The One-A-Day Art Vitamin

Almost none of us get enough art in our daily diet.  That’s why we need to start taking art vitamins.  I recommend the One-A-Day Art Vitamin which comes in whichever form of art you happen to prefer.  

Do you like to sing, dance, or play a musical instrument?  Spend half an hour doing one of those things.  Even listening to recorded music can qualify.

Perhaps you enjoy the visual arts?  Drawing, painting, coloring, collage — all are easy to do in short bursts.

You might prefer another activity from woodwork to knitting to gardening.  Go for it!

And if words are your tool of choice, you can always read, write, versify, or journal.

Before social media insinuates itself into your unthinking brain and puts all kinds of inhibiting ideas in it, tell yourself quite plainly that you’re taking art vitamins for your artistic health and not for the entertainment of others.  

And then get started. Creativity is not a luxury and nor is self-expression a frill.  Believe it or now, we need both to get through life as happy, well-adjusted human beings. So don’t delay! Take a One-A-Day Art Vitamin today.

Photo credit: Aw1792300, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons

Truth and The Text: Taking Borges Out of Turn

I read Borges’ story “Pierre Menard, Author of Don Quixote,” but not in chronological fashion.  I’m tempted to say “not in the fashion the author intended,” but there’s no way to know that.  But I can say, unequivocally, that I “read around” in it before reading it properly, and spent the majority of my time on page 53 of the Grove Press edition⁠1, in which Borges quotes Cervantes and Menard as follows:

“…truth, whose mother is history, who is the rival of time, depository of deeds, witness of the past, example and lesson to the present, and warning to the future.”

I was impressed with this quotation but confused as to how the two seemingly identical quotes differed.  I read the Cervantes version again.  Then the Menard version.  They still seemed the same.  Had I missed something?  I read them side by side.  The same, truly and indisputably identical.  And yet I read on the same page that there are “vivid” contrasts in style and content between Menard’s version and Cervantes’.

It wasn’t until I skipped back a page that I found the solution to the puzzle: “The text of Cervantes and that of Menard are verbally identical,” Borges writes, making this a Borgesian joke unlikely to be encountered since most people start at the beginning of a story and read toward the end…

 The joke more often encountered is the narrator’s conclusion that the two texts are identical “but the second is infinitely richer.” Ha! this is funny because it’s impossible, we say.  But of course, in the world of ficciones, we are wrong.

The meaning of a text changes depending on the context assumed by the reader.  If the reader thinks (as Borges suggests) that The Imitation of Christ⁠2 was written by James Joyce, they are likely to interpret it differently than if the reader thinks it was written by Céline.  Borges calls this “a new technique…of reading,” involving “deliberate anachronism and erroneous attributions” to create a “renovation” of the original.  

Which is more important, then, the truth or the text?  Perhaps it depends on the text.

anImage_2.tiff

1 Of the collection Ficciones

2 In fact, it was written by Thomas á Kempis sometime before 1440.

 

Photo credit: Adolf Hoffmeister, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

Unraveling Ratner’s Star From The Inside Out – quotations and an excerpt

Quotations

“His mind blunted by the cybernating drone in the distance, he leaned toward the console and put his head on his arms just as he’d done so many times first grade during the two-minute rest period every afternoon, nicks in the wooden desk, sleep pulling, chalk trails in the air.  From a series of three dreams had evolved a life fulfilled in mathematics and philosophy. The dreams occurred within a single night.  The first two concerned the terror of nature not understood and the last of them harbored a poem that pointed a way to the tasks of science. The world was comprehensible, a plane of equations, all knowledge able to be wielded, all nature controllable.”

“‘We can discover the truth or falsehood of our own final designs only if we teach ourselves to think as a single planetary mind.  This is the purpose of Field Experiment Number One.’”

