Posts Tagged ‘W.B. Yeats’
March 10, 2016 | by Dan Piepenbring
- Brad Bigelow thinks of his blog, Neglected Books, as “one little step against entropy.” His reviews of forgotten or obscure books have led, in many cases, to publishers reissuing them, sometimes even in translation: “One of Bigelow’s favorite rediscoveries is Gentleman Overboard, a 1937 novella by Herbert Clyde Lewis, a son of Russian immigrants. Lewis grew up in New York, became a journalist, and eventually wrote Hollywood screenplays. The book’s protagonist is a steamship passenger named Henry Preston Standish, who slips on a spot of oil and tumbles overboard. Gentleman Overboard is a record of his final day and his fading hopes of rescue … The most accessible online edition was scanned from an old library copy, which was last checked out in 1950. That’s the same year that Lewis died, of a heart attack, at the age of forty-one. But Bigelow has saved Gentleman Overboard from going completely underwater: a few years ago, he recommended it to a publisher in Argentina, who decided to release a Spanish translation.”
- While we’re on forgetting: Yeats wrote that his friend William Horton “has his waking dreams, but more detailed and vivid than mine; and copied them as if they were models posed for him by some unearthly master.” Despite the poet’s praise, few remember Horton’s drawings today—after some early success, his career, as Jon Crabb writes, found him listing toward occultism: “Horton was clearly immersed in the London occult scene during the 1900s, but in 1905 he also finally attracted the attention of The Studio, the era’s foremost journal of design and illustration. The September issue featured several Horton illustrations, which are of a more mature and less ominous style … Sadly, he published little after 1912 and, in 1916, suffered a mental breakdown after the death of his partner Amy Audrey Locke. In 1918, he was hit by a car and further incapacitated. He died in obscurity the following year.”
- No one does compound words like the Germans do compound works. English speakers can only look on in envy as the Germans chain together nouns—Donaudampfschifffahrtsgesellschaftskapitän, anyone?—with reckless abandon and effortless precision. Bruce Duncan picks some of his favorites and looks at the grammatical back end: “Both German and English can create compound words out of most parts of speech, not just nouns … My own personal favorite [is] Verschlimmbesserung. This construction doesn’t just present contrasting concepts. It also employs a playful use of German’s grammatical structures to tie them together. The word begins with two verbs—verschlimmern (‘to worsen’) and verbessern (‘to improve’). It then conflates their prefixes (ver-), and adds the suffix (-ung) to turn it into a noun. This process compresses an idea that only a wordy English translation can unpack: “an intended improvement that makes things worse.”
- If you’re fluent in German, you’ll get more out of Paul Klee’s notebooks—thirty-nine hundred pages of which have just been digitized and released online—than I was able to. Klee used these notes “as the source for his Bauhaus teaching between 1921 and 1931 … His extensively detailed textual theorizing on the mechanics of art (especially the use of color, with which he struggled before returning from a 1914 trip to Tunisia declaring, ‘Color and I are one. I am a painter’) [and] … his copious illustrations of all these observations and principles, in their vividness, clarity, and reflection of a truly active mind, can still captivate anybody—just as his paintings do.”
- Michael Wood on Orson Welles’s adaptation of Kafka: “It’s not that Welles has ‘a stunning visual intelligence and a numbingly banal view of human experience,’ as Joan Didion thought Fellini and Bergman had; but he does get extraordinary suggestions into his images, and he can become sententious in his words and plots. Welles fans are not enthusiastic about The Trial … But we can see Welles doing something new with his visual machinery in the film, reaching for social meanings of a kind he had not sought before. Welles’s Joseph K is a guilty man and proud of it, because he is not half as guilty as the evil system that closes in on him and kills him … In The Trial more than anywhere else we see how much Welles’s imagination has to do with space. A set for him is a location to be explored, and a location is full of stories.”
December 21, 2015 | by Nick Tabor
We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year!
The widening gyre of heavy-handed allusions to Yeats’s “The Second Coming.”
A recent Russia Today headline suggests that Europe is “slouching towards anxiety and war.” According to the title of Robert Bork’s latest best seller, the United States is Slouching Towards Gomorrah. A new book by W. C. Harris, an English professor, claims we’re Slouching Towards Gaytheism. A casual reader might wonder why the nations of the world have such terrible posture; is it that the earth is slouching towards bedlam? Have things fallen apart?
The only thing not doing any slouching these days is the “rough beast” in W. B. Yeats’s “The Second Coming,” the 1919 poem from which the phrase originates: “And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?”
But Yeats’s beast, it must be said, isn’t deteriorating or dying in its slouching, as the many references to the phrase would have you believe; rather, it slouches in steady, dedicated progress toward a goal. It’s actually a terrifying sight: the poem’s narrator intuits that the beast is coming to wreak some untold havoc. (At least one blog got this subtlety right in a headline about the 2012 election cycle: “Romney slouching toward GOP nomination.”)
“The Second Coming” may well be the most thoroughly pillaged piece of literature in English. (Perhaps Macbeth’s famous “sound and fury” monologