The last step that Reason takes is to recognize that there is an infinity of things that lie beyond it. Reason is a poor thing indeed if it does not succeed in knowing that.
Thursday, February 21, 2013
The last step that Reason takes is to recognize that there is an infinity of things that lie beyond it. Reason is a poor thing indeed if it does not succeed in knowing that.
Monday, September 10, 2012
In addition to being an anthropological document, there are also glimpses into the conquistador mindset, motivated by a brutal greed (it is a lust for rumored gold that leads the expedition astray in the first place). He doesn't spare the details of the misery of the survivors, stalked by native archers and beaten mercilessly while on the verge of death, although the episodes of cannibalism brought on by the maddening pangs of starvation are passed over somewhat quickly.
While the narrative of travel is frustratingly vague regarding de Vaca's route, it is filled with details and observations regarding the native Americans he encountered, and must count as the earliest description of these people and their harsh lifestyle. The Spanish suffered many depredations along the journey: de Vaca survived due to his adaptability and no small amount of luck. He found a useful function as a trader among the various tribes, and eventually he and his companions acquired reputations as great healers. His sense of compassion - rare among soldiers of fortune- must also have served him well in his darker moments.
Cabeza de Vaca's narrative is a testament of human endurance and adaptability under extreme circumstances.
Posted by Makif'at at 10:24 PM
Tuesday, August 14, 2012
In tracing the influence of the Nights from its first Occidental appearance in Antoine Galland’s French translation (1704-1717) and through the iterations of Edward Lane and Richard Burton, among others, Warner harvests fertile ground. Within five separate sections, she explores significant themes interspersed with retellings of fifteen stories from the Nights. As the title of Warner’s book reminds us, The Thousand and One Nights is a book of magic, although for us in the Occident, much of its magic may come from the interpretive powers of its translators (the eroticism of Burton springs most immediately to mind, although we must bear in mind that much of the spice in his retelling is contained in the voluminous footnotes). Still, as a collection of tales, it is impressive, deriving from Persian, Turkish, Chinese, Arabic, Egyptian, Indian, and God knows what other sources, and with the influence of some of the tales reaching as far as Chaucer’s England. But what is at least as impressive as the tales is the ingenious frame story: it hardly needs repeating how Sharazad saves herself from beheading by the Sultan Shariyar by entertaining her sister (and, silently, the Sultan) with stories within stories, extending through the night, through days of silence, to be resumed the next night. The doom that hovers over Sharazad is due to womanly treachery suffered by the Sultan and his brother, treachery for which all women must pay as each night the Sultan takes a virgin bride only to have her beheaded with the morning light. It is Sharazad’s accomplishment not only to save herself, but to also bend the Sultan’s distrust of women. Surely, the early stories contain their share of female treachery, but over time, Sharazad subtly introduces the theme of the pure and noble woman, capable of great love and sacrifice, and in this manner softens the Sultan’s heart (the Sultan also discovers, at the end of his thousand and one nights, that Sharazad has borne him two children!).
(As a sidenote, I must relate the curious fact that two of the most popular tales of the Nights, those of Aladdin and of Ali Baba and the Forty Thieves, do not actually appear in the original texts of the Nights, but were added by Galland, based upon oral tales related by an informant, a Christian Arab from Aleppo, after his original translations proved so successful that a series of sequels was warranted.)
It would be exhausting to relate the themes that Warner examines in 436 pages (not counting another hundred or so pages of glossary, notes, bibliography, and index). She touches on the medieval legend of Solomon the Wise King, a large figure in the mythology of three religions, and inspiration for countless tales of magians and alchemists; flying carpets and other enchanted objects; the description and use of talismans; the supernatural djinn; Voltaire’s Orientalist tales; Goethe’s East-West Divan; Beckford’s sublime and underknown gothic novel Vathek; flying machines; Lotte Reiniger’s silent film The Adventures of Prince Achmed; Aladdin as holiday pantomime; and the Persian carpet which adorned Freud’s couch, and upon which his patients explored their own subconscious as the tales of the Nights awaken our own.
