Wednesday, June 08, 2022

War and etc.

Her success as a beautiful and elegant woman did not surprise Pierre, because with the years she had become still more beautiful than before. But what did surprise him was that in these two years his wife had succeeded in acquiring a reputation “d'une femme charmante, aussi spirituelle que belle.”* ‘The famous prince de Ligne wrote eight-page letters to her. Bilibin saved up his mots so as to speak them for the first time in front of the countess Bezukhov. To be received in the countess Bezukhov’s salon was considered a diploma in intelligence; young men read books before Héleéne’s soirées so as to have something to talk about in her salon, and embassy secretaries, and even ambassadors, confided diplomatic secrets to her, so that Héléne was a power in a certain sense. Pierre, who knew that she was very stupid, sometimes, with a strange feeling of perplexity and fear, attended her soirées and dinners, where politics, poetry, and philosophy were discussed. At these soirées, he experienced a feeling similar to what a conjurer experiences, expecting each time that his trick will be exposed. But either because stupidity was precisely necessary for keeping such a salon, or because those who were tricked found pleasure in the trick itself, the trick was not exposed, and the reputation of Elena Vassilievna Bezukhov as une femme charmante et spirituelle was so firmly established that she could utter the greatest banalities and stupidities, and still they all admired her every word and sought for a deep meaning in them, which she herself never suspected. 

&

a prolonged, instructive conversation alone with brother V., who advised me to hold on to brother A. Much has been revealed to me, unworthy though I am. Adonai is the name of the creator of the world. Elohim is the name of the ruler over all. The third name, the unutterable name, has the meaning of All. Conversations with brother V. strengthen, refresh, and confirm me on the path of virtue. In his presence there is no room for doubt. The difference between the poor teaching of social science and our holy, all-embracing teaching is clear to me. Human science fragments everything in order to understand it, kills everything in order to examine it. In the order’s holy science, everything is one, everything is known in its entirety and life. The Trinity —the three basic elements of things—sulfur, mercury, and salt. Sulfur has the properties of oil and fire; united with salt, by its fiery quality, it arouses a craving in it through which it attracts mercury, seizes it, retains it, and together they produce separate bodies. Mercury is a liquid and volatile spiritual essence—Christ, the Holy Spirit, He. 

&

Atter dinner Natasha, at Prince Andrei's request, went to the clavichord and began to sing. Prince Andrei stood by the window, talking with the ladies, and listened to her. In the middle of a phrase, Prince Andrei fell silent and suddenly felt choked with tears, which he did not know was possible for him. He looked at the singing Natasha and something new and happy occurred in his soul. He was happy, but at the same time he felt sad. He had decidedly nothing to weep about, but he was ready to weep. About what? His former love? The little princess? His disappointments? . . . His hopes for the future? .. . Yes and no. The main thing he wanted to weep about was a sudden, vivid awareness of the terrible opposition between something infinitely great and indefinable that was in him, and something narrow and fleshly that he himself, and even she, was. This opposition tormented him and gladdened him while she sang. 

&


Biblical tradition says that absence of work—idleness was the condition of the first man’s blessedness before his fall. The love of idleness remained the same in fallen man, but the curse still weighs on man, and not only because we must win our bread in the sweat of our face," but because our moral qualities, are such that we are unable to be idle and at peace. A secret voice tells us that we should feel guilty for being idle. If man could find a condition in which, while idle, he felt that he was being useful and was fulfilling his duty, he woul have found one side of primordial blessedness. And this state of obligatory ang irreproachable idleness is enjoyed by an entire class—the military. In this obligatory and irreproachable idleness consists and will consist the chief attraction of military service. Nikolai Rostov experienced this blessedness to the full as he continued serving after 1807 in the Pavlogradsky regiment, where he was already a squadron commander, having taken over from Denisov. 


Rostov had become a bluff, good-natured fellow, whom his Moscow acquaintances would have found slightly mauvais genre,* but who was loved and respected by his comrades, subordinates, and superiors, and who was content with his life. Lately —that is, in 1809—in letters from home, he often found complaints from his mother that their affairs were falling into worse and worse disorder, and that it was time for him to come home, to bring joy and peace to his old parents. 


Reading these letters, Nikolai experienced a fear that they wanted to make him leave the milieu in which he lived calmly and peacefully, protected from life’s confusion. He felt that sooner or later he would have to enter the deep water of life again, with its affairs disordered and straightened out, with its stewards’ accounts, with its quarrels, intrigues, connections, with its society, with Sonya’s love and his promise to her. All this was terribly difficult, confused, and he answered his mother’s letters with cold, classical ones that begat “Ma chere maman” and ended “votre obéissant fils,”t and omitted saying when he intended to return. 

&


On an empty stomach, in the morning, all the old questions seemed as insoluble and frightening as ever, and Pierre would hastily seize a book and was glad when somebody came to see him. 


Sometimes Pierre remembered stories he had heard about how soldiers at war, taking cover under enemy fire, when there is nothing to do, try to find some occupation for themselves so as to endure the danger more easily. And to Pierre all people seemed to be such soldiers, saving themselves from life: some with ambition, some with cards, some with drafting laws, some with women, some with playthings, some with horses, some with politics, some with hunting, some with wine, some with affairs of state. “Nothing is either trivial of important, it’s all the same; only save yourself from it as best you can!” thought Pierre. “Only not to see it, that dreadful it!” 

&

“Yes,” Pierre went on with a smile, “and this young man now behaves himolf in such a way that, wherever there’s a rich bride, he’s there, too. I can read at like a book. He’s undecided now whom to attack: you or Mile Julie Kara nll est trés assidu aupres delle.” 

Does he visit them?” 

“Yes, very often. And do you know the new way of courting?” Pierre said gith a merry smile, clearly being in that merry mood of good-natured mockery for which he reproached himself so often in his diary. 

“No,” said Princess Marya. 

“Nowadays, in order to please Moscow girls, il faut étre mélancolique. Et lest tres mélancolique auprés de mademoiselle Karagine,”t said Pierre. 

“Vraiment? ” said Princess Marya, looking into Pierre’s kind face and never ceasing to think about her grief. 

&

Since the end of the year 1811 an intense arming and concentration of western European forces had begun, and in the year 1812 those forces—millions of men (including those who transported and fed the army)—moved from west co east, to the borders of Russia, towards which, since the year 1811, the forces of Russia had been drawn in exactly the same way. On the twelfth of June, the forces of western Europe crossed the borders of Russia, and war began—that is, an event took place contrary to human reason and to the whole of human nature. Millions of people committed against each other such a countless number of villainies, deceptions, betrayals, thefts, forgeries and distributions of false banknotes, robberies, arsons, and murders as the annals of all the law courts in the world could not assemble in whole centuries, and which, at that period of time, the people who committed them did not look upon as crimes. 


What produced this extraordinary event? What were its causes? Historians _ say with naive assurance that the causes of this event were the offense inflicted upon the duke of Oldenburg, the non-observance of the Continental System, ! Napoleon’s love of power, Alexander's firmness, diplomatic mistakes, and g0 on. 


Consequently, it needed only that Metternich, Rumyantsev, or Talleyrand, between levee and rout, make a little better effort and write a more skillful dispatch, or that Napoleon write to Alexander: Monsieur, mon frére, je consens a rendre le duché au duc d’Oldenbourg*—and there would have been no war. 


Understandably, that was how the matter presented itself to contemporaries. Understandably, it seemed to Napoleon that the war was caused by the intrigues of England (as he said, in fact, on the island of St. Helena2); understandably, to the members of the English Parliament it seemed that the war was caused by Napoleon’s love of power; to Prince Oldenburg it seemed that the war was caused by the violence done him; to the merchants it seemed that the war was caused by the Continental System, which was ruining Europe; to the old soldiers and generals it seemed that the chief cause was the need to use of them: to the legitimists of that time, that it was necessary to Restore les bons principes;* and to the diplomats of that time, that it had al} happened because the alliance between Russia and Austria in 1809 had noe been concealed skillfully enough from Napoleon and because memorandum no. 178 had been clumsily worded. Understandably, these and a countless, endless number of other causes, the number of which depends on countless dif. ferent points of view, presented themselves to contemporaries; but for us, the descendants, who contemplate the enormity of the event in all its scope and delve into its simple and terrible meaning, these causes seem insufficient. For us it is not understandable that millions of Christians killed and tortured each other because Napoleon was a lover of power, Alexander was firm, English policy cunning, and the duke of Oldenburg offended. It is impossible to understand what connection there is between these circumstances and the fact of killing and violence; why, because the duke of Oldenburg was offended, thousands of men from the other end of Europe should kill and ravage the people of Smolensk and Moscow provinces and be killed by them. 


For us descendants—who are not historians, who are not carried away by the process of research and therefore can contemplate events with unobscured common sense—a countless number of causes present themselves. The deeper we go in search of causes, the more of them we find, and each cause taken singly or whole series of causes present themselves to us as equally correct in themselves, and equally false in their insignificance in comparison with the enormity of the event, and equally false in their incapacity (without the participation of all other coinciding causes) to produce the event that took place. The willingness or unwillingness of one French corporal to enlist for a second tour of duty appears to us as good a cause as Napoleon’s refusal to withdraw his army beyond the Vistula and give back the duchy of Oldenburg; for if he had been unwilling to serve, and another had been unwilling, and a third, and a thousandth corporal and soldier, there would have been so many less men in Napoleon’s army, and there could have been no war. 


If Napoleon had not been insulted by the demand to withdraw beyond the Vistula, and had not ordered his troops to advance, there would have been no war; but if all the sergeants had been unwilling to enlist for a second tour of duty, there also could have been no war. There also could have been no war if there had been no intrigues of the English, and if there had been no prince of Oldenburg and insulted feelings in Alexander, and if there had been no autocratic power in Russia, and if there had been no French revolution and subsequent dictatorship and empire, and all that produced the French revolution, and so on. Without any one of these causes, nothing could have happened. Therefore, all these causes—billions of causes—coincided so as to bring about what happened. And consequently none of them was the exclusive cause of the event, but the event had to take place simply because it had to take place. Millions of men, renouncing their human feelings and their reason, had to go from west to east and kill their own kind, just as, several centuries earlier, hordes of men had gone from east to west, killing their own kind. 


The actions of Napoleon and Alexander, on whose word it seems to have depended whether the event took place or not, were as little willed as the action of each soldier who went into the campaign by lot or by conscription. This could not be otherwise, because for the will of Napoleon and Alexander (the men on whom the event seemed to depend) to be fulfilled, the coincidence of countless circumstances was necessary, without any one of which the event could not have taken place. It was necessary that millions of men, in whose hands the actual power lay, the soldiers who shot, transported provisions and cannon—it was necessary that they agree to fulfill this will of isolated and weak men and be brought to that by a countless number of complex, diverse causes. 


Fatalism in history is inevitable for the explanation of senseless phenomena (that is, those whose sense we do not understand). The more we try to explain sensibly these phenomena of history, the more senseless and incomprehensible they become for us. 


Each man lives for himself, uses his freedom to achieve his personal goals, and feels with his whole being that right now he can or cannot do such-andsuch an action; but as soon as he does it, this action, committed at a certain moment in time, becomes irreversible and makes itself the property of history, in which it has not a free but a predestined significance. 


There are two sides to each man’s life: his personal life, which is the more free the more abstract its integests, and his elemental, swarmlike life, where man inevitably fulfills the laws prescribed for him. 


Man lives consciously for himself, but serves as an unconscious instrument for the achievement of historical, universally human goals. An action once committed is irrevocable, and its effect, coinciding in time with millions of actions of other people, acquires historical significance. The higher a man stands on the Social ladder, the greater the number of people he is connected with, the more Power he has over other people, the more obvious is the predestination and inevitability of his every action. 


“The hearts of kings are in the hands of God.”4 


Kings are the slaves of history. 


History, that is, the unconscious, swarmlike life of mankind, uses every Moment of a king’s life as an instrument for its purposes. 


Napoleon, though now, in 1812, it seemed to him more than ever that it depended on him verser or not verser le sang de ses peuples* (as Alexander wrote in his last letter to him), had never been more subject than now to those inevitable laws which forced him (acting by his own free will, as it seemed to him, with respect to himself) to do for the common cause, for history, that which had to be accomplished. 


Men of the west moved towards the east in order to kill each other. And by the law of the coincidence of causes, the thousands of minute causes of this movement and of the war fitted into and coincided with the event: reproaches for the non-observance of the Continental System, and the duke of Oldenburg, and the movement of troops into Prussia, undertaken (as it seemed to Napoleon) only to achieve an armed peace,5 and the French emperor’s love and habit of war, which coincided with his nation’s disposition, the enthusiasm for grandiose preparations, and the expense of the preparations, and the need to obtain advantages that would recover the expenses, and the intoxicating honors in Dresden,* and diplomatic negotiations which, according to the views of contemporaries, were conducted with a sincere desire to achieve peace and which only wounded the vanity of both sides, and millions and millions of other causes which fitted into the event that was to be accomplished, coinciding with it. 


When an apple ripens and falls —what makes it fall? Is it that it is attracted to the ground, is it that the stem withers, is it that the sun has dried it up, that it has grown heavier, that the wind shakes it, that the boy standing underneath wants to eat it? 


No one thing is the cause. All this is only the coincidence of conditions under which every organic, elemental event of life is accomplished. And the botanist who finds that the apple falls because the cellular tissue degenerates, and so on, will be as right and as wrong as the child who stands underneath and says that the apple fell because he wanted to eat it and prayed for it. As he who says that Napoleon went to Moscow because he wanted to, and perished because Alexander wanted him to perish, will be both right and wrong, so he will be right and wrong who says that an undermined hill weighing a million pounds collapsed because the last worker struck it a last time with his pick. In histortcal events the so-called great men are labels that give the event a name, which, just as with labels, has the least connection of all with the event itself. 


Their every action, which to them seems willed by themselves, in the historical sense is not willed, but happens in connection with the whole course of history and has been destined from before all ages. 


&

“Ah, my God! My God!” he said. “And to think of who—of what nonentities—can be the cause of people’s unhappiness!” he said with a malice hat frightened Princess Marya. 


She understood that, in referring to the people he called nonentities, he had in mind not only Mlle Bourienne, who had ruined her happiness, but also the man who had ruined his own. 


“André, I ask you one thing, I beg you,” she said, touching his elbow and looking at him through the tears in her shining eyes. “I understand you” (Princess Marya lowered her eyes). “Don’t think that grief is caused by people. People are His instruments.” She looked slightly over Prince Andrei’s head with that confident, habitual look with which one looks at the place of a familiar portrait. “Grief is sent by Him, not by people. People are His instruments, they’re not to blame. If it seems to you that someone is to blame before you, forget it and forgive. We have no right to punish. And you will know the happiness of forgiveness.” 

