• Binders Full of Women and a Pocketful of Moloch

    “The mass of men lead lives of quiet desperation,” Thoreau said, which is to say, most guys – their binders are empty. Bukowski explains, over at Letters of Note: the drone ant has sacrificed his life for a 401Kafkaesque letter from his Man-auger: “Sorry mate, we’ve a cutback comin’ down the line.” Bukowski lights out for the territory, not ahead of all the rest, like Huck did, but behind, yet still grateful for the chance, as Thoreau put it, “…to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.”

    But to live deliberately, or deliberately meanly, as Bukowski did, requires at least some dough, as Bukowski acknowledges in his letter of thanks to John Martin, his publisher and patron. How much dough? $100 a month, for life, as long as he kept writing, according to the documentary Born Into This (brief review here; not recommended for the squeamish). How much did Buk need to sustain his values? What would he have done differently with $1,000 per month, or $10,000? More dough, more beer? Thoreau also found no sense in saving for a doubtful future.

    “The man who goes alone can start today,” said Thoreau. In any amount, against this going alone, we find E. O. Wilson continuing to surprise us: “‘Individual selection is responsible for much of what we call sin, while group selection is responsible for the greater part of virtue,’ he writes in one of the book’s bluntest passages. ‘Together they have created the conflict between the poorer and better angels of our nature’” (Susanna Rustin, Guardian interview, 17 Aug 2012). Which angel carries cash? Thoreau thought he “was rich, if not in money, in sunny hours and summer days, and spent them lavishly.”

    Meanwhile, over at The Dish, Andrew Sullivan, who’d be the world’s richest blogger if posts were dollars, points us, in a post titled “What’s the Matter with Money?,” to an argument proposing to assuage any Thoreau induced guilt we might be feeling over our purchased stuff. “Buyology,” by Jerry DeNuccio, suggests money is good because when we buy stuff we sustain the consumer colony. The consumer is thus one of the “better angels of our nature.” But do we really want to be ants? And isn’t most of our money spent on things we don’t really want? I’m not sure what audience needs an argument in favor of money. It can’t be the poor, who know only too well the value of money and what it might buy (food and good teeth to eat it, clean clothing and a private place to dress, health care not to be confused with drugs, not to mention Ishmael’s bed and table), but Thoreau is clear about his audience: “Perhaps these pages are more particularly addressed to poor students,” whose meagre earnings don’t necessarily go for cool stuff: “Those things for which the most money is demanded are never the things which the student most wants.” Cynics are fond of finding Thoreau contradicting himself, and he’s often laureled a hero of hypocrisy. It’s become a sixth way added to Walter Harding’s “Five Ways of Looking at Walden.” But in no place do we find Thoreau at odds with the value of furniture, a hearth, or companionship. He even kept three chairs for society. But Thoreau did not consider himself poor, as his conversation with John Field, who “was discontented and wasted his life into the bargain,” in the “Baker Farm” chapter of Walden, makes clear. Thoreau simply wanted to live on less stuff. For Thoreau, less is more to the max.

    In any case, Thoreau did not ignore economy, his own or his society’s. The first chapter of Walden, “Economy,” is roughly a quarter of the book, and readers often find tedious pages in Thoreau’s accounting. This is part of our economy, too, according to Thoreau, ants building a railroad: “This spending of the best part of one’s life earning money in order to enjoy a questionable liberty during the least valuable part of it…He should have gone up garret at once. ‘What!’ exclaim a million Irishmen starting up from all the shanties in the land, ‘is not this railroad which we have built a good thing?’ Yes, I answer, comparatively good, that is, you might have done worse; but I wish, as you are brothers of mine, that you could have spent your time better than digging in this dirt.’”

