Neither Out Far Nor In Deep

A curious thing occurred to me while wandering in a museum. On my second visit to the same exhibit I noticed for the first time how the mountains in the icons are made of flat ledges that rise like wild stairs. That led to other observations that amounted to my wondering what mystery of depiction and suggestion haunts the artist. Those mountains and some other things were not aiming so much at depiction as they were aiming at suggestion. Which is a thought.

But then another thought occurred to me. I’ve mentioned before the exhibits at the Museum of Russian Art. When you go there the natural ending place is at the entrance to the gift shop, but also the elevator shaft, and I decided with my wife to ride it, and to ride all the way down since the coats are stowed in the basement. And so I came again to the exhibit concerned with light (which is still there, doing a double spell), and took my wife to consider the puzzle I had over an engaging piece of painting that I would not call art. It is a painting of the building of a bridge by night, and alive with lighted scaffolding, showering sparks, and twinkling lights, searching lights and distant lights. It draws the eye and it is large. And I wondered if the problem was not that it was depiction without any possible suggestion. All was there on the surface, but nothing beyond suggested.

I had been looking at photography and wondering why it was not as compelling as the thing itself, or even as a painting, and so the notion that suggestion must not be overrun by the depiction in a work of art appealed to me. And then we went over to the Institute of Arts in which you can take a complete tour of the development of Western painting up to the year of our Lord 2008. One cannot help noticing the rapid development of more precise depiction, and the gradual change of subject from religion, to antiquity, to the present (then), to the landscape, to MAN, to the glories and rusticities of romanticism, to the rich and exotic, to the impressionists, to the disintegration and beyond. Always, however, the suggestion, although the suggestion changes from the absolute, to the transcendent, to the imminent, to the present, to the ordered, to the imagined, to the experienced, to the within, to something pretty vague but sometimes shocking.

The point is that they used their powers of depiction for suggestion, and the better they are, the better not necessarily the depiction—because the point is not to depict, but to suggest—but the suggestion which depends on the depiction.

We have a fake Cezane we got for four dollars and thirty-five cents once at a thrift store. I showed it to a friend who is practically blind, once, in bad light, and she thought it was a fine specimen, and so it is. It is a depiction of some rooftops in Paris in spring and if it does not suggest to you the temperature and atmosphere of that spring day, then Cezane is probably not for you (it is about 59 degrees in the painting, with the barometer steady and winds out of the NE at about 8MPH). It may be the fact that it is a knock-off (with some kind of pattern of bumps worked into it that suggest brush strokes, for it really isn’t even a painted knock-off) that keeps the thing from suggesting more than a cool day. Perhaps it has some cheerfulness; but when you go to the Institute of Arts and see the Cezane there, the van Gogh, the Pissarro and the other chap who died in Tahiti with his peculiar shade of green, you get more than the weather: the brooding of a city in the rain, you get, the feeling of a fatalistic fecklessness in the one by the chap who died in Tahiti, the fact that van Gogh was on a highway to the nut-house and other things, of course, besides the correspondences of unrelated things that colored painting can draw out. The depiction of a depiction in my knock-off doesn’t work as well, you see. It seems it loses some of its suggestion. The suggestion is somehow bound up in the detail and physical presence of the painting: which in the end is actually the depiction itself. You must admit: that is a thought.

And so I think this whole business of depiction and suggestion is very true. Art, I might say, is the attempt to discipline depiction into suggestion. Suggestion is the part that gestures at mystery which has to be handled in its own way: it must be suggested, must be handled with a sort of reverence. It is the most general and most particular. And I was thinking about this as I was reading some Robert Frost and some on Robert Frost.

Neither Out Far Nor In Deep

The people along the sand
All turn and look one way.
They turn their back on the land.
They look at the sea all day.

As long as it takes to pass
A ship keeps raising its hull;
The wetter ground like glass
Reflects a standing gull.

The land may vary more;
But wherever the truth may be—
The water comes ashore,
And the people look at the sea.

They cannot look out far.
They cannot look in deep.
But when was that ever a bar
To any watch they keep?

—Robert Frost

Stanlis on Robert Frost

I have just finished Stanlis’ book on Robert Frost. While not a person I would call epigrammatically concise–Stanlis, the point that he belabors in this book is a good one, and the work is thought provoking and instructive. It is a polemic against the intellectual competence of Frost’s main biographer, and an argument for understanding Robert Frost as a philosophical dualist. One could wish better order of thought could be imposed on the book, on Stanlis, for that matter. It may be, however, that for the point he was trying to make, his mental tendencies with all their weaknesses were those best suited to make the grasp. He spent 50 years writing the book, which probably accounts for the extra, in some way. His book is thoroughly and competently reviewed here.

As the reviewer says, repeating Stanlis’ argument: “To Frost, metaphor is not simply the occupation of poets but rather the very foundation of thought.”

Dreams and Emanations

I was thinking of the things I’d have to say when I get to Colombia. Aguepanela (or aguapanela) is one I’d like to say, after I say un chocolate and un café con leche, or un tinto. Panela, in Mexico, is a white, heavy, wet and leaking sort of cheese something like cottage cheese in a solid clump like a brick. But in Colombia such a thing is a quajada—which word I think more aptly describes the inert substance, but that may be due to it being the word I originally handled it in; I don’t know. The word panela still is used in Colombia for what in Mexico would be called piloncillo. It is brown sugar but not much like what you would get in the USA. Piloncillo comes in cones and when you shave it off it is nothing like the grains in bags that they must somehow treat to achieve here. Panela, the same thing as piloncillo, now, but in Colombia, comes in bricks and they take big chunks of it dissolved in hot water and—like most civilized hot beverages—often add milk to it. That is aguepanela (Agua de panela, only in the highlands of Colombia they have a way of dropping out Ds and other interfering letters when they speak).

