Waggish

David Auerbach on literature, tech, film, etc.

Category: Essays (page 41 of 46)

Richard Hughes: A High Wind in Jamaica

Once fully convinced of this astonishing fact, that she was now Emily Bas-Thornton (why she inserted the “now she did not know, for she certainly imagined no transmigrational nonsense of having been any one else before), she began seriously to reckon its implications.

First, what agency had so ordered it that out of all the people in the world who she might have been, she was this particular one, this Emily: born in such-and-such a year out of all the years in Time, and encased in this particular rather pleasing little casket of flesh? Had she chosen herself, or had God done it?

The sheer oddness of this book really defies summary. The choice of Henry Darger for the cover picture is, as Dan Schank commented, entirely appropriate for this wispy tale of young children on a benevolent pirate ship, and the ensuing lost innocence, etc. But the book pulls in other directions simultaneously; hints of developing sexuality have to contend with the metaphysics of the passage above and one very bizarre murder. And what is one to make of this offhand paragraph?

Mathias shrugged. After all, a criminal lawyer is not concerned with facts. He is concerned with probabilities. It is the novelist who is concerned with facts, whose job it is to say what a particular man did do on a particular occasion: the lawyer does not, cannot be expected to go further than to show what the ordinary man would be most likely to do under presumed circumstances.

The novel throws off odd sparks like this one regularly, and despite the closeness the narration eventually takes to Emily’s inner voice, the narrator asserts himself (and it’s definitely a he) as a separate and adult voice throughout. I can’t come to a general sense of how the child and adult voices mix, but it does appear that the adult narrator is moving towards the same tactile emotional sensitivity that Emily encounters as she moves into adolescence. (She is 10.) So when this paragraph rises up in an otherwise pedestrian scene–

There is a period in the relations of children with any new grown-up in charge of them, the period between first acquaintance and the first reproof, which can only be compared to the primordial innocence of Eden. Once a reproof has been administered, this can never be recovered again.

–the novel seems to have thoroughly inhabited the child’s state of mind, which stretches outward to contort the novel into unreal and fable-like shapes. It may bear a slight resemblance to Nabokov’s darker fairy tales like Despair and Bend Sinister, but mostly its world is its own.

Ingeborg Bachmann: Three Paths to the Lake

It wouldn’t do to return to Paris and tell Philippe he should take his pajamas, his razor and his few books and get out, it wouldn’t be that easy, and there were still things which had to be done for his sake. The phrases–I don’t need you, I don’t need anyone, it doesn’t have anything to do with you, it’s just me, and I don’t feel like explaining it!–were easy to think but not easy to say, just like that, in Paris, just as she couldn’t very well say: My brother has gotten married and it’s over between us, I hope you understand. There was only one hope she didn’t and wouldn’t allow herself to hold on to: that if, in almost thirty years, she hadn’t found a man, not a single one, who was exclusively significant for her, not a single one who was really a man and not an eccentric, a weakling or one of the needy the world was full of–then the man simply didn’t exist, and as long as this New Man did not exist, one could only be friendly and kind to one another, for a while. There was nothing more to make of it, and it would be strong and mysterious and have real greatness, something to which each could once against submit.

David B. on Esoterism

From The Comics Journal’s interview of David B.:

WIVEL: Why is occultism so fascinating to you, compared to other belief systems?

DAVID B: Because it alludes to another dimension, another possibility. That is to say that there are things that are hidden, a hidden dimension. And that’s exactly what was going on with my brother’s illness. One moment he’d seem normal, and then suddenly there would be a seizure that made him fall to the ground. So by necessity, in order to understand the discrepancy between these two states, which constituted my brother’s reality, I tried to find the explanation in something that was within my frame of reference. I found it in occultism, more so than in clinical reality, because anyway, the physicians were incapable of curing him — so I had to go elsewhere. That’s what my parents did too, in taking macrobiotics, tracking down gurus, all that stuff. The reality had to be elsewhere. That’s also why, when I was little, I’d invent friends who were fantastical characters. Children often make up imaginary friends who are friendly, such as heroes, but for me they were ghosts and demons, because that was my frame of reference. I needed friends who existed within that context. My brother’s illness threw us into an alternate reality, and that was a problem for society around us, with which we had no way of reasoning, because my brother couldn’t get any better. I’d accepted the fact that this was our context and we had to live in it, so we were on the side of the demons, on the side of mystery, on the side of night. It was a life choice.

