for Pedro Orce and the chair he got up from, life does not begin when people are born, if it were so, each day would be a day gained, life begins much later, and how often too late, not to mention those lives that have no sooner begun than they are over, which has led one poet to exclaim, Ah, who will write the history of what might have been.
(And what poet was that? Google gives no results except from this book. Perhaps an invention of Saramago's, perhaps something that has not yet been translated to English in this precise wording.)A beautiful passage a few pages before this one is the first point where Saramago addresses the audience, asks us to consider what we are doing when we sit down and start reading the story he has composed:
Writing is extremely difficult, it is an enormous responsibility, you need only think of the exhausting work involved in setting out events in chronological order, first this one, then that, or, if more conducive to the desired effect, today's event before yesterday's episode, and other no less risky acrobatics, presenting the past as if it were something new, or the present as a continuous process with neither beginning nor end, but, however hard writers might try, there is one feat they cannot achieve, and that is to put into writing, in the same tense, two events that have occurred simultaneously,... The people who come off best are the opera singers, each with his or her own part to sing, three, four, five, six in all among the tenors, basses, sopranos and baritones, all singing different words, the cynic mocking, the ingénue pleading, the gallant lover slow in coming to her aid, what interests the operagoer is the music, but the reader is not like this, he wants everything explained, syllable by syllable, one after the other, as they are shown here.
And I think oh gosh, this beautiful prose! It washes pleasantly over me but gets even better when I pause and examine it more closely. The rhythm of phrases and commas and repetitions and the power of the period.
 * A mildly funny thing about the blurb: it was written in ’96 and says Saramago is "Winner of the prestigious Independent Foreign Fiction Prize" -- I'm used to thinking of Saramago as the winner of the prestigious Nobel prize for literature but of course he was not always that.
posted morning of November 30th, 2008: 2 responses
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Saturday, November 29th, 2008
Pamuk has written a expanded version of his October essay on collecting books -- it is published (in Maureen Freely's translation) in the December New York Review of Books: My Turkish Library.
posted morning of November 29th, 2008: Respond
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Friday, November 28th, 2008
Here is what I am thinking about the main character of O Lucky Man!: the viewer is compelled to identify with him, to feel paranoid on his behalf. The mechanism for this, the driving force, is Travis' lack of self-consciousness. He moves through the world without putting together the strands of paranoia that are the fabric of the movie -- not exactly naïve; but unable to grasp how everything that happens in the world of the movie is directed at him. This is a little difficult for me to express: - A working definition of paranoia as the belief that everything that happens to you is connected and happens because of its effect on you.
- Travis is the main character of this movie; and everything that happens in the movie happens because of its effect on him. Everything that happens in the movie is connected by virtue of being part of the same script. If Travis realized this -- if he realized he were a character in the movie -- he would be paranoid.
- But he does not -- so you the viewer, as you get the levels of connection and of conspiracy against him, have to assume the role of his ego
This line of thinking needs some work. But it seems promising; it highlights how the experience of enjoying the narrative involves identifying with the main character as a key element, and starts working towards a mechanism for this process of identification.
posted evening of November 28th, 2008: Respond
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 Watching O Lucky Man last night reminded me in a couple of ways of reading Gravity's Rainbow. Now I've certainly been known to make spurious comparisons of various works of art to Pynchon; but I think this one stands up. What I'm getting at (beyond Travis' obvious points of resemblance to Tyrone Slothrop) is, the points where the sheer artistry of the medium -- the prose in GR, the images and  soundtrack in O Lucky Man! -- overwhelms my ability to follow the narrative and I find I'm just basking in the beauty flowing by. And need to go back and reread to figure out what was going on. If all goes according to plan I will watch it again tonight...
I haven't talked about the music yet, just want to note that it's utterly delightful and makes me want to listen to more Alan Price and more Animals, of whom all I really know is their big hits. Also Anderson's use of ambient noise just about took my breath away. This is one of the best soundtracks ever.
posted morning of November 28th, 2008: Respond
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Thursday, November 27th, 2008
This is a  great movie. I'm going to need to watch it another time or two before I can really comment on it with much understanding. My initial reaction is that it's sort of like watching dada sketch comedy -- there must be good ideas in here for 5 or 6 movies, thrown together in an utterly reckless way. It would be so easy for it to suck -- but somehow it's wonderful. Malcolm McDowell wrote the screenplay (at least he said he did in the fine documentary O Lucky Malcolm!, which comes with the DVD; he is not credited as the writer) and acts lead, and is just a trip to watch. I was surprised while watching the documentary to realize that I haven't seen any of the huge majority of his films that he's done since 1982.
posted evening of November 27th, 2008: Respond
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Hope everybody is having a pleasant time. For your Thanksgiving listening, Pet provides a funny monologue from Benny Rubin, and Heebie-Geebie provides a funny monologue from Arlo Guthrie.
 We're not having our Thanksgiving till tomorrow, to make it easier for Ellen's family to get out here from Long Island; today is going to be dedicated to making pie and watching movies. We're going into town to catch the matinée of Bolt, and then tonight after Sylvia goes to sleep Ellen and I are going to watch O Lucky Man! (Coincidental trivia: Malcolm McDowell is one of the voices in Bolt. Last night we watched the documentary O Lucky Malcolm! which is included on disc 2 of O Lucky Man! -- it was really nice listening to him talking about his career, and weird to realize I haven't watched any of his movies since Cat People.)
posted morning of November 27th, 2008: Respond
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Wednesday, November 26th, 2008
The squid Magnapinna has been photographed and filmed by a team from working from a Shell offshore oil rig. See the video and read more at National Geographic.
posted morning of November 26th, 2008: 2 responses
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Have you read Hunger, by Knut Hamsun? Tell me about it or recommend it to me? Ed told me many years ago that I ought to read this, and Norway's a little bit on my mind now because of Robyn Hitchcock's new record's title and because the weather just got so cold all of a sudden... Maybe I will check for this title next time I'm in a used bookstore.
 (Oh wait, I think the Hamsun book Ed recommended to me was actually The Growth of the Soil. Hmm... The full text of Hunger is available free at Knut Hamsun Online.)
posted morning of November 26th, 2008: 1 response
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Tuesday, November 25th, 2008
Here's how you can use GMail in an encrypted fashion:
- In GMail Settings, "General" tab, select "Always use https". Now every time you open GMail in your browser, the site will be loaded using SSL encryption.
- If you use GMail Notifier, download the patch to make it use https. The patch is available from Google's GMail Notifier page.
Worth doing -- it makes your email traffic less visible to snoopers.
posted evening of November 25th, 2008: Respond
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You know what debugging tool I just hate having to deal with? Purify, is what. Its interface seems insanely cumbersome to me, it's hard to use in conjunction with gdb, I dislike having to compile a separate version for heap-checking. Well today, my co-worker Nick hipped me to valgrind, which just seems like it was made for me. Exactly suited to my style of debugging. Basically it just spits out a ton of messages to stderr, interspersed with your own stderr output you can troubleshoot very quickly and come up with a bug location to reproduce in gdb. My goal is to become a power user of valgrind -- starting with no knowledge of the product I was quickly able to isolate the problem I was seeing. If I acquaint myself with it's features it's going to make a really valuable addition to the toolchest.
posted evening of November 25th, 2008: Respond
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