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READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
When I was just getting started on Blindness, I wrote that Saramago's style of rendering dialog was "dismissive," and threatened to make his characters "sound like automata." I don't think that was exactly right (although it may have accurately described my impression at the time) -- based on how completely human his characters seem to me. But I want to pick at this for a bit and figure out what is my impression of Saramago's dialog -- it has certainly struck me as one of the most important aspects of his novels.
Allow me to quote some portions of a conversation between Marta and her husband, Marçal, about Marçal's parents wanting to come live with them. Sorry about the ellipses, the passage is too long to quote in full:
What's wrong, asked Marta, suddenly uncertain, Nothing important, just a few niggling little problems, At work, No, What then, We have so little time together and yet they still won't leave us alone, We don't live in a bell jar, I dropped in at my parents' house, Did something happen, some complication. Marçal shook his head and went on... I said that we were intending having your father to live with us when we moved..., You told them that, Yes, but they took no notice, they practically started yelling at me and crying, well, my mother did, my father's not really the sloppy type, he just protested and waved his arms around a lot, what kind of a son am I, putting the interests of people who aren't of the same blood over the needs of my own progenitors, they actually used the word progenitors, heaven knows where they found it..., And that was the final word, To be honest, I don't know if it was or not, I've probably forgotten a few others, but they were all out of the same mold. ...Marçal said, I know a son shouldn't say things like this, but the fact is I don't want to live with my parents, Why, We've never understood each other, I've never understood them and they've never understood me, They're your parents, Yes, they're my parents, and on one particular night, they went to bed, happened to be in the mood, and I was the result... Marta took Marçal's left hand, held it in hers, and murmured, All fathers were sons once, many sons become fathers, but some forget what they were and no one can explain to the others what they will become, That's a bit deep, Oh, I don't understand it myself really, it just came to me, pay no attention, Let's go to bed, All right. They got undressed and lay down. The moment for caresses came back into the room and apologized for having spent so much time outside, I got lost, it said, by way of an excuse, and suddenly, as sometimes happens with moments, it became eternal. A quarter of an hour later, their bodies still entwined, Marta said softly, Marçal, What is it, he asked sleepily, I'm two days late.
What is it? -- It seems to me the dialog has a certain fuzzy quality, you are constantly reminded that it is the narrator who is speaking, not the characters. But you get the impression that he is a faithful and a sympathetic narrator, that his paraphrase captures accurately the rhythm of language as spoken and heard by his subjects. In most novels, dialog serves in part to crystallize the scene, to bring sharply into focus what is happening and whom it's happening to; the dynamic in Saramago's novels is kind of the opposite -- dialog pulls the lens back and mutes the focus. You identify with the characters but with the understanding that you are identifying with the narrator's descriptions of them, and thus with the narrator.
That's what Robyn Hitchcock's grandma used to say, or so he told us this evening -- he said nobody ever turned into his grandma, so he dedicated "I'm Only You" to her. This was the second song, after "The Museum of Sex" -- I was happy to hear him open with this song after I had opened my mix tape with it.
"I'm Only You" was followed by a long digression on digestion, and whether and under what circumstances we would feel comfortable discussing our digestions, leading into "a digestion song", viz."The Cheese Alarm", which made Ellen (and me) laugh out loud with its urgency. "Please! Somebody ring the cheese alarm!" Robyn conducted a dialogue with the audience after, asking if WALL-E is any good -- "Yeah!" -- "That's good to know... Can you all hear this?" -- "Yeah!" -- "That's good to know -- it's reassuring to think this is all not just going on in here..." and played, with much dancing during the solos, "I Got the Hots for You" and "Glass Hotel".
"Thank you --" and as he started playing "Idonia", "This is about someone who left a hole the shape of themselves in somebody else's life." As he was retuning to play his next song, people in the audience were calling out requests, and he said with just enough of an edge to get them to stop, "You know there's a thin line between a devoted admirer and a creep... To be a slave to love -- what a thing!" and sang "The Idea of You".