El chocolate is another thing I’ll have to say if I am going to get any, and I want to much, since that too is different. Its kind of like hamburgers and hot dogs. They don’t really know how to make hamburgers or hot dogs down there, as far as I remember, not really well. If you think of a place where the best such are made by the worst fast food places, you’ll have an idea how it is. You might say what you get is not entirely unlike a hot dog or a hamburger, when you make an effort to ingest it. Here persons make chocolate out of powder grown in little packets in laboratories and it might be described as not entirely unlike chocolate. It is the sort of thing one might get when one pressed the hot chocolate button on a drink machine found in a space ship powered by an infinite improbability drive. In Colombia, where the chocolate is rich and frothy, they would be very puzzled to learn such substances are ingested by human beings.

Pan con queso I seem to remember. Pan, o pan con queso? One might be asked. Well, that recollection is vague, but the question seems a legitimate one. They would bake some bread rolls (nothing like fresh baked bread, that is another thing that, it seems to me, expensive transportation infrastructures destroy—may the transportation in Colombia always be so bad that walking to shop at little local shops is never obliterated, and may the transportation infrastructure of all lands decay and perish mostly. You know what you get when all your shopping has to be done by hopping into a car instead of walking? Large grocery stores and convenience stores attached to gas stations—and what a repugnant notion it is to buy food at a gas station) with cheese sprinkled on the top. I remember, for some reason, that the bread you have with hot chocolate sometimes comes with cheese. Of course, it could be just bread with cheese along with it, not bread with cheese baked onto it. Or it may be I am conflating the practice of having bread with one’s hot chocolate, which is occasional, with the unvarying practice of dropping cubes of cheese into the hot chocolate itself—el queso se funde y el final de la taza del chocolate es distinto al final obtenido cuando uno acaba sin gozo alguno la taza de la substancia aguada a la que le ponen por aqui el curioso nombre de hot chocolate.

There is much to avoid in the food there, do not get me wrong. The whole leg of chicken boiled in broth and served with the extremely unappetizing skin still clinging to it, for example—and yet I have no doubt the chicken itself was not raised in some darkened, cavernous barn and still tastes better. One ought to avoid places where instead of beef one might get donkey. But I can’t remember ever being disappointed by a potato there, or an avocado. And the fruit ought to be wondrous. I was never one for tamales or mute, but empanadas now . . . that might be breakfast, lunch and supper.

Ostias con arequipe. Was it ostias? Hosts. No, obleas. Obleas con arequipe. I think oblea means wafer, but they also have the habit of transliterating: Galletas wafer—with the W sounding more like a G+U = guafer; this habit confuses me sometimes They had these large waferish, brittle, mostly flavorless wafery things they sold joined with a layer of sweet arequipe. Arequipe is some kind of caramelized milk that they call dulze de leche in lower places and cajeta in Mexico where they do seem to have a tendency to match the wrong sound up with things more often than not. Arequipe is brown and creamy—like the word—sticky, very often, and actually comes with a variety of consistencies and textures. You can get it in a bowl and just eat it straight, if your mother will permit it. The bowl it comes in might come with a little wooden spoon.

There are places in Colombia where the thing to eat is ants or even fried goat. I was not reared in such places and am not even curious about such things. No, no quiero fritangas de chivo. They eat goat in northern Mexico: have whole restaurants in Monterrey where the thing to get is chivo. I am a man of the chicken, the pig and especially the cow. There ought to be good cow down there. You find an asadero where they cook half a cow on a spit over a wood pyre, to which one has to say: un poco mas, por favor, y mas aji (aji being their local hot pepper type of thing, wonderful with a taste I haven’t run into since and wonderful to numb the tongue so that when one drinks one’s soft drink after it, all one gets is the sense of fizz).

Special Note on the Avocado: El aguacate is coming more into use in the cuisine—or whatever you call the phenomenon—of these northern climes. We have one a week or so ourselves. Since it is not the sort of thing you can really cook, like lettuce, its uses are limited to those in which the lettuce might play a role. In a salad it is excellent, and alone, provided it has enough salt—that is key—it is excellent as well. My concern in this note is with the use of the avocado in sandwiches and hamburgers. It is a slippery fellow, the slice of avocado, and so it is my recommendation to persons using the avocado everywhere that they either scoop it out with a spoon and so mold it, in a way, to the curve of the sandwich when finding a place for it, or else place the slices on the bread itself, under the meat and cheese, you see, in order to keep it from slipping out.

The Queen’s Boots, continued

Not long after this, the Queen meditated a journey to visit her mother.

“But at this time of the year,” the King protested.

“I shall simply need a slightly larger retinue,” she said.

The king wondered if he could spare the soldiers, but on the whole was rather pleased to send her away for a while, as affairs of state were calling for his attention . . . and perhaps he’d have a little war on his hands before long.

“I think I shall need that boot maker,” she remarked as the King was about to depart quietly.

“Oh?”

“My dear, I don’t know whether I shall have the right shoes when I get there.”

“I see.”

“And I’ve never heard of them having any cobblers.”

