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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.
Wednesday, July 18th, 2012
'Unnecessary complication? I don't think so. An expansion. Like breathing. Breathe in, breathe out. Expand, contract. The rhythm of life. You have it in you to be a fuller person, Paul, larger and more expansive, but you won't allow it. I urge you: don't cut short these thought-trains of yours. Follow them through to their end. Your thoughts and your feelings. Follow them through and you will grow with them. What was it that the American poet fellow said? There weaves always a fictive covering from something to something. My memory is going. I become vaguer with each passing day. A pity. Hence this little lesson I am trying to teach you. He finds her by the riverside, sitting on a bench, clustered around by ducks that she seems to be feeding – it may be simple, as an account, its simplicity may even beguile one, but it is not good enough. It does not bring me to life. Bringing me to life may not be important to you, but it has the drawback of not bringing you to life either. Or the ducks, for that matter, if you prefer not to have me at the centre of the picture. Bring these humble ducks to life and they will bring you to life, I promise. Bring Marijana to life, if it must be Marijana, and she will bring you to life. It is as elementary as that. But please, as a favour to me, please stop dithering. I do not know how much longer I can support my present mode of existence.'
Slow Man is a much, much weirder book than Elizabeth Costello. I found it just spell-binding to watch the growth of intimacy between her and her character, after her shocking introduction midway through. The first half of the book had a couple of faults I thought in terms of pacing and tone; but they were more than made up for by the latter half. Indeed the second half made those missteps part of the story.
Coetzee's books about Costello are as much about the craft of writing, I think, as about anything else. Here Costello, midway through a story that is threatening not to go anywhere interesting, inserts herself into the story's reality and tries to involve her characters in creating themselves and their stories; she is not ultimately successful*, she cannot woo Paul out of his shell, the story of his recuperation will just be the story of him living out his days, slow, uneventful. It makes for about as weird a bit of metafiction as I can imagine, and a fascinating read.
*(And it occurs to me here that what I said about Goldberg: Variations absolutely does not apply to this book.)
As I was writing the other day in the voice of Maximiliano Josner Ãvala -- one who has been working on his project a good deal longer than I on mine -- and I felt again, strongly, how strange it seemed that he did not have a title for it, a proper name, or indeed a clear sense of what it was. My sense of what my project is is becoming a little clearer each day -- clear first of all that I should just describe this activity as "writing a book" and leave it at that, with the blog archives open to the curious; and herewith, a working title for the book I'm writing about Ãvala and his grandfather, and the grandson's translator: It will be called "This Silent House" for the time being, after a line from the son's journals.
(from the journals of Maximiliano Josner Ãvala: Jan. 14, 1903)
This silent house is filled with voices. I fear I've made little progress this year, indeed I am beginning to worry that the project as a whole is misconceived. An encouraging letter from Arroncoyo, his enthusiasm for the project buoys my spirit. Concerned that I am not the philosopher he has built me up to be. I'll have to go into town tomorrow and buy some paper from Calixto López.
...
It is clear to me that the divinity in man is his perception of the passage of time: perceiving and feeling this elapsation around him is the closest he can approach to the Godhead. I am having trouble framing this in an analytical fashion though, as anything more than just an impression...
I cannot escape the din of my grandfather's and my father's family's voices in the walls of this house. I shall take some flowers to Carolina's grave tomorrow.
It is like a sea beating against his skull. Indeed, for all he knows he could already be lost overboard, tugged to and fro by the currents of the deep. The slap of water that will in time strip his bones of the last sliver of flesh. Pearls of his eyes; coral of his bones.
Elizabeth Costello is my hero for the way she transforms Slow Man with her entrance. That is all I have to say about it right now because I just read that bit not two hours ago, still no idea quite where Coetzee is headed with this, but that chapter was an absolute masterpiece, a revelation. (Thanks Jorge for the recommendation -- it is a good first sentence.)
Caminante, son tus huellas
el camino, y nada más;
caminante, no hay camino,
se hace camino al andar.
Al andar se hace camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
Caminante, no hay camino,
sino estelas en la mar.
Wanderer, these your steps
Make up the path, and nothing more;
Wanderer, there is no path:
You make the path by walking.
By walking you make the path,
And turning back your gaze you see
The wilderness you'll never cross again.
Wanderer, there is no path:
Just wake upon the sea.
A-and omg, be sure to cf. the 8th Lesson of the maestro de Tarca. Thanks Leilani for the lovely restatement of Machado's classic line. Se hace el lenguaje al hablar.
posted afternoon of July 15th, 2012: 4 responses ➳ More posts about Readings
Strange -- the first impression I am getting from Aaron Bady's essay on GarcÃa Márquez
(well besides noting his really extraordinary observation about Von Humboldt’s Personal Narrative) (and well, besides the insistent impulse that it be linked to in the same breath as to Juan Gabriel Vásquez' essay on literary influence and misunderstandings) is that it ought to be rendered in Spanish, that it could make really pleasant reading in Spanish. Some initial fumblings below the fold.
We found at Calabozo, in the midst of the Llanos, an electrical machine with large plates, electrophori, batteries, electrometers; an apparatus nearly as complete as our first scientific men in Europe possess. All these articles had not been purchased in the United States; they were the work of a man who had never seen any instrument,who had no person to consult, and who was acquainted with the phenomena of electricity only by reading the treatise of De Lafond,and Franklin’s Memoirs.