“‘Consider science itself.  It used to be thought that the work of science would be completed in the very near future. This was, oh, the seventeenth century.  It was just a matter of time before all knowledge was integrated and made available, all the inmost secrets pried open.  This notion persisted for well over two hundred years.  But the thing continues to expand.  It grows and grows…’”

– Don DeLillo, Ratner’s Star, p. 64-65 (Billy and then LoQuadro)

An Excerpt

There are only two characters in the novel Ratner’s Star smarter than Billy and they are both on the far side of the borderland to what we call madness.  There be dragons.  Endor was the last man tasked to solve the alien message.  He fails, and because he failed, he leaves the community of Field Experiment Number One, and moves into a hole of his own creation which he digs by the hour with the hook end of a clothes hanger.  He can tell you about science…

Endor hasn’t completely abandoned his scientific roots, but he has started to butt up against things he doesn’t understand.  And this fucks up his ability to carry on doing what he has always done, which is to do science, to use science to solve problems, explain things, come to conclusions.  The alien transmission evaded his understanding.  There was no math he knew that would unpack it.  And so he went to live in a hole where he ate insect larva and dug himself deeper and ever deeper into the earth.

We will return to Endor but it is worth noting now that he is a thorough-going materialist.  It should also be noted that the primary literary allusion for the name Endor is the biblical Witch of Endor from the Old Testament Book of Samuel.  In the book, the king Saul hires the Witch of Endor to summon the dead prophet Samuel to read his future.  She does and predicts that he and his three sons will all be killed in a battle with the Phillistines.  And so they are, which introduces Philistinism—the quality of having no appreciation or understanding of culture or the arts. Although it’s a cultural reference twice removed, it seems applicable to Endor and the scientific culture that to which he belongs, and indeed , must belong else he loses his very sanity.  What does this say about the scientific view of logic that to admit the existence of anything outside of science is to negate the mind itself, the methodology of reason, the rules of logic, and the ability to engage in rational thinking.  But science is absolutist, a jealous god that will have no other god before it (nor suffer a witch to live).

Another Quote

“‘Mathematics is the only avant-garde remaining in the whole province of art.  It’s pure art, lad.  Art and science.  Art, science, and language.  Art as much as the art we once called art. ‘“

– Don DeLillo, Ratner’s Star, p.85, (Endor)

Use of quotations from DeLillo’s novel Ratner’s Star constitute fair use in this context– the analysis of a work of art.

Why We Still Need Hemingway

You ask, why would a “girl” be interested in reading Ernest Hemingway, sexist bastard that he is.  Don’t patronize us girls.  We know who he is.  We know that there are others like him, just as sexist, right here in 2021.  It does not hurt for us to be reminded.  And anyway, we don’t need to like everything about a guy to like some things about him.

Hemingway is as much the subject of his fiction as he is of his life.  He portrays the manly man, the tough, craggy guy who can get through the worst life can throw at you and come out the other side, not as a hero but as a survivor.

In our politically correct, namby-pamby world, we’re all supposed to speak jargony newspeak or pablum.  But life isn’t like the modern studies department at your university.  Life is rougher than that, a lot rougher.

Sometimes even us girls need examples of people who can get through it without crumbling, who can take our hits and still get up the next morning, aching and cold but alive!  Do you get it?  Alive.  Not pretty, wounded even, full of piss and vinegar and gallows humor, but still kicking, breathing, and willing to try again.

Hemingway is the guy who won’t give up, who can’t give up, until of course, he does.  And on that day, he goes by his own hand on his own terms.

We postmoderns thinks we’re above life, the shitty side of life, the impossible side, the side where quite literally things are blowing up around us.  We think we can live our clean, perfect lives and think clean, perfect thoughts and do nothing but good in this sanitized and sterile world.  

Wrong! Wait til the flood hits you, the war, the disease, the catastrophic job loss, what have you, and then check your thoughts and language and see how perfect you are then.  Ever think how good it feels, not all the time but on very awful, special occasions, to say fuck it and NOT be polite?

Hemingway shows that even if you are a fallible human being in ways that might offend others, you can still survive, and in fact, the very things that make you offensive may also be the factors that enable you to stay on your feet.  Survival takes more than using the right pronouns or pronouncing “Latino” correctly.  Once you reach a certain point, survival is primal, rules be damned.

As students of life, not just literature, we need Hemingway, and most of us are grown-up enough to know how to use him.  

That’s all I got to say.  And I’m a girl.  

Reading Defoe’s Journal of a Plague Year (So You Don’t Have To)

Because I’m a glutton for punishment, I’ve been reading “plague literature,” which is really only interesting if you happen to be going through something comparable as we are now. Daniel Defoe’s A Journal of a Plague Year is just what you’d expect — an account of one year in the life of a Londoner as he navigates the complexities of surviving the Great Plague of 1665.

To begin with the differences, Covid-19 has nothing on the Black Death. Bubonic plague is a gruesome bacterial infection that causes horrible symptoms with a very high chance of mortality. It’s definitely a matter of degree. But it was a pandemic, at least in the British Isles, and despite the long span of years between our two events, there are surprising similarities between “the Plague Year” then and now.

It should also be pointed out that Defoe’s Journal is not a real journal — he was only 5 years old when the events occurred and his book was written over 50 years later. However, as a Londoner born in or near St. Giles, Cripplegate where the plague started, his interest in the subject must have been keen. So although Defoe’s account is well researched, Journal of a Plague Year is what you might call fictionalized fact.

The book begins thusly (cue ominous music):

“It was about the beginning of September 1664, that I, among the rest of my neighbours, heard, in ordinary discourse, that the plague was returned again in Holland.”

Everyone knew what that meant. It meant the plague was coming. When would it come? Where would it strike? Would it come at all? People fretted these questions all fall and into the early winter. Meanwhile, the government immediately met to discuss “ways to prevent its coming over” but, Defoe says, “all was kept very private.” Meanwhile, the plague percolated in the background just as coronavirus did around the world in 2020.

It wasn’t until early December that the first cases emerged in the suburban borough of St. Giles, just south of London. The first statistics were created: “Plague, 2. 1 parish affected.”

Says Defoe, “the people showed a great concern at this, and began to be alarmed all over the town, and the more, because in the last week in December 1664 another man died in the same house, and of the same distemper.”

And then there were no more cases for six weeks.

After this, it became a game of watching the numbers, the so-called Death Lists that each parish issued weekly to report how many people had died and of what. Of course, in the early going, no one wanted to admit they had the plague, so (Defoe theorizes) people lied on the death notices and said it was something else like an accident or spotted fever. But the numbers went up and up, and pretty soon, people couldn’t hide it anymore.

By June, Londoners were pretty convinced they were in for it, and anyone who could escape London for the countryside did so posthaste. Defoe says (backed up by actual diarist Samuel Pepys) that there were so many people evacuating, by horse, cart, post, and on foot, servants and possessions in tow, that it hardly seemed there could be any people left in London to catch the plague. But there were.

A flood of governmental decrees was issued, in this case from the Lord Mayor of London, aiming at mitigating and relieving the plague. All but essential businesses were closed. Provision was made for the poor and unemployed, of whom there were many. Many new job titles were created such as watchers and dead cart drivers. Most controversially, any household stricken with the plague was ordered “shut up” with all members of the household inside, regardless of their state of health, and kept there under 24 hour armed guard.

You can imagine the distress of families thus locked in together. This is not to say that they were abandoned there to die — they received home food delivery free of charge, medicine and medical assistance, and anything else they needed. They just couldn’t leave the house.

The trouble with this practice was that healthy people anxious to avoid infection were forced to remain in the house with plague victims. This resulted in a great outburst of civil disobedience, which is to say, many people who had been shut up simply escaped, out of back doors and windows, or, if they could get the guard drunk enough, out the front door. While Defoe agreed that it was a good thing to keep plague victims from raving in the streets, he thought it cruel to keep the “sound” in with them, and felt that since so many escaped confinement and ran away taking their contagion with them, it did no good in the end.

It wasn’t until the plague reached its peak in August that people started to realize that apparently healthy people could still transmit the plague. The idea of a symptomless carrier was probably the most frightening to contemporary Londoners. Up to then, they could identify plague victims much as we identify zombies today — they looked horrible and were lurching around. But healthy plague carriers was too much. Many people who had been trying to keep a limited social life going up to that time went right back into isolation.

Defoe goes on at length about the psychology of the people, from nonchalance in the early going to panic when the Plague struck, to abject fear and misery during its height, and finally resolving into resignation and nihilism as it seemed as though none would escape. But then in late September, with weekly numbers approaching 20,000 dead, a strange thing happened. The death rate began to fall. As many as before and more so caught the disease but the numbers of the dead declined. It was, says scientific-minded Defoe, an act of Divine Providence, a reprieve direct from God on high. Today, we might have other postulations.

