Category Archives: literature

Pamuk on the Assassination of Writers

Ka took some consolation in imagining that his poems might be translated into German and published in Akzent magazine, but it was still perfectly clear to him that should this article in the [eastern Anatolian] Border City Gazette prove to be the death of him, the published translations would mean nothing….

The many writers killed in recent years by Islamist bullets paraded before his eyes: first the old preacher-turned-atheist who had tried to point out “inconsistencies” in the Koran (they’d shot him from behind, in the head); behind him came the righteous columnist whose love of positivism had led him to refer in a number of columns to girls wearing head scarves as “cockroaches” (they’d strafed him and his chauffer one morning as he drove to work); then there was the investigative journalist who had tenaciously sought to uncover the links between the Turkish Islamist movement and Iran (when he turned on the ignition, he and his car went sailing into the sky). Even as he recalled these victims with tender sorrow, he knew they’d been naïve. As a rule the Istanbul press, like the Western press, had little interest in these fervent columnists and even less in journalists apt to get shot in the head for similar reasons on a backstreet of some remote Anatolian city. But Ka reserved his bile for a society that so easily forgot its writers and poets: For this reason he thought the smartest thing to do was retreat into a corner and try to find some happiness.

SOURCE: Snow, by Orhan Pamuk (Vintage, 2004), pp. 296-297

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Pamuk on Political Means, Personal Ends

“The question is this: Speaking as the Communist modernizing secularist democratic patriot I now am, what should I put first, the enlightenment or the will of the people? If I believe first and foremost in the European enlightenment, I am obliged to see the Islamists as my enemies and support this military coup. If, however, my first commitment is to the will of the people—if, in other words, I’ve become an unadulterated democrat—I have no choice but to go ahead and sign that statement [condemning the coup]. Which of the things I’ve said is true?”

“Take the side of the oppressed and go sign that statement,” said Ka.

“It’s not enough to be oppressed, you must also be in the right. Most oppressed people are in the wrong to an almost ridiculous degree. What shall I believe in?”

“Ka doesn’t believe in anything,” said Ipek.

“Everyone believes in something,” said Turgut Bey. “Please, tell me what you think.”

Ka did his best to convince Turgut Bey that if he signed the statement he would be doing his bit to help Kars move toward democracy. Sensing a strong possibility that Ipek might not want to go to Frankfurt with him, he started to worry that he might fail to convince Turgut Bey to leave the hotel [to go sign the statement]. To express beliefs without conviction was liberating. As he nattered on about the statement, about issues of democracy, human rights, and many other things that were news to none of them, he saw a light shining in Ipek’s eyes that told him she didn’t believe a thing he was saying. But it wasn’t a shaming, moralistic light he saw; quite the contrary, it was a gleam of sexual provocation. Her eyes said, I know you’re spouting all these lies because you want me.

So it was that, just minutes after discovering the importance of melodramatic sensibilities, Ka decided he’d discovered a second great truth that had eluded him all his life: There are women who can’t resist a man who believes in nothing but love. Overcome with excitement at this new discovery, he launched into a further monologue about human rights, freedom of thought, democracy, and related subjects. And as he mouthed the wild simplifications of so many well-intentioned but shameless and slightly addled Western intellectuals and the platitudes repeated verbatim by their Turkish imitators, he thrilled to the knowledge that he might soon be making love to Ipek [once her father was away signing the statement] and all the while stared straight into her eyes to see the reflection of his own excitement.

SOURCE: Snow, by Orhan Pamuk (Vintage, 2004), pp. 242-243

Also see Danny Yee’s review of Snow.

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Pamuk’s Brueghelian Prose

They headed north to … the poorest neighborhoods. The houses were shanties made of stone, brick, and corrugated aluminum siding. With the snow continuing to fall, they made their way from house to house: Serdar Bey would knock on a door, and if a woman answered he would ask to see the man of the house, and if Serdar Bey recognized him he would say in a voice inspiring confidence that his friend, a famous journalist, had come to Kars all the way from Istanbul to report on the elections and also to find out more about the city—to write, for example, about why so many women were committing suicide—and if these citizens could share their concerns, they would be doing a good thing for Kars. A few were very friendly, perhaps because they thought Ka and Serdar Bey might be candidates bearing tins of sunflower oil, boxes of soaps, or parcels full of cookies and pasta. If they decided to invite the two men in out of curiosity or simple hospitality, the next thing they did was to tell Ka not to be afraid of the dogs. Some opened their doors fearfully, assuming, after so many years of police intimidation, that this was yet another search, and even once they had realized that these men were not from the state, they would remain shrouded in silence. As for the families of the girls who had committed suicide (in a short time, Ka had heard about six incidents), they each insisted that their daughters had given them no cause for alarm, leaving them all shocked and grieved by what had happened.