From the point I realized that my brother would never be cured; we had to embrace it, we had to accept it. Because society rejected us — when we played in the streets with our friends and my brother would have a seizure, what we experienced was instantaneous, total rejection. After a while, my friends’ parents would come see my parents and tell them they shouldn’t let their son outside and that they ought to put him “somewhere,” and so on. We were perforce in our own world, so we were rejected. In some ways, being a kid, I found that much more captivating than reality. It was something good. Later on it was hard, I came to understand that it had cut me off from a lot of things. Anyway, there was pain.

WIVEL: It was a way of surviving.

DAVID B: Yes, it was a way of sectioning off my life, of understanding where I was, and also of breaking open my imagination. Since I was already drawing a lot anyway, esoterism provided an inexhaustible trove of images, a very rich and interesting one — the alchemic engravings and all that stuff is something that you never get tired of looking at. It’s not necessarily that you get attached to the ideas behind them — it’s more the shock of the image, the poetic shock of seeing this object where there’s a whole bunch of stuff — a fish flying in the sky, next to a cube, over an ocean where there’s a guy who is drowning. You see? Hey, it’s almost a comic-book panel! There’s a story to it. When someone explains to you what it means, that’s cool too, but at the time I didn’t understand a word of it — it was the poetic shock of the image, the graphic shock that transported me. It was extraordinary! I’d feel little surges of adrenaline when I looked at that, and as a matter of fact, I felt as if I was physically touching the problem that affected our family, the problem that affected my brother. And I’d say, “My brother’s in there, within that mystery.”

WIVEL: And the intellectual side of all this only came later?

DAVID B: The intellectual side came later, when I grew up. I acquired knowledge to the point where I no longer was only interested in the images, but also in the texts that accompanied them. The explanations. It’s also from that point on, the moment you grow up, that the pain manifests itself. In a certain sense you’re innocent when you’re a child. You find simple solutions, very comforting ones. The pain comes the moment you try to explain and understand things — that’s when the pain turns fierce.

WIVEL: Occultism is a way of explaining the unknown, like religion — what is the difference between the two?

DAVID B: I am in no sense a believer. I don’t believe in anything at all, but there’s probably something to it, the area of belief — that much is certain. We all need to build ourselves a little personal religion or belief. The fascination with occultism springs from that, but to what degree I’m not exactly sure. Anyway, it doesn’t matter. I’m not trying to analyze it — in fact, it’s a way of constructing your own “mise en scène.” Like religious people with their holidays and religious ceremonies. I needed to mount my own ceremonies and build up my own symbolism — and it’s also there in the graphic work in Epileptic.

WIVEL: And you’ll keep on exploring it in Nocturnal Incidents [Les Incidents de la nuit]?

DAVID B: Absolutely, that’s really the theme of Nocturnal Incidents — my love of books and my love of images, my love of paper and all of that.

WIVEL: And also in your albums for the big publishers, which contain all of that, but…

DAVID B: Yes, there’s the album I did for Dupuis, Reading the Ruins [La Lecture de ruines], that’s exactly right. It concerns a mad scientist. He’s been driven crazy by the war, and he’s trying to understand what war is. He believes that war is a piece of writing and it must be read — the ruins are letters and can be read. And that’s exactly the work I did through esoterism, assimilating it with what I was thinking in terms of my brother’s illness. When my brother would speak or when he’d have a seizure, there was something to read in that. I saw this war and that’s why I drew so many battles. To me that represented my brother’s seizures — that’s self-evident. When my brother would have a seizure, there was a battle taking place within his body — two armies confronting each other and throwing him out of balance. That’s Reading the Ruins.