    No one doubts the importance of money and stuff, but money is a fifth column to Thoreau’s four necessaries of life (“Food, Shelter, Clothing, and Fuel”). The question is, “How much is enough? and How do I know what I want?” as Bill McKibben puts it in his introduction to the Beacon Press Walden (1997). For Thoreau, “Superfluous wealth can buy superfluities only. Money is not required to buy one necessary of the soul.” More, the problem with money isn’t that it buys stuff; the problem with money is that its superfluity leads to a superfutility, as its surplus grows into a power that dictates what others should do with their money, or what they should do for their money, or what should become of them for a lack of money. And nowhere is this more evident than in the status of women, all around the world, and if “the mass of men lead lives of quiet desperation,” what’s a woman to do who must learn to live with one of these desperadoes?

    “Rather than love, than money, than fame, give me truth,” Thoreau concluded.

    “Men say they know many things;
    But lo! they have taken wings, –
    The arts and sciences,
    And a thousand appliances;
    The wind that blows
    Is all that any body knows” (Thoreau’s poem in the “Economy” chapter of Walden).

    How many appliances do we need? “…the answer is blowin’ in the wind.”

    Related Posts:
    The Way We Don’t Age Now: Unhappiness and Hunger in the Land of Plenty
    Women Under the Glass Ceiling: Parity and Power in the Pipeline
    The Glass Guitar Ceiling
    Stuffed Post
    Thoreau Posts

  • Say what you see (look-and-say) sequences

    1
    
    1 1
    
    2 1
    
    1 2 1 1
    
    1 1 1 2 2 1
    
    Solve for row 6__________
    a
    
    1 a
    
    1 1 1 a
    
    3 1 1 a
    
    1 3 2 1 1 a
    
    Solve for row 6__________
    a n t
    
    1 a 1 n 1 t
    
    1 1 1 a 1 1 1 n 1 1 1 t
    
    3 1 1 a 3 1 1 n 3 1 1 t
    
    1 3 2 1 1 a 1 3 2 1 1 n 1 3 2 1 1 t
    
    Solve for row 6__________
    ant
    
    ant ant
    
    ant ant ant
    
    ant ant ant ant
    
    ant ant ant ant ant
    
    ant ant ant ant
    
    Solve for row 7__________
    c a t
    
    c a t ' s  u p
    
    w h a t ' s  u p ?
    
    catch up
    
    Solve for row 5__________

    Look-and-say sequence.

  • Thoreau’s Meanly Men and Manly Ants

    “We live meanly, like ants,” Thoreau tells us in the “Where I Lived, and What I Lived For” chapter of Walden, just after he’s divulged his reason for being in the woods: to distill life, then distill it some more, until he has more than 100 proof. And if life prove mean, then he will “publish its meanness to the world.” What does he mean by meanness? The opposite of simplicity, for one thing, letting the railroad ride over us, for getting off track is devalued; today Thoreau would use the automobile as the vehicle and mean man the asphalt. His discussion of living meanly anticipates the later episode of the war of the ants in the “Brute Neighbors” chapter. But there, the ants are anthropomorphized as warriors from antiquity. In the ants he sees meanness because in the ants he sees men. But what could be meaner than the mother who “had charged him to return with his shield or upon it”? Thoreau even imagines the ant armies with military bands blowing on the sidelines just as fiercely as the combatants. Yet Thoreau anticipates E. O. Wilson, whose newest work explains altruism, communication, and cooperation as fundamental to advanced social behavior successes, both in ants and men, as opposed to competition and meanness. The fittest may turn out to be the one who can best cooperate, sacrifice, and share. Wilson considers self-understanding as vital to survival of the species. Thoreau agreed. Thoreau leaves the pond when he does because he’s called by Mrs. Emerson to come care for her family while her husband will be away on a lecture tour. Thoreau leaves Walden quickly, with an attenuated conclusion.

    The E. O. Wilson reference is to a Smithsonian.com interview with Wilson, “What Does E.O. Wilson Mean By a ‘Social Conquest of the Earth’,” by Carl Zimmer, March 22, 2012.