Stranger Magic is an intense book, and one demanding of attention. Obviously, some of the themes Warner flits off after will hold more fascination than others, but the possibilities of the Nights seem endless, and one can’t fault the author for taking her thoughts wherever they lead. Keep this one on the shelf next to Robert Irwin’s The Arabian Nights: A Companion, and Penguin’s superb and exhaustive recent three volume edition of The Arabian Nights in the Malcolm C. Lyons translation.
Posted by Makif'at at 11:40 PM
Thursday, August 09, 2012
Available free for Kindle for Amazon Prime members.
Posted by Makif'at at 11:17 PM
Tuesday, July 03, 2012
|John Soane House, London|
It is a book of not doing and not being various things most people do and are, and is set in a remote time as a way of saying I cannot hear you, or I could not heed you so finally I can no longer hear you, or I could not heed you so finally I can no longer hear you. The book shows nothing as pronounced as renunciation, but makes a drama of abstention, the things one has not done are more memorable, life lies in deliberately unused possibility which is a preserved youth. Pater resembles in this his descendant C.S. Lewis, another cloistered child-scholar, who creates even more emphatically than Marius a life based on a dreamed recollection of generalized childhood.
The concluding essays address the world in miniature, our attempts to circumscribe, and, in a sense, immobilize the human landscape and artifacts through maps, museums, and catalogues.
|Plan of William Beckford's Fonthill Abbey|
Posted by Makif'at at 11:22 PM
Sunday, June 24, 2012
Posted by Makif'at at 10:20 PM
Thursday, March 15, 2012
Published in the years 1895-96, Przybyszewski’s Homo Sapiens is a trilogy of novellas comprised of Overboard, Under Way, and In the Maelstrom, detailing the rise and moral unraveling of a young Polish author in 1890’s Berlin and, according to George Schoolfield in his A Baedeker of Decadence, contains more than a modicum of autobiographical reference. Erik Falk is an aspiring superman and nascent anarchist who, in these episodes, leaves a trail of suicide and broken spirits in his wake. The first novella describes his seduction of Isa, the girlfriend of an original and promising artist (modeled after Edvard Munch). Self-satisfied, he escapes with his prize even as the artist kills himself in despair. In the second installment, Falk, now with a wife and child at home, goes on an extended trip to his home town, and there becomes obsessed with the seduction in mind and body of a pious young girl. With his mission accomplished, he again takes his leave. Abandoned, and learning that Falk has a wife and son back in Berlin, the girl drowns herself in the river.
In the Maelstrom continues Falk’s downward spiral. Already an alcoholic, and with yet another mistress and child hidden discreetly away, he becomes obsessed with threats by an acquaintance, a former political ally with whom he has fallen out, to reveal his secret life to Isa. Falk brings others into a web of deception, and, when deepening despair brings him to thoughts of suicide, he finds himself lacking the courage, and so goads another anarchic socialist acquaintance, who maintains some curiously bourgeois sensibilities, into challenging him to a duel of honor in the hope that the man will kill him. But fate has other plans, and, now abandoned by his wife, Falk gets out with nary a scratch. Buoyed by a sense of egotistical invincibility and cleansed, through monomania and psychic degradation, of all the binds of family and social obligation, he coolly picks himself up, finds another woman, and strides off to begin again.
Homo Sapiens was published in English translation by Knopf in 1915, with a laudatory introduction praising Przybyszewski as Poland’s greatest living author. However, as Schoolfield notes, the “obscenity” of the subject matter, combined with the author’s pro-German sympathies during the First World War effectively marginalized him from the English-speaking world. Some of his works, including the 1915 edition of Homo Sapiens, can be found on Internet Archive, albeit in a somewhat overwrought translations which would likely benefit by some updating. The political concerns of the time, which result in a couple of long digressions in the book, hold no special interest for most readers anymore, but Schoolfield’s essay gives a good overview of the presence of the anarchic terrorist in a surprisingly wide range of works of the time from Conrad to Bely, and from Conan Doyle to Chesterton. The theme of the Nietzschean anti-hero who abandons the strictures of conventional morality was becoming a convention of philosophical literature at the time this trilogy was written, and would continue through to Brecht’s Baal and beyond. If you can deal with the issues inherent in a translation almost a century old, I’d recommend fellow devotees of decadent literature to seek this one out.