“They must have cobblers. I seem to remember that your mother wore shoes.”

“Of course she wears shoes. I don’t think they have any persons who make them.”

“But where did the shoes come from?”

“I think they just never wear out, don’t you?”

The King pondered his reply for a moment. He decided to press the evasion, though it could be dangerous. “Perhaps, but where did the shoes come from to begin with?”

“Oh, Bardl made them I guess, like my old boots.”

“Those,” the King began, intending to point out that they had actually worn out. But he thought better of it and said, “Ah, Bardl. Fine chap. I wonder if he still makes shoes.”

“I think our royal boot maker—” She glanced at the King. “Do you suppose we can make him royal boot maker? We don’t seem to have one yet.”

“We don’t, do we?” Except, the King thought, the person making the boots for my army.

“I think we ought to have one, and I’d like to take him along with my retinue. It may be they are in need of a good boot maker at my mother’s.”

The King wondered if, were the thing ever to reach his enemies, he would ever live down the having of a court cobbler. What next?

“My dear—” he began, but she interrupted.

“Anyway, I shall need the fellow in my retinue.”

“Very well.”

The Queen smiled at the King, and the King, albeit with none of the same radiance, smiled gently on his queen and quietly left the room meditating war.

Caint Never Tell

So after three persons with whom I went to seminary picked through the two hundred books or so that I have managed to get rid of (I am realizing that I’m terrible at getting rid of books—I’ll never be down to 300 at this rate), I took the last lot to Half-Wit to be done with it. This place offered me $11 one time after another place offered me 50 cents, the second time I got $17. So this time I wasn’t counting on much.

I got $40 for what I don’t think even amounted to 40 books.

* * *
And there I found a nice set of the essays of Montaigne which lightened my earnings to $20 and burdened my shelves with three hefty tomes of binding that could survive a bombardment. You know, the original idea to go down to 300 volumes was from Joseph Epstein, but it is Joseph Epstein, with his love of this author and that, who keeps weighing down my shelves!

* * *
Another book: an extended interview with Seamus Heaney, the Anglophone poet of our age, is reviewed by that reliable critic, Adam Kirsch.

The golden tongue of the poet, one might suppose, is helpless before the leaden weight of power–as Heaney acknowledges, “In one sense the efficacy of poetry is nil–no lyric has ever stopped a tank.” But he goes on to insist that “in another sense, it is unlimited. It is like the writing in the sand in the face of which accusers and accused are left speechless and renewed.”

And

Heaney admires Czesaw Miosz, he tells O’Driscoll, because “his intellect wasn’t forced to choose between ‘perfection of the life or of the work’–it was forced to meld them.” In his sense of the reconcilability of poetry with goodness, Heaney is perhaps Miosz’s greatest disciple.

And

Yet it is possible to admire the nobility and the ingenuity of Heaney’s reconciliations without completely assenting to them.

And!

In his best and most serious work, however, Heaney is pious in another, more provocative way: he is reverent toward language itself.

Disillusions and Illusions of the Unexamined Life

The picture of a sunny kitchen greets me on the desktop, by coincidence. I have a memory of a sunny kitchen in Colombia that is with me every time I think of the perfect arrangement. It was a booth, of sorts, in an A-frame in a place I think was called Moniquira but may have been Morca or good old Mongui. The sun came on us and we ate sitting at our own private booth around the table, like a restaurant all for us.

That, of course, is my idea of how my wife should run the kitchen: a restaurant all for me. I’m very pleased with the progress of it so far, and I am happy to report that so is she. The irony of it all is that I’m not so great a judge, it seems. She took a test with General Mills for whom she tastes food and brought home a little of the sample that they tested. This concoction determines what quality of a taster a person is: if the concoction is repugnant one is a super-taster, if it is unpleasant one is in the middle, and if it tastes like water one is no taster at all. I tasted it without knowing and told her it was like water.

No surprises there, and hence perhaps my sometimes morbid concern with the texture of what I eat but especially the unusually exaggerated role my imagination plays in the meals I enjoy . . . or not. Of course, the test has the disadvantage of being one of those scientific things: a thing I would never trust unless I had no other alternative, like modern medicine. It is also reported that many who make their living tasting wine have scored as I, though it may mean that field, like any other field, is rife with frauds.

I just got back from another satisfying meal—at least I think it was. Before that I went to the library where a satisfying time was had reading a book not entirely without merit, sitting in the sun inside the glass, and watching all the weird who go there, including some very young persons interested in tasting the smoke of cigarettes or their companions. I had some coffee too, and wondered if I had any way of knowing if it were really good. I seem to have enjoyed it. It reminds me of the last and culminating experience of a trip to the central library in Columbus: the coffee with a double depth-charge. Something about quintessentially strong coffee and the freedom of a day away from work mingle in that memory. But knowing what I know, it may just be that I was savoring in the only way possible to me, the actual flavor of coffee.

Now I am left wondering what the world must taste like. Ah well, like Santayana says, it’s all illusion. Apparently he allowed for evil and for good illusion, which seems to me to introduce a concept into the illusion that is not illusion. Perhaps he did not say it’s all illusion and the trouble is I only think he said that—an illusion. Well, if it is an illusion, then when it comes to what I’m tasting, I seem to have picked a jolly good illusion.

Apologies

I had a comment pending moderation that I did not notice till today, and the comment is a few days old. It contains interesting links and is provided by the Ochlophobist. I approved it, but I am not sure anybody but he would notice that at last it came out, and that would be a shame.

