Inspired Graphic Art For The True Reader

Capturing sameness in the line.

Capturing sameness in the line.

Here’s the illustration by artist Hannah K. Lee for The New York Times‘ book review of Harold Bloom’s The Daemon Knows (a link can be found below this…). The book and the illustration are infused with capital A art. Read Lee’s illustration with the writers and poets in mind, and you will see what I mean.


Tea With Harold Bloom, & His 45th Book

04-encounter.nocrop.w529.h777UnknownAmy Bloom writes: “I scan the latest tower of books in front of me on the dining-room table, not even bothering with the stacks listing toward the far end, where Jeanne’s laptop sits, ready for her correspondence and Harold’s dictation.

“Some of today’s stack: Dialogue on Poetry and Literary Aphorisms, by Friedrich Schlegel (“Very important to me”); Elizabeth Bishop, by Colm Tóibín (“That very well-done novel on Henry James, very good”); The Poetry of Kabbalah, by Peter Cole; Jewish Cryptotheologies of Late Modernity, by Agata Bielik-Robson (“Splendid lady”); Nothing to Declare, by Henri Cole (“Very good. The best poet of his generation”); Shakespeare’s Horses, by Joseph Harrison (“My pupil. Next to Henri Cole.”), and multiple books by authors I expect to see: Hans Jonas, Gershom ­Scholem, Friedrich Hölderlin.

“Then there is a pile of stuffed animals on the living-room couch that belong not to their grown sons but to Jeanne and Harold. I ask, and he tells me, happily. “Well, there’s Valentina, the ostrich, named after Valentinus, second-century author of The Gospel of Truth; she presides…” For the article, click here.


Empson: The Heart of Standing

Butterfly Drawing by Jim Crump

Butterfly Drawing by Jim Crump

 

 

The language problem but you have to try.

Some solid ground for lying could she show?

The heart of standing is you cannot fly.

– A stanza from Aubade (1937) by William Empson


Bedside Books

Two more books completed on the classical world of Greek and Rome: Celebrity in Antiquity: From Media Tarts to Tabloid Queens by Robert Garland; Duckworth, 2006.

With the growth of cities and states, renown was bestowed on those who stood out in various ways: by the exercise of power, their beauty, their role as soldiers, their exploits on fields of sports or survival in physical contests of strength, their ability to speak or do science or philosophy, or their virtue. In the Greek and Roman worlds, such people were fodder for books, pamphlets, broadsides, letters, graffiti, statues and paintings. Garland is adept at capturing the traits of such figures, their characters, and making deft comparisons to present day celebrities. He firmly establishes the premise that history does repeat itself over and over, and, yes, we learn nothing from it, or too little to make a difference.

Caesar (circa 50 BC) was the Great Populist of his era, a genius at rallying the plebs, the lower classes, who looked to him as their patron, who protected them from the equestrian class, the “equities,” (think political, financial power brokers). He was one of the first to write his own autobiography of military exploits (in a most generous light), though he cleverly used the third person. His assassins fled the city and country, while the people canonized him into posterity.

Alciabades

Alcibiades

Alcibiades (450 BC), a prominent Athenian statesman, orator, and general, was renown for his aristocratic charisma, his bad boy image, his bisexuality (as was Caesar), his lust for courtesans, his beauty (Plato said he proposition Socrates who turned him down), his lack of scruples, his scandals, his drinking in the morning, his style of effeminate dress, and the decoration of his military shield with the word “Eros.”

His private life became a subject of public obsession until finally he fell from grace, but not before setting a pattern of privilege – and public forgiveness – for people who possess an ability to hold the public eye through sheer force of talent, personality and presence.

Sports, the theater and the arts were the pathway for ordinary people to rise to celebrity status in the ancient world. To be the most successful actor, wrestler, runner, chariot driver, courtesan, or musician led to great wealth and fame.

The symbiosis between sports and entertainment celebrities and the elite and governing class was exemplified by the Emperor Nero, who lusted to be recognized as a sports and entertainment figure. Ruler of the world wasn’t enough.

Garland writes: “Such was Nero’s eagerness to acquire celebrity status that his portrait head on coins for the year AD 64 may actually have been influenced by the hairstyle of actors or charioteers…there was more to Nero’s craving for public attention than meets the eye, for it enabled him to present himself to his subjects as a popular idol. The goodwill of the plebs was in fact vital to him, as he received little support from the army, or from the senatorial class or the equestrian order.”

Sophists and philosophers, for a brief time, were celebrities. Many gave public symposia and workshops, making great sums of money. Socrates did not. But he attracted a fascinating number of followers, from both the aristocratic and lower classes, who attended his informal gatherings.