    Related Posts:

    Mapping a Reading of Thoreau’s Walden

    Now is the Science of our Discontent

    …ant, ant, ant, ant, and ant

  • 81 Snazzy Ants

    1. ant  ant  ant  ant  ant  ant  ant  ant  ant 
    2.   ant  ant  ant  ant  ant  ant  ant  ant  ant
    3.    ant  ant  ant  ant  ant  ant  ant  ant  ant
    4. ant  ant  ant  ant  ant  ant  ant  ant  ant
    5.     ant  ant  ant  ant  ant  ant  ant  ant  ant
    6.     ant  ant  ant  ant  ant  ant  ant  ant  ant
    7. ant  ant  ant  tan  ant  ant  ant  ant  ant
    8.   ant  ant  ant  ant  ant  ant  ant  ant  ant
    9.    ant  nat  ant  ant  ant  ant  ant  ant  ant
  • 45 Embedded Ants

    canto Dante phantom fantod chanteuse
    
    slanted ranting banter gauntlet infantry
    
    pantsuit gigantic Atlantis cilantro plantation
    
    shanty brigantine semantic dismantling gallivanting
    
    gallantry wanton canteen quarantine guarantee
    
    romantic chrysanthemum fantasy haunted dilettante
    
    pedantic consubstantiation incantation misanthropically quantified
    
    truantry meantime cantus cantilevering bacchante
    
    aspirants applicants aberrantly yantrill vibrantly
  • 153 ants

    ant ant ant ant ant ant ant ant ant ant ant ant ant ant ant ant ant
    
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  • Clarice Lispector’s “Agua Viva”: Oyster, Rose, and Time

    In the center of “Agua Viva” a round curving flower unfolds, falling outward, foreshadowed by the oyster and turtle, by animals and insects. But “not having been born an animal,” Clarice is free to experiment, for “the animal never substitutes one thing for another,” never, in other words, uses metaphor, and so animals are better able to capture the “it” of time, and we want to watch them, but we must be careful not to “humanize animals because it’s an offense – you must respect their nature – I am the one who animalizes myself” (42-45).

    There are 376 paragraphs in 88 pages of text (the writing begins on page 3). Each paragraph is a petal curling away from the center of the text.

    Animals with paragraphs: oyster, owl, horse, wolves, turtles, tiger.

    Flowers with paragraphs: rose (“The way she opens herself into a woman is so beautiful.”); carnation (“The white ones recall the little coffin of a dead child…and we turn our heads away in horror.”); sunflower; violet; daisy; orchid (“…exquise and unpleasant.”); tulip; cornflower (“biblical”); angelica (“dangerous”); jasmine; bird-of-paradise; night jessamine; edelweiss; geranium; water lilies; chrysanthemum (“deep happiness”) (49-53).

    As with James Joyce, more dangerous writing: “Yes, what I’m writing you is nobody’s. And this nobody’s freedom is very dangerous. It is like the infinite that has the color of air” (76).

    A maid and a cook appear momentarily, cursorily; what for? (75, 78). They witness the writing. Clarice has a job, “to look after the world” (54).

    Ants appear, and bees. The voice treads water “beyond thought” (35, 41, 59, 61, 64, 73, 79).

    How can we ask a text that occurs only in the moment to have a plot? Aphorism, definition, examples and illustration, clear and concise description. Insects, bugs. Without plot comes freedom: “Whoever isn’t lost doesn’t know freedom and love it” (65).

    The end is a mirror (70) and a beatitude of nothing (82), sleep and waves, sadness. But begin being again, “with such profound happiness. Such a hallelujah” (3, 29), a jazz.

    The narrator, a voice without narration, talks of writing and reading, first and second person. Time stops with the writing, close in, close up: “Insects, frogs, lice, flies, fleas and bedbugs” (35).

    The narrator is a painter who writes. The writer’s doubt (34, 38, 48) is the reader’s joy: “The ‘freedom’ frees itself from the slavery of the word” (84). Yes, contradictions and connections, threads of paragraphs.

    “Agua Viva,” by Clarice Lispector. Translated from the Portuguese by Stefan Tobler. Introduction by Benjamin Moser. Written in 1973. First published by New Directions as NDP1223 in 2012.