Approvals have been made, apologies are extended (this might well be the first time I have ever apologized for anything on my blog), and all are who are curious ought to look here.

Surprised by a Thread of Joy

In the letters between C.S. Lewis and Arthur Greeves (most of them by Lewis) the 149th comes as Lewises reply to Greeves. Greeves had just undergone literary rejection, and though we do not have the letter that broke the news to Lewis, it is plain that Greeves had suffered a great blow. Lewis sympathized in a stern way. With his reply, he sent Greeves a bit of his journal in which he noted down his great struggle with the same sort of rejection and the awful despondency it brought on.

The despondency, in part, was due to the investment made. Lewis and Greeves had already cultivated connections and hoped for nothing so much as to become successful writers. All their correspondence is about books: they talk about contents, they talk about bindings and editions, they have a constellation of pleasures in common all around books. So Lewis writes to Greeves in 1930 and reminds him that he himself has gone through the same: has been rejected, has been despondent, has been subsequently accepted, and has still failed because the book bombed. He is a literary failure, he concludes, and he tells Greeves sternly: you must be prepared to accept this too before you can get on with your life.

Pause and reflect on that: in 1930 he was resigned to literary failure. He knew he could not stop writing, but now he had given up on success.

I know you’re looking through this letter for some scrap of commendation of your literary merit, Lewis says (or something like that) as he writes to his depressed and greatest friend. “But don’t you also see that I mustn’t give it?” That, after all, is not how mortification works.

After the letter itself comes the bit from Lewises journal. Lewis searches out his heart on the matter of his own devastating rejection in a strange and logical way. He rejects false conclusions and finally settles on one thing: he is disappointed because he wants to have the rank of poet for himself. One of the observations he makes that most struck me was that he notes that even if an angel were to tell him his poem was the best written ever but will never be acknowledged as such by mankind, he would have to admit he would still be disappointed. This, along with the recollection that he was truly happy writing the poem when only the object was in view, leads him to conclude in a way that begins to formulate some of the ideas that would later characterize his understanding of humility. He concluded that the subject has somehow eclipsed the view of the object of his endeavors. He was not content as he ought to have been to see what he saw, he wanted to be known as the person who saw such things.

He has footnotes, perhaps written for the benefit of Arthur Greeves, in his journal entry. He mentions in one of them Kant’s equalizing notion that we ought only to want for ourselves what we might universally desire for everyone else. This excludes the notion of pre-eminence, of course, which one cannot universalize. Lewis needed to mortify that sentimentality, Ambition; he needed to focus on the object and refuse to let the subject eclipse that view. That lesson led to a pretty good book eventually: Surprised by Joy.

Curious, isn’t it?

And here is one of the most unsentimental of all our poets, with a poem that I think says something much the same:

The Thread of Life
1
The irresponsive silence of the land,
The irresponsive sounding of the sea,
Speak both one message of one sense to me: —
Aloof, aloof, we stand aloof, so stand
Thou too aloof bound with the flawless band
Of inner solitude; we bind not thee;
But who from thy self—chain shall set thee free?
What heart shall touch thy heart? what hand thy hand?—
And I am sometimes proud and sometimes meek,
And sometimes I remember days of old
When fellowship seemed not so far to seek
And all the world and I seemed much less cold,
And at the rainbow’s foot lay surely gold,
And hope felt strong and life itself not weak.
2
Thus am I mine own prison. Everything
Around me free and sunny and at ease:
Or if in shadow, in a shade of trees
Which the sun kisses, where the gay birds sing
And where all winds make various murmuring;
Where bees are found, with honey for the bees;
Where sounds are music, and where silences
Are music of an unlike fashioning.
Then gaze I at the merrymaking crew,
And smile a moment and a moment sigh
Thinking: Why can I not rejoice with you ?
But soon I put the foolish fancy by:
I am not what I have nor what I do;
But what I was I am, I am even I.
3
Therefore myself is that one only thing
I hold to use or waste, to keep or give;
My sole possession every day I live,
And still mine own despite Time’s winnowing.
Ever mine own, while moons and seasons bring
From crudeness ripeness mellow and sanative;
Ever mine own, till Death shall ply his sieve;
And still mine own, when saints break grave and sing.
And this myself as king unto my King
I give, to Him Who gave Himself for me;
Who gives Himself to me, and bids me sing
A sweet new song of His redeemed set free;
He bids me sing: O death, where is thy sting?
And sing: O grave, where is thy victory?

—Christina Rossetti

On Weather

Here is an essay in which a New Yorker reflects on weather, the weather of September 11, 2001, and the way of the play of weather on human consciousness. Truly a beautiful piece of reflection.

The unexamined life is not worth living, it seems to me. We live under the weather, and if you read the Psalms at all, you notice that the Psalmists did as well. But they searched for meaning in the weather, and reflected on it and wrote their poetry to praise the God whose hand was always in the weather. I have been considering for the past few weeks, Psalm 29: God of the thunderstorm. Let Christians read Rochelle Gurstein as she reflects in the last paragraph,

Now that the natural world has been so thoroughly reduced to the requirements of abstract scientific thinking, it is increasingly difficult to see the weather from any perspective other than the scientific one. Who today would dream of calling our present-day weather catastrophes the moral and spiritual manifestation of our actions rather than the natural consequence of global warming? Or, more to the point, how many modern city dwellers have the leisure to imagine the weather as anything more than that which makes us turn on our air-conditioners or heaters or requires a winter coat or an umbrella?