Alcibiades said: “Whenever I listen to him, my heart beats faster than a Corybant [a Whirling Dervish]…and I see that he has the same effect on many others.”

Another branch of charismatic celebrities that extends into the present day were the hucksters of every stripe and character. Alexander of Abonuteichos set up a lucrative, prosperous “oracle shrine” around 250 AD. Lucian scourged him as “equally adept in lying, guile, perjury, malice, plausibility, audaciousness, cunning, determination, con-artistry, and hypocrisy.” Alexander predicted the future, performed healings, and promised blessings in the hereafter after conveying secret mysteries.

Empress Theodora

Empress Theodora

The greatest show business celebrity ever to rise to the top was Theodora, who as a youth appeared in the theater performing sexual acts and was a notorious prostitute, yet she donned the royal purple robe to become Empress Theodora (circa 540 AD) after Emperor Justinian took her as his wife.

Her story was known throughout the classical world, and she had a devoted following of plebs much greater but akin to Eva Peron in her day. Theodora was a sexually liberated woman who used her beauty, wit – and intelligence – to rise above the rawest demimonde of poverty she was born into to be crowned empress. Justinian was devoted to her throughout his life.

Rome: The Autobiography edited by Jon E. Lewis; Robinson, 2010.

This is a rich collection of original writing by key figures, historians, aristocrats, literary artists of the day and common folk, ranging from 753 BC to 565 AD Why did these two cultures flower so grandly and others languish? I have no answer, and – other than platitudes and conjectures – neither does anyone else.

History is an amalgamation of discreet acts and lives that collectively extend beyond the individual and allow us to look at ourselves. Assembled wisely, it can tell us a story about human nature. Classical Greece and Rome offer us a story writ large over time. Take Socrates’ life, for example. It was exemplary, yet a judge and jury saw otherwise. Alcibiades was a compelling, clever sophist, out for himself. Socrates was a philosopher, out for the greater good.There’s a lesson in their lives.

In a vastly different way, China experienced equally admirable growth in governance and culture during the same period, but elsewhere there are no real comparisons, except for the Middle East (and I’m silent here, totally deficient to say anything about its history; an embarrassment considering the state of the world now). In an ideal world, reading Greek and Roman history would be a component of the moral dimension of public education, at first offered very simply, from the earliest grades, to more detailed study through high school. It provides a missing reality, devoid of myth. It prepares one to know the world as a dangerous stage, impossible to fathom only through the lens of contemporary culture.

On a larger scale, if one has to have a descriptive God, a sweeping take-away from my classical reading is the fitness – the absolute rightness – of the God described in the Old Testament. The God of the New Testament offers solace, but who or what is it? It offers much less in the way of a true picture of life on Earth. It’s little wonder the gods of the classical world were swept away by the God of the New Testament; people were grasping for a saving grace from the world they knew, which is our world too.

Listen to and look at the words and acts of the God of the Old Testament. He gives fair warning of what’s in store for the children of light. The Old Testament God appears as a worthy stage manager, preparing the audience for the tribulations of life. Reocurring themes of apocalypse are bows to human nature’s intractable flaws.

Even with the progress in standards of living, life on Earth can be Hell – or a constant struggle – for people during their brief time on the planet. Heaven, perhaps, for a lucky few. Some survive life’s journey more or less intact, but many are culled in the swirl of fate, trial, pain, despair, sorrow, and, for some – an eagerness to exit the travails.

Greek and Roman history tell us that material progress and technology – our cleverness – are not enough to provide happiness or change human nature. That should be enough of a cautionary warning for humankind to do much better than we’re doing, but it isn’t.


A Woman of Bangkok: Epigraph

Louis MacNeice

Louis MacNeice

The sunlight on the garden

Hardens and grows cold.

We cannot catch the minutes

Within its nets of gold.

When all is told

We cannot ask for pardon.

The opening stanza of “The Sunlight On The Garden,” a poem by Louis MacNeice, used as the epigraph on Chapter I of A Woman of Bangkok by Jack Reynolds.


Robert Stone On Stephen Crane’s Red Universe

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Upon Robert Stone’s recent passing, Madison Smartt Bell wrote at The New Yorker’s Page Turner blog that Stone “was one of the most widely read people [he had] ever met. . . . All his knowledge never settled into wisdom’s contentment—his streak of anger was too broad for that, and he learned all he knew in order to make art out of it, art with a furious energy.”

See Stone’s penetrating essay on Stephen Crane in Brick Magazine here.