They sat on old divans and crooked chairs in tiny icy rooms with earthen floors covered by machine-made carpets, and every time they moved from one house to the next, the number of dwellings seemed to have multiplied. Each time they went outside they had to make their way past children kicking broken plastic cars, one-armed dolls, or empty bottles and boxes of tea and medicine back and forth across the way. As they sat next to stoves that gave out no heat unless stirred continuously, and electric heaters that ran off illegal power lines, and silent television sets that no one ever turned off, they heard about the never-ending woes of Kars.

SOURCE: Snow, by Orhan Pamuk (Vintage, 2004), pp. 11-12 (Read chapter 1 here.)

In under 500 words, Orhan Pamuk limns a complex Brueghelian landscape of social as well as material relations.

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Harper Lee, Gregarious?

The New York Times on 30 January reports on Tuscaloosa’s equivalent of Groundhog Day.

TUSCALOOSA, Ala., Jan. 27 — Of all the functions at the president’s mansion of the University of Alabama here, none has acquired the mystique surrounding a modest annual luncheon attended by high school students from around the state.

They come with cameras dangling on their wrists and dressed, respectfully, as if they were about to issue an insurance policy or anchor the news. An awards ceremony for an essay contest on the subject of “To Kill a Mockingbird,” the occasion attracts no actor, politician or music figure. Instead, it draws someone to whom Alabamians collectively attach far more obsession: the author of the book itself, Harper Lee, who lives in the small town of Monroeville, Ala., one of the most reclusive writers in the history of American letters….

The students write with longing for the kind of unmanaged childhood experienced by Jem and Scout Finch in the rural 1930’s Alabama of Ms. Lee’s rendering. Some tell of the racial tensions they witness in their school cafeterias, others of the regional prejudices they experience at the hands of Northern peers who assume anyone from Alabama must drive a pickup truck or live in a mobile home. In an essay a few years ago one girl likened the trial of the book’s Tom Robinson, a black man unjustly accused of raping a white girl, to the 1999 murder of Billy Jack Gaither, a young man living in Sylacauga, killed because he was gay….

Ms. Lee is quick-witted and gregarious. At the ceremony she greeted a server at the mansion whom she remembered from luncheons past. “I went back to my friends and I told everyone that I’d met you,” the young woman said. “Nobody believed me. I said, ‘Oh, yeah, I did, and she is the nicest, sweetest lady.” Ms. Lee looked at her with amused suspicion and started to laugh.

During lunch she reminisced about her old friend Horton Foote, who wrote the screenplay for the acclaimed 1962 film of “To Kill a Mockingbird,” starring Gregory Peck. Ms. Lee spent three weeks on the set, she said, and took off when she realized everything would be fine without her.

“I think it is one of the best translations of a book to film ever made,” she said. Ms. Lee attended Peck’s memorial service in California three years ago. About her friend Mr. Foote, who is 89, she said, “He’s become quite amazing looking in old age, like God, but clean-shaven.”

When Mr. Carruthers approached and asked why he hadn’t received a letter from her in so long — the two have become good friends — she answered that she would get to him “once I finish off all the letters I have to write.” Since the release of “Capote,” much of her time has been spent writing demurrals to reporters seeking interviews about her life. Someone suggested she come up with a form-letter response to such requests.

What it would say, she joked, “is hell, no.”

via Arts & Letters Daily

To my mind, Catherine Keener’s Harper Lee character in the film Capote was almost a eulogy to the passing of common sense and the common touch among literary types in our age of celebrity mania.

P.S. I didn’t realize Harper Lee was a descendant of Robert E.