And let them wonder if for them the natural world has been so thoroughly reduced to the requirements of abstract scientific thinking that it is increasingly difficult to see the weather from any perspective other than the scientific one.

En la primera parte de los años ochenta . . .

Bucaramanga lies in la zona calida, in the department of Santander, Colombia. We lived there first when I was less than five or five. I remember the neighbors to our right had an ice-cream cone making business and we would sometimes get the fragments and flawed cones hot off the press. They had yellow cones and pink cones, and the pink cones were the rare ones, though they seemed to taste the same. I also remember the neighbors on our left had some kind of wholesale supply business. Once their back room, the bodega, was filled to the top with bulk-packaged toilet paper, and what a time we had climbing around on that.

Soon we moved from the torrid zona calida up through the zona templada and right into the zona fria in the town of Sogamoso, in the brick baking regions (el ladrillo y otros productos de arcilla) of the quiet department of Boyaca of the potatoes and the onions (the potato is a thing of infinite variety, and to eat again the boiled and salted small, yellow potatoes is one of the joys I anticipate). Beyond the zona fria only the zonas de paramos y glaciales extend into the thin air.

And there in the zona fria of la cordillera oriental de los Andes Colombianos was the happiness of my childhood. And there, I find, when I think of the enjoinments of agrarians, critics of modernity, reprovers of consumerism, presentism, and all that jazz, is where my heart tends to incline in its futile yearnings. (Una finca por ahi, bajo los eucaliptos, entre los sauces en la alta montaña donde viene la neblina por la mañana a la hora que se huele la arepa y el café con leche.) I have been thinking about it because at last we took the plunge and bought the tickets and are headed thither for a week, my wife and I.

For a week . . . how will I find it? Grown, perhaps, beyond recognition. The fields (potreros) that lay at the end of our street where the dirt road continued will probably be ‘developed.’ The place I left when I was 12 years old will be smaller than formerly, no doubt, not so open and more filled up—I have read it on message boards. It had two traffic lights, neither of which worked, and I wonder if they still get away with that. El transito y el polvo.

I was remembering how we did not have a telephone in our house and how it seems to me now that everybody was getting telephones in their house when we were there, as I remember the novelty of prank calling was a big thing with our friends across the street; and I wonder: can it be that in the early 1980s they were just getting telephones wired into all the houses? We never had a phone when we lived there. There was one next door, in the house that we started to use for a church and was left from the woman who owned it once she died of cancer. She had run a school and perhaps needed to telephone to make it seem official; Doña Guma, she was, and her son was Armandito. I finished kindergarten and did first grade there: the kindergarten and first graders were in the back room, a roofed in patio, and the second and third graders were in the garage. In those houses, the garage was within the house and had no great separation between itself and the living room—and yes, some people who had cars actually parked them in the garage itself. But we never owned a car there either.

We ranged free in that place, as children. We walked to school and then walked home. But we walked everywhere, the only rule, as I remember, was that we had to be back for supper at . . . 7? I never remember any baby sitting happening to us, but then I never remember my parents going out to eat without taking us, or attending concerts or other functions in Sogamoso, like they did in Mexico City. Probably, this was due to the fact that there weren’t any. And I was trying to remember the lay of the land, the distances, the landmarks in my mind: the slaughterhouse and the train tracks, the center of town, the various parks, the streets with shops, the various churches, the various empty fields, the farmacias, lotes de tejo, the place where they sold chicks and you could see them on trays, panaderias, restaurants, bridges, river, slummier sections, la plaza de toros . . . and I realized we ranged pretty free in that place, collecting beetles, chasing sheep, climbing trees, rummaging under the portones of junk yards for strange bits of metal, spark plugs and other such treasure, buying gum until I got a wad stuck in my hair and it was banned, picking worms out of beans in our friend’s backyard, attending circuses, scattering mounds of sand piled for a building project on the street in front of a house, trampling my father’s garden, nursing abandoned fires with twigs and garbage, and the great seasons of collecting bottle caps.

And the people? That is the curiosity. Will any of those people with whom I went to school be there and recognize me? I them? Will I see wise Nestor who was the friend of Jorge who read encyclopedias? Will Carlos Andres Perez Pulido be there with his ears sticking out, or persons answering to the name of Yuber, Osvaldo, Ivan Dario, Javier, Ileana, Magda, Yolima and Natis? If I return to the Colegio Bilingüe Alejandro de Humboldt will I meet the bearded Don Pedro who wore a white lab coat, taught egregious English and hurled chalk and erasers at unruly third-graders who cringed in the corner and refused to stop making muecas at the rest of the class?

Sometimes I wish I could get a steady enough trickle of income by writing: then I would take my wife there and see about settling in among the folds of the Andes, under the swaying eucalyptus and the slow-moving clouds.

And End to Some of the Luxury

Well said. I like this guy.

Dust

Well, today another faithful old radio bit the dust. It was one of the old, heavy, rounded CD/Radio/Cassette players which have characterized my life since time out of mind. Not that I listen to the radio that much, as the chattering of inanities and the irrationality of it all get to me more often than not. This is probably due to the fact that I listen to pay attention more often than perhaps other people do, as I listen to books while I work and have been doing that steadily for some four or five years now. Another of my quirks that I have not been as zealous for as much as formerly is the pausing of music when I have to go outside of the range of hearing. I just hate to miss a part of it. (You know, that is really how I developed a good love for the operas I love. I would hear an aria and get the opera, then considering it unscrupulous just to harvest an aria out of it, listen to the whole thing for the sake of an aria and so I grew rich.) And so, as well, it might be said that I have lived a life in some ways characterized by these great, black plastic electronic devices.