Posted by Makif'at at 10:54 PM
Friday, February 03, 2012
Translated by Paul Lunde and Caroline Stone, and issued in 2007 in Penguin’s “Great Journeys” series, this volume is a small selection from Mas’udi’s massive historical encyclopedia Meadows of Gold and Mines of Gems, of which the only other English translation appears to have been the volume published in 1841 by Aloys Sprenger under the auspices of the Oriental Translation Fund of Great Britain. A complete translation of the five volumes would be a daunting task. It appears that the Penguin selection functioned as a preview of a larger work envisioned for publication as a Penguin Classic, however, I have found no indication that this project is advancing.*
Written in the tenth century in Baghdad, Meadows of Gold and Mines of Gems is an encyclopedic universal history, based not only upon Mas’udi’s researches, but on his extensive travels as well. He gives descriptions of the lands and customs of Islamic Spain, the Mediterranean, Frankish Europe, the Norsemen, the Slavs, and the various tribes of the Caucasus and beyond. He also ventures descriptions of Egypt and Africa, India, China, Southeast Asia, and the Indonesian archipelago. This volume, being such a radical abridgement, gives but a taste of the larger work, to which Mas’udi brings a remarkably cosmopolitan eye.
In the Sprenger edition, Mas’udi notes that he has given his work a rich name “in order to excite a desire and curiosity after its contents, and to make the mind eager to become acquainted with history.” Having perused the Sprenger, I would have to say that it is a real treat, a fountain of lore beginning with the creation of the world, tracing, in the Arabic iteration, the story of the Old Testament and the life of Jesus, moving on to the history and religion of the Indian subcontinent, then to a general discussion of geography and astronomy, seas and rivers, oceanography, the Chinese Empire, island peoples, Spain, perfumes, the Caucasus tribes (with special attention to the Khazars, who adopted Judaism after conference with representatives of the three Abrahamic religions), Russia, the Byzantine Empire, and an entertaining diversion regarding the distribution and astonishing habits of monkeys.
The present translation, though laudable, doesn’t hold a candle to the 1841 edition, which one can easily access through Internet Archive. The Penguin is, for me, too disjointed, breaking the narrative into mostly short paragraphs on diverse subjects (the histories of chess and backgammon, electric catfish), which are, by turns, informative and fantastic. Still, in any version, Masu’udi is an entertaining guide, deserving of his reputation as an Arabic Herodotus, a prodigious traveler, historian, and naturalist. Sadly, only two of his known thirty-six works have survived. Despite lapses into pedantry, they are deserving of a larger audience.
*Apparently a selection focusing exclusively on Mas'udi's account of the Abbasid Dynasty has been published.
Tuesday, November 08, 2011
A charming and satiric fantasy. Dr. Lao's circus pulls into the dusty little town of Abalone, Arizona, beguiling the jaded residents with impossible creatures and tapping into their deepest dreams and desires. Published in 1935, Finney's book is escapist entertainment, but with a particular bite. The residents are, for the most part singularly unimpressed with the parade of chimeras, satyrs, sea serpents, hermaphrodites and unicorns.
Dr. Lao is a stereotypical eastern sage, speaking in an appropriately musical Charlie Chan voice, herein exasperated with a family of skeptics:
"Whatsah mattah? You tink someblody makeum fool allah time. I no fool you. You come this place looky look; you looky look. By Glod, I no charge you nothing. You go in flor nothing; takeum whole dam family flor nothing. You see: I no fool you. This place no catchum fake. This my show, by Glod!"
But falling into carney-speak when the mood strikes:
"Don't be foolin' with that animal, mister..."
While the men attend a risque tent show, the town Lonelyhearts consults Apollonius of Tyana for a fortunetelling session, a session in which, at wit's end at the woman's persistence, the oracle is forced to give it to her straight:
"Well, I paid you, read my future."