&

Pierre still went into society, still drank as much and led the same idle and dissipated life, because besides the hours he spent at the Rostovs’, he had the rest of the time to spend, and the habits and acquaintances he had acquired in Moscow drew him irresistibly to the life he was caught up in. But lately, when ever more alarming rumors kept coming from the theater of war, and Natasha’s health began to improve, and she ceased to arouse in him the former feeling of protective pity, an anxiety he found more and more incomprehensible began to come over him. He felt that the ‘situation in which he found himself could not continue for long, that a catastrophe was coming which was bound to change his whole life, and he impatiently sought signs of this approaching catastrophe in everything. One of his brother Masons revealed to Pierre the following prophecy concerning Napoleon and derived from the Apocalypse of St. John.


In the Apocalypse, chapter 13, verse 18, it was said: “Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is six hundred threescore and six.” 


And in verse 5 of the same chapter: “And there was given unto him a mouth speaking great things and blasphemies; and power was given unto him to conjinue forty and two months.” 


French letters, given numerical values like the Hebrew, in which the first nine jetters represent units, and the rest tens, will have the following significance: 


 50 60 70 80 90 100 {10 £20 130 140 150 160 


Writing the words l'empereur Napoléon in this alphabet of numbers, it turns out that the sum of the figures equals 666 and that Napoleon is therefore that beast prophesied in the Apocalypse. Moreover, if the word quarante-deux, that is, the term fixed for the beast “to speak great things and blasphemies,” is written in the same alphabet, the sum of these figures representing quarante-deux again equals 666, from which it follows that the term of Napoleon's power was reached in the year 1812, when the French emperor turned fortywo. Pierre was very struck by this prophecy, and he often posed the question for himself of precisely what would set a limit to the power of the beast, that is, of Napoleon, and on the basis of the same correspondence of word numbers and calculations, he tried to find an answer to his question. In answer to the question, Pierre wrote out: L’empereur Alexandre? La nation russe? He counted up the letters, but the sum of the numbers came out much larger or smaller than 666. Once, taken up with these calculations, he wrote his own name—Comte Pierre Besouhoff; the sum of the numbers was also far from the right one. He changed the orthography, putting z in place of s, added de, added the article le, and still did not get the desired result. Then it occurred to him that, if the answer to the question he was seeking was contained in his name, then the answer would certainly mention his nationality. He wrote Le russe Besubof and, counting up the numbers, got 671. It was only five too much; five was e, the same e that was dropped from the article in the words Lempereur. Having dropped the e in the same way, albeit incorrectly, Pierre got the sought-for answer: L’russe Besubof, which equalled 666. This discovery excited him. He did not know how, by what connection he was bound up with that great event which had been predicted in the Apocalypse; but he did not doubt that connection for a moment. His love for Miss Rostov, the Antichrist, Napoleon’s invasion, the comet, 666, l’empereur Napoléon and Vrusse Besuhof—all that together must ripen, burst, and lead him out of that Spellbound, worthless world of Moscow habits in which he felt himself umprisOned, and bring him to a great deed and great happiness. 


&

While this was going on in Petersburg, the French had already passed Smolensk and were moving closer and closer to Moscow. Napoleon’s historian Thiers, like his other historians, says, trying to justify his hero, that Napoleon was lured to the walls of Moscow involuntarily. He is right, as all historians are ’ right who seek explanations of historical events in the will of one man; he is right, just as the Russian historians are right who maintain that Napoleon [ was lured to Moscow by the skill of the Russian commanders. Here, besides the law of retrospection, which presents all the past as a preparation for the accomplished fact, there is also a reciprocity that confuses the whole matter. A good player who loses at chess is genuinely convinced that he has lost because of a mistake, and he looks for this mistake in the beginning of his game, but forgets that there were also mistakes at every step in the course of the game, that none of his moves was perfect. The mistake he pays attention to is conspicuous only because his opponent took advantage of it: How much more complex is the game of war, which takes place in certain conditions of time and where no single will is guiding lifeless mechanisms, but everything is the result of numberless collisions of various wills?

&


“No, he hasn’t died, it can’t be!” Princess Marya said to herself, went up to him, and, overcoming the horror that seized her, pressed her lips to his cheek. But she drew back from him at once. Instantly the whole force of the tender. ness for him which she felt in herself vanished and was replaced by a feeling of horror at what lay before her. “No, he’s no more! He’s no more, and in the place where he was there is something alien and hostile, some dreadful, terrifying, and repulsive mystery . . .” And, covering her face with her hands, Princess Marya fell into the arms of the doctor, who supported her. 


In the presence of Tikhon and the doctor, the women washed what had been he, bound his head with a handkerchief so that the open mouth would not stiffen, and with another handkerchief bound together the legs, which were beginning to spread. Then they dressed the small, shriveled body in the uniform with decorations and laid it out on the table. God knows who took care of it or when, but everything got done as if by itself. Towards nighttime candles were burning around the coffin, on the coffin lay a pall, the floor was strewn with juniper boughs, under the dead man’s withered head a printed prayer had been placed, and in the corner sat a beadle reading the psalter. 


As horses shy, crowd, and snort over a dead horse, so people crowded around the coffin in the drawing room—strangers and familiars, the marshal, and the headman, and peasant women—and all with a fixed and frightened gaze crossed themselves and bowed, and kissed the cold and stiffened hand of the old prince.'

&

Many historians say that the battle of Borodino was not won by the French because Napoleon had a cold, that if he had not had a cold, his instructions before and during the battle would have been of still greater genius, and Russia would have perished, et la face du monde eut été changée.” For historians who accept that Russia was shaped by the will of one man—Peter the Greatand that France was turned from a republic into an empire and French troops went to Russia by the will of one man—Napoleon—such an argument, that Russia remained a power because Napoleon had a bad cold on the twentysixth, such an argument for such historians is inevitably consistent. 


If it had depended on Napoleon’s will whether or not to fight the battle of Borodino, and if it had depended on his will whether to give this or that instruction, then it is obvious that a cold, having an influence on the expression of his will, could have caused the salvation of Russia, and therefore the valet who forgot to give Napoleon his waterproof boots on the twenty-fourth was the savior of Russia. By that way of thinking, this conclusion is indubitable, as indubitable as the conclusion which Voltaire drew jokingly (not knowing at what himself) when he said that the night of St. Bartholomew was the result of Charles IX having an upset stomach. But for people who do not admit that Russia was shaped by the will of one man—Peter I—and that the French empire arose and the war with Russia began by the will of one man—Napoleon~ this argument seems not only incorrect, unreasonable, but also contrary to all human essence. To the question of what constitutes the cause of historical events, a different answer presents itself, which is that the course of world events is predestined from on high, depends on the coincidence of all the wills of the people participating in those events, and that Napoleon’s influence on the course of those events is only external and fictitious. 


Strange as it may seem at first glance to suggest that the night of St. Bartholomew, the order for which was given by Charles IX, did not occur by his will, but that it only seemed to him that he had called for it, and that the slaughter of eighty thousand men at Borodino did not occur by the will of Napoleon (though he gave the orders for the beginning and the course of the battle), but that it only seemed to him that he called for itstrange as this suggestion may seem, human dignity, which tells me that each of us is, if not more, then certainly no less of a human being than the great Napoleon, calls for the allowance of this solution to the problem, and historical research abundantly confirms this suggestion. 


In the battle of Borodino, Napoleon did not shoot at anyone and did not kill anyone. That was all done by the soldiers. Which means it was not he who killed people. 


The soldiers of the French army went to kill Russian soldiers in the battle of Borodino not as the result of Napoleon’s orders but by their own will. The whole army—the French, the Italians, the Germans, the Poles, hungry, ragged, and exhausted by the campaign—on seeing the army that blocked their way to Moscow, felt that “le vin est tiré et qwil faut le boire.”* If Napoleon had now forbidden them to fight the Russians, they would have killed him and gone to fight the Russians, because it was necessary for them. 


When they heard the order of Napoleon, who, in return for their mutilation and death, presented them in consolation with the words of posterity about their having been at the battle of Moscow, they cried “Vive l’Empereur!” just as they cried “Vive l’Empereur!” on seeing the depiction of the boy skewering the terrestrial globe with a bilboquet stick; just as they would cry “Vive l’Emperenr’ ” to any nonsense that was told them. They had nothing left to do bur cry “Vive ’Empereur!” and go to fight, in order to find food and rest as victors in Moscow. Which meant it was not as the result of Napoleon’s order that they tilled their own kind. 


And it was not Napoleon who ordained the course of the battle, hecaus¢ nothing of his disposition was carried out and during the battle he did not know what was happening in front of him. Which meant also that the way shese people were killing each other occurred not by the will of Napoleon, but went on independently of him, by the will of the hundreds of thousands of people who took part in the common action. To Napoleon it only seemed that she whole thing happened by his will. And therefore the question whether Napoleon had or did not have a cold is of no greater interest to history than the question of the last convoy soldier having a cold. 


Napoleon’s cold on the twenty-sixth of August has still less significance, since the evidence of writers that, owing to Napoleon’s cold, his disposition and his instructions during the battle were not as good as previously, is totally incorrect. 


The disposition quoted above was not at all worse, but even better than all the previous dispositions by which his battles had been won. His imaginary instructions during the battle were also no worse than previous ones, but exactly the same as ever. But the disposition and the instructions seem worse than previous ones because the battle of Borodino was the first that Napoleon did not win. All the most excellent and profoundly conceived dispositions and instructions seem very bad, and every military expert criticizes them with a significant air, when the battle is not won through them, and the worst dispositions and instructions seem very good, and serious men write whole volumes Proving the merits of bad instructions, when the battle is won through them. 


The disposition drawn up by Weyrother for the battle of Austerlitz was the Picture of perfection in works of that sort, but all the same it was condemned, Condemned for its perfection, for being excessively detailed. 


In the battle of Borodino, Napoleon fulfilled his function as the representative of power just as well and even better than in other battles. He did nothing to harm the course of the battle; he bowed to the more well-reasoned opinions; he caused no confusion, did not contradict himself, did not get frightened, and Wid not run away from the battlefield, but with his great tact and experience of War calmly and worthily fulfilled his role of seeming to command. 

&

Rapp answered that he had conveyed the sovereign’s orders about the rice, but Napoleon shook his head in displeasure, as if he did not believe that his order had been carried out. A servant came in with punch. Napoleon called for snother glass to be served to Rapp and silently sipped from his own. 


¢[ have no taste or smell,” he said, sniffing the glass. “I’m tired of this cold. They talk about medicine. What good is medicine, if they can’t cure a cold? Corvisart gave me these lozenges, but they don’t help at all. What can they are? It’s impossible to cure. Notre corps est une machine a vivre. II est organisé pour cela, c’est sa nature; laissez-y faire' (Our body is a machine for living, Ir is organized for that, such is its nature; leave life alone there ‘ad let it defend itself: it will do more than if you paralyze it by loading it down with remedies. Our body is like a perfect watch that must run for a certain time; the watchmaker is not able to open it, hecag only handle it by feel and blindfolded. Our body is a machine for living, that’s all.)

And as if entering on the path of definitions, définitions, which Napoleon liked, he suddenly made a new definition. “Do you know, Rapp, what the art of war is?” he asked. “It’s the art of being stronger than the enemy at a certain moment. Voila tout.” 


Rapp said nothing. 


“Demain nous allons avoir affaire a Koutouzoff!”S said Napoleon. “We'll see! Remember, he was in command of the army in Braunau and in three weeks never once got on a horse to inspect the fortifications. We'll see!” 


He glanced at his watch. It was only four o’clock. He did not want to sleep, the punch was finished, and there was still nothing to do. He stood up, paced back and forth, put on a warm tunic and a hat, and left the tent. The night was dark and damp; a barely perceptible dampness fell from above. Low fires bumed nearby, among the French guards, and glimmered far off...


&


For human reason, absolute continuity of movement is incomprehensible Man begins to understand the laws of any kind of movement only when he examines the arbitrarily chosen units of that movement. But at the same time if ‘s from this arbitrary division of continuous movement into discrete units that he greater part of human errors proceeds. 


A well-known so-called sophism of the ancients posits that Achilles can never overtake a tortoise that is walking ahead of him, even though Achilles walks ten times faster than the tortoise: while Achilles covers the distance that separates him from the tortoise, the tortoise will get ahead of him by one enth of that distance; Achilles covers that one tenth, the tortoise gets ahead by one hundredth, and so on to infinity. The ancients considered this problem insoluble. The nonsensical conclusion (that Achilles will never overtake the tortoise) resulted only from the fact that discrete units of movement were introduced arbitrarily, while the movement of both Achilles and the tortoise was continuous. 


By taking smaller and smaller units of ‘movement, we only approach the solution of the problem, but never reach it. Only by allowing for an infinitesimal quantity and the ascending progression from that up to one tenth, and by taking the sum of that geometrical’ progression, do we arrive at the solution of the problem. A new branch of mathematics, having attained to the art of dealing with infinitesimal quantities in other, more complex problems of movement as well, now gives answers to questions that used to seem insoluble. 


This new branch of mathematics, unknown to the ancients, in examining questions of movement, allows for infinitesimal quantities, that is, such as réstore the main condition of movement (absolute continuity), and thereby Corrects the inevitable error that human reason cannot help committing when it examines discrete units of movement instead of continuous movement. 


The same thing happens in the search for the laws of historical movement. 


The movement of mankind, proceeding from a countless number of human Wills, occurs continuously. 


To comprehend the laws of this movement is the goal of history. But in order ‘0 comprehend the laws of the continuous movement of the sum of all individ. \al wills, human reason allows for arbitrary, discrete units. The first method of history consists in taking an arbitrary series of continuous events and examining it separately from others, whereas there is not and cannot be a beginning tq any event, but one event always continuously follows another. The second method consists in examining the actions of one person, a king, a commander as the sum of individual wills, whereas the sum of individual wills is neve, expressed in the activity of one historical person. 


Historical science in its movement always takes ever smaller units for examination, and in this way strives to approach the truth. But however small the units that history takes, we feel that allowing for a unit that is separate from another, allowing for the beginning of some phenomenon, and allowing for the notion that all individual wills are expressed in the actions of one historical person, is false in itself. 


Any conclusion of historical science, without the least effort on the part of criticism, falls apart like dust, leaving nothing behind, only as a result of the fact that criticism selects as an object for observation a larger or smaller discrete unit, which it always has the right to do, because any chosen historical unit is always arbitrary. 


Only by admitting an infinitesimal unit for observation—a differential of history, that is, the uniform strivings of people—and attaining to the art of integrating them (taking the sums of these infinitesimal quantities) can we hope to comprehend the laws of history. 


The first fifteen years of the nineteenth century in Europe present an extraordinary movement of millions of people. People abandon their usual occupations, rush from one side of Europe to the other, plunder, kill each other, triumph and despair, and the whole course of life is altered for several years and presents an intense movement, which initially increases, then weakens. Human reason asks, what was the cause of this movement, or according to what laws did it occur? 


Historians, in answer to this question, lay before us the deeds and speeches of several dozen men in one of the buildings in the city of Paris, calling these deeds and speeches by the name of revolution; then they give a detailed biography of Napoleon and of some persons sympathetic or hostile to him, tell of the influence of some of these persons on others, and say: here is the origin of this movement, and here are its laws. 


But human reason not only refuses to believe in this explanation, but says straight out that this method of explaining is incorrect, because in this explanation a weaker phenomenon is taken as the cause of a stronger one. The sum of individual human wills produced the revolution and Napoleon, and only the yum of those wills endured them and then destroyed them. 


“But every time there were conquests, there were conquerors; every time there were upheavals in the state, there were great men,” says history. Indeed, each time conquerors appeared, there were wars, human reason replies, but that does not prove that the conquerors were the cause of the wars, and that if is possible to find the laws of war in the personal activity of one man. Every ime I look at my watch and see the hand approaching ten, I hear the bells start o ring in the neighboring church, yet from the fact that the bells start to ring gvery time the hand reaches ten, I have no right to conclude that the position of che hand is the cause of the movement of the bells. 


Every time I see the movement of a locomotive, I hear a whistling sound, I see the opening of the valve and the movement of the wheels; but I have no ight to conclude from this that the whistling and the movement of the wheels are the cause of the movement of the locomotive. 


Peasants say that a cold wind blows in late spring because the leaf buds of the oak are sprouting, and indeed a cold wind blows every spring when the oak is sprouting. But though the cause of the cold wind that blows as the oak sprouts is unknown to me, I cannot agree with the peasants about the sprouting of the oak being the cause of the cold wind, if only because the force of the wind is beyond the influence of the leaf buds. I only see the coincidence of condiaons that occurs in every phenomenon of life, and I see that however long and thoroughly I observe the hand of my watch, the valve and wheels of the locomotive, and the leaf buds, I will not learn the cause of the bells ringing, the movement of the train, and the spring wind. For that I must change my point of observation completely, and study the laws of the movement of steam, bells, and the wind. Historical science must do the same. And attempts at it have already been made. 


To study the laws of history, we must change completely the object of observation, leave kings, ministers, and generals alone, and study the uniform, infinitesimal elements that govern the masses. No one can tell to what extent it is given to man to achieve in this way an understanding of the laws of history; but it is obvious that the possibility of grasping historical laws lies only on this path, and that on this path human reason has not yet made one millionth of those efforts the historians have made in describing the deeds of various kings, Commanders, and ministers, and in setting forth their reflections on the occasion of those deeds. 


Il 


The forces of rwo-and-ten European nations burst into Russia. The Russian irmy and populace retreat, avoiding a confrontation as far as Smolensk, and from Smolensk to Borodino. The French army, with an ever-increasing force of omentum, races on to Moscow, the goal of its movement. The force of its momentum increases as it nears its goal, just as the velocity of a falling body increases as it nears the earth. Behind are thousands of miles of famished, hostile country; ahead are a few dozen miles separating it from its goal. Every soldier of Napoleon's army feels that, and the invasion pushes on of itself, by the mere force of its momentum. 


In the Russian army, as it retreats, the spirit of hostility towards the enemy flares up more and more; as it falls back, it concentrates and increases. At Borodino a confrontation takes place. Neither army falls apart, but immedi. ately after the confrontation, the Russian army retreats of necessity, just as a ball rebounds of necessity after colliding with another ball coming towards ix at a greater speed; and also of necessity (though losing all its force in the collision) the swiftly rolling ball of the invasion rolls on for a certain distance. 


The Russians retreat another eighty miles beyond Moscow; the French reach Moscow and stop there. During the five weeks after that, there is not a single battle. The French do not move. Like a mortally wounded beast, which, losing blood, licks its wounds, they remain in Moscow for five weeks without undertaking anything, and suddenly, with no new cause, flee back: they rush down the Kaluga high road (and that after a victory, for the field remains theirs again after Maloyaroslavets), without entering a single serious battle, flee sll more quickly back to Smolensk, beyond Smolensk, beyond Vilno, beyond the Berezina, and further. . 


On the evening of the twenty-sixth of August, both Kutuzov and the whole Russian army were convinced that the battle of Borodino had been won. Kutuzov wrote as much to the sovereign. Kutuzov ordered preparations for a new battle to finish off the enemy, not because he wanted to deceive anyone, but because he knew that the enemy was defeated, just as every participant in the battle knew it. 


But that same evening and the next day, reports came in one after another about unheard-of losses, about the loss of half the army, and a new bartle turned out to be physically impossible. 


It was impossible to offer battle when not all the information had been gathered, when the wounded had not been taken away, the charges had not been replenished, the dead had not been counted, new commanders had not been appointed to replace those killed, and the men had not had enough food or sleep. 


And at the same time, immediately after the battle, the next morning, the French army (by that impetuous force of movement, now increased in inverse proportion to the square of the distance) was of itself already making for the Russian army. Kutuzov had wanted to attack the next day, and the whole army had wanted it. But in order to attack, the wish to do so is not enough; what 1s needed is the possibility of doing so, and that possibility was not there. It was impossible not to retreat by one march, then it was just as impossible not to retreat by anothers, and by a third march, and finally, on the first of September, when the army got as far as Moscow, despite the strength of feeling that arose jn the ranks of the army, the force of things demanded that those troops go beyond Moscow. And the troops retreated by one last march and surrendered Moscow to the enemy. 


For those people who are accustomed to think that the plans of wars and battles are drawn up by the commanders, just as each of us sitting in his study over a map makes reflections on how he would have disposed such and such battles, questions present themselves as to why Kutuzov, as he retreated, did not act thus and so, why did he not take up a position before Fili, why did he not retreat directly to the Kaluga road, why did he abandon Moscow, and so on. People who are accustomed to think that way forget or do not know those inevitable conditions in which the activity of every commander in chief always takes place. The activity-of a commander does not have the slightest resemblance to the activity we imagine to ourselves, sitting at ease m our study, analyzing some campaign on a map with a known number of troops on one side and the other, and on known terrain, and beginning our reflections from some certain moment. A commander in chief is never in those conditions of the beginning of some event, in which we always consider events. A commander in chief always finds himself in the middle of a shifting series of events, and in such a way that he is never able at any moment to ponder all the meaning of the ongoing event. Imperceptibly, moment by moment, an event is carved into its meaning, and at every moment of this consistent, ceaseless carving of the event, a commander in chief finds himself in the center of a most complex play of intrigues, cares, deperidency, power, projects, advice, threats, deceptions, finds himself constantly in the necessity of responding to the countless number of questions put to him, which always contradict each other. 

&

At that time when Russia was half conquered and the inhabitants of Moscow were fleeing to the distant provinces, and one popular militia after another was rising to the defense of the fatherland, we, who were not living at that time, involuntarily imagine that all Russian people, great and small, were taken up only with sacrificing themselves, saving the fatherland, or weeping over its loss. The stories and descriptions of that time all speak without exception of selfsacrifice, love of the fatherland, despair, grief, and the heroism of the Russians. In reality, ic was not like that. It seems so to us only because all we see in the past is the general historical interest of the time, and we do not see all those personal, human interests that the peuflle of that time had. And yet reality the personal interests of the day are so much more significant than the general interests that as a result the general interests are never felt (or ever noticed a all). The majority of the people of that time paid no attention to the genera| course of things, but were guided only by the personal interests of the day. And those people were the most useful figures of that time. 


Those, however, who tried to understand the general course of things and wanted to take part in it with self-sacrifice and heroism, were the most useless members of society; they saw everything inside out, and everything they did to be useful rurned out to be useless nonsense, like Pierre’s and Mamonov’s regiments, which looted Russian villages, like the lint that young ladies plucked and that never got to the wounded, and so on. Even those who were fond of being clever and expressing their feelings, when discussing the present situation of Russia, involuntarily gave their speeches the stamp either of pretense and falseness, or of useless condemnation and spite against the people, accusing them of something no one could be guilty of. in historical events what is most obvious is the prohibition against eating the fruit of the tree of knowledge. Only unconscious activity bears fruit, and a man who plays a role in a historical event never understands its significance. If he attempts to understand it, he is struck with fruitlessness. 


The significance of the event that was then taking place in Russia was the less conspicuous the closer a man’s participation in it was. In Petersburg and in provincial towns far from Moscow, ladies and men in militia uniform wept over Russia and the capital and spoke of self-sacrifice and so on; but in the army that was retreating beyond Moscow, there was almost no talk or thought of Moscow and, looking at it burning, no one swore revenge on the French, but they thought of the next pay day, of their next halt, of Matryoshka the suf fer, and the like... 


&

“It's that, it’s that . . .” Sonya said with a pale face and trembling lips. » 


Natasha quietly closed the door and stepped to the window with Sonya, still not understanding what was being said to her. 


“Do you remember,” Sonya said with a frightened and solemn face, “do you remember when I looked into the mirror for you . .. In Otradnoe, at Christmas... Do you remember what I saw? .. .” 


“Yes, yes!” said Natasha, opening her eyes wide, vaguely recalling that Sonya had said something then about seeing Prince Andrei lying down. 


“Do you remember?” Sonya went on. “I saw it then and told everybody, you and Dunyasha. I saw him lying on a bed,” she said, making a gesture with her raised finger at each detail, “and his eyes were closed, and he was covered precisely with a pink quilt, and his hands were folded,” Sonya said, becoming convinced, as she described the details she had just seen, that she bad seen those same details then. Then she had seen nothing, but had told that she saw whatever came into her head; but what she had invented then seemed to her as real as any other memory. What she had said then, that he had glanced at her and smiled, and was covered with something red, she remembered, but she was also firmly convinced that then, too, she had said and seen that he was covered with pink, precisely a pink quilt, and that his eyes were closed. 


“Yes, yes, precisely pink,” said Natasha, who also now seemed to remember the mention of “pink,” and in this she saw the chief extraordinariness and mysteriousness of the prediction. 

“But what does it mean?” Natasha asked thoughtfully. 

“Ah, I don’t know, it’s all so extraordinary!” said Sonya, clutching her head. 

A few minutes Later Prince Andrei rang, and Natasha went to his room; and Sonya, feeling an agitation and a tenderness she had rarely felt, stayed by the window, shinking over all the extraordinariness of what had happened. 

&

The totality of causes of phenomena is inaccessible to the human mind. But the need to seek causes has been put into the soul of man. And the human mind, without grasping in their countlessness and complexity the conditions of phenomena, of which each separately may appear as a cause, takes hold of the first, most comprehensible approximation and says: here is the cause. In historical events (where the subject of observation is the actions of people), the most primordial approximation appears as the will of the gods, then as the will of those people who stand in the most conspicuous historical place—the historical heroes. But we need only inquire into the essence of any historical event, that is, into the activity of the entire mass of people who took part in the event, to become convinced that the will of the historical hero not only does not guide the actions of the masses, but is itself constantly guided. It would seem to make no difference whether we understand the meaning of historical events this way or that. But between a man who says that the people of the west went to the east because Napoleon wanted it, and the man who says that it happened because it had to happen, there is the same difference as between the people who maintained that the earth stood still and the planets moved around it and those who said that they did not know what upheld the earth, but knew that there were laws governing its movement and that of the other planets. There are not and cannot be any causes of a historical event, except for the one cause of all causes. But there are laws that govern events, which are partly unknown, partly groped for by us. The discovery of these laws is possible only when we wholly give up looking for causes in the will of one man, just as discovering the laws of planetary movement became possible only when people gave up the notion that the earth stands still. 


After the battle of Borodino, the occupation of Moscow by the enemy and its burning, historians recognize as the most important episode of the war of 1812. the movement of the Russian army from the Ryazan to the Kaluga road and towards the Tarutino camp—the so-called flanking march beyond Krasnaya Pakhra.' Historians ascribe the glory of this feat of genius to various persons and argue over whom it essentially belongs to. 









Friday, June 03, 2022

Greene Sort of

 From a Sort of Life

Something she remembered from a women’s magazine, a genuine grief that could communicate only cliches ‘My boy, my boy, why did you not wait till I came?’ The father sat silent with his hat on his knees, and you could tell that even in his unhappiness he was embarrassed by the banality of his wife’s words, by the scene she was so badly playing to the public ward, and he wanted desperately to get away home and be alone. ‘Human language,’ Flaubert wrote, ‘is like a cracked kettle on which we beat out tunes for bears to dance to, when all the time we are longing to move the stars to pity.’ 


When eleven struck in a Bayswater church tower I would cross the road, turn a corner and go into the little house in Lancaster Gate. If I couldn’t remember the last night’s dream I would be asked to invent one (for some reason if I invented a dream it always began with a pig). Richmond belonged to no dogmatic school of psycho-analysis, so far as I can make out now: he was nearer to Freud than Jung, but Adler probably contributed, There had been a tragedy twenty years before when a patient had killed himself and the coroner had been brutally unsympathetic, and I have the impression that he proceeded very carefully, very tentatively. My life with him did me a world of good, but how much was due to the analysis and how much to the breakfasts in bed, the quiet of Kensington Gardens, the sudden independence of my life I would not like to say, nor whether the analysis went deep enough. In any case, as Freud wrote, ‘much is won if we succeed in transforming hysterical misery into common unhappiess’, 

&

 Coming back one early evening to my rooms in balliol I found my armchair occupied my only bottle of brandy almost finished and a fat blonde stranger who rose and introduced himself Count Von burnstorf. He was the first secretary of the German Embassy, a man who loved luxury and boys and who frequented a shady club called the Abyssinia in Archer Street, Soho. No one could have foretold that hidden in those folds of flesh was a hero who was to run a Jewish escape-route from Germany to Switzerind during the last war and be executed in Moabit prison. 


My days after that seemed to be filled by Germans - there was a very pretty Countess von Bernstorff, the diplomats cousin, who left a scented glove behind in my room to be added to my adolescent harem of inanimate objects, a young man with a long complicated title, who claimed a nobler and longer descent than the Hohenzollerns, and a mysterious wizened narrow figure with a scarred face, Captain P., whose full name I have now forgotten, Captain P. would turn up at irregular intervals, like someone who looks in at a kitchen door to see if the kettle is boiling. Now that I have worked in the Secret Service myself, I feel I should have smelt him out immediately as an intelligence officer. The day arrived when I called at Carlton Gardens and Count Bernstorff handed me a packet and told me to burn the envelope ~ which, of course, I kept for some years as a souvenir. Inside were twenty-five pound notes — more than sufficient in those days for a fortnight’s holiday down the Rhine and the Moselle. 


My father took the affair very seriously. He told me how Lord Haldane’s career had been wrecked by his too great friendship for the Germans, and he offered to pay for my holiday himself. I knew that he could ill afford his generosity and I refused the offer. After all, I argued, I was not going to follow the same career as 


Haldane and was unlikely to attain his eminence. _ T asked Claud Cockburn to come with me; we were to be Joined in Germany by my cousin Tooter, for neither Claud nor I Could speak German. We went inexpensively by the Hook, and &s we were laughing with pleasure in the railway compartment to Harwich at the thought of our free holiday and the confiding aature of German diplomats, there slid in beside us thin narrow Captain P. with his duel-scarred face. Our laughter broke abruptly off and we tried to appear the serious observers we were meant to be. I was very sea-sick on the crossing in spite of Mothersil and saw no more of Captain P. — perhaps he was sea-sick too 





Wednesday, June 01, 2022

The Book of L and F

 ...was not that he hadnt loved her, but that he had. By erasing her from his mind, he erased his love for her. Fe airbrushing her out of the picture in the same way the Party propaganda section airbrushed Clementis from the balcony where Gottwald gave historic speech. Mirek is as much a rewriter of history as the Communist Party, all political parties, all nations, all men. People are always shouting they want to create a better future. It’s not true The future is an apathetic void of no interest to anyone. The past is full of life, eager to irritate us, provoke and insult us, tempt us to destroy or repaint it. The only reason people want to be masters of the future is to change the past. They are fighting for access to the laboratones where photographs are retouched and biographies and histones te written. 

How long did he stop there at the station? 

What did his stop there mean? It meant nothing. 

He immediately airbrushes it from his mind and forgets completely about the white house with the begonias. Once again he is speeding through the countryside without looking to either side. Once again space is merely an obstacle to his progress. 

&

Things deprived suddenly of their putative meaning, the place assigned them in the ostensible order of things (a Moscowtrained Marxist who believes in horoscopes), make us laugh. Initially, therefore, laughter is the province of the Devil. It has a certain malice to it (things have turned out differently from the way they tried to seem), but a certain beneficent relief as well (things are looser than they seemed, we have greater latitude in living with them, their gravity does not oppress us). . 


&

“Ever since Joyce,” he said, “we have been aware of the fact that the greatest adventure in our lives is the absence of adventure. Odysseus fought at Troy, made his way home on‘a ship he himself piloted, had a mistress on every island—no, such is not the life we live. Homer’s Odyssey now takes place within man. Man has internalized it. The islands, the sea, the sirens seducing us, and Ithaca calling us home—they have all been reduced to voices within us.” 

 

&

 It takes so little, so infinitely little, for a person to cross the border beyond which everything loses meaning: love, convictions, faith, history. Human life - and herein lies it's secret - takes place in the immediate proximity of that border, even in direct contact with it; it is not miles away, but a fraction of an inch.




Tuesday, May 24, 2022

The Rabbi of Lud

 Stanley Elkin


We don’t tell you this stuff, the cruel, arcane orthodoxies that would scare you off and keep you out of Paradisethat it’s forbidden to dip your right eye in an eyecup, that you can’t be buried in your jewelry, no, not your wedding or engagement rings, not your locket with the picture of your kids, not even so much as a red paper Poppy Day flower or a tin button on your lapel from the Red Cross. That you mustn’t look at an X ray or handle the vital organs of a woman taken in adultery. That you shouldn’t wear contact lenses or shoes with lifts. That, strictly speaking—all of this is strictly speaking, of course—it goes against God’s law to walk with a cane more beautiful than the leg it’s intended to support or to use any prosthesis that improves upon the original body part. (Jews may place no hearing aid in their ears that corrects hearing acuity beyond what is considered normal in the population as a whole.) Lefthandedness in an unmarried woman is a sin and, according to some interpretations of Talmud, a man may be denied his place with God if he can lift three times his own body weight. 

You'd be amazed how much evil we do without even knowing it. 

&

I glanced at this fellow with whom I'd been sharing the close quarters of the cabin for almost a week. We would probably die together. It hadn’t occurred to me you could die with people you didn’t much like. Clearly you could, however. 





Sunday, April 17, 2022

Ross Macdonald

 “You didn’t happen to shoot him yourself by any chance?” 

“You're very acute. Naturally I shot him. This is my getaway.”” 

I was merely asking. I couldn’t help noticing the blood on you.” 


He smiled with soft malice. His changeable mouth, both sensitive and brutal, tempted my fist the way a magnet tempts iron. He was big enough, and not too old, but he was a little ripe. I put my fist in my pocket and walked around to the other side of the car. 


I switched on the dome light. Tony Aquista was still blowing his sad small bubbles. His eyes were completely closed now. He was blind and deaf with the effort to hold onto life. The ambulance sighed in the road. 


I followed it on its return trip through the highway suburbs, past motels and cabins and trailer parks where soldiers and salesmen and tourists and migrant workers passed temporary nights with temporary bedmates. At a six-lane wye where two main roads converged, the ambulance turned off the highway to the left. 


I missed the green arrow and had to wait. The hospital was visible in the distance, a long white box of a building pierced with lights. Nearer the highway, the lighted screen of an outdoor theater, on which two men were beating each other to the rhythm of passionate music, rose against the night like a giant dream of violence. 


I found the ambulance entrance at the rear of the hospital. Its red electric sign spelled out EMERGENCY and cast a hellish glow on the oil-stained concrete driveway. Before I went in, I took a clean shirt out of my bag and put it on. 



Catch 22

To Yossarian, the idea of pennants as prizes was absurd. No money went with them, no class privileges. Like Olympic medals and tennis trophies, all they signified was that the owner had done something of no benefit to anyone more capably than everyone else. 

&

There were usually not nearly as many sick people inside the hospital as Yossarian saw outside the hospital, and there were generally fewer people inside the hospital who were seriously sick. There was a much lower death rate inside the hospital than outside the hospital, and a much healthier death rate. Few people died unnecessarily. People knew a lot more about dying inside the hospital and made a much neater, more orderly job of it. They couldn’t dominate Death inside the hospital, but they certainly made her behave. They had taught her manners. They couldn’t keep Death out, but while she was in she had to act like a lady. People gave up the ghost with delicacy and taste inside the hospital. There was none of that crude, ugly ostentation about dying that was so common outside the hospital. They did not blow up in mid-air like Kraft or the dead man in Yossarian’s tent, or freeze to death in the blazing summertime the way Snowden had frozen to death after spilling his secret to Yossarian in the back of the plane. 


“I’m cold,” Snowden had whimpered. “I’m cold.” 


“There. there,” Yossarian had tried to comfort him. ““There, there’ 


They didn’t take it on the lam weirdly inside a cloud the way Clevinger had done. They didn’t explode into blood and clotted matter. They didn’t drown or get struck by lightning, mangled by machinery or crushed in landslides. They didn’t get shot to death in hold-ups, strangled to death in rapes, stabbed to death in saloons, bludgeoned to death with axes by parents or children, or die summarily by some other act of God. Nobody choked to death. People bled to death like gentlemen in an operating room or expired without comment in an oxygen tent. There was none of that tricky now-you-see-me-now-you-dor’t business so much in vogue outside the hospital, none of that now-I-am-andnow-I-ain’t. There were no famines or floods. Children didn’t suffocate in cradies or iceboxes or fall under trucks. No one was beaten to death. People didn’t stick their heads into ovens with the gas on, jump in front of subway trains or come plummeting like dead weights out of hotel windows with a whooshl, accelerating at the rate of thirty-two feet per second to land with a hideous plop! on the sidewalk and die disgustingly there in public like an alpaca sack full of hairy strawberry ice cream, bleeding, pink toes awry. 


All things considered, Yossarian often preferred the hospital, even though it had its faults. The help tended to be officious, the rules, if heeded, restrictive, and the management meddlesome. Since sick people were apt to be present, he could not always depend on a lively young crowd in the same ward with him, and the entertainment was not always good. He was forced to admit that the hospitals had altered steadily for the worse as the war continued and one moved closer to the battlefront, the deterioration in the quality of the guests becoming most marked within the combat zone itself where the effects of booming wartime conditions were apt to make themselves conspicuous immediately. The people got sicker and sicker the deeper he moved into combat, until finally in the hospital that last time there had been the soldier in white, who could not have been any sicker without being dead, and he soon was. 

&

Outside the tent, Corporal Whitcomb snickered. The other man chuckled. For a few precarious seconds, the chaplain tingled with a weird, occult sensation of having experienced the identical situation before in some prior time or existence. He endeavored to trap and nourish the impression in order to predict, and perhaps even control, what incident would occur next, but the afflatus melted away unproductively, as he had known beforehand it would. Déja vu. The subtle, recurring confusion between illusion and reality that was characteristic of paramnesia fascinated the chaplain, and he knew a number of things about it. He knew, for example, that it was called paramnesia, and he was interested as well in such corollary optical phenomena as jamais vu, never seen, and presque vu, almost seen. There were terrifying, sudden moments when objects, concepts and even people that the chaplain had lived with almost all his life inexplicably took on an unfamiliar and irregular aspect that he had never seen before and which made them seem totally strange: jamais vu. And there were other moments when he almost saw absolute truth in brilliant flashes of clarity that almost came to him: presque vu. The episode of the naked man in the tree at Snowden’s funeral mystified him thoroughly. It was not déja vu, for at the time he had experienced no sensation of ever having seen a naked man in a tree at Snowden’s funeral before. It was not jamais vu, since the apparition was not of someone, or something, familiar appearing to him in an unfamiliar guise. And it was certainly not presque vu, for the chaplain did see him. 


&

Did it indeed seem probable, as he had once overheard Dunbar ask, that the answers to the riddles of creation would be supplied by people too ignorant to understand the mechanics of rainfall?



Saturday, April 16, 2022

Sutherland

 Various things

1455 Recently we have all been through a step change in the sharing of information like that experienced by Europeans of the 15th and 16th centuries. Ours is the internet; theirs was the invention of printing with movable alphabetical type. 


First came writing, though at first that didn't advance literature so much as state bureaucracy. Early papyri and clay tablets were inventories, receipts, lists of payment in beer to manual workers, at a time when imaginative literature like epics and lyric poems were sung or spoken from memory. 


Another great leap forward was the codex — the book as we know it, with lots of pages bound together along one edge. This had two advantages over the scroll: you could write on both sides of the page, and (much more important) the reader could flick to different parts of the text much more quickly — like moving from videotapes to DVDs. 


But books had to be either written by hand or printed from elaborately carved woodblocks, which limited their distribution to the elites of church and state. Printing using type that could be set up, used for multiple copies, then distributed and ultimately used again for another text introduced mass production to the mix. 


What Gutenberg did was to take a wine press, add.a padded flat surface to the bortom of the screw, and below that a ‘chase’ or frame in which to clamp the type and its spacers. The type was inked with a roller, paper or vellum placed over it, and the upper surface screwed down. Trained as a goldsmith, Gutenberg knew what alloy would make the type able to withstand repeated use. He also worked out that ink based on oil rather than water would stick better to the type. 


Gutenberg’s idea to print the whole of St Jerome's Latin translation of the Old and New Testaments was itself a radical step, since most worshippers in a Catholic service would know the Bible only through the missal — a sort of anthology of scripture with certain selected texts 


to be read out on a particular day. Though his massive Bible remained expensive, within a little over half a century printing had spread to over 2,000 cities in Europe, and had got much cheaper. When Bibles became affordable, people could gain direct access to God's word without the mediation of the parish priest — the fundamental principle of the Reformation. 


To speed the process reformers like Martin Luther and John Calvin could now publish their sermons and religious tracts more cheaply. Before long came political pamphlets, newspapers, street ballads — even (eventually) imaginative literature. As print capitalism spread, so more and more people wanted to learn how to read. The process of enlightenment was reciprocal. “We change our tools’, as Jeff Bezos, CEO of Amazon.com, has said of the internet, ‘and then our tools change us. 


Thursday, April 14, 2022

Our Mutual Friend

 " It was a school for all ages, and for both sexes. The latter were kept apart, and the former were partitioned off into square assortments. But, all the place was pervaded by a grimly ludicrous pretence that every pupil was childish and innocent. This pretence, much favored by the lady-visitors, led to the ghastliest absurdities. Young women old in the vices of the commonest and worst life, were expected tc profess themselves enthralled by the good child’s book, the adventures of Little Margery, who resided in tke village cottage by the mill; severely reproved and morally squashed the miller, when she was five and he was fifty ; divided her porridge with singing birds; denied herself a new nankeen bonnet, on the ground that the turnips did not wear nankeen bonnets, neither did the sheep who ate them; who plaited straw and delivered the dreariest orations to all comers, at all sorts of unseasonable times. So, unwieldy young dredgers and hulking mudlarks were referred to the experiences of Thomas Twopence, who, having resolved not to rob (under circumstances of uncommon atrocity) his particular friend and benefactor, of eighteenpence, presently came into supernatural possession of three and sixpence, and lived a shining light ever afterward. (Note, that the benefactor came to no good.) Several swaggering sinners had written their own biographies in the same strain; it always appearing from the lessons of those very boastful persons, that you were to do good, not because it was good, but because you were to make a good thing of it. Contrariwise, the adult pupils were tanght to read (if they could learn) out of the New Testament; and by dint of stumbling over the syllables and keeping their bewildered eyes on the particular syllables eoming round to their turn, were as absolutely ignorant of the sublime history, as if they had never seen nor heard of it. An exceedingly and confoundingly perplexing jumble of a school, in fact, where black spirits and grey, red spirits and white, jumbled jumbled jumbled jumbled, jumbled every night. And particularly every Sunday night. For then, an inclined plane of unfortunate infants would be handed over to the prosiest and worst of all the teachers with good intentions, whom nobody older would endure. Who, taking his stand on the floor before them as chief executioner, would be attended by a conventional volunteer boy as executioner’s assistant. When and where it first became the conventional Bystem that a weary or inattentive infant in a class must have its face smoothed down with a hot hand, or when and where the conventional volunteer boy first beheld such system in Operation, and became inflamed with a sacred zeal to administer it, matters not. 


Thursday, April 07, 2022

The last batch

 Nyt:

The idea of the private room presented itself to the Italian imagination during the Renaissance; privacy and solitude were the prerogative of the nobleman, of the aristocrat and, later, of the gentleman. Solitude — chosen, blessed solitude — is never not a matter of hierarchy and class standing.) “In the early modern era,” the historian  Orest Ranum tells us in an essay in “A History of Private Lite,” “architects created new private spaces in the homes of the well-to-do, or,  rather, they increased the amount of private space by transforming into rooms what had previously been mere objects of furniture. ... Words such as study, cabinet, bibliothéque (shelf or library) . and écritoire (writing desk or writing room) may still refer to items of furniture, but they also designate rooms serving a particular, often private, function. ... A man who once kept a locked writing desk could now closet himself in his writing room and lock the door.” 


At one time personal identification was a novel, even revolutionary accessory of selfhood. For much of the millennium, ordinary people did without the trappings of personal identification: passports, identity cards, signatures, even surnames. 

As Europe emerged from the Dark Ages the population became more mobile, creating opportunities tor imposture. Most famous 1s the case of Martin Guerre, who returned home from battle to find that someone had usurped his identity, along with his wite, child and inhentance. Ever since, fraud and authenticity have been at war. 

The rise of modern cities multiplied the opportunities for fraud, as confidence men and swindlers, exploiting the anonymity of the urban milieu, adopted aliases or impersonated strangers. In response, criminologists have developed ever more sophisticated ways to tag the self, building archives of names, mug shots and fingerprints, 


Gopnik on Dick

There's nothing more exciting to an adolescent reader than an unknown genre writer who speaks to your condition and has something great about him. The Ace paperback cover promises mere thrills, and the writing provides real meaning. The combination of evident value and apparent secrecy makes E]more Leonard fans feel more for their hero than Borges lovers are allowed to feel for theirs. When they tell you it’s going to be good, what more can you hope for it to be? Eventually, enough of these secret fans grow up and get together, and the writer is designated a Genius, acquiring all the encumbrances of genius: fans, notes, annotated editions, and gently disparaging comprehenSive reviews. Since genre writing can support only one genius at a time—and no genre writer ever becomes just a good writer; it’s { all prophet or all hack—the guy is usually resented by his peers and their partisans even as the establishment hails him. No one hates the rise of Elmore Leon; ard so much as a lover of Ross Macdonald. Of all American writers, none have got the genre-hackto-hidden-genius treatment quite so fully as Philip K. Dick, the California-raised and based science-fiction writer who, beginning in the nineteen-fifties, Dicks m wrote thirty-six speed-fuelled novels, went crazy in the early seventies, and died in 1982, only fifty-three. His reputation has risen through the two parallel operations that genre writers get when they get big. First, he has become a prime inspiration for the movies, becoming for contemporary science-fiction and fantasy movies what Raymond Chandler was for film noir: at least eight feature films, including “Total Recall,” “Minority Report,” “A Scanner Darkly,” and, most memorably, Ridley Scott’s “Blade Runner,” have been adapted from Dick's books, and even more—from Terry Gilliam’s “Brazil” to the “Matrix” series owe a defining debt to his mixture of mordant comedy and wild metaphysics. 


But Dick has also become for our time what Edgar Allan Poe was for Gilded Age America: the doomed genius who supplies a style of horrors and frissons. (In both cases, it took the French to see it; the first good critical writing on Dick, as on Poe, came from Europe, and particularly from Paris.) Like Poe's, Dick's last big book was a work of cosmic explanation in which lightning bolts of brilliance flash over salty oceans of insanity. Poe’s explanation of everything was called “Eureka.” Dick's was “VALIS.” 

Dick's fans are not modest in their claims. Nor are they especially precise: Borges, Calvino, Kafka, Robertson Davies are cited, in the blurbs and introductions, as his peers. A note of inconsistency inflects these claims—Calvino and Robertson Davies?—but they are sincerely made and, despite all those movies and all that praise, have a slight, useful tang of hyperbolic defensiveness. One of the first things that everyone is inclined to say about Dick is that his subject and his mostly straight-to-paperback publication kept him from literary respectability, leaving him a neglected cult writer who is only now beginning to get his due. 


On the evidence of the biographers, though, this doesn’t seem quite true. While he served a fairly long apprenticeship a series of almost unreadable realist working-class novels that he wrote in the fifties are now back in print—and struggled to make money, from the time “The Man in the High Castle” won a Hugo Award, in 1963, he was famous, admired, and read. He wasn't reviewed on the front page of the Times Book Review, but so what? Reading his life either in the reflective French version, by Emmanuel Carrére, or in the thorough and intelligent American one, by Lawrence Sutin—one has a sense not of a man of thwarted ambition but, rather, of a man burning up with ideas and observations who found in a pop form the perfect vehicle for expressing them. 


Dick's allegiance was not to literature but to writing. 

Kimmelman:

 Even more than writers or painters, composers illustrate best the Romantic equating of nonconformity with glory. By the late 18th century, pure instrumental music — music not written for the king or the church but simply for the pleasure of an emerging bourgeoisie — was coming into its own. With the rise of a middle class, composers were beginning to think in terms of public concerts and paying crowds. Musicians like Liszt and Berlioz, both of them basing works on Byron’s poems, wrote with this new audience in mind. 


But religious music had expressed piety; court music, elegance. They reflected the goals of their subjects. What were the new symphonies supposed to celebrate? Making money? Individuality theretore became a prime criterion of artistic value, an excuse for artists entering a marketplace that many of them claimed to disdain. As Charles Rosen, the pianist and writer, has put it, during the Romantic era “the work has its own law, its own reason for existing: it is produced by the artist not for a purpose but because he must — ‘out of an inner necessity.’ ” 


So the artist now sought to make a living by, as it were, selling his soul — his individual sensibility. The more individual the sensibility, the better the artist — an idea that naturally flowed into the larger sphere of politics and public life. “Force of mind is developed only by attacking power,” was Mme. de Staél’s phrase for the concept of the underdog individual versus the dominating mass, which Byron translated as “All Talent has a propensity to attack the Strong.” 


If Byron has come to seem to us like a virtual parody of Romantic excess, it is partly because he refused to stick to any one esthetic or moral philosophy. He was a freethinker dogged by Calvinist guilt; he had stoud up for the poor but took childish pride in his aristocracy. 


The concept of self-indulgence that Byron embodied involved an elevation of private esthetics over reason. Enlightenment reason had lost much of its luster after Robespierre. As a bedrock ideology for the modern artist, the Romantic credo of individuality was to become particularly irresistible because it didn’t depend on any one view of the world to which everyone had to conform. 


Conformity became the only enemy, which helps to explain why Romanticism as a historical movement is still so poorly remembered: it Consciously resisted any one definition. The Romantic revolution was like William Morris’s description of a battle that men fight and lose: “the thing they fought for comes about in spite of their defeat,” Morris wrote, “and when it comes, turns out not to be what they meant, and other men have to fight for what they meant under another name.” 


This also seems like a metaphor for the Romantic concept of the misunderstood genius — the individual artist of the most exceptional talent — although we ought to be careful about attributing too much, ultimately, to the Romantic age. Victor Hugo, like Byron a larger-than-life character, fooled around with scraps of lace dipped in colored ink. He signed stones that he found on the beach. But we really haven’t the slightest idea whether this meant to Hugo what it implies to us. We know only that he wasn’t a forward thinker about the art of his time. The critic Sainte-Beuve said that Hugo “spent his entire life going from one man to another, helping himself to whatever they had to offer,” which was funny coming from Sainte-Beuve, who had an affair with Hugo’s wife. Still, it was an astute statement: Hugo pointed the way ahead by looking backward, to what had already been done. 


Nyt:

INDIVIDUALISM MAY FEEL like a natural condition, but many of its aspects did not develop until the last thousand years. Surnames, for example, did not emerge until the mid-1300’s. Before then men typically were identified only by the names of their fathers — John, son of Henry; Martin, Peter’s son — and women took the names of their fathers or husbands. In eastern Europe, Jews typically did not have last names until the early 1800's, and in America, far into the 19th century, slaves were not permitted to have surnames unless given one by theit owners. As for the idea of personal space, it was not until the 1700’s in England that corridors were first included in the homes of the well-to-do. Until then, to get from room A to room E, one had to walk through all the rooms in between. 


The newest aspect of individualism is that more people can aspire to it. A rising standard of living has freed most Americans from having to spend every waking hour satisfying basic needs. Middleclass affluence has also reduced the need to rely on parents or children and has enabled many more people to go it alone. A hundred years ago, few people lived by themselves; today 1 out of 4 households contains only one person. 


Meanwhile, the character of individualism has changed. The older style, echoing Franklin and Emerson, turned on self-reliance, achievement — what sociologists call utilitarian individualism. That is still much evident. But a newer style has blossomed in recent decades, what is called expressive individualism, That is about emotional gratification, self-help, getting in touch with feelings, expressing personal needs. Utilitarian individualism is going West, on Horace Greeley’s advice, to find your fortune. Expressive individualism is going to the forest, on Robert Bly’s advice, to find your inner essence. 





Monday, April 04, 2022

On Pullman, Wallace and others

 In Lyra’s world, the Bible isn’t quite the same as ours: when Adam and Eve eat the forbidden fruit, the first thing they see is the adult form of their daemons. “But it en’t true, is it?” Lyra asks of the story. “Not true like chemistry or engineering, not that kind of true? There wasn’t really an Adam and Eve?” Lord Asriel tells her to think of the story as an “imaginary number, like the square root of minus one.” Its truth might not be tangible, but you can use it to calculate “all manner of things that couldn't be imagined without it.” The metaphor is not just cunning; it helps explain why Pullman, a champion of science, writes in the fantastic mode, 


- Pullman loves Oxford, but he’s far from donnish. His books have been likened to those of J. R. R. Tolkien, another alumnus, but he scoffs at the notion of any resemblance. “ “The Lord of the Rings’ is fundamentally an infantile work,” he said. “Tolkien is not interested in the way grownup, adult human beings interact with each other. He’s interested in maps and plans and languages and codes.” When it comes to “The Chronicles of Narnia,” by C. 8. Lewis, Pullman’s antipathy is even more pronounced. Although he likes Lewis’s criticism and quotes it surprisingly often, he considers the fantasy series “morally loathsome.’ In a 1998 essay for the Guarajan, entitled “The Dark Side of Narnia,” he condemned “the misogyny, the racism, the sado-masochistic relish for violence that permeates the whole cycle.” 


He reviled Lewis for depicting the character Susan Pevensie’s sexual coming of age—suggested by her interest in “nylons and lipstick and invitations’as grounds for exclusion from paradise. In Pullman’s view, the “Chronicles,” which end with the rest of the family’s ascension to a neo-Platonic version of Narnia after they die in a railway accident, teach that “death is better than life; boys are better than girls... and so on. There is no shortage of such nauseating drivel in Narnia, if you can face it.” 


Pullman also makes the argument that Lewis really isn’t all that Christian. The fate of Susan Pevensie, he told me, indicates “some sort of crazed, deranged Manichaeism. Here’s a simple test: What is the greatest Christian virtue? Well, it’s charity, isn’t it? It's love. If somebody who knew nothing about Christian doctrine, and who had been told that Lewis was a great Christian teacher, read all the way through those books, would he get that message? No.” 

Rosen on Alfred Russel Wallace

Wallace discovered geology and botany, purchasing, in 1841, a pamphlet on the structure of plants published by the Society for the Diffusion of Useful Knowledge. Soon, his interest spread to beetles. There are three hundred and fifty thousand described species of coleoptera in the world, more than any other order in the animal kingdom; when a later British biologist, J.B.S. Haldane, was pressed by a clergyman on the nature of God, he reportedly said, “He has an inordinate fondness for beetles.” British naturalists were certainly fond of them, since they could be found all over England. In a public library, Wallace met a young man named Henry Walter Bates, later to become one of the great Victorian entomologists, who was as passionate about natural history as he was. Before long, the young men were planning a tropical adventure.


Wallace gave himself a crash course in flora and fauna, making local collecting trips and haunting the British Museum. He also read everything on natural history that he could find, including Robert Chambers’s hugely influential book “Vestiges of the Natural History of Creation.” This notorious work, published anonymously in 1844, blended science and creationism and argued passionately for “transmutation’—the notion that present life had evolved from previous forms. ‘This was not a new argument. Darwin's grandfather Erasmus had suggested as much two generations earlier; the missing key, which both Darwin and Wallace would supply, was the way that evolution worked. But “Vestiges” helped lay the foundation both for popular acceptance of the concept of evolution and for its ultimate scientific articulation. Though rife with unsubstantiated speculation that put off many established men of science (including Darwin, who also took note of how much calumny could be heaped on a man who ventured unpopular, and unproven, scientific opinions), the book excited Wallace and gave his first trip to the Tropics a purpose beyond the chance to flee a dead-end job and follow in the glamorous footsteps of other scientist-adventurers.

But the final lesson came on the way — home. Wallace’s ship caught fire and sank, and he found himself, after four years in the Amazon, floating in an open boat in the Sargasso Sea, seven hundred miles from shore. He was without friends, having quarrelled with Bates.


Wallace's sister Fanny had become a spiritualist while he was in the Tropics, and, partly through her interest, Wallace began attending séances in 1865. Though he was skeptical, looking behind doors and under tables in advance of the proceedings, he quickly fell under the spell of these events, enthusiastically recording what he saw. Fresh flowers materialized ona table. (Wallace duly noted each species.) A spirit hand reached down to touch the keys of an accordion. The name of a deceased brother turned up on a piece of — paper that Wallace had hidden. 


In 1866, Wallace, never one to keep his opinions to himself, produced a pamphlet, “The Scientific Aspect of the Supernatural,” which he sent to his eminent colleagues. In 1869, he published a review of a new edition of Lyell’s “Principles.” In it, Wallace explained the mechanism of evolution and defended the laws of natural selection that accounted for it, but he also expressed the opinion that “there yet seems to be evidence of a Power which has guided the action of those laws in definite directions and for special ends.” This was one of the first public expressions of a mystical turn that Wallace called his “little heresy.” Darwin, warned in advance, had written anxiously to Wallace, “I hope you have not murdered too completely your own and my child.” Wallace never did abandon natural selection, but later generations came to find him an unfit parent. He did not conform to the pattern of the modern scientist, who, on seeing the evolutionary light, was supposed to shed any illusion about the supernatural. Wallace attempted to reconcile the two, and his reputation suffered accordingly. 


&

 Sellers’s paradigm seemed to offer an answer; he had dumped all the pieces out of” the box, and put them together, joining decades of meticulous empirical research about Western farmers, Eastern bankers, Southern slaves, artisans, immigrants, politicians, everyone. 