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Chaucer on Latvians

In the Canterbury Tales, Chaucer (1340-1400) mentions Latvia in the Knight’s Tale:

Ful ofte tyme he hadde the bord bigonne
Aboven alle nacions in pruce;
In lettow hadde he reysed and in ruce, …

Full oft the table’s roster he’d begun
Above all nations’ knights in Prussia.
In Latvia raided he, and Russia, …

Chaucer’s reputed model for the Knight, King Henry IV of England, made it to Latvia in July, 1390, while temporarily attached to the Knights of the Livonian Order. Even earlier, a Latvian who had come to England with a party of Norse invaders wound up battling against William the Conqueror around 1070.

via Latvians.com, a well-done site that offers a lot of things you won’t find in the CIA World Factbook, such as:

  • Latvia is about the size of West Virginia, or Belgium plus the Netherlands.
  • About 2,500,000 people live in Latvia, mostly Latvian; and about 1/3rd Russian, the result of intense Russification during the 50 year Soviet occupation; students of history will note this was not the first campaign to Russify Latvia, the prior one being conducted by Czar Alexander III in the late 1800’s — motivated more by fear of Germanic ambitions, but also a time during which speaking Latvian in public was grounds for imprisonment.

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The Power and the Glory

When Andrés Gentry asked me to cite the most influential book I have read, I listed Graham Greene’s The Power and the Glory, which I read in high school, as a missionary kid questioning the faith of my family heritage. When I googled the title, I found an interesting take on the book’s Themes, Motifs, and Symbols at SparkNotes.com. I’ll give one example of each.

Theme: The Dangers of Excessive Idealism

To put it simply, an idealist is one who imagines that the world can be a much better place than it is. What could be dangerous about that? The [Mexican revolutionary] lieutenant, in many ways, illustrates the danger. Obsessed with the way things could be, he remains mired in dissatisfaction and bitterness about the way things actually are. Although the wish to help the poor is a noble sentiment, dreams of “starting over”, erasing history, and wiping out all religious belief are simply not realizable. Moreover, being unable to bring about the impossible leads the lieutenant to feelings of frustration and anger, an even more keen awareness of how imperfect the world is, and hatred for those people whom he views as obstacles to the realization of his dream. Moreover, his conviction that he knows what is best for the people is itself a form of arrogance. The priest, on the other hand, comes to accept suffering and death as a part of life; that is not to say that he does not wish to help alleviate suffering, but his faith in the next world helps him to accept the trials and hardships of this one….

Motifs: Abandonment

Many things are abandoned in this novel, and the words “abandoned” or “abandonment” crop up repeatedly. Many of the townspeople feel that the clergy has abandoned them, and the priest, in turn, feels that the people have abandoned him. Mr. Tench has abandoned his family, Captain Fellows and Mrs. Fellows abandon their house and their dog, and the priest tries to abandon the mestizo on the road to Carmen. These are just a few examples. It is an important motif, because it implicitly raises the most important question, whether human beings have been abandoned by God and left to the cruelty of nature and each other. Significantly, the greatest act of heroism in the novel–the priest’s decision to return to help the gringo–is a refusal to abandon someone in need, and a refusal to abandon a dangerous and ugly world….

Symbols: Alcohol

Alcohol recurs throughout this book as a symbol with two very different meanings. On the one hand, it represents weakness for “the whiskey priest”; a mark, to him, of his unworthiness and the decadence of his former life. The authorities’ attempts to rid the state of alcohol are a manifestation of the impossible and detrimental desire to purge the world of all human weakness. On the other hand, alcohol is an integral part of the Catholic mass, evidenced by the priest’s persistent attempts to procure wine. As we see throughout the book, the sacred and the profane are often portrayed not as opposites, but as two halves of the same coin.

Not bad for SparkNotes. The other two companion books I cited were Endo Shusaku’s Silence and Ooka Shohei’s Fires on the Plain.

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Ed Ricketts and John Steinbeck

Bruce Robison reviews Beyond the Outer Shores: The Untold Odyssey of Ed Ricketts, the Pioneering Ecologist Who Inspired John Steinbeck and Joseph Campbell, by Eric Enno Tamm (Four Walls Eight Windows, 2004) in American Scientist Online:

Ricketts is perhaps best known for having been the prototype for “Doc,” the central figure in John Steinbeck’s novels Cannery Row (1945) and Sweet Thursday (1954). By most accounts the fictional Doc, who loved women, beer and truth, was much like the man who operated Pacific Biological Laboratories on California’s Monterey Peninsula from 1923 until his untimely death in 1948.