Robert Walser: The Assistant

This novel was written in 1908. That seems just about right. And that’s odd for Robert Walser, because his other novels, whatever their connection to the German modernist and expressionist tendencies of their time, stand apart from their contemporaries. Walser does not fit into the puzzle in the way that Broch, Zweig, Canetti, Doblin, Roth, and other Germanic writers do. Perhaps this is because he is Swiss, perhaps it is because he has been rather ignored and excluded from construction of the period’s literary history, but I think it’s mostly because his ruminative short stories and his enigmatic, sui generis novel The Robber stand on a path that no one directly followed. Even his comparatively normal Jakob Von Gunten has a withdrawn airiness to it that is closer to Bruno Schulz’s detached aesthetic than to any Germanophone author.

What’s strange about The Assistant is that it is much more easily connected to those German antecedents and successors. This short novel about Joseph Marti’s life as a live-in assistant to the hapless inventor Carl Tobler and his family has clear affinities with the more pedestrian neuroses portrayed in the stories of Hofmannsthal, and the outsized characters (not just Tobler, but Joseph’s alcoholic predecessor Wirsich, and the two Manicheistic Tobler daughters) are a more subdued version of the histrionics of Schnitzler and Wedekind. But what’s most striking is how the tone and scenario anticipate that of early Kafka, particularly that of “The Stoker” and the novel it became part of, The Man Who Disappeared (aka Amerika). Walser is often compared spuriously to Kafka, but in The Assistant, and not in any of his other work that I’ve read, I think there’s some merit to the comparison. Marti, like Karl Rossmann, begins and ends as a bystander, pulled into the circle of affairs without becoming their center. Unlike Kafka’s later work, where the protagonists continually fail in their attempts to be mere quotidian bystanders in life–think of “Report to an Academy” as well as the last two novels–Walser’s protagonists steadfastly remain in the interstitial zone between observation and action. (Joseph’s only real decisive act ends the book.) Yet the concreteness of the situation here–absent in Walser’s subsequent work–is what gives it some of Kafka’s urgency.

Consequently, Walser goes off in a different direction, and Joseph’s mixture of passivity and inchoate loyalty result in very un-Kafka-like conversations like:

“Is your salary being paid?” the visitor inquired.

“No,” the assistant said, “and admittedly this is one of the things with which I am not fully satisfied. Often I have wanted to discuss this with Herr Tobler, but each time I am about to open my mouth to remind my superior of this matter which, as I have had occasion to perceive, is not exactly the most agreeable to him, the courage to speak deserts me, and so each time I tell myself: Put it off! And I’m still alive today, even without a salary.”

And Walser too lets things proceed languorously as Tobler fails and fails in his attempts to market dubious projects (most memorably the Marksman’s Vending Machine, which dispenses bullets). There’s even a disconnected, burlesque scene in which Joseph is picked up for evading army duty and dumped in jail for a night, which seems to have entered from another novel entirely. It distracts somewhat from the novel’s central pivot, which is the character of Tobler himself: desperate and arrogant, controlling and helpless, grandiose and pathetic, he is the very model of the petty capitalist cog that still exists today. Walser’s portrayal of his rationalizations and indignations is masterful, as when he begs his mother for more money for his business:

I am sitting here in my house like a bird trapped by the piercing gaze of the snake–already being killed in advance…What would you say if one day soon, one fine morning or afternoon, you were to read in the newspaper that your son had taken his own li–…but no, I am not capable of uttering such a thing in its entirety, for it is to my mother I am speaking. Send me the money at once. This, too, is not a threat, I am merely urging you to do so, urging you desperately. Even in our household budget nothing remains, and both my wife and I have long since had to accustom ourselves to the idea that sooner or later there will be nothing left for our children to eat.

Confronted with such self-propelling desperation, what can Joseph do except be a bystander?

Occurrences at Owl Creek Bridge: Beyond the Zeroes

Last time, I was talking about the particularly American “Owl Creek Bridge” trope of the pre-death fantasy of survival, cut short (to the surprise of the subject) by death interrupting the ongoing fantasy. This is not anything like a near-death experience; it’s the opposite, since rather than experiencing a false death, the person experiences a false life. Their rescue is in the certainty of death. That finality is, fundamentally, eschatological, in that it requires the establishment of a definite reality that trumps the fantasy, and that reality is nothing but the end of one’s life, which is ultimate. It does not appear at first glance to be religious, but as with so many American tropes, revivalist roots run deep, and the faith that death will provide certainty and be the tipping point from fantasy back to reality is a small little religious system unto itself.