As for the citizens, their greatest desire was a return to normalcy — to go back to face to face meetings, parties and gatherings, and normal social relations between people. People’s desire to hang out together was so great that restrictions were dropped as soon as the numbers did. This led to many unnecessary deaths, according to Defoe, because people were still dying, just not so many. But clearly man is a social animal and to be deprived of human company was a fate worse than death for many.

Once the plague was over, it took a while for things to return to normal. From a trade standpoint, it was months before any European port would allow English ships to enter. Moreover, the poor and unemployed were generally still poor, but the plague being abated, no one bothered to help them any more.

Nevertheless, the Great Plague gradually ebbed away never to return, and life did finally return to normal. Gone were the dead carts and gruesome sights and sounds of dying people. Gone the open pit graves outside of every church in London, filled to the brim with the bodies of the recently dead. Gone the fear of making a mistake and catching it yourself. It was all over, if not forgotten.

In light of all that had happened, it may have been just as well that the following year, the entire city burned to the ground in The Great Fire of London. The fire may not have killed the plague but it certainly destroyed a lot of plaguey places, giving people a chance to rebuild anew.

A Journal of a Plague Year is a gripping little book that manages to make something quite awful into a surprisingly entertaining read. The details are horrific but there are so many interesting similarities to our own times, that it carries you right along. Readers of today will recognize many elements from this strange and terrible episode in human history.

And so, as we close, I will leave you with the final lines of the novel, a couplet attributed to our fictional narrator, H.T., and of which I will say in advance, may we all be so lucky:

“A dreadful plague in London was
In the year sixty-five,
Which swept an hundred thousand souls
Away; yet I alive!”

Coronavirus as Disaster Epic

For most of my life I’ve been a fan of end-of-the-world movies, but now that the end times are surely upon us, the genre feels particularly apropos. Not that I especially want to watch them right now — these days, I’m preferring old musicals with cheery melodies and lots of tap dancing. But I’m glad I did watch the end of the world flicks when they came out. They’ve given me good preparation for global disasters of all kinds including asteroids, Planet X, aliens, nuclear wars, fascist pod people, smart computers, zombie epidemics, and generic apocalypses from A to Z.

Admittedly, coronavirus would probably make a pretty static end-of-the-world movie given that most of the participants are just locking themselves in their homes trying not to catch coronavirus. Nevertheless, if someone wanted to make a disaster film out of it, they could.

Read More

In The Mode of Dr. Seuss

We had a lot of truths to say
But everywhere was yesterday

And everywhere we turn our heads
There’s nothing new
There’s nothing fun
There’s nothing new under the sun

It’s all the same
It’s just a game
And if we do it all for gain

The result will be predictable…

Franca, Fashionista of the Spectacle

If you’ve been wondering how it happened that fashion spreads have turned into neo-modern tableaux vivants, the answer is probably Franca Sozzani, the late editor of Vogue Italia. Starting the 1980s, Franca took the fashion spread to new frontiers of weirdness and, oddly enough, social relevance.  Formerly the province of fashion mavens and Italians, a recent documentary on Netflix, entitled “Franca: Chaos and Creation” makes it possible for all of us to appreciate her subversive genius for art and fashion. Read More

Losing Notre Dame

When the Cathedral of Notre Dame in Paris burned yesterday, it was more than a religious icon that was lost. For workers, women, artists, tourists, the city of Paris and all of France, Notre Dame was both monument and living symbol of human aspiration and French spirit.

Notre Dame has always been remembered for the prodigious labors of the generations of workmen and artisans who created it. It was ordinary people who built it and, in large part, it is their legacy that went up in flames. Read More

Fashionable Revolution

Although the times are unsettled and revolutionary jargon is in the air, one doesn’t expect a women’s fashion magazine to employ it as a motif, or at least, not one as haute as W.   In a recent issue, I discovered a highly entertaining profile of Dior creative director Maria Grazia Chiuri, subtitled “the quiet revolutionary,” and illustrated with slogan-y artwork reminiscent of early 20th century art manifestos.  How ironic, I thought, coming from the mag I read to spy on the wealthy. Read More