A long digression about the Victorians -- "It's possible that the Victorians were frightened by sex... Victorians wrote mostly in longhand, no e-mail. But biologically they were much the same as us..." reflecting on the possibilities of interbreeding between modern humans and Victorians, getting particularly interesting if the Victorians in question are your own ancestors; "Screw your great-grandparents! Whole empires have been founded on worse. But this song is not really about that:" and launched into the hilarious "Victorian Squid". "Thank you -- it's all true."
The next song, "Creeped Out", went out to "a friend of mine -- it's her birthday on Monday. Happy birthday, friend!" and while he tuned up for the next song, he said: "There's something insanely simple about watching somebody perform songs he's written -- it's like somebody sending you YouTube videos of cats..." and dedicated the song, which was "I Feel Beautiful", to "Michèle and our cat". Ellen thought this was a really smart lyric, and I agree.
"How many people find the idea of eternity relaxing?" Not many -- mostly we want finitude. Robyn played "Oceanside", which was maybe the only song of the evening that really had me wishing for a band behind him. "This isn't exactly about Arthur Lee -- it's just around him..." and sings "The Wreck of the Arthur Lee", which I guess I had not realized was about a person. "It's a funny thing about eulogies -- essentially it's sad -- ... what really makes people cry at a funeral is the jokes," by way of explaining why he had written "Underground Sun" so upbeat -- it's about a friend who died, who was "definitely not a dismal person." "When people are dead they don't have an age."
"I'll leave you with a blast of folk-rock sound," Robyn tells us as he dons his harmonica, and plays "Only the Stones Remain" with a downright amazing harmonica part. But we clapped and clapped, and he came back out to perform a long encore -- wearing his purple shirt with iguanas rather than his orange shirt with dingbats. "You've Got Heaven"* was the first song in the encore, and Ellen's favorite song of the evening. Then a song I don't know (and can't find at The Asking Tree), with the chorus "I'm gonna see you in the afterlife." And finally, after a long digression about cones (during which he wished us all "an incredibly long rest of your lives"), Olé Tarantula.
Nice -- a totally satisfying evening. The level of energy he projects from the stage just takes my breath away.
*Wow! "Heaven" is from the early eighties -- somehow I had got fixed in my head that it was from a recent record. I think it sounds much more like late-nineties Hitchcock than do any of the other songs on "Gotta Let This Hen Out".
These tickets have been burning a hole in my pocket for a couple of weeks now -- tonight Ellen and I are going up to Ridgewood, to listen to Robyn Hitchcock! I'll be wandering around in an expectant haze all day, more than I usually am I mean. The venue is a place called Blend -- looks like a good place to hear music.
Mostly I'm excited about going to a concert with Ellen, which we have not done together in too long a time.
posted morning of July 12th, 2008: Respond ➳ More posts about Music
Yesterday I was browsing around the webs for reactions to The Cave, and found this lovely essay by Scott Esposito. Turns out it's part of Esposito's blog Conversational Reading, which appears to be composed exclusively of well-written, well-reasoned reflections on literature and on Esposito's current reading. A-and that's not all! He also edits a web zine called The Quarterly Conversation. Current issue has (among other good things) a review of Vonnegut's posthumous collection Armageddon in Retrospect and an essay about Macedonio Fernández, mentor to Borges.
...And no sooner do I post about how glad I am to see the dog in this story, than I read a chapter narrated mostly from Found's point of view. It is very sweetly done, too.