I mention this because the earlier point, at which reality veers into fantasy, is the point at which one’s faith is failed. Reality ceases to work, physical laws go haywire, and so on. What’s failed, then, is that the expected eschatological event–death–has not happened, and so there is this period of unreality that exists. And this sounds rather like the nightmare scenario of all prophets, in which the events they unwisely predicted too specifically fail to occur. For example, millennialism, when the promise of all sorts of finality and salvation led to much grief when the events did not arrive. Expert millennialist Norman Cohn says:

Millenarian sects and movements always picture salvation as:

  1. collective, in the sense that it is to be enjoyed by the faithful as a collectivity;

  2. terrestrial (or immanent), in the sense that it is to be realized on this earth and not in some other-worldly (transcendent) heaven;

  3. imminent, in the sense that it is to come both soon and suddenly;

  4. total, in the sense that it is utterly to transform life on earth, so that the new dispensation will be no mere improvement on the present but perfection itself;

  5. miraculous, in the sense that it is to be accomplished by, or with the help of, supernatural agencies.

Norman Cohn, The Pursuit of the Millennium

[Side note: I happen to be reading Hans Blumenberg’s The Legitimacy of the Modern World, and Blumenberg uses some of these very qualities, particularly those of imminence and totality, to argue that the idea of incremental human “progress” is in no way a secularization of Christian eschatology, but in fact a new paradigm altogether.]

But when the stated arrival of salvation does not arrive, there is a problem. Just as when Bierce’s hero is hanged but seemingly does not die, the failure of this total, imminent change to occur itself produces a drastic change from what went before, as the expected outcome (death or salvation) has now been replaced with a void that must be filled by something new, and that something, whatever it is, is by definition unreal. Cults, crusades, even more superstitions than before.

I wish I could remember who suggested the idea (probably multiple people), but I give some credence to the idea that there was a collective conception of the last century leading up to the millennium. The thrill of the odometer rolling over to 2000 acquired many vague significances. And when 2000 came, there was no dominant idea of what was going to happen (excepting perhaps the minor faux-apocalypse of the Y2K bug), but the date served as a significant dividing point that just didn’t signify anything. So the idea was that people saw the year 2000 as an apogee of Western civilization, coming after so many wars and upheavals and global growth, and as some sort of point of accomplishment. And when there was, in fact, no sense of accomplishment or even any change when the year came, a similar sort of unreality (or, if we’re going to play with Musilian terms, pseudoreality) came into existence to replace the unsatisfied amorphous expectation. And this would take the form of an unreal postlude to the unsatisfied reality, rather than a new situation in itself. For me, living in the United States, the greatest sign of this unreality was the election of George W. Bush and the abandonment of sixty-plus years of relatively consistent (if brutal and expedient) geopolitical strategy for an unprecedented attack on all standards of competence and legitimacy in government. Their attacks on the “reality-based community” were not just triumphalist idiocies, but an idea that expanded to fill the void left at the branch point of the millennium.

The aide said that guys like me were ”in what we call the reality-based community,” which he defined as people who ”believe that solutions emerge from your judicious study of discernible reality.” I nodded and murmured something about enlightenment principles and empiricism. He cut me off. ”That’s not the way the world really works anymore,” he continued. ”We’re an empire now, and when we act, we create our own reality. And while you’re studying that reality–judiciously, as you will–we’ll act again, creating other new realities, which you can study too, and that’s how things will sort out. We’re history’s actors . . . and you, all of you, will be left to just study what we do.”

The rules no longer apply! History is made by those who realize that things have changed. Whatever was supposed to have happened in 2000 and seemingly didn’t will pursue us, and these men will bring it to us by aggressively denying the “reality” which no longer, in fact, exists. Much ink has been spilled over how great a role the Christian religion plays in driving the administration, but this is really besides the point, because most of it has fallen by the wayside for them, save for the eschatology of Revelations and apocalypse. Destabilization is now the goal itself, not a tool, because the supposed stability is no longer really there anyway. It faded along with “reality” for these people.

To be continued: next time, the Omega point and the real secularization of eschatology.

« Older posts Newer posts »

© 2026 Waggish

Theme by Anders NorenUp ↑