    Related posts: Bob Dylan and Clarice Lispector: Bewildering, Transfigured, & RedeemedJames Joyce on Writing: “write dangerously”

    This Toads post picked up and reposted at berfrois on 25 Oct 2012: Check it out!

  • New Repost at Berfrois!

    “James Joyce on Writing: ‘write dangerously,’” posted here at the Toads back on August 20th, has been reposted at Berfrois.

  • Bob Dylan & Clarice Lispector: Bewildering, Transfigured, & Redeemed

    Perhaps no star’s luminosity glows murkier than Dylan’s in his interviews. Louis Menand, in “Bob on Bob: Dylan Talks” (New Yorker, 4 Sep 2006), a review of Jonathan Cott’s Bob Dylan: The Essential Interviews, comments on the absurdity of taking any Dylan interview as a gospel light. Menand opens by comparing Dylan’s interviews to Elvis’s, “who was one of the all-time worst.” Dylan is slightly better than Elvis in an interview, Menand argues, where the King’s sole imperative was to not offend, but Dylan “is rarely concerned about sounding polite, and he says things, but he sometimes makes them up. He also contradicts himself, answers questions with questions, rambles, gets hostile, goes laconic, and generally bewilders.” Dylan’s latest interview in Rolling Stone (Issue # 1166, 27 Sep 2012) does all of that and more.

    The most bewildering discussion in this latest interview, ably conducted by Mikal Gilmore, is Dylan on transfiguration. Does he mean transmigration? He says not. He says he got the idea in a book in Rome, and advises to ask the Catholics. Yes, they would know, having written the book. Joyce’s Molly asks Bloom:

    —Show here, she said. I put a mark in it. There’s a word I wanted to ask you.
    She swallowed a draught of tea from her cup held by nothandle and, having wiped her fingertips smartly on the blanket, began to search the text with the hairpin till she reached the word.
    —Met him what? he asked.
    —Here, she said. What does that mean?
    He leaned downward and read near her polished thumbnail.
    —Metempsychosis?
    —Yes. Who’s he when he’s at home?
    —Metempsychosis, he said, frowning. It’s Greek: from the Greek. That means the transmigration of souls.
    —O, rocks! she said. Tell us in plain words. (Ulysses, “Calypso” Chapter)

    But Dylan says he’s trying to explain something that can’t be explained. He asks for some help. I recalled John Fahey’s 1965 The Transfiguration of Blind Joe Death. Is Dylan talking about being reborn? Surely Dylan is familiar with the great guitarist John Fahey.

    And this week, reading Clarice Lispector’s Agua Viva, first published in 1973 but recently transfigured by New Directions, and guess what appears – transfiguration: “No, all this isn’t happening in real facts but in the domain of – of an art? yes, of an artifice through which a most delicate reality arises which comes to exist in me: the transfiguration happened to me…I transfigure reality and then another dreaming and sleepwalking reality, creates me” (13:16).

    Dylan: “Transfiguration is what allows you to crawl out from under the chaos and fly above it. That’s how I can still do what I do and write the songs I sing and just keep on moving” (46).

    But, “I don’t question myself about my motives,” Lispector says. “I am obscure to myself…I let myself happen” (17). Which is freedom: “Only a few people chosen by the inevitability of chance have tasted the aloof and delicate freedom of life. It’s like knowing how to arrange flowers in a vase: almost useless knowledge. The fleeting freedom of life must never be forgotten: it should be present like a fragrance” (62).

    On the “only a few,” Dylan seems to agree: “I’m not like you, am I? I’m not like him, either. I’m not like too many others. I’m only like another person who’s been transfigured. How many people like that or like me do you know?” (46). Yet Lispector says, “All lives are heroic lives” (59).

    And Bloom continues to explain to Molly: “—Metempsychosis, he said, is what the ancient Greeks called it. They used to believe you could be changed into an animal or a tree, for instance. What they called nymphs, for example.” But this begins to sound more like transmogrification.

    In places, Lispector sounds like Dylan in an interview: “I don’t want to ask why, you can always ask why and always get no answer…What I say to you is never what I say to you but something else instead” (8).

    But both Dylan and Lispector can strike a point like sinking the nine ball. When asked if performing live is fulfilling, Dylan replies, “No kind of life is fulfilling if your soul hasn’t been redeemed” (48). And Lispector describes her job as looking after the world: “Looking after the world also demands a lot of patience: I have to wait for the day when an ant turns up” (55).

    Dylan’s discussion of being transfigured reads less bewilderingly if read figuratively. His old self no longer exists. Look homeward, angel, but the transfigured can’t go home again. But enough for now. More on Clarice Lispector and Agua Viva soon, but for now, why worry the weary worry why?

    Related Posts: Honor and Shame: Born Again Off Maggie’s Farm
    We Ain’t Gonna Wait in Maggie’s Line No More

  • Four Dubliners and a Scholar’s Mirror

    When Richard Ellmann wrote his Library of Congress lectures in the early 1980s on four Irish writers (Wilde, Yeats, Joyce, and Beckett), later issued in book form under the title Four Dubliners, Beckett was still living (barely; he died 18 months after the book’s publication). Most of Beckett’s work comes after WWII, work that often seems remote from time, if not out of time, and his coming to the tee last in the foursome is more than chronologically significant. Is he the oddest in an odd foursome?

    Ellmann acknowledges in his brief preface the tenuous argument of linking the four together as peas in a pod: “These four, it may be granted, make a strange consortium.” Ellmann sews the group into a singularity with thematic threads from their works and their lives: “They posit and challenge their own assumptions, they circle from art to anti-art, from delight to horror, from acceptance to renunciation. That they should all come from the same city does not explain them, but they share with their island a tense struggle for autonomy, a disdain for occupation by outside authorities, and a good deal of inner division.”

    One of the life-threads linking Joyce to Beckett was the trouble with occupation, how to earn a living while the world was busy ignoring what they considered to be their real work. They both tried but were disappointed with teaching. Joyce, who could have easily obtained a scholarly position at a university, instead occupied himself for a time with an alternative form of teaching – tutoring English language lessons. Beckett, who did secure a credible post, declined it almost immediately: “His teaching post at Trinity he quit abruptly because he discovered, and would later remark, that he could not teach others what he did not himself understand, a handicap that most of us endure without bridling” (92). That end break in scholarly text is not Ellmann’s only one in a short book full of gems and surprises.

    One of the surprises that emerges might be both Joyce’s and Beckett’s humility and self-doubt as they stumble up to the world’s literary stage. One of the gems is found in a story Joyce once told to a friend, Louis Gillet:

    “It was about an old Blasket Islander who had lived on his island from birth and knew nothing about the mainland or its ways. But on one occasion he did venture over and in a bazaar found a small mirror, something he had never seen in his life. He bought it, fondled it, gazed at it, and as he rowed back to the Blaskets he took it out of his pocket, stared at it some more, and murmured, ‘Oh Papa! Papa!’ He jealously guarded the precious object from his wife’s eye, but she observed that he was hiding something and became suspicious. One hot day, when both were at work in the fields, he hung his jacket on a hedge. She saw her chance, rushed to it, and extracted from a pocket the object her husband had kept so secret. But when she looked in the mirror, she cried, ‘Ach, it’s nothing but an old woman!’ and angrily threw it down so that it broke against a stone.”

    “Authors, he [Beckett] has said, are never interesting” (93). And Wilde: “There is something vulgar about all success. The greatest men fail, or seem to have failed.” And Becket: “To be an artist is to fail, as no other dare fail…” (109). Ellmann the scholar was able to thread remarks like these together to form an interesting view of four writers who “were chary of acknowledging their connections” (Preface). If authors are never interesting, what can scholars, their mirrors so quickly obscured, hope for? Let alone the common blogger, whose posts continually fall like awetomb sheaves down the electronic chute.

    Ellmann, Richard. Four Dubliners: Wilde, Yeats, Joyce, and Beckett. New York: George Braziller, July 1988. 122 pages.

    Related Post: Breakfast at Beckett’s