Monday, August 31, 2009

Mole


It is my first reading of "The Wind in the Willows".

As he hurried along, eagerly anticipating the moment when he would be at home again among the things he knew and liked, the Mole saw clearly that he was an animal of tilled field and hedge-row, linked to the ploughed furrow, the frequented pasture, the lane of evening lingering, the cultivated garden-plot. For others the asperities, the stubborn endurance, or the clash of actual conflict, that went with Nature in the rough; he must be wise, must keep to the pleasant places in which his lines were laid and which held adventure enough, in their way, to last for a lifetime.

and:

slumber gathered him forthwith as a swath of barley is folded into the arms of the reaping machine.

and:

He saw clearly how plain and simple- how narrow, even- it all was; but clearly, too, how much it all meant to him, and the special value of some such anchorage in one's existence.

Thursday, August 27, 2009

Lucia! Lucia! Lucia!


The opening of "Lucia in London" by E.F. Benson, the second novel in the incomparable series.

"Considering that Philip Lucas's aunt who died early in April was no less than eighty-three years old, and had spent the last seven of them bedridden in a private lunatic asylum, it had been generally and perhaps reasonably hoped among his friends and those of his wife that the bereavement would not be regarded by either of them as an intolerable tragedy. Mrs. Quantock, in fact, who, like everybody else at Riseholme, had sent a neat little note of condolence to Mrs. Lucas, had, without using the actual words "happy release," certainly implied it or its close equivalent.

She was hoping that there would be a reply to it, for though she had said in her note that her dear Lucia mustn't dream of answering it, that was a mere figure of speech, and she had instructed her parlour-maid who took it across to 'The Hurst' immediately after lunch to say that she didn't know if there was an answer, and would wait to see, for Mrs. Lucas might perhaps give a little hint ever so vaguely about what the expectations were concerning which everybody was dying to get information. . . .

While she waited for this, Daisy Quantock was busy, like everybody else in the village on this beautiful afternoon of spring, with her garden, hacking about with a small but destructive fork in her flower-beds. She was a gardener of the ruthless type, and went for any small green thing that incautiously showed a timid spike above the earth, suspecting it of being a weed. She had had a slight difference with the professional gardener who had hitherto worked for her on three afternoons during the week, and had told him that his services were no longer required. She meant to do her gardening herself this year, and was confident that a profusion of beautiful flowers and a plethora of delicious vegetables would be the result. At the end of her garden path was a barrow of rich manure, which she proposed, when she had finished the slaughter of the innocents, to dig into the depopulated beds. On the other side of her paling her neighbour Georgie Pillson was rolling his strip of lawn, on which during the summer he often played croquet on a small scale. Occasionally they shouted remarks to each other, but as they got more and more out of breath with their exertions the remarks got fewer. Mrs. Quantock's last question had been "What do you do with slugs, Georgie?" and Georgie had panted out, "Pretend you don't see them."

Mrs. Quantock had lately grown rather stout owing to a diet of sour milk, which with plenty of sugar was not palatable; but sour milk and pyramids of raw vegetables had quite stopped all the symptoms of consumption which the study of a small but lurid medical manual had induced. To-day she had eaten a large but normal lunch in order to test the merits of her new cook, who certainly was a success, for her husband had gobbled up his food with great avidity instead of turning it over and over with his fork as if it was hay. In consequence, stoutness, surfeit, and so much stooping had made her feel rather giddy, and she was standing up to recover, wondering if this giddiness was a symptom of something dire, when de Vere, for such was the incredible name of her parlour-maid, came down the steps from the dining-room with a note in her hand. So Mrs. Quantock hastily took off her gardening gloves of stout leather, and opened it.

There was a sentence of formal thanks for her sympathy which Mrs. Lucas immensely prized, and then followed these ridiculous words:

It has been a terrible blow to my poor Peppino and myself. We trusted that Auntie Amy might have been spared us for a few years yet.

Ever, dear Daisy, your sad
Lucia

And not a word about expectations! . . . Lucia's dear Daisy crumpled up the absurd note, and said "Rubbish," so loud that Georgie Pillson in the next garden thought he was being addressed.

"What's that?" he said.

"Georgie, come to the fence a minute," said Mrs. Quantock. "I want to speak to you."

Georgie, longing for a little gossip, let go of the handle of his roller, which, suddenly released, gave a loud squeak and rapped him smartly on the elbow.

"Tarsome thing!" said Georgie.

He went to the fence and, being tall, could look over it. There was Mrs. Quantock angrily poking Lucia's note into the flower-bed she had been weeding.

"What is it?" said Georgie. "Shall I like it?"

His face red and moist with exertion, appearing just over the top of the fence, looked like the sun about to set below the flat grey horizon of the sea.

"I don't know if you'll like it," said Daisy, "but it's your Lucia. I sent her a little note of condolence about the aunt, and she says it has been a terrible blow to Pepino and herself. They hoped that the old lady might have been spared them a few years yet."

"No!" said Georgie, wiping the moisture off his forehead with the back of one of his beautiful pearl-grey gloves.

"But she did," said the infuriated Daisy, "they were her very words. I could show you if I hadn't dug it in. Such a pack of nonsense! I hope that long before I've been bedridden for seven years, somebody will strangle me with a bootlace, or anything handy. Why does Lucia pretend to be sorry? What does it all mean?"

Georgie had long been devoted henchman to Lucia (Mrs. Lucas, wife of Philip Lucas, and so Lucia), and though he could criticise her in his mind, when he was alone in his bed or his bath, he always championed her in the face of the criticism of others. Whereas Daisy criticised everybody everywhere. . . .

"Perhaps it means what it says," he observed with the delicate sarcasm that never had any effect on his neighbour.

"It can't possibly do that," said Mrs. Quantock. "Neither Lucia nor Peppino have set eyes on his aunt for years, nor spoken of her. Last time Peppino went to see her she bit him. Sling for a week afterwards, don't you remember, and he was terrified of blood-poisoning. How can her death be a blow, and as for her being spared--"

Mrs. Quantock suddenly broke off, remembering that de Vere was still standing there and drinking it all in.

"That's all, de Vere," she said."

Tuesday, August 25, 2009

Mencken on murder


The technique of murder, like the technique of love has its fashions. There are periods when fire-arms are all the rage, and there are periods when the vogue is for hammers, bludgeons, golf-clubs and sash-weights. Towards the end of the year 1898, the smart thing was to send poison through the mails- in a box of candy, a bottle of headache powders, a plug of chewing tobacco, or what not. Thus a Mrs. Dunning was dispatched in San Francisco. A Mrs. Wilkinson in Newark, and a Mrs. Adams and a Mr. Barnet in New York. There ensued a pother with the World and the Journal running a race in alarms.

From my never-ending pile of copies of "The American Mercury", November, 1929

Sunday, August 23, 2009

Godey's Lady's Book


"False ears of flesh color- India rubber- have been invented for the use of ladies with large ears. They are used in front of the real ears which are drawn back and concealed under the hair."
Ladies of the 1830's: "And demure she was, hiding her complexion from the harsh sun by a parasol, over-clothing herself from the elements and shrieking when 'a grasshopper steps across her path or a cow stops to gaze at her.'"
From "Mr. Godey's Ladies: Being a Mosaic of Fashions and Fancies"

Saturday, August 22, 2009

No one puts Baby in the corner


Looking kind of foxy, Spencer Tracy.

Look Embarrassed, Angel


Ugh. That crazy bitch (left)

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Thomas Wolfe (center) has lunch with legendary Seattle restauranteur Ivar Haglund and is dead within a week or so.

The... um....unpredictable word stylings of Thomas Wolfe in "Look Homeward, Angel":


"He had come down to the empty house exultantly, tasting its delicious silence, the cool mustiness of indoors and a solitary afternoon with great calf volumes. In a moment the world turned hag."

and:
"He was somewhat above middle height, bumpy of face and sallow of skin with a light pleasing tenor voice"

and:
"They saw with decent wonder their awkward bulk of puberty. The proud gate of the years swung open for them. They felt a lonely glory. They said farewell."

and a smattering of anti-Semitism:
"The grocer was an old Jew who muttered jargon into a rabbi's beard as if saying a spell against Dybbuks. The boy looked closely to see if his hands touched the food. They were not clean."

Thursday, August 20, 2009

Cooking with Fernet-Branca


by the redoubtable James Hamilton-Paterson:
"'Perfectly correct, papa' says this vision, flashing me a smile I want to lay away in lavender in a dark drawer for the rocky years ahead."

Friday, August 14, 2009

The Brontes Went to Woolworths


Rachel Ferguson's novel opens with these brilliant first lines:
"How I loathe that kind of novel which is about a lot of sisters. It is usually called They Were Seven, or Three – Not Out, and one spends one’s entire time trying to sort them all, and muttering, ‘Was it Isobel who drank, or Gertie? And which was it who ran away with the gigolo, Amy or Pauline? And which of their separated husbands was Lionel, Isobel’s or Amy’s?
Katrine and I often grin over that sort of book, and choose which sister we’d be, and Katrine always tries to bag the drink one."

No one puts Baby in the corner

THOMAS EAKINS, 1898

From: Roy Reed's oral history of the Arkansas Gazette


Jerry McConnell:
Carrick Patterson (the ancient owner of the paper's) grandson came home on vacation and he was standing in the newsroom, and Mr. Heiskell came out and was surprised by Carrick being there. He said, "Carrick, what are you doing home?
Carrick said, "Well... I came home for Easter vacation Grandfather."
Mr. Heiskell said, "You know I don't believe we had Easter vacation when I was in college. Of course, Christ wasn't dead yet."

Tuesday, August 11, 2009

The sublime Rose Macaulay


From Personal Pleasures: Reading
Here is one of the oddest of the odd inventions which man has sought out, this conveying to one another by marks scratched on paper thoughts privately conceived in the mind. It shows, as all the arts show, the infinite publicism of humankind, the sociability, the interdependence, which cannot endure to have a thought, to conceive a tale, a tune, a picture, an arrangement of words, or anything else, but all must forthwith be informed of it. And how avidly we run to be informed. We have already consumed many thousands of tales, poems, essays and what-not but we are never satiate, we are greedy always for more.

Monday, August 10, 2009

No one puts Baby in the corner

Mencken vs. Eddy


H.L. Mencken reviewing "Mrs. Eddy: The Biography of a Virginal Mind" by E.F. Dakin in The American Mercury, November, 1929

"Mr. Dakin's sub-title, it seems to me, is rather far-fetched. The peculiar mixture of vapors and sagacities which marked Mrs. Eddy's sayings and doings from end to end of her long life showed few of the characteristics of the virginal mind. Rather it would be more plausible (without throwing the slightest doubt upon her virtue) to compare he peculiar wisdom to that of a bordello keeper, for in it a sharp sense of reality and a weakness for the occult were curiously mingled. She was seldom if ever taken in by concrete human beings, but there was never a time when she did not believe quite incredible things about the powers and principalities of the air.
...Perhaps in grossly bad taste (I liken) this sense of the transcendental to a shaking fear of black cats, opals and cross-eyed men. In Mrs. Eddy it took the form of an incurable dread of malicious animal magnetism. This MAM pursued her during all the years of her prophesying and... brought down upon her the persecution of mesmerists, spiritualists, lawyers, newspaper reporters and other fiends from Hell; it haunted her days and made horrible her nights.
Despite her contention that disease was only an illusion, her ill health continued, and the temptation to blame it on malicious animal magnetism was hard to resist. Her terror was extreme- during her last years she maintained a staff of healers in her house to combat the waves of M.A.M. issuing from (her rival's students). They were on duty in sailor-like watches for the 24 hours of the day but it was all in vain."