Before the market revolution: Americans grew food and made things for themselves or to barter with neighbors; they were humble but happy, rallying around “enduring human values of family, trust, cooperation, love, and equality.” After: they grew food and made things to sell, for cash to cold, unfeeling, and distant markets, they, were frantic, alienated, untrusting, competitive, repressed, and lonely. “Inherent and ongoing contradictions between capitalist market relations and human needs” plagued the nation, as Sellers had it, and plague us still. For leading the anti-market struggle against the “business class” and attacking paper money and credit, Andrew Jackson served as Sellers’s hero, especially for having vetoed, in 1832, the charter for the Second Bank of the United States. But Old Hickory, and democracy, proved no match for the tyrannical business minority of bankers, merchants, and strivers, whose capitalist machinations made the poor pvorer; the middle-class smug, pious, and bourgeois; and the rich richer. As Thoreau put it, “A few are riding, but the rest are run over.” The literary scholar Perry Miller once said that “Walden” is “a manifesto of Yankee cussedness.” 


Consider two major nineteenth-century events: the religious revival known as the Second Great Awakening and the temperance movement. In 1776, about one in six Americans belonged to a church; by 1850, that number had risen to one in three. In roughly the same period, the amount of alcohol that Americans drank dropped from more than seven gallons per adult per year to less than two gallons (about what it is today). If you were to look at a map, and chart these changes, youd see that they follow the course of the nation’s growing neiwork of canals and railroads. The canal or railroad arrives, and the people join cnurches; the people join churches, and they drink less. How do historians account for these correlations? The answer, at first, seems obvious: preachers spread the Gospel; the same boats and trains that carried cash crops from farms to towns brought revivalist ministers from towns to farms. But, once they got there, why did anyone listen to them? Sellers argues that the heightened religiosity and tectotalling of nineteenth-century Americans can be attributed to “class needs for work disciti pline, social order, and cultural hegemony.” (In factory towns, some bosses required their workers to go to church.)  The market needs industrious, reliable, orderly workers; the market produces them. Howe disagrees. “Evangelical religion was not foisted upon the industrial working classes,’ he writes. Factoryworkers and farmers joined churches, and stopped drinking, for the same reason that their middle-class counterparts did: they were persuaded by evangelism’s embrace of egalitarianism, and “its trust in the capacities of ordinary people.” Or consider sex. In agrarian America, as Sellers conjures it, “unsegregated nudity, casually exposed genitalia, and the sounds and smells of coition were commonplace in crowded cabins.” The market revolution replaced this earthy carnality with unrelenting prudishness: restrictive clothing, private bedrooms (with mattresses!), revivalist ministers’ militant campaigns against masturbation, and“an unprecedented denigration of eroticism.”  The market needs workers who don't think about sex all day long, the market produces them.


Not so fast, Howe counters: “What we think of as Victorian prudery can also be seen as a clumsy effort to make men regard women as something other than sexual objects.” The first half of the nineteenth century witnessed a wholesale transformation of manners, a politeness revolution. Sellers, no champion of courtesy, sniffs at this kind of thing as “middle-class mythology,” but Howe thinks manners matter. (One of the chief merits of “What Hath God Wrought” is Howe's earnest effort, and great success, at chronicling changes of all sorts, from rates of childhood mortality to the gross national product, from the frequency of bathing to the firepower of cannons.) In short, “ladies first” wasn't all bad. “Although polite culture put women on a pedestal to avoid challenging the prerogatives of men,” Howe writes, “it represented in important respects an advance over the subjugation of women common in premodern society.” 


It’s tempting to agree with Sellers that what really lies between these two interpretations is “values.” Sellers thinks that poor, drunk, lusty, impious eighteenthcentury Americans were freer, and happier, than their wealthier, sober, prim, devout nineteenth-century grandchildren; Howe thinks it’s the grandchildren who were better off. They both concede, at length, that not everyone was better off; the people who were really “run over” in Jacksonian America were enslaved African-Americans, who toiled in the cotton fields that spread across the continent, Native Americans, who were forced from their land and marched from the South to the West, under Jackson’s brutal policy of “Indian removal”; and Mexicans, who suffered grievously during Polk’s war.

The women’s-rights movement, which grew out of the antislavery move ment, which grew out of revivalism, which was made possible by advances in transportation and communication, is the strongest evidence for the interpretive weight that | lowe places on social, cultural, and religious forces as agents of change, and makes “What Hath God Wrought” a bold challenge both to Sellers, who is more interested in economics, and to Wilentz, who is more interested in politics. Howe’s synthesis does what a synthesis is supposed to do: it brings all these things together. Economic changes separated men’s work from women’s, and made “work” a place that men went to and “home” a place where women stayed. Revivalist ministers celebrated women’s moral purity, and drew women into reform movements, including abolitionism, which sowed the seeds for Seneca Falls. “The major disputes, excitement, and violence of American history between 1815 and 1848 did not involve either a struggle to attain white male democracy or the imposition of a new ‘market revojution’ on subsistence family farmers,” Howe argues. “Not the affirmation of democracy itself, that ‘all men are created equal,’ but attempts to broaden the legal  And political definition of men arouse serious controversy in the United States during these years.

-J. Lepore on DW Howe

What motivated Marie-Laure, this sacred monster whose irreverent, far-ranging vision helped to launch the Surrealist movement and left its mark on many aspects of twentieth-century culture? Marie-Laure Bischoftsheim—her maiden name—was the descendant, on her father’s side, of a wealthy German banking family and, on her mother’s side, of a French aristocratic clan who traced their ancestry to the Marquis de Sade. Marie-Laure’s maternal grandmother, the acid-witted Comtesse de Chevigné, born Laure de Sade, was the Marquis’s great-granddaughter. She shocked her peers by associating with artists and bohemians. (She was also reputed to be the first French society woman to have uttered the word merde in public.) 

-FdPGrey on Marie-Laure de N.


Kundera

FAME 

In “The Hugoliad,” a 1935 pamphlet against Victor Hugo, the playwright Eugéne Ionesco, who was twenty-six | and still living in Romania, wrote, “The characteristic of the biography of famous men is that they wanted to be famous. The characteristic of the biography of all men is that they did not want to be, or they never thought of being, famous men. ... A famous man is disgusting.” 


Let us try to sharpen the terminology: a man becomes famous when the number of people who know him is markedly greater than the number he knows. The recognition enjoyed by a great surgeon is not fame: he is admired not by a public but by his patients, by his colleagues. He lives in equilibrium. Fame is a disequilibrium. There are professions that drag it along behind them necessarily, unavoidably: politicians, supermodels, athletes, artists. 


Artists’ fame is the most monstrous of all, for it implies the idea of immortality. And that is a diabolical snare, because the grotesquely megalomaniac ambition to survive one’s death is inseparably bound to the artist's probity. Every novel created with real p::ssion aspires quite naturally to a lasting aesthetic value, meaning to a value capable of surviving its author. To write without having that ambition is cynicism: a mediocre plumber may be useful to people, but a mediocre novelist who consciously produces books that are ephemeral, commonplace, conventional—thus not useful, thus burdensome, thus noxiousis contemptible. This is the novelist’s curse: his honesty is bound to the vile stake of his megalomania. 










Sunday, April 03, 2022

The Abbess of Crewe

 “I dare say,” says the Abbess. ‘““This is a sad hour for a England in these, the days of her decline. All this public uproar over a silver thimble, mounting as it has over the months. Such a scandal could never arise in the United States of America. They have a sense of proportion and they understand Human Nature over there; it’s the secret of their success. A realistic race, even if they do eat asparagus the wrong way.


That Religion is founded on principles of Paradox. That Paradox is to be accepted and presents no Problem. That electronic surveillance (even if a convent were one day to practise it) does not differ from any other type of watchfulness, the which is a necessity of a Religious Community; we are told in the Scriptures “to watch and to pray,” which is itself a paradox since the two activities cannot effectively be practised together except in the paradoxical sense. 


But, Gertrude, we’re having a lot of trouble with Felicity. The life of the Abbey of Crewe is at stake, Gertrude.” 


“The salvation of souls comes first,” says Gertrude’s husky voice. ““The cannibals are to be converted to the faith with dietary concessions and the excessive zeal of the vegetarian heretics suppressed.” 


“What puzzles me so much, Gertrude my love, is how the cannibals will fare on the Day of Judgment,” Alexandra says cosily. “Remember, Gertrude, that friendly little verse of our childhood: It’s a very odd thing...As odd as can be...That whatever Miss T. eats... Turns into Miss T... . 

 Repeat that to the reporter, if you please, and if there are any more telephone calls from outside please say we've retired for the night.” 


“What will they make of that?’”’ Mildred says. “It sounds awfully charming.” 


“They'll make some sort of a garble,” says the Abbess. “Garble is what we need, now, Sisters. We are leaving the sphere of history and are about to enter that of mythology. Mythology is nothing more than history garbled; likewise history is mythology garbled and it is nothing more in all the history of man. Who are we to alter the nature of things? So far as we are concerned, my dear Sisters, to look for the truth of the matter will be like looking for the lost limbs, toes and fingernails of a body blown to pieces in an air crash.” 

The English Catholic bishops will be furious at your citing Milton,” says Walburga. 

“It’s the Roman cardinals who matter,” says the Abbess, “‘and I doubt they have ever heard of him.” 




Wednesday, March 23, 2022

The next to next to last batch

 On Morandi

Morandi was free of the organizing prejudice of perspective. Go look at a Cézanne after seeing this show. It will seem old-fashioned. Conventional pictorial space remained a safety net for the great Frenchman, whose influence Morandi subsumed. Even Picasso didn’t as fully abandon perspective smashing it to localized bits in his Cubism, letting it creep in where it was convenient thereafter. Morandi fumbled, thrillingly, amid the ruins of mental concepts of space. He reversed the thrust of his beloved early Renaissance inventors of perspective. In an Uccello, say, we register both a mathematical formula of spatial recession and the fact that it is clumsily artificial. Even the majestic Piero fell short of dissolving the preéminent appeal of the painted surface into the fiction of a window view. (Leonardo would do that.) Morandis eye and mind lived in the surface, marooned there by honest, anxious skepticism. Dramatic uncertainty intensified in his work as he aged. In one of the show’s last paintings (the one I want to take home), a jug, whose ochre hue interpenetrates with that of the wall behind it, abuts a tall box in livid, very pale blue; a corrugated ball, half ochre and half greenish blue, rests on the gray table in what would be the foreground—were not the picture, in its effect, all foreground.  His comprehension of art history skips the Baroque and every other type of synthesized illusion.

P Schjeldahl










On Django 

“Django” is a Romany word—the first-person singular of the verb meaning “to awake.” It was the Gypsy name that Djangos mother gave him when he was born, in January of 1910, in a caravan on the road in Belgium. Romany families in those days seem to have given their children both a public name—the new baby’s was Jean—and a private name. (This was partly a time-honored way of avoiding conscription; the government not only never knew where you were but never quite knew your name.) Django’s family, Dregni explains, were Manouche—one of the two bands of Gypsies living in France in those days. (The others called themselves Gitans.) The Manouche, it seems, were the kind of Gypsies who caused other Gypsies to raise their eye brows, draw in their breath, and ask if perhaps these people might not be just a touch too wild and unreliable. Django, Dregni emphasizes, was not merely “of Gypsy descent”; he was, and remained, an honest-to-God caravan-and-tarotcard Romany, illiterate until well into his adulthood (and only semi-literate even then), who, when he was a celebrated musician on tour in England, still liked to stroll off into the farmland to wring the neck of a stolen chicken or two. Django’s father abandoned the family when the boy was still young, and Django bounced between his powerful mother and a fourteen-year-old Gypsy girl named Naguine, whom he stayed with, off and on, for the rest of his life. (A brief teen-age marriage to another Gypsy girl produced a child but not a permanent attachment.) They lived on petty theft, fortune-telling, and pass-the-hat music, and what food they could find; the Reinhardt family, in Manouche fashion, had a particular fondness for niglos—feral hedgehogs roasted whole with their needles on. 


The lineup of the Hot Club varied, but usually included Dyango’s brother Nin-Nin on one rhythm guitar, the Gypsy-gangster guitarist Baro Ferret on another (Ferret was by reputation as good a soloist as Django, but Django kept him tightly locked), Louis Vola on bass, Grappelli on violin, and Django on lead guitar. Their sound had two pillars, a French rhythm and a French guitar. The rhythm was that pompe taken over from musette; the guitar was the Selmer, and Django’s music wouldn't have happened without it. The Great Guitar Problem, throughout the nineteen-thirties, was that the instrument was too soft to be heard over a band. The Selmer modeéle Jazz guitar, invented by Mario Maccaferri, has a resonator built into its acoustic body. It is a vibrant, jangling, steelstringed instrument, but capable of soft breezes and overheard whispers in the eye of the hailstorm. In photograph after photograph from the period, Django clutches his Selmer, with its small sounding hole, as though it were his wife. 


In a bizarre turn of history, it was the Occupation, and collaboration, that produced a true mania for jazz in France. 1 That was when the zazous, French jitterbuggers,emerged in Paris, to do at least dance-hall battle with the German soldiers. The zazous, tolerated and then suppressed, took what until the war had been a largely highbrow enthusiasm and turned it into a form of popular protest. For the first time, Delaunay had an audience for his music. Since he was not allowed to publish American tunes, he put French names on the recordings; “St. Louis Blues” became “La Tristesse de Saint Louis,” the sadness of St. Louis, with a deliberately coded reference to the distant great Armstrong. It was during the zazou period that Django recorded his most famous slow tune, the beautiful, lulling “Nuages,” which became one of the anthems of the Occupation. 


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On Greene

Borges, in one of his enigmatic parables, imagined an empire in which the art of cartography had “attained such perfection” that a map was exactly the same size as the area it covered. At well over two thousand pages, Norman Sherry’s authorized biography of Graham Greene, a writer whose slender novels are distinguished by a near-phobia of the extraneous, occasionally seems in danger of reaching a similar condition. The third volume of “The Life of Graham Greene” (Viking; $39.95) has at last arrived, fifteen years after the publication of Volume I, and thirty years after Greene designated Sherry his biographer. 


Sherry’s sluggish pace owes something to the difficulty of summing up the career of this stunningly prodigious writer. During a writing life of more than sixty years, Greene published twentysix novels, in an almost unseemly variety of genres, ranging from early thrillers and “entertainments” such as “Brighton Rock’ and “This Gun for Hire,” through the famous “Catholic trilogy” of his middle years, to a more experimental later phase that includes such uncategorizable works as “Travels with My Aunt” and “Monsignor Quixote.” He also produced short stories, plays, film scripts, memoirs, and travel books, plus a vast quantity of correspondence, to much of which Sherry has had exclusive access. (Because of an ambiguous comma in a document Greene signed on his deathbed, other scholars were forbidden to quote from unpublished material until Sherry’s project was complete.) 