Gary Snyder Talks About Kerouac

Here’s a tender recollection of Jack Kerouac by Gary Snyder. It’s included in The Allen Ginsberg Project website, here, along with a video of the interview. The date and source of the interview was not given:

Kerouac in 1960.

Kerouac in 1960.

“I only knew Jack (Kerouac) personally, in an intimate way, for those few months from the Fall of (19)55 to May of 1956 when I set sail for Japan. I never saw him again, and it was like a brief camp-out together when we shared that cabin in Marin County through the Spring of that year, practiced meditation together, talked Buddhists texts, wrote poetry and drank a lot of Tokaj – and then I left. At that time, all that Jack and I were doing together were practicing mountains, practicing wood-cutting, practicing flowers and birds and practicing Buddhist studies.

Interviewer: Does The Dharma Bums…Is that a really accurate story or is a lot of it made up?

GS: Some of it’s a novel, some of it reflects things that happened, but even the reflection is novel too, like (William) Burroughs would say.

Interviewer: Did you know he was going to write a book about you?

GS: Yeah, he told me, towards the end. He said, “I’m going to write a book about you, Gary, you’re going to be really famous!” –  “Really?”

Interviewer: Do you think he had a sense of himself as being a major novelist. I mean as like a..

GS: Yes. I do, at that time even.

Interviewer: In what sense..?

GS: The clear sense of his skill, his power, his vocation, and his energy, and that there was something that he was going to be saying

Interviewer: In a way, there’s a funny kind of worship, you know, of what you represented.

GS: Well, he does that in the novel. He plays that in some of the other novels too, where he makes his first person singular into kind of a naive character that elicits information from people by pretending not to know (and he didn’t do that much with me in person, although, it’s true, he was real naive about some things.

Interviewer: What was.. what was..

GS: He didn’t really know what was involved in going back-packing and hiking and climbing. It was all new to him, but he was a quick learner. And he didn’t know much about nature, or that you could know about nature really, in its specific way. And so, spending some time on the Spring bird migrations and the many species that were coming through Marin County that year –  five hundred a year come through Marin County on a Pacific fly-way –  so we were checking off species as they came through that little shack and Jack really appreciated all that information.

…Like we were cutting some eucalyptus and splitting eucalyptus for fire-wood the stove and he was like a kid – learning how to start a chain-saw, how to handle a maul  – same way as when we went back-packing. Oh, I was going to say, we did another trip too (besides to the High Sierra). We did a.. two-night maybe? camping trip, hiking right from Homestead Valley over Mount Tam. and camping out on the drainages on the north side of Mount Tamalpais..local places..and swinging around and coming back…

Interviewer: Was Kerouac really as frightened… there’s a thing where he..

GS: (shaking his head): Mm-mm

Interviewer: Oh, interesting.

GS: Well, that’s part of his story-telling.

Interviewer: Because he says, “I was a coward” – He says “I was the Buddha known as the coward. At least I have joy”, or something like that [editorial note – Kerouac’s actual line –I realized I have no guts anyway, which I’ve long known. But I have joy.”]

GS: He likes to play with that. He’s an athlete.

Interviewer: Did you think of him as an intellectual?

GS: No. But well-read, to make the distinction. A very well-read person and a very sharp person with a critical acuity when he wished to employ it, but not like a practicing intellectual, which is a style, (that) is all it is…

GS: The Buddhist metaphor?

Interviewer: Yes

GS: Suffering, impermanence, the First Noble Trutheverything is impermanent and we must find our joy and our freedom in suffering – finally. He swung around through that, to the Buddhist understanding of that – and it’s all through his writing – and then settled back into, maybe, the more familiar comfort of Catholic metaphors…

Now you asked me “Did he seem very American?” and I said “Yes”, and you said “Why?”, and I was ruminating on how to answer that. He was in his physical health and strength, in his unconscious grace, in his child-like-ness, (which was real a lot of the time), in his openness to experiencing new things and learning new things, his paradoxical joy in a kind of freshness in the world (paradoxical, because at the same time he was aware of suffering and impermanence), and maybe all of that is sort of American – And a total absence in Jack of anything elite, or yuppie, or academic, or intellectual, or any of that posturing at all that we associate with learned people, middle-class white people. He was more like your aunt, you know, sitting at a table in the kitchen, or your grandma, sitting at a table in the kitchen, speaking in common-sense truths about orderliness and kindness, basic instructions, and so, very much like my old aunt from Texas, and easy to be with.

Kerouac's writing desk in Florida, where he wrote The Dharma Bums, the story of his time with Snyder.

Kerouac’s desk in Florida in the house where he wrote The Dharma Bums, the story of his time with Snyder.

 


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