Sunday, August 09, 2009

When Gods were fun


Dionysus wandered about Greece looking for an entrance to Hades. He asked Prosymnus to show him the way. Prosymnus agreed on the condition Dionysus would allow himself to be "made love to as a woman is" by which he meant that he wished to sodomize the god. When Dionysus returned from Hades prepared to grant the favor, he discovered in the time that had passed, Prosymnus had died. He took a branch from a fig tree that grew over the man's grave, fashioned a member, and penetrated himself with it.

-paraphrased from "The Marriage of Cadmus and Harmony by Roberto Calasso

Friday, August 07, 2009

No one puts Baby in the corner

Erik Satie

The use of the occult


Robsjohn-Gibbings on mixed media:
"One of the supposedly most mystifying things the Cubists did was to paste strips of newspapers, labels from bottles and so forth on their canvases. It was a favorite and old trick in occultism to arrange for the juxtaposition of quite unrelated objects. the mixing of such objects was a foolproof method used by magicians, witches and witch doctors to impress and bewilder the audience. This bringing together of such irrational unconnected objects suggests a secret formula that was beyond ordinary mortal's comprehension. The witches in Macbeth, for instance, throw into the steaming cauldron the eye of a newt, the toe of a frog, the finger of a birth-strangled babe and so on.

Robsjohn-Gibbings on Max Jacob


Max Jabobs admires one of his many puppets

From: Mona Lisa's Mustache:

"Among the major enthusiasms of Max Jacob and his group were the paintings of Henri Rousseau, the customs-house inspector.... It is not without significance that this fascination with Rousseau has a connection with the occult, for Rousseau was entirely persuaded that he painted according to the dictates of his dead wife whose astral hand guided his brush."
"Certain of Max Jacob's declarations contain a strange mixture of a profound Christian religiosity with a curious emotionalism and cunning. Typical of Jacob's mystical hallucination and sense of publicity was the claim that the Deity had appeared to him in his room on the Place Ravignan... and followed up this visit by sitting in the next seat to Jacob in a cinema"

Robsjohn-Gibbings on Picasso



From: Mona Lisa's Mustache- A Dissection of Modern Art

"As well as longing to be a clown, Picasso in these early days could be found copying the Old Masters in the Louvre and painting in his studio in the manner of Gaugin, Degas, and more often Toulouse-lautrec. So closely did he imitate the last that at first glance some of the paintings of the two artists seem indistinguishable. In 1901, with one eye on El Greco, Picasso painted a series of archly pathetic mothers, dyspeptic femme fatales, and peevish acrobats. This shivering gallery of neuroticism is now quite rightly known as the master's 'blue period'. Between 1905 and 1906, putting these doom-eager Madonnas and emaciated harlequins behind him, he painted a group of neo-Greco-Roman nudes, ususally seen through a haze of terra-cotta pink. These fin-de-siecle tanagras are now known as products of the 'rose period'."

Thursday, August 06, 2009

Ishi, the wild man of California


From "Houdini, Tarzan, and the Perfect man" by John Kasson
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Photo of Ishi wearing the primitive clothing in which he was discovered.... by Kiefer Sutherland apparently.
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"With his gentle, friendly disposition, Ishi played the role of Rousseauian noble savage far better than had Wild Peter or Victor. His reactions to modern civilisation aroused keen interest. Traveling around San Francisco shortly after his arrival, he was unnerved by the crowds. The exclamation "HANSI SALTU!!!!" burst from his lips: "Many white people, many white people!"

Link to delightful song performed by Ishi ca. 1911:
http://www.umbc.edu/MA/index/number1/nettl1/nettl03.wav

Wednesday, August 05, 2009

Welles and Hemingway


David Thomson in Rosebud: The Story of Orson Welles
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(Welles' radio roles) account "for the development of a kind of superior fraudulence in his voice.
There were those who detected this rising bogusness. Welles was the first choice to read the narration for the documentary movie 'This Spanish Earth'. The narration had been written by Ernest Hemingway, who claimed he had no desire to read it himself- until he heard Welles' voice. Then he objected and said he would do it himself. 'Every time Orson said the word infantry', he said, 'it was like a cocksucker swallowing.'"