I remember the ones that only had a tape player and radio. The dial of the radio was rather prominent on some of those (a great long spread for the needle to range, a prominent and large knob), and what they had in common was their excessive flatness. It might have been something of the general squareness of things back then, and they may better be described as rectilinear. A simple, old tape player—the rectangle with one square speaker after the part you put the cassette in and with the buttons in front of where you load the tape and then a handle to top it all off—was recently added to our household goods, and I was struck again with the flatness of the thing.

Things are much flatter nowadays, I much suspect—though I am not such an one as to run after all the latest little contraptions with their requirement that one insert the speaker inside of one’s body, surely a distasteful notion to decent persons everywhere and remarkable in that we seem to have become unnaturally accustomed to the thought that having ourselves plugged into a machine that it is no longer a repugnant thing; nay, verily, it is, it seems to me, a great deal of the basis of the appeal and not the least reason for white cords–which stand out–to be preferred, which is deplorable; fashion has probably always (though I am not the person to tell you about fashion) partaken in something of the irrational, I suppose, but this fashion of being plugged right into things with wires coming out of oneself (rather than clamped on one’s head—all of which makes you think that ancient persons who devoted themselves to the production of irreplaceable violins had ideas superior to those of the chaps who produce the small devices full of perishable circuits) does not, I think, tend in desirable directions—but the flatness of an older age contrasts with the bulk and roundness of these radios that have characterized, as I have said, such a great part of my life.*

And the blackness of the plastic was another thing. I remember how they came: dark and with a certain brightness to them. I remember the flexible gleam of the cords. Inevitably, these black boxes collected dust. I do not know how fastidious other persons may have been about the dust collecting on these large, black devices, but as I general rule I was seldom overly fastidious about it. Every once in a while I would wipe it off with a finger, but seldom did I take any cleaning agent or moisture of any sort to the thing. It was the proper ageing and familiarity of the thing that it collected—perhaps for mysterious reasons electronical—a dimness of dust. For all that these devices were round they had awkward angles, troughs to house the antennae, holes for plugs of various description, wells into which the handle sank, folded, swung, and other such articulations which tended to invite dust.

And the dust tended to settle. I have never seen an old radio of that description cleaned and returned to its former glory. I suppose that were I to trade in such goods, I would see such a thing, but acquisitiveness is not something with which I can be said to be afflicted. And so I know the dimness and familiarity of the mortality of their dust. Eventually they stop playing CDs—usually this first, though I still have one at work that only does CDs still, having developed a great fondness for the flavor of the tape that spools inside the cassette, it seems.

Well, their era, as I believe I have said above, has dimmed and wanes. I just threw one into the dumpster. It was probably purchased in Ohio, though it may have been purchased elsewhere—how is one to keep track of such things. The dust on it is the dust of former days and former places and will soon lie buried in a landfill for perhaps nameless ages.

*An egregious paragraph with at least three levels of interrupting, parenthetical dilations. It makes demands on your attention, and worse, on your intelligence, I know. I do not apologize.

For Thinking

Here begineth a series containing a lecture by Neil Postman and then questions and answers. He is very funny and always worth listening to even if you have heard (or read) what he has to say already.

Every so often I have to listen to Hava Nagila and so I trawl youtube looking for suitable renditions. I ran into some Klezmer music that all thinking persons will enjoy. You have to wait for the accordion, but it is worth it. This stuff intrigues me because the organizing principle behind it is completely inapparent.

Swimming

I must have been five years old, perhaps less. It is my first memory of a sleepless night. Sleepless with anticipation. I remember dreaming of concrete cisterns overflowing with clear, brownish water, stained orange and ochre. I think I dreamed of brown waters from another memory of bathing in a brown river—but I do not know if the brown river came before that day of swimming. I remember the anticipation I more clearly than the day itself. All that night I longed for the wetness of it, the happiness it undoubtedly would hold. When we got back I could still feel myself moving in the water as my muscles relived the memory of a day which I cannot now remember.

Some February Sunlight

This winter’s day is bright the way that June is bright. So intense is the sun that even well below freezing the water is trickling and standing on the paths, escaping from the ice which holds the scattered snowflakes.

A long crack runs down the middle of Shingle creek, following its turns inexactly, but extraordinarily prolonged. It reminds me that from Mr. G.K. Chesterton I have learned to look at the world with a wild eye when I catch myself wondering what it was decided to break the surface of the creek in half. I see a flock of birds leap into the air, fan out and wheel abruptly, vanishing, as if rehearsing for their springtime joy [lets try to stay in formation, lads, and perhaps make that turn tighter by a notch]. The grass beside the path is growing wan in winters wind. It murmurs mournfully: the ghost of summer’s grass in plain view; a banner of death; a skull grinning with anticipation of the resurrection, chuckling like dry grass: heheheheh.

Thank God for the books of Mr. G.K. Chesterton. Though nobody will find me the greatest enthusiast for his fiction (perhaps because I do not understand it), I am not last among those who admire his work, especially the non-fiction: the autobiography in which he takes a childhood memory and by means of gratitude turns it into a symbol of his religion; the wild defense of Orthodoxy; the way he indicts the respectable businessmen of ancient Carthage going in their business suits to church to roll another of their children into Moloch’s arms; books that have changed my experience of the world in the February sun.