Doubtless because he was still green in years, Found had not yet had time to gain clear, definitive, formed opinions on the importance or meaning of tears in the human being, however, considering that these liquid humors are frequently manifest in the strange soup of sentiment, reason and cruelty of which the said human being is made, he thought it might not be such a grave mistake to go over to his weeping mistress and gently place his head on her knees. ...From this moment on, Marta will love the dog Found as much as we know Cipriano already loves him.
posted evening of July 11th, 2008: Respond ➳ More posts about Readings
Just a note: I'm so happy to see there is a dog as one of the characters in The Cave: the Dog of Tears was a huge piece of Blindness and of Seeing, and I'm glad to see Saramago including a dog in his cast here as well.
Saramago is very clearly conscious of what he is doing with our clichés, what I was talking about yesterday:
Authoritarian, paralyzing, circular, occasionally elliptical stock phrases, also jocularly referred to as nuggets of wisdom, are a malignant plague, one of the very worst ever to ravage the earth. We say to the confused, Know thyself, as if knowing yourself was not the fifth and most difficult of human arithmetical operations, we say to the apathetic, Where there's a will, there's a way, as if the brute realities of the world did not amuse themselves each day by turning that phrase on its head, we say to the indecisive, Begin at the beginning, as if beginning were the clearly visible point of a loosely wound thread and all we had to do was to keep pulling until we reached the other end, and as if, between the former and the latter, we had held in our hands a smooth, continuous thread with no knots to untie, no snarls to untangle, a complete impossibility in the life of a skein, or indeed, if we may be permitted one more stock phrase, in the skein of life.
He may be permitted one more. He uncovers the veins of meaning over which these phrases have calcified.
I just found a interesting article by Margaret Jull Costa, who is Saramago's translator, on Translating Pessoa, with an exercise in translating a passage from his Book of Disquiet.
That was when Cipriano Algor said, Don't worry, we'll get there on time, I'm not worried, replied his son-in-law, only just managing to conceal his anxiety, Of course you're not, but you know what I mean, said Cipriano Algor. ...
Cipriano Algor started up the van. He had got distracted by the buildings under demolition and now wanted to make up for lost time, a ridiculous expression if ever there was one, an absurd idiom with which we hope to disguise the harsh fact that no time once lost can ever be made up or recovered, as if we believed, contrary to this evident truth, that the time we thought forever lost might, after all, have decided to hang back and wait, with the patience of one who has all the time in the world, for us to notice its absence.
The Cave has been sitting on my shelf for a little while now begging to be read; finally this afternoon I heeded its call and brought it along, on the train ride to the city. (I met Sylvia and Ellen to listen to Deedee reading some wonderful, funny memoirs.)
Saramago's prose pulls me along like nothing else -- the onrush of words won't let me go. It reminds me a little of Gaddis' style, except I think Saramago does it much more successfully than Gaddis. The length of sentences forces you as a reader to keep more context in mind at any moment; but it is not a brute-force thing. The timing is just exquisite, the way each sentence moves through phases: building, droning, falling, building, and the sudden surprising punch of the period. (This is of course partly a testament to the abilities of the translator, Margaret Jull Costa.)
Also: I'm pretty sure I've said this before, but I'm really taken with Saramago's ability to transform clichéed adages into profound, surprising truths, simply by exploring their implications.
Tonight Ellen and I watched Tin Men. This movie came out when I was 17 -- my memory of it is of it being the first movie where I really noticed the camerawork and composition of the frame. And yes, the visual effect of the movie is pretty stunning; and the characters are even more despicable than I remembered. I wasn't so persuaded, this time around, by Dreyfuss' character's growth, which I expect appealed to me as an adolescent. Levinson should totally film Something Happened, and maybe with Dreyfuss as Slocum. Or maybe the moment has passed.
What really tied the movie together for me was the soundtrack. My only memory of Fine Young Cannibals is of the "She Drives Me Crazy" video. But here they were -- exactly appropriate for this movie. The nightclub scene where they are singing "One Good Thing", one of the highlights of the movie.
I meant to say: The Fine Young Cannibals make me think about NickS's recent post about Squeeze, though I'm not sure how much objective similarity there is between the two bands. FYC rocks way harder IMO.