Ricketts, who supplied prepared biological specimens to schools, was a gifted field ecologist. His coastal collecting trips led to a seminal book on intertidal ecology, Between Pacific Tides (Stanford University Press, 1939). It went beyond taxonomy to describe intertidal animals holistically, placing them in the dynamic context of their habitat and ecology. Concepts that we now take for granted, such as competitive exclusion, and habitat descriptors such as wave shock, were novel then and seemed to threaten the established order. Ricketts was “a lone, largely marginalized scientist” with no university degrees, and he had to struggle long and hard against the “dry ball” traditionalists of the time just to get the book published. Yet today it is widely regarded as a classic work in marine ecology and is now in its fifth edition.

Ricketts’s lab on Cannery Row was a magnet for scientists, writers, prostitutes, musicians, artists, academics and bums. Gatherings there included discussions of the interplay of philosophy, science and art, and often evolved into raucous, happy parties that went on for days.

Steinbeck was a frequent visitor, and Ricketts had a strong humanistic and naturalistic influence on the writer’s work in the 1930s and 1940s. Ricketts’s persona appeared in several of Steinbeck’s most powerful novels, including In Dubious Battle (1936) and The Grapes of Wrath (1939). Steinbeck occasionally referred to himself as a biologist, and ecological themes run through much of his finest work, as Tamm points out. Tamm also notes that except for East of Eden (1952), Steinbeck’s fiction and his literary reputation declined after Ricketts’s death.

via Arts & Letters Daily

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Melville’s Model of Madness

BEFORE SHIPPING ON the fictional Pequod, the narrator, Ishmael, was warned that Ahab “was a little out of his mind for a spell” on the passage home from his last voyage. “He’s sick, they say,” Ishmael admitted in reply, “but is getting better, and will be all right again before long”–at which the prophet who had delivered the advice snorted derisively, “All right again before long!”

Captain Ahab had a brilliant mind and was extremely brave, but was also clearly crazy. Captain Norris of the Sharon was all of these, too–he was sharp-witted, courageous in the boats, and patently deranged. On a whaleship, just as on a southern plantation, a brutal master might whip those under him, but only an insane master would whip any of his hands to death, because he was depriving himself of labor.

The character of Captain Ahab is popularly assumed to be based at least in part on the real-life commander of the Acushnet, Captain Valentine Pease. The novelist noted later that Pease ended up “in asylum at the Vineyard”–and this, it seems, was not all that uncommon. The Rev. Joseph Thaxter, minister of the Edgartown Congregational Church from 1780 to 1827, flatly declared, “Insanity prevails much.” Strangely, he attributed it to “the Purity of the air and Water.” Whatever the cause, it does indicate that mental instability was not at all unknown in the clannish communities of New England–which also infers that the shipowners might have had an inkling that some of the men they entrusted with their ships were a danger to their own crews. Perhaps, as Melville suggested, they even believed that a half-mad captain “was all the better qualified and set on edge, for a pursuit so full of rage and wildness as the bloody hunt of whales.”

However, this is hard to credit where the managing owners of the Sharon, Gibbs & Jenney, were concerned–Jenney in particular. The family featured prominently in Fairhaven whaling, the Jenney name cropping up repeatedly in whaling crew lists. While the Gibbs & Jenney-owned Sharon cruised unhappily about the western Pacific in 1842, no less than nineteen family members were at sea in whaleships. They ranged in rank from greenhand upward: six were boatsteerers, five were either first or second mates, and three were captains. Hardheaded as shipowners were reputed to be, it is scarcely likely that Jenney would knowingly appoint a potential murderer to the quarterdeck of one of his vessels.

The two other Jenney-owned ships that departed from Fairhaven in 1841–Hesper and Columbus–had men of good reputation in command. Captain Ichabod Handy of the Hesperus was well thought of by the missionaries, later on playing a crucial part in the establishment of a mission in the Caroline Islands. He had a very good relationship with the Pacific Islanders he dealt with, going down in history as one of the pioneers of the coconut oil trade. Captain Frederick Fish of the Columbus, as well as being famous for short voyages and good cargoes, was considered “free-hearted” by a whaling wife who gammed [= visited on board] with him, Mary Brewster of the Connecticut whaleship Tiger–a woman who was not known for her charitable opinions of her husband’s fellow skippers.