"Tomorrow will be like today, and the day after tomorrow will be like day before yesterday," said Apollonius. "I see your remaining days each as quiet, tedious collections of hours. You will not travel anywhere. You will think no new thoughts. You will experience no new passions. Older you will become but not wiser. Stiffer but not more dignified. Childless you are, and childless you shall remain. Of that suppleness you once commanded in your youth, of that strange simplicity which once attracted a few men to you, neither endures, nor shall you recapture any of them anymore. People will talk to you and visit with you out of sentiment or pity, not because you have anything to offer them. Have you ever seen an old cornstalk turning brown, dying, but refusing to fall over, upon which stray birds alight now and then, hardly remarking what it is they perch on? That is you. I cannot fathom your place in life's economy. A living thing should either create or destroy according to its capacity and caprice, but you, you do neither. You only live on dreaming of the nice things you would like to have happen to you but which never happen; and you wonder vaguely why the young lives about you which you occasionally chide for a fancied impropriety never listen to you and seem to flee at your approach. When you die you will be buried and forgotten and that is all. The morticians will enclose you in a worm-proof casket, thus sealing even unto eternity the clay of your uselessness. And for all the good or evil, creation or destruction, that your living might have accomplished, you might just as well has never lived at all. I cannot see the purpose in such a life. I can see in it only vulgar, shocking waste."
"I thought you said you didn't evaluate lives", snapped Mrs. Cassan.
The evening ends in a an impossible phantasmagoria under the bigtop, with a full scale sacrificial ritual to the great god Yottle complete with virgins, a spectacular from which the townsfolk file out and home to bed, to rest and rise another day.
Finney supplies a detailed and hilarious appendix cataloging in minute detail the residents of the town, the beasts, and the questions and contradictions in the book that pass unresolved. The Bison Books edition includes the wonderful illustrations by the appropriately exotically named Boris Artzybasheff. Terrific fun.
I have no critical expertise with regard to science fiction, and don’t count myself as a particular fan of the genre, but no such expertise is necessary in making the assertion that A Voyage to Arcturus is a seminal novel with far reaching influence in the realms of science fiction and fantasy. Published in 1920 in the aftermath of the Great War, Lindsay’s novel represents a quest for a utopia, a philosophical search for the ideal condition to which man must aspire, but doomed to end in the pessimism which was the enduring legacy of that war. Tweedy ol’ Professor Lewis found in this book inspiration for his own Space Trilogy, and recommended it highly to Professor Tolkien. Decades later, Harold Bloom praised the novel enthusiastically, and, picking up on the many Gnostic elements in the tale, attempted a sequel, a Gnostic fantasy entitled The Flight to Lucifer.
There are certainly others who have made a touchstone of this novel. It is a classic of science fiction, but not the comparatively mundane sci-fi of Verne and Wells, but rather a whole different breed. There is little in the way of hardware or mechanics of space travel: there are no ray-guns or esoteric technologies (the means by which the protagonist, Maskull reaches the Arcturian planet Tormance is almost laughable: the flimsy spacecraft is projected back to Arcturus by means of some “reverse rays”, kept corked in a bottle, which travel back to their source), but one can easily imagine the producers of a film like “Avatar” seeking inspiration in the exotic and dynamic life forms of Tormance.
The hero Maskull, who is himself a bit of an odd duck on planet Earth, witnesses a strange physical manifestation during a séance in an English country house. He is approached by a stranger, the demonic Krag, who proposes that he and a companion meet at an abandoned observatory in order to partake in a particular adventure – travel to the region of Arcturus, a distant binary star system. The scenes in the observatory are weird enough, for the structure is clearly a portal through time and space, but once on Tormance, the magical mystery tour begins in earnest. I won’t catalogue the personalities Maskull encounters in the strange realms of this distant world. His adventures are rather episodic, with each encounter exemplifying a particular lifestyle seen by its adherents as ideal, and while there are various ethical and moral viewpoints presented, Lindsay most definitely has some perspectives on sexuality that were ahead of their time.