Senor Carlos del Pozo, the name of this enlightened and ingenious man, had begun to make cylindrical electrical machines, by employing large glass jars, after having cut off the necks. It was only within a few years he had been able to procure, by way of Philadelphia, two plates, to construct a plate machine, and to obtain more considerable effects. It is easy to judge what difficulties Senor Pozo had to encounter, since the first works upon electricity had fallen into his hands, and that he had the courage to resolve to procure himself, by his own industry, all that he had seen described in his books. Till now he had enjoyed only the astonishment and admiration produced by his experiments on persons destitute of all information, and who had never quitted the solitude of the Llanos; our abode at Calabozo gave him a satisfaction altogether new.
It may be supposed that he set some value on the opinions of two travelers who could compare his apparatus with those constructed in Europe. I had brought with me electrometers mounted with straw, pith-balls, and gold-leaf; also a small Leyden jar which could be charged by friction according to the method of Ingenhousz,and which served for my physiological experiments. Senor del Pozo could not contain his joy on seeing for the first time instruments which he had not made, yet which appeared to be copied from his own. We also showed him the effect of the contact of heterogeneous metals on the nerves of frogs. The name of Galvani and Volta had not previously been heard in those vast solitudes.
Give a man a fish, he eats for a day. Teach him to corner the market on fish, and be thankful for the small acts of philanthropy he may perform while depriving most of the world of fish.
I haven't really written much narrative (that I can recall) in the first person voice. Let's give this a try. Peter seems like a good place to start with the first person, being as he is at least roughly modeled after myself.
(The plan as it now stands is, write fragments as they come to me. Revise and post at READIN those that seem worth while. Wait and see, see if anything is coming together. And if not, well, I'm having fun with the fragments and the revisions...)
I found Fragmentos de la universidad desconocida when me and Laura were visiting Mexico City. What a poorly-planned trip! We had both just fallen in love with The Savage Detectives -- the idea came up on the spur of the moment, that we should make the trip as, well, an homage to Bolaño or something like that, something along those lines... didn't really bother to do much or any research though I guess, I guess we were both pretty busy with work around that time, felt lucky we could both take a week off and have it be the same week, and by the time we had gotten off the plane and stumbled to our hotel and stumbled out of the hotel, down the street, it was Day 1 and we were standing in the Plaza de la Constitución, rubbing our eyes, pawing at the map, trying to figure out how to get to the Calle Bucareli, and it was beginning to dawn on me that there were way better things we could be doing with our week than trying to retrace the footsteps of Leopold Bloom around Dublin.
It wound up being a good week, too -- we did not actually find our way to any of GarcÃa Madero's bars, but we did visit a couple of his bookshops, and the Bosque de Chapultepec, and Trotsky's house. Ate well. When we came home my suitcase was stuffed with books.
I've been a sucker for Spanish poetry ever since college -- the professor had us reading Neruda and Cardenal, and then I found an old book of Pablo Antonio Cuadra, and I was hooked. Something about the foreignness of it, the unfamiliarity of the language (well and of course the specific lilt and rhythm of Spanish) makes it touch me, ring clear in a way that only rarely happens with English language poetry. But Bolaño! I had no idea he had written any poetry. (I know -- it sounds dumb now, just a few years later on; for me he was just the author of The Savage Detectives, like how I didn't know anything about Kerouac beyond On the Road, for what seems like an inordinately long time past my tenth-grade year.) But, but there it was on the bookshelf, right in front of me in LibrerÃa Sotano: The fragments of the unknown university. What a title! Seeing it felt like a revelation. I know, I know, the structurally correct thing would have been for me to steal it... The cashier gave me a Sotano bookmark, I was meaning to hang on to it but no idea where it has gone.
There is another variant of the Bartleby syndrome which I have not seen yet in Vila-Matas' enumeration -- one which seems to me like it must be pretty well-represented in the history of letters: writing the wrong book. Two, and possibly three characters in the story I am writing (and it goes without saying, possibly this applies to myself as well) spend their lives working hard on the wrong book.* They are not exactly emulating Bartleby -- they are after all striving to create, to produce -- but in terms of actual output it comes to very much the same thing.
Maximiliano Josner Ãvala is a gifted poet, one who, however, never pursues poetry; he believes his calling is to theology and to metaphysics, and he works all his life writing a manuscript which will never be published. He leaves behind him thousands of pages, but his only publication is his thesis on the traditions and institutions of the indigenous tribes of Peru.
Ãvala's young disciple Miguel Arroncoyo de Matoa is manically devoted to his teacher's philosophical work, and is too shallow of a thinker to really see the holes in it. He is also a seeker after fame, one who is bound to be disappointed; his dream is to use Ãvala's manuscript as a stepping-stone to his own success in the field. He publishes some fragments of poetry from Ãvala's journals with his own commentary, as a way of preparing the ground for what he considers the more important work, and then spends the remaining decades of his life attempting unsuccessfully to tame the monster manuscript. The volume of poetry does not make much of an impression, and is pretty well forgotten by the time Bolaño finds a copy of it in the university library in Santiago.
Bolaño includes some references to Ãvala in the poems in La universidad desconocida, which is how Peter Conlay, a young man in upstate New York, catches wind of his existence. He finds a copy of Finidades on Abebooks and falls in love with Ãvala's voice. So the question becomes, can Peter's translations succeed in introducing this forgotten and foreign poet to the world? Or is he too working on the wrong book? I see Peter as having things in common with both Ãvala and de Matoa...
*And have I mentioned how it is tripping me out, that I picked up Bartleby y compañÃa just when I was starting to piece this story together?