Well Said

“I neither fear to die nor refuse to live. If it is to die, all that has been is but a slight intimation of what is to be. If it is to live, there is much that I hope to do in the interim.”

—Richard John Neuhaus

Were there ever truer words spoken than those in bold? And the whole thing is rather good.

One of the puzzles facing those of us who are persuaded we are conservatives is the puzzle of many seemingly competing and paradoxical conservativisms. There is much truth in the observation which I think Russell Kirk made to the effect that in a way, there is no conservativism, there are conservatives in all the glory of their many varieties. At the heart of it we recognize, it seems to me, the music: the deep organ sounds of the permanent things about which we are most in earnest, however these things work out—or the firmness of our several grasps on them is revealed—in actual practice. Perhaps it goes along with what Wilfred McClay says about the particular, local, diversified sources of the patriotism which Americans have in common. It is something, this business of people who are not modest about their convictions getting along, disagreeing, disappointing each other, finding things in common, finding levels of cooperation and levels of refusal to cooperate, all this which is a particular preoccupation for thinking people in our time, it seems to me, here at the end of the Modern Age in a world characterized by fragmentation and utter lack of conviction.

So here is Roger Kimball’s in memoriam for Neuhaus as a model of a neoconservative. At least it is food for thought, even if not food for enthusiastic agreement in every respect. Conviviality and conversation, he says, characterized the life of Neuhaus. Whatever he achieved, he seems to have been fascinated with aligning conviction and consensus.

Food & Patriotism

Mexico City is the World’s greatest food city . . . for now. It appears that in the name of public health that status may be endangered. It makes one shake the head.

Speaking of the sources of patriotism, Wilfred McClay has a worthwhile lecture: Is Patriotism an Idea? Many things worth thinking about here.

Missing Measures: Modern Poetry and the Revolt against Meter

Whatever else is said about Timothy Steele’s book, it is a learned book. He understands the conversation on poetry and on aesthetics that touches on poetry. You will find him discussing ancient conclusions about the practice of poetry and giving a pretty clear look into the aims and purposes the ancients had. You will find him sifting through the arguments of the Modernists and the Romantics, making his own arguments against Kant (persuasive) and Coleridge (not altogether compelling, but serviceable), summarizing, explaining, elucidating Thomas Mann, Walt Whitman and John Dryden. In short: as an introduction to the theory and aesthetics of poetry up to the present time, this book would work.

One of the things the book suffers from is a bit of pedantry. If it is thorough, it is thorough not always only as a means to clear and rigorous thinking but simply because, it appears, Steele is himself a thorough person. I do not know many academic persons, but it seems to me from what I have read that one of the failings many such persons have is that they are not thorough on principle, but thorough because of their temperament: they seem to have a constitutional inability to shift their attention from a thing until it has exhausted all possibility for attention regardless of its intrinsic interestingness. This is a great help to them in their research, but often clutters up their writing (and it is the same with some preachers and the sermons they preach).

Another thing the book suffers from is an absence of wit or any charm of style. Arguments are not carried only on the basis of logic. A dull argument will often leave people unmoved and a charming persuasion, even if the argument is bad, will tend to prevail. At one level it is shallow to judge a piece of writing merely on style. Yet it is well to remember that argument and persuasion ought to go together, though they often do not, and when the choice comes, it is desire that sits on the throne of the will. We human beings do not have overmuch desire for the truth, and a bald argument is hard to desire. There is much to be said for the way in which the argument is made, especially about whether the writer himself desires it or not. In a book attempting to persuade, style becomes rather crucial (especially when one things the same author wrote a book called All The Fun’s In How You Say A Thing —though the word Fun is telling; clearly Missing Measures was not written for fun).

Steele is one of the New Formalists. Among his accomplishments is the accomplishment of being a poet. In the sea of free verse that is modern poetical endeavor, the New Formalists write formal poetry which employs meter, rhyme and traditional forms. This book is the argument for it, a formidable argument for it, an ambitious argument for it—attempting to show that the moment of free verse is over (and perhaps it is), a learned argument for it, one with valuable insights and worth considering. In the end, however, even one who is sympathetic to its aims and understands the argument is left wondering why it does not persuade.

Though the style does not help the work along, however, it is not enough to overthrow the argument itself. It may be that Steele has notions of academic writing which favor an objective style in which the merit of the writing is based entirely on the truth of the premises and the soundness of the argument no matter how boring (I personally have a hard time believing the world is such a place as readily accommodates such notions, and reading some of the things he says at the end, I wonder if he doesn’t somehow agree with me). Kant seems to have gotten away with it, so why should not Steele? It does not appear he has—from my limited reading—and I think the style is a symptom of something else which is the problem.

The problem is that the argument does not tip the scale of possibility. One leaves the book with a great deal of understanding about the course of poetry as it flows down to our time, but one does not leave the book with any excitement about the possibilities for poetry as it continues flowing forward. One leaves the book wondering why so much effort was made to achieve a conclusion so modest. I had the same response to Adam Kirsch’s overview of modern poetry in light of the conclusion he drew in the final essay, which is very similar. There is something Aristotelian about it, some complacency of endeavor after such ambitious research. To paraphrase one of Brandoch Daha’s enlightening similes, it is as if in realizing they could never hit the sun, they argued just for shooting at a bush instead. Brandoch Daha points out that it is easier to aim at a bush, but that such shots never get very high. This lack of appeal is a problem for the New Formalists.