Once on Tormance, Maskull finds he has the peculiar ability to sprout (and lose) extra limbs and manifest new sense organs as necessitated by the situation. This seems to be entirely appropriate to the planet, which in itself seems to be in a constant state of dynamic change. There are strange life forms and landscapes that seem to mutate constantly, and new colors occasioned by the fact that each of the two suns around which the planet revolves emit an idiosyncratic spectrum of light. One can detect some Buddhist concepts floating around in this novel, none perhaps so obvious as the Buddha’s admonition that “change is inherent in all things”: on Tormance, change appears to be fast and constant. Lindsay invents some remarkable descriptions for the planet, and they are one of the beauties of this well-imagined novel.
Another peculiarity of Tormance is that it appears to be a sort of ghost world. The entities that Maskull encounters are almost all solitary, or at least live in solitary surroundings. Again, there is no indication of “civilization”, and no evidence of advanced technologies. The higher powers, which must be imagined as dieties, seem to be specific to the planet, and do not seem to possess omnipotence, another mark of the Gnostic demiurge. It almost seems to be a planet of anchorites, each integrated into a unique landscape, or perhaps into its own private heaven or hell.
Maskull was invited to Tormance with the full understanding that his death would be inevitable. The few days’ time in which the narrative takes place form a quest, a quest for a Gnostic demiurge known variously as Shaping, Surtur, and Crystalman (the latter being known primarily through the sardonic death mask which reshapes the face of the deceased immediately after death - a remembrance, perhaps, of the war dead Lindsay had seen in the trenches). One must also mention that Maskull has the odd and disturbing compulsion to murder just about every sentient being that crosses his path on this alien world, either through anger, self defense, or simple misadventure. Maskull is quite the fickle soul, making an earnest promise to the first ethereal space sylph he meets to abstain from eating any living thing during his sojourn (the intoxicating water should suffice), but abandoning the vow at the first whiff of some extraterrestrial barbecue. In fact, for all his avowed independence, Maskull seems to be putty in the hands of every alien he meets, coming round to each of their unique philosophical points of view with alarming facility. The downside of this (for the alien, that is) is that he doesn’t need much persuasion to bash one alien’s head in with a handy rock so that he can move on to the next chapter of his intergalactic pilgrim’s progress, for Maskull is heading for a revelation, and he ain’t got time to waste.
Fascinating as it is in places, A Voyage to Arcturus has, through much of its narrative a rather tedious quality for the 21st century reader. It is one of those influential novels the daring of which has become blunted with time and imitations, but which was close to inaccessible for its contemporaries. It is certainly a necessary read for anyone interested in the roots of modern fantasy and science fiction. It is available as a volume in Gollancz’s excellent “Fantasy Masterworks” series, and in an edition of Bison’s equally worthwhile “Frontiers of Imagination” series.
Thursday, October 13, 2011
The press notices included in the appendix to my Everyman edition of The Three Imposters (1895) testify to the almost universal revulsion this novel induced upon publication. The Liverpool Mercury - which one must assume comes down firmly on the side of the necessity of moral fiction - reported that “(n)o one can be made happier or better by such a book as this, but on the contrary the reader’s mind is likely to become stored with images and ideas that cannot but have an undesirable effect.” The Liverpool Courier was even more blunt in declaring “Ugh! A more repulsive catalogue of horrors it would be difficult to imagine, and its existence can only be attributed to the occasional perversity of man.” Other reviewers simply found the book unimpressive, and derivative of the recent work of Stevenson, particularly his New Arabian Nights, a debt which Machen seems to readily acknowledge in his characterizations and plot devices. In short, Machen tended to be seen as a sensationalist, dwelling on the ugly and repulsive, and making the clear choice of reveling in the descriptive horror of the grotesque, rather than leaving anything to the imagination. Machen himself disavowed all but a couple of episodes in the book.
