
The Toads post on the latest Rolling Stone Dylan interview, in which we blended Dylan’s discussion of transfiguration with Clarice Lispector’s in Aqua Viva, has been picked up and reposted at berfrois. Check it out!
A Notebook – Since 2007

The Toads post on the latest Rolling Stone Dylan interview, in which we blended Dylan’s discussion of transfiguration with Clarice Lispector’s in Aqua Viva, has been picked up and reposted at berfrois. Check it out!
“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
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__________
…some Thoreau posts:
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
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, & Redeemed…James Joyce on Writing: “write dangerously”
This Toads post picked up and reposted at berfrois on 25 Oct 2012: Check it out!
“James Joyce on Writing: ‘write dangerously,’” posted here at the Toads back on August 20th, has been reposted at Berfrois.
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?
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