One of the weaknesses of Missing Measures is that while it is rich in interaction with the thoughts and ideas of poets, it very seldom interacts with their poetry itself. And this epitomizes the failure and mediocrity of these attempts. While the ideas are learned, while the arguments are generally sound, one has to wonder whether ideas and arguments exhaust the poetry of poets. One has to wonder whether the real dealing is sidetracked on theories that, however learned, imperfectly inform the practice of an art which depends as much or more on inspiration as it does on calculation and which has never been altogether satisfactorily reduced to an explanation.

It is worth observing that part of Steele’s argument is that in some ways the Modernists wrote better than they knew. He makes this point not only with regard to Pound, of whom it might be expected, but also with regard to Eliot. The Romantic revolution of Wordsworth and Coleridge and the Modernist revolution of Eliot and Pound came with arguments and disquisitions, but the revolutions were carried off—they triumphed—in the incarnation of poetry that was new, and yet compellingly poetic. Which is why one has to wonder why instead of examining the theory and aesthetic rationale of poetry, Steele does not offer us a book examining the works of Formalist Poets, helping us by way of criticism to understand its glories. Well, it is disingenuous to say that one wonders.

No doubt when it come to the theories and arguments of Modernism in many ways Steele has the mastery of them. It does appear from his book that in many ways the Modern masters wrote better than they knew. Reading Formalist attempts one wishes they wrote greater poetry than arguments. Romanticism triumphed in revolution. Classisism, as Jaques Barzun has pointed out, was responsible with its arid assumptions and hypocrisies for the Romantic revolt. It had inhuman notions of humanity, and eventually people turned on it for its complacency. Romanticism, you can be sure, is not without its dangers; but it is foolish to believe the alternative does not tend toward mediocrity and complacency. Of course, Classisism can hardly be expected even to meditate revolution with any consistency (alas!), but perhaps it can still benefit us by boring us into another revolt against it should apathy grant it ascendance.

Missing Measures does include one poem; it concludes the book. To read it one would think Steele’s argument could be summed up with saying: why don’t we just do what Robert Frost was doing? It is a fine question. Why don’t poets like Steele provide us with the sort of poetry Robert Frost did?

Nevertheless it is a worthwhile book that Steele has written. Learning is always valuable, and though learned persons are often frustrating because their thoroughness is sometimes petty and their cautions sometimes fosters timidity, we would not be without such persons—if for no other reason than to get the necessary work they do done!

I am not against defending and theorizing. I think the art has to be informed by clear thinking; but I do not believe calculation—as I have characterized thinking—does more than clarify what intuition or inspiration provides. Desire leads; thinking follows, sorting and clarifying. We do what we want, not what we think we ought to want. We ought to want the right things, certainly, and we must purify our desires and discipline them. But when it comes to the right things, we have to do more than think about them, we ought to want them. And if we want other people to have them, we ought to help them to want them.

If our various attempts at poetry, our conflicting theories and debates all have something of the truth (which must be conceded, but which never comes without dissatisfactions) it is because we have only so far only received intimations of that which we pursue: Real Poetry. It is not a cause for despair or relativism; after all, we recognize poetry in the alien Hebrew forms, in translations from Asian languages, in Greek and Roman and Italian, in the forms of English and the free verse of T.S. Eliot. All of these partake of the idea of poetry, but they do not exhaust all its possible instantiations. True, there are meters some languages prefer, there are forms that some languages favor, but it seems to me that the ultimate persuasion is the production of compelling poetry. And I think that is still why free verse prevails over formal poetry in our day. It is difficult to find that distinct but elusive music which sounds mysteriously in the best poetry and which speaks to the heart in modern attempts at formal verse.

Friendlies

The Ochlophobist—may his solitude continue uninterrupted—has some reflections after the shots of Rural Russia. Very interesting quotation from a chap who enjoyed his country walks. Not only has this enviable chap (the Ochlophobist, now) lived and worked at Loome’s Books, it seems he has traveled in Russia as well. It seems the only thing missing in his life is a large barrel of cider.

One of the things missing in my life is no longer to own this recording of the trio sonatas as performed by the capable John Butt. I have got them via download and am not disappointed in the quality. Very funny organ he has. Somehow as a result of this download I ought to be able to find out more about it, but I am not sure how that’s going to work.

At the Conservatory

The jungle is a predatory place: you have the smell of it—the smell of earth and moisture, you have the unabashed fecundity, the wet, the sinuous, the tangle of growth, its quiet sense of reaching, lolling, dangling, growing; you have the creatures: sloth and snake, hideous frog and delicate frog and stupid, staring fish; and you have the suggestion of the predators: lithe and tawny . . . formidable, unseen.

The conservatory is a place of peculiar smells. Strange, artificial breezes waft toward one odors not routinely encountered. Flowers bloom there, water drips and murmurs, soaking and flowing with peaceful purpose. You can smell the water, the plants, the soil. And birds are heard. One wonders about the insect, though one doesn’t see any. The flowers and the ferns grow lush and modest in their warm and in their cool adjoining climates.

People? Flower connoisseurs go slowly, talking with their hands behind their backs. Other persons peer under the ferns, seeking . . . insects? Mothers are there, with toddlers: they descend and they invade. You understand the frayed edges of the lowest plants. It is a place of quiet, calm, and running water, all within fragile glass walls.

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