From a distance of more than a century, we can appreciate the book on its own merits, and recognize its publication as a signal event in the development of the fiction of the weird and uncanny. This novel is, to me, greater than the sum of its parts, although the parts have merit on their own. Within the frame story of the elusive character of the “young man with spectacles” the book is largely a collection of tales of the demonic and grotesque, there are weird tentacled humans, dripping with slime such as might warm the heart of a Lovecraft fanatic (as it did Lovecraft himself), a Jekyll and Hyde character (another homage to Stevenson) who taps into his atavistic demons in the “Novel of the White Powder”, and a secret society whose tentacles are metaphorical, if none the less deadly. There are scenes of grisly torture, and a moment or two of grim humor besides (note: always read the instructions for your new torture devices before operating!).
The novel utilizes a minor “a long the riverrun” device, and I can’t imagine turning the last page without proceeding immediately to the first, as the ending elucidates the Prologue. Beyond the individual stories told by the so-called “imposters”, there is an undercurrent of deception and evil intent. The imposters are on the trail of the gold Tiberius, a rare talismanic coin which serves as this novel’s macguffin. The central pigeon is a Mr. Dyson, a hapless figure only slightly less clueless than his friend, Mr. Phillipps. It is he who hears from the imposters the series of improbable tales regarding the (supposedly) sinister young man with spectacles, and the two are witness to the morbid denoument in a dilapidated mansion on the outskirts of London.
The Three Imposters is an extended piece of strange fiction which enthusiastically utilizes Machen’s favorite themes of cruel human obsession and demonic atavism as presented in The Great God Pan and The Hill of Dreams. It is an entertaining work, with a nice balance of horror and humor, and it has survived its critics to become a classic of the genre.
Tuesday, September 06, 2011
William Hallahan's The Search for Joseph Tully is one of a number of supernatural thrillers dating from the late 60’s-early 70’s that include Rosemary’s Baby, The Other (see below), and the best of the lot, The Exorcist. This particular story centers on a dual narrative involving Peter Richardson, a Brooklynite having horrible, maddening premonitions of death, and Matthew Willow, a British genealogist searching for the descendants of one Joseph Tully, a resident of London in the year of Our Lord 1779. The book is a decent page turner, even though one figures out pretty quickly just how the narratives are likely to intersect in the latest iteration of the eternal recurrence of a revenge narrative necessitated by events in the gruesome prologue, set in a Roman catacomb in 1498, in which two bound men are sickeningly pierced, sliced and decapitated by a red hot sword. The dramatis personae are mainly the residents of Brevoort House, a decrepit building awaiting the wrecking ball and include the obligatory clairvoyant; an artist who dies trying to warn Richardson of his impending doom by means of a creepy mural; and a defrocked priest with a deep interest in the teachings of Giordano Bruno regarding the transmigration of souls. The story attempts to make genealogical research sexy - with limited success – although this angle does underline the perspective that we are attending to a story that spans centuries and the lives of numerous individuals. Mr. Hallahan apparently had an abiding interest in Pre-Revolutionary American, having written a couple of nonfiction works set in this time frame, and he fleshes out this book with descriptive passages on life in the wilds of colonial New Jersey.
This book is nicely atmospheric, with the backdrop of a suitably bleak winter with the wind cutting through the pages like a steel blade (hint, hint). Still, I found the ending unsatisfyingly abrupt for my taste. It seems Millipede Press brought out a nice new edition of this book a few years ago, but Hollywood apparently resisted the temptation to add it to the list of supernatural horror flicks that deluged theaters in the wake of the film adaptations of the aforementioned works.
A subgenre of the thriller/horror film trend of the early 1970’s was the gruesome “evil child” melodrama, one of which was derived from Thomas Tryon's novel The Other. Tryon’s novel is indeed gruesome and melodramatic, as well as gratingly pretentious in places. But it has not aged too badly, despite having been subsequently swamped by the Stephen King tidal wave of popular horror fiction. It has all the hallmarks of latter-day gothic – a creaky and labyrinthine old New England house, strange children with strange powers, insanity, a family seemingly under a dark curse, comfortingly predicable plot twists, and a satisfyingly sufficient number of creepy deaths. There are those who hail The Other as a significant work of modern horror, and, not having read widely in modern horror, I won’t argue the point. A quick and passably entertaining read.