If the firm had known what Norris was doing, they would have wanted him stopped. However, the only man on board with the authority to restrain the captain was the first officer–Thomas Harlock Smith. In fact, it was his obligation. The brutality was bad enough, but the murder was the last straw. According to Section Three of the Seamen’s Act, it was Thomas Harlock Smith’s duty to arrest Captain Norris, confine him to his quarters, sail to the nearest port with a U.S. consul–Guam–and hand him over for commitment for trial. But he did nothing, and neither did his cousin, Nathan Smith.

SOURCE: In the Wake of Madness: The Murderous Voyage of the Whaleship Sharon, by Joan Druett (Algonquin Books of Chapel Hill, 2004), pp. 130-132

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A Melville Chronology, 1841-51

  • January 3, 1841, ships as a foremast hand on the whaleship Acushnet.
  • July 9, 1842, deserts ship at Nukuhiva in the Marquesas Islands. Spends a month with the cannibals of the Taipi valley.
  • August 9, 1842, escapes by joining the crew of the Sydney whaler Lucy Ann.
  • October 5, 1842, placed ashore at Tahiti with ten other crewmen, and tried before the Consul for mutiny. Lightly imprisoned in Tahiti. A beachcomber on Moorea.
  • November 1842, ships on whaleship Charles & Henry.
  • May 1843, discharged at Lahaina, goes to Honolulu to work for a merchant as clerk and bookkeeper.
  • August 17, 1843, enlists on U.S. Navy ship United States. Ship calls at Nukuhiva, Tahiti, and Callao.
  • October 14, 1844, discharged from the navy at Boston.
  • 1846, very successful publication of Typee: A Peep at Polynesian Life.
  • 1847, publication of a sequel, Omoo: A Narrative of Adventures in the South Seas.
  • 1849, publication of Mardi.
  • 1850, publication of White-Jacket, or The World in a Man-of-War.
  • 1851, Moby-Dick published to mixed reviews.

SOURCE: In the Wake of Madness: The Murderous Voyage of the Whaleship Sharon, by Joan Druett (Algonquin Books of Chapel Hill, 2004), pp. 233

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Naipaul Asks Welty about Rednecks

And it was of the redneck, the unlikely descendent of the frontiersman, that I talked to Eudora Welty when I went to call on her. I had arrived early, and waited on the street below the dripping trees. She was ready early, and could clearly be seen through her uncurtained front window. But I was nervous of knocking too soon….

The frontier was so much in her stories: a fact I had only just begun to appreciate. And she was willing to talk of the frontiersman character.

“He’s not a villain. But there’s a whole side of him that’s cunning. Sometimes it goes over the line and he becomes an outright scoundrel. The blacks never lived in that part of the state. They came over to work on the plantations. Most of the rednecks grew up without black people, and yet they hate them. That’s where all the bad things originate–that’s the appeal they make. Rednecks worked in sawmills and things like that. And they had small farms. They are all fiercely proud. They dictate the politics of the state. They take their excitement–in those small towns–when the politicians and evangelists come. Scare everybody, outwit everybody, beat everybody, kill everybody–that’s the frontiersman’s mentality.”

I told her the story Ellen had heard as a child about the rednecks to the south of the town where she had spent her summers: the story of traveling salesmen who had been roughed up and hitched to a plow and made to plow a field. Ellen had said that this story had come down from the past; and I had thought of it as a romantic story of the wickedness of times past, an exaggerated story about people living without law. But Eudora Welty took the story seriously. She said, “I can believe the story about the salesmen. I’ve heard about punishing people by making them plow farms.”

We talked about Mississippi and its reputation. “At the time of the troubles many people passed through and called on me. They wanted me to confirm what they thought. And all of them thought I lived in a state of terror. ‘Aren’t you scared of them all the time?’ A young man came and said that he had been told that a Mr. So-and-So, who was a terrible racist, owned all of Jackson, all the banks and hotels, and that he was doing terrible things to black people. It was a fantasy. It wasn’t true. The violence here is not nearly as frightening as the Northern–urban–brand.”

A frontier state, limited culturally–had that been hard for her as a writer, and as a woman writer? The richness of a writer depends to some extent on the society he or she writes about.

She said: “There is a lot behind it, the life of the state. There is the great variety of the peoples who came and settled the different sections. There is a great awareness of that as you get older–you see what things have stemmed from. The great thing taught me here as a writer is a sense of continuity. In a. place that hasn’t changed much you get to know the generations. You can see the whole narrative of a town’s history or a family’s history.”

SOURCE: A Turn in the South, by V.S. Naipaul (Vintage, 1989), pp. 213-214.

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