The mention of Graham Greene inevitably evokes “Greeneland,” reviewers’ shorthand for the fictional terrain where all of Greene’s novels seem to be set—a desolate colonial outpost with unforgiving weather, which is inhabited by midlevel civil servants, simple-hearted locals, and adulterous wives. Greene was always annoyed by this trope, insisting that his books “carefully and accurately described” the world as he experienced it. As if to prove his point, he extracted from Sherry a promise to “follow in his footsteps” to wherever he had set a major work—Mexico, Liberia, Cuba, Vietnam, Haiti, the Congo, and numerous other inhospitable locations. In the course of fulfilling this promise, Sherry contracted gangrene, which required the removal of part of his intestines. His relief at bringing the project to completion is written all over this third volume; in eight pages of acknowledgments, he thanks his Buick dealer, his periodontist, his postman, and “Nellie the night janitoress, who nearly always caught me in the late hours working.” 


Operating under the assumption that every place Greene went and every person he met is significant, Sherry has inevitably become bogged down in the most minute details. But he did discover that Greene had based a number of his characters on real people, the most important of whom, Sherry argues, was himself. This presents a particular problem. Greene lived his life to extremes: he had serious affairs, sometimes simultaneously, with at least three women, amid a host of more casual liaisons; he spied for MI6, smoked opium, visited prostitutes. However, he displayed a remarkable equanimity in the midst of chaos, maintaining a matutinal regimen of five hundred words regardless of the circumstances. Combine this with a delight in secrecyGreene was given to writing two versions of a diary entry to conceal a visit to a prostitute, to using the names of his characters as aliases on his business cards, and to sending two postcards to his mistress, a chaste version addressed to her and her husband at home, and a more intimate one for her to collect elsewhere—and he is a difficult subject indeed. He once wrote to Catherine Walston, one of his longtime lovers, “If anybody ever tries to write a biography of me, how complicated they are going to find it and how misled they are going to be.” 


The fourth of six children, Henry Graham Greene was born October 2, 1904, in Berkhamsted, England. The family lived at Berkhamsted School, where Greene’s father worked his way up to headmaster, and later in life Greene recalled the “green baize door” that separated the safety of the family’s living quarters from the alien world of the school. A shy boy, devoid of athletic talent, he suffered severe depressions as a teen-ager and became fascinated with suicide. His autobiography, “A Sort of Life,” details experiments with Russian roulette, but Sherry also reports less convincing early attempts such as eating a tin of hair pomade and going swimming after taking more than a dozen aspirin. (In an unauthorized biography, Michael Shelden alleged that there was a more serious incident, in which Greene tried to hang himself in a potting shed.) At the age of sixteen, he was sent to a London psychoanalyst. Though he flourished in the cultured atmosphere of the analyst's home, the treatment did little to banish the allure that suicide held for him, which manifested itself repeatedly in his work. 


While a student at Oxford, where he dabbled in literary activities and pubdlished a book of poetry, Greene fell in love with Vivien Dayrell-Browning, a teen-age convert to Catholicism who refused to be involved with him unless he converted as well. He pursued her avidly, writing her as many as three letters a day and even offering a celibate marriage to appease her fear of sex. (Sherry’s first volume quotes an inordinate number of these youthful romantic blatherings, even reproducing the back of an envelope on which Greene had repeatedly scribbled “143,” their code for “I love you.”) After leaving Oxford, in 1925, he moved to Nottingham to work the night shift on a local paper, and began the process of conversion. He and Vivien were married two years later. 


It is almost impossible to imagine what kind of writer Greene would have been had he not become a Catholic. His impassioned and tortured relationship with his faith is the backbone of his best work, particularly the three novels that form the centerpiece of his career: “The Power and the Glory,” “The Heart of the Matter,” and “The End of the Affair.” Books that do not explicitly concern themselves with the theme of religion cannot altogether stay away from it. Yet his motivations for converting seem to have been less than pious; a friend remembers advising him, “If you need this for your fuck, go ahead and do it.” And from the start he had trouble reconciling the mathematical logic of his mind with the superstition and mystery of the Church. He called himself a “Catholic agnostic” and, at his confirmation, took the name Thomas, after the doubting apostle. In his autobiography, he wrote, “If I were ever to be convinced in even the remote possibility of a supreme, omnipotent and omniscient power I realized that nothing afterwards could seem impossible.” 


Once, on being asked why he had become a writer, Greene replied, perhaps facetiously, that “there seemed nothing else to do... . It has become a habit and it’s too late to change now.” Certainly, the part about habit was true. He established early the work routine that he followed throughout his life: a letter to Vivien notes the “terrifying thought” that if he continued writing five hundred words a day for forty years, that would add up to seven million three hundred thousand words, “not allowing for leap years. Darling! I should get a cramp!” His friend Michael Meyer observed him at work during a trip to Tahiti in 1959, when he was writing “A Burnt-Out Case”: 


He wrote in longhand with a fine pen in a very small, almost illegible script, for two hours each day; no more, no less. In those two hours he would write seven to nine hundred words, the equivalent of two to three printed pages. ... At 9 a.m. he would stop. This was when I got up, and as I walked along the verandah to the shower room he would look up and say, somewhat complacently I felt: “Nine hundred words this morning,” or, even worse, “Finished my work for the day”—a depressing remark with which to be greeted when I hadn’t yet begun and the thermometer was climbing towards ninety. 


Greene’s first two novels were rejected; the third, “The Man Within,” appeared, in 1929, to positive reviews, but then two more failures nearly ended his career. His first commercial success came in 1932, with “Stamboul Train” (published in the United States as “Orient Express”), the story of eccentric passengers on a train from Ostend to Constantinople. In 1935, on an impulse, Greene travelled to Liberia, chiefly because “the most reliable map available still showed large blank areas with only the word ‘Cannibals’ written across.” Here he conceived a hatred of imperialism that lasted the rest of his life. “Everything ugly was European,” he wrote in “Journey Without Maps,” his first travel book. “If there was anything beautiful in the place it was native.” His next journey, in 1938, took him to southeastern Mexico to report on the persecution of Catholics by socialist revolutionaries. Travelling by boat, plane, and mule among the jungle towns of Chiapas and ‘Tabasco, he heard harrowing stories of religious icons destroyed and priests executed or forced to marry, and these events became the material for “The Power and the Glory.” 


With this book, Greene developed the creative method that served him throughout his career. The novel’s atmospherics, such as the descriptions of the seedy, rundown port town, derive directly from Greene’s own experience, but the story itself, while based on contemporary events, is pure invention. The main character is a persecuted “whisky priest,’ who views himself as a sinner; years ago, he fathered a child with a parishioner. Although his actions endanger his own life and that of anyone he comes into contact with, he continues to travel from town to town offering to hear confessions and perform baptisms. After a dramatic flight to safety across the border, he allows himself to be lured back, and into a trap, by a sinister man identified only as “the mestizo.” Greene works him into the story subtly, building the suggestion of his menace through almost imperceptible details: 


The mule came to a stop of its own accord beside a hammock. A man lay in it, bunched diagonally, with one leg trailing to keep the hammock moving, up and down, up and down, making a tiny current of air. 

-Ruth Franklin  

On Pyncheon by Wendy D.


The characters are mostly men and boys, with occasional appearances in secondary roles by such females as “coeds,” mothers, “chicks,” and “brown-haired beauties.” The situations for several of the stories draw upon life in the army and or the navy, while the last one centers on a gang of schoolboy practical jokers. The language is casually tough: “lousy,” etc. There are the tics of a young writer, such as an overuse of explanatory verbs in dialogue—~something that carries over, too, into Crying (“remembered Oedipa,” “squinted Di Presso,” “allowed Di Presso,” “Metzger explained”)—and there are skilled epithets and descriptions (“When he spoke it was with precise, dry Beacon Hill accent”), colorful names, ang economical dialogue (“He went over to where Picnic way eating and said, ‘Guess what.’ ‘I figured,’ Picnic said”), What is interesting is the complex position of the author/narrator in relation to the book, characters, lan. guage itself, and reader at this stage in Pynchon’s writing career. With both books, he is working in the traditional mode: author adopts persona of narrator (third person omniscient) narrating in a certain tone and vocabulary the events of a collection of characters. In the stories, the author/narrator stays more in the background, less noticeable for his verbal flair; the illusion of some sort of familiar but alternative reality is maintained. In The Crying of Lot 49 he comes more to the fore, and we are constantly aware of the clever narrator and, through or behind him, the playful author, partly because of the easy mix of highly educated vocabulary (“annular corridor,” “radial aisles,” “moue”) with pop-cultural references (Road Runner), and especially because of his clever pu ning in the naming of his characters: we know we af not being asked to believe in a woman named Ocdi Maas or a man named Stanley Koteks, and our atte® tion is distracted from the story to the artifice and artificer. What is shared by the two books is a sense of tig control by the author over the characters, the langua the book, and probably the reader. Sometimes the trol is achieved through his mastery of a gracefu style or an appealing notion (“Creaking, or echoing left as dark-ribbed sneaker-prints in a fine layer of dam ° 


A rather appealing specimen of early Pynchon, “The Secret Integration” was first published in The Saturday Evening Post more than forty years ago (one year after V. appeared) and places its gang of schoolboy jokesters in a setting rich in possibilities for the childish imagina-. tion: an old town with a new development, a sprawl ing estate with a derelict mansion, a natural landscape open to exploration, a downtown complete with a seedy hotel. In a deftly described scene, the boys coast on their bikes down a long hill in the early evening toward the hotel, “leaving behind two pages of arithmetic homework and a chapter of science” as well as “a lousy movie, some romantic comedy” on TV. Because all the telewsions in town receive only one channel, the boys, as they fly by, can follow the progress of the movie from house to house, through doors and windows “still open for the dark’s first coolness,” as it advances. 


In his introduction to Slow Learner, Pynchon remarks rather diffidently that he likes more than he dislikes the story. In fact, it is so likable that one envies the boys theif comfortable society and the fields, streams, street cor’ ners, and alleyways of their games. Their collaboratio# and apportioning of assignments is charming—develop an arsenal for sabotaging the railroad, enlist malcontent first-graders for destroying the boys’ latrine, infiltraté PTA meetings. The elaborateness of their schemes is in’ pressive, as are some of their successes, and the anim tion of the central character, Grover, the boy genius particularly savory, with his enormous vocabulary, fund of information, and flights of hilarity. 


The pranks they plan are potentially devastating to the community, yet, as Pynchon lets us know, the boys would never actually take “any clear or irreversible step” because “everybody on the school board, and the railroad, and the PTA and paper mill had to be somebody’s mother or father, whether really or as a member of a category; and there was a point at which the reflex to their covering warmth, protection, effectiveness against bad dreams, bruised heads and simple loneliness took over and made worthwhile anger with them impossible.” There is a quiet lyrical humanity in this story, an almost unapologetic gentleness, inviting and inclusive, that contrasts with the weightier complex pessimism and bravado of the later novels, in which perhaps it is more difficult for the characters to go home and be comforted at the end of the day. 


And on Montaigne, Mark Lilla

Readers need to be just as cautious with authors who say they are baring their breasts, and Montaigne’s most penetrating readers always have been. That other master of deception through confession, Rousseau, knew one when he saw one: “J place Montaigne foremost among those dissemblers who mean to deceive by telling the truth. He portrays himself with defects, but he gives himself only lovable ones.” T.S. Eliot, though resistant to Montaigne’s allure, or perhaps for that very reason, appreciated his cunning: 

Montaigne is a fog, a gas, a fluid, insidious element. He does not reason, he insinuates, charms, and influences; or if he reasons, you must be prepared for his having some other design upon you than to convince you by his argument. 


When I play with my cat, Montaigne famously wondered, how can I be sure she’s not just playing with me? The same might be asked of Montaigne the author. Once we get past the charming anecdotes and reveries, essay after essay turns out to be darker and more paradoxical than it seemed at first blush, and about much more than Michel de Montaigne. But you must stay alert to see what he is doing—and not doing. 

The deeper into the book we go, the more connected and mutually reinforcing the essays appear, and more ambitious, too. Just compare the Essays to Saint Augustine’s Confessions, which I can’t help thinking they were intended to supplant. It was Augustine, mentioned only once in passing by Bakewell, and not Montaigne who first employed the rhetoric of transparency and self-exposure to promote his doctrines, by making readers first identify with, himself. By recounting and no doubt embellishing the story of his fruitless search for meaning find tranquility among the philosophical sects of late antiquity, the depression brought on by the loss of a friend (not unlike Montaigne’s reaction to the losing of Etienne de Ja Boétie), his unruly sexual desires, the stealing of some pears, and the drama of his conversion, Augustine has made millions of Christians ever since ask themselves, “How did he know all that about me?” 


It was by pretending to offer himself up “without straining or artifice” in the form of a book-length prayer and who lics to God? that Augustine persuaded early Christians that free philosophical speculation and virtuous self-cultivation could never suffice, since they could never erase the most basic fact about being human” that we are creatures fallen into self-love, amor sui, the sin from which all unhappiness flows. By telling the story of one man, Augustine showed that noone is sufficient; to truly become-ourselves we must, paradoxically, surrender our Selves. “He must increase, but I must decrease” (John 3:30). 


The turning point in thé Confessions comes when Augustine says, “I have become a problem to myself.” There are no turning points in Montaigne’s Essays, no epiphanies, and certainly no conversion, which he considered as abdication of moral and psychological responsibility. His response to Augustine’s dramatic self-doubt was simply to ask, “What’s the problem?” We are what we are; let’s accept that: 


For fifteen hundred years, Christian civilization had been built on the assumption that we can and must become other than we are. The Essays propose the most sweeping revaluation of Western values since the Confessions, and succeed because they meet Augustine on his own psychological terrain. In essay after essay Montaigne uses Christian interiority against itself, entrancing us with what he finds within and getting us to laugh at our pretense of self-mastery. (Long befure Twain, Montaigne knew that nothing withstands the assault of laughter.) Bu‘ above all he makes it seem pointless to talk about anything but ourselves-our very selves, not “man” or the “soul.” The “nature of all things”? Who could possibly know anything about that? The nature of God? The same, and besides, don’t you see the violence and cruelty brought on by arguing about such things? So let’s stop talking about God, shall we? Let’s talk about you. There, isn’t that better? As a student of mine put it, Montaigne’s genius was to divert us with ourselves. 


Pascal, Montaigne’s greatest reader and most formidable critic, took the ful} measure of his challenge to Christianity, and the Pensées are largely a manic attempt to refute him. The Church had early on devised, ways to cope with Greek philosophy, first by rejecting it and later by domesticating it. But how in the world could it respond to this Shameless, slippery defense of amor sui? Montaigne was differént from his Renaissance predecessors, the philosophers who placed humans at the center of the cosmos, or the artists whose figures, all bulging muscles and twisting torsos, had a Promethean air. He actually agreed with Augustine, and Pascal, that Prometheanism was the human problem. But his chosen adversaries were the popes and Protestant divines who pretended to speak for God, and the scholastic theologians who pretended that their syllogisms could unlock metaphysical truths about Him and His creation. These people were the source of our troubles, Montaigne thought, and especially of the religious wars then tearing France apart. The antidote to their fanaticism lay not in loathing and surrender of the self, or in humanistic self-perfection. It lay in reconciliation with the imperfect selves we already are. No one before Montaigne had dared to say that. 


Pascal’s response was powerful in its own right. He didn’t deny the truth of Montaigne’s psychology, in fact he adopted it wholesale, and the Pensées are full of unattributed quotations and paraphrases from the Essays. He accepted that we are inconstant and easily distracted creatures, but wasn't amused, seeing in this the sign of an unhappiness that our anxious, idle divertissements could never lift. What he did deny is that Montaigne told the whole truth about us. The air brushed self-portrait we find in the Essays leads us to think that Montaigne never dreamed of transcendence, never longed to escape his time or his station or his physical and psychological limitations. He relished sublime moments when they came, such as his friendship with Etienne de la Boétie, which was cut short by the latter’s death and inspired Montaigne’s achingly beautiful essay “Of Friendship.” (Bakewell has a superb chapter on this episode.) But by his own account he did not seek out such moments or expect them from life; they were happy accidents, nothing more. 


The yearning for transcendence only shows up in his stories and anecdotes about others, where it appears as a psychological mutation, a misfortune, or, most often, as the result of social indoctrination by zealots and despots. That part of you that experiences hope and guilt, that dreams of a beyond, that’s willing to die for the greater goodthat’s not really you, he says, because it’s never been me. Pay no attention to that man behind the curtain. Pascal knew Montaigne was cheating: to most humans, curiosity about higher things comes naturally, it’s indifference to them that must be learned. Under the pretext of authentic self-disclosure, Montaigne was peddling a new, and truncated, ideal of human nature. 


What would a world of such people look like? To judge by Montaigne’s self-portrait, it would be a safer, gentler, and more easy-going place, where toleration of everything but crueltyfor him, the cardinal sin—would be the norm. But it would be a world without heroes or saints or sages. Conscious of fortune’s caprice and death’s finality, Montaigne’s ideal man would be indifferent to glory; aware that his feelings are naturally and marvelously inconstant, he’d renounce self-mastery; and knowing how subject his knowledge is to moods and the limits of his experience, he’d only smile at the pretense of Aristotle or even the ancient skeptics, who were wrong to think they knew they knew nothing. After all,'who . knows? Above all he’d learn to relax, knowing that truth just isn’t that important, that ideas “are true and sound enough if they are useful and pleasing.” (The “what, me worry?” school of philosophy was founded by Montaigne, not William James or Richard Rorty.) And even if he were totally ignorant, would that be such a tragedy? The least contemptible class of people seems to me to be those who, through their simplicity, occupy the lowest rank.... The morals and the talk of peasants | find commonly more obedient to the prescriptions of true philosophy than are those of our philosophers. The common people are wiser, because they are as wise as they need to be (Lactantius). 


Stated in a positive sense, Montaigne was the first liberal moralist. Ancient virtues like valor and nobility, and Christian ones like piety and humility, were unattainable for most people, he thought, and only made them vicious and credulous. But rather than say that directly, a suicidal act, Montaigne sang a song of Montaigne, giving himself virtues that we accept without question today as being more reasonable and attractive: sincerity, authenticity, self-awareness, self-acceptance, independence, irony, open-mindedness, friendliness, cosmopolitanism, tolerance. He was an idealist, though, not a realist. And his ideal reshaped our reality. It is hardly an exaggeration to say that the reason Montaigne knows us so well is that he made us what we are (or at least what we profess to be). 


But he did not entirely remake us. His psychology, for all its capaciousness and alertness, was limited by a certain blindness to the human desire for something more, something beyond. What must not be, cannot be. Yes, heroes can do damage; but does it follow from this that we should live like valets? Montaigne considers this possibility and doesn’t blink: 


I am attached to the general and just cause only with moderation and without feverishness.... I would easily carry, in case of need, one candle to Saint Michael and one to the dragon. 


In whatever way we can put ourselves in shelter from blows, even under a calf’s skin, I am not the man to shrink from it. For it is enough for me to spend my life comfortably. i am content fo enjoy the word without being all wrapped up in it, to live a merely excusable life. 


The value of the soul consists not in flying high, but in an orderly pace. Its greatness is exercised not in greatness, but in mediocrity. 


Something in us, or at least many of us, flees this mediocre life, the life beneath the calf’s skin, and not simply out of melodramatic quixotism. Pascal understood that, which is why, in this respect at least, he was the wiser psychologist. “J’homme passe l’homme.” he wrote, man susurpasses himself. This causes us endless problems, but it also keeps us dissatisfied with g mere animal existence. Montaigne uses many animal examples in the Essays, sometimes to remind us that we aren’t gods, sometimes to show that we’ve become worse than beasts, but always to persuade us that we need to live more as they do, our heads down, sniffing the ground rather than baying at the moon. Pascal saw trouble ahead: 


It is dangerous to show man too often how much he resembles the beasts without showing him his grandeur And it is even more dangerous to show him too often his grandeur without also his baseness, It is more dangerous still to let him ignore both. 


By refusing to recognize the grandeur in our desire for transcendence, Our urge to understand what is, to experience rapture, to face and overcome danger, to create something bold and lasting, Montaigne offered no guidance for coping with it, let alone directing it to good ends, And his silente had consequences. The Essavs not only inspired a skeptical Enlightenment that aimed to make modern life softer, freer, and more humane, with some success; they also, through Rousseau, helped inspire a Romantic cult of the self that beatified the individual genius and worshiped his occult powers—also with some success. The easy inner reconciliation Montaigne offered his readers has proved as impossible for them to attain as sainthood was for his Christian contemporaries. Suggesting, perhaps, that the most we can ever hope to achieve is reconciliation to the fact that we will never be reconciled. 



Tuesday, March 22, 2022

Edmund Crispin

 Helen was in her room, writing letters. It was a large room, light, airy, and meticulously clean and tidy, and although most of the furniture and ornaments were not hers, she had succeeded, as women always can, in impressing on them the stamp of her own individuality without any striving after effect. Beyond that, Nigel noted, there was also the generic aspect: it was unmistakably a woman’s room, the reason being—thought Nigel, succumbing to the masculine habit of analysis ...the number of small objects which it contained... unmistakably feminine.



Wednesday, March 16, 2022

On Art and Other Things

 NYR 

Updike on Ernst

It was all about dépaysement, according to McNab: the word translates literally as being outside your own country, but its meaning also encompasses exile and disorientation..... Dépaysement also defined a favored Surrealist mood, the feeling we all get when we arrive somewhere new for the first time, our senses sharpened by wonder and tinged with anxiety. 

The exhaustion as well as the disorientation of travel was courted as a means to fresh perceptions. Surrealists walked from Paris to Blois, and took steamers to Cuba, the Amazon, the Gulf of St. Lawrence. Freud had discovered a new territory within, the subconscious, and dreams, drugs, word games, séances, automatic writing, virtually random collage, and impulsive exotic travel were ways of exploring it. There was a political dimension to dépaysement. direct experience of France’s Pacific colonies confirmed the surrealists’ antagonism to the jingoistic, otten brutally exploitative colonizers, and to the European establishment. 


Of course, breaking through the shell of reason and accepted order to protounder truths beneath is an idea as old as shamanistic trances, Greek oracles, and the mind-emptying exercises of yoga and zen. Rimbaud, along with Gauguin a stellar example of selfexile, in 1871 had famously asserted that the poet makes himself a seer by a long, immense, and deliberate “déreglement de tous les sens.” 


Gala, Ernst, and Eluard achieved a déréglement of social custom with their ménage and their escape to Saigon, where the three reassembled. Back in Paris, Eluard described it as a voyage idiot, a stupid trip, and in fact their triune rapport was never the same. Ernst returned later than the Eluards and took up separate residence in a Montmartre studio; Eluard entered a tuberculosis sanitarium, from which he wrote Gala longing letters.

Updike on Kierkegaard

This was no joke; Kierkegaard’s great contribution to Western philosophy was to assert, or to reassert with Romantic urgency, that, subjectively speaking, each existence is the center of the universe.  He offered himself as a corrective to idealism from Plato to to Hegel.

the assault of ridicule launched by the scurrilous journal The Corsair against not only Kierkegaard's ideas but his physical person, has descended to posterity the impression that the philosopher was conspicuously deformed. A series of caricatures in The Corsair by Peter Klestrup show a swaybacked, even hunchbacked, figure with a sharp nose, tall hat, stick cane, and comically thin legs, whose trousers, more comically still, are of unequal length. It was this last oddity that the populace of Copenhagen fastened upon as the subject of gibes and taunts, making Kierkegaard’s cherished daily perambulations in the streets a torment; jis spoke of “that slow death, being trampied to death by a flock of geese.” ‘The characterization was witty, but the experience was painful, remembered in his journals long after it had subsided as analogous “to the gladiatorial animal combat of pagan times.” If Christ were to return to the world, he wrote, “he would perhaps not be put to death, but would be ridiculed. This is martyrdom in the age of reason.”



“Yes, he was somewhat high-shouldered and his head tilted forward a bit, probably from all that reading and writing at his desk.” (In curious bitter retrospect, her ex-fiancé confided to his journal, “She did not love my well-formed nose, nor my fine eyes, nor my small feet—nor my clever head—she just loved me, and yet she did not understand me.”) The reminiscences of others mention Kierkegaard’s “high shoulders, the restless, somewhat hopping gait,” whose zigzags made him difficult to walk beside, and claim that his back was “a bit curved.” The hospital examination soon after he was admitted recorded nothing abnormal about his spine. His enemy and admirer Aron Goldschmidt, the editor of The Corsair, left the most sensitive impressions of Kierkegaard’s physical aspect: 

The shape of his body was striking, not really ugly, certainly not repulsive, but with something disharmonious, rather slight, and yet also weighty. ... He went about like a thought that had got distracted at the very moment at which it was formed. 

Gopnik on Voltaire 

... Voltaire’s sense of outrage may have been galvanized by the hideous execution in Paris of the would-be assassin of Louis XV, the mad Damiens, in 1757. Damiens was pulled apart alive, his limbs attached to four horses and the horses driven in different directions, for public instruction in the center of Paris. Voltaire was no fan of regicide. It was because he was for the execution that the public torture frightened him: it was a sign of how quickly civilities could disintegrate under threat. (“Enlightened times will only enlighten a small number of honest men,” he wrote. “The common people will always be fanatical.”) He coined his most famous phrase, Ecrasezl’in dme—‘Crush the horror’—and began to use it, in jauntily (and evasively) abbreviated form. Historians have fussed for centuries about exactly what Voltaire meant by it—the Catholic Church? the Court?—but it’s clear. The horror was the alliance of religious fanaticism with the instruments of the state, and the two combined for torture and official murder. 


Candide is said to have been occasioned by the 1755 Lisbon earthquake, a tsunami-like event, and is meant to satirize the optimism associated with Leibniz. It is also usually said to be unfair to Leibniz, a great philosopher, who was among the inventors of calculus. Leibniz’s view, after all, was not that everything was good but that our world was the best possible. Given that God could have considered every world before he made it, he must have chosen the best one—so that if there is suffering and evil in it, these things must have a cause in the mind of God. Given that the deity is benevolent, small-scale pain must be part of some universal balance, or, as Pope puts it in his “Essay on Man,” “All discord harmony not understood; / All partial evil, universal good.” Leibniz and Pope after him are arguing not that life will always be happy but that the world is optimally designed. Suffering is explicable—not defensible but explicable. 


But Voltaire was not unfair to Leibniz. He understood exactly what Leibniz was saying, and has Pangloss say it. On the tutor's first appearance, he gives the classic instance: pigs are made to be eaten and so we have pork. It seems hard only from the narrow point of view of the pig. “Those who have suggested that everything is good have spoken obtusely,” Pangloss explains, in Kaffel's rendering. “What they should have said is that everything is for the best.” Voltaire’s point was that the two ideas are, in concrete terms, the same idea. Insisting that everything is for the best means finding the best in everything. To subsume individual suffering or pain within a larger equilibrium is to accept the logic of the slaughterhouse. The pig has a right to his protest. 


Voltaire’s target throughout “Candide” is not optimism in the sense of fatuous cheerfulness but optimism in the sense of optimal thinking: the kind of bland reassurance that explains pain with reference to a larger plan or history. In this way, the Christmas tsunami cannot have for Voltaire’s readers today anything approaching the force that a natural disaster like the Lisbon earthquake had for the eighteenth century. Few people any longer believe in a benevolent naturemuch less a benevolent nature sitting in for a providential God. We can feel comfortably superior to Leibniz’s particular brand of optimism, which is centered on natural law of this kind, since we no longer believe that nature is part of an inherently balanced or benevolent system. 

On E Wilson

The marriage to McCarthy was a mistake that neither side wanted to be first to admit. When they fought, he would retreat into his study and lock the door; she would set piles of paper on fire and try to push them under it. Wilson's fourth marriage, to Elena Mumm Thornton, came closest to conventional domesticity, but they did not live all the year together, and Wilson still pursued other women, with whom he achieved varying degrees of sexual intimacy, 

Wilson was an intent observer of anatomical detail, and he left written records of quite a few pudenda.


Denby on Sontag

 In that same piece, she quoted Walter Benjamin's remark that “all great works of literature found a genre or dissolve one.” Godard, Bergman, Syberberg, and Fassbinder, it turned out, had reached a series of stunning dead ends, dissolving not only genres but criticism, too. Sontag had run out of aesthetic revolutions. And the culture that supported revolutionary work had changed. “Stripped of its heroic stature, of its claims as an adversary sensibility,” she wrote in 1979, “modernism has proved acutely compatible with the ethos of an advanced consumer society.” She was talking, of course, about what soon came to be known as postmodernism. “Art is now the name of a huge variety of satisfactions—of the unlimited proliteration, and devaluation, of satisfaction itself.” Her hopes had fallen victim to the dismaying larger trend in which every radical development in modernism degenerated into routine: by the eighties, avant-garde techniques from the films of the sixties were showing up in commercials and music videos. Art had not only become commodified, as the Marxists like to say; it decorated corporate culture. The breaking of forms had led not to an agonized “reorganization of sensibility” but to an amiable shrugging off of seriousness in art and the levelling of all cultural activity. Like her long-ago mentors among the New York intellectuals, she had come to the end of the redemptive capacities of the avant garde. When the breaking of forms no longer enlarged the soul, she gave up writing about movies—that was the disappointment behind the 1995 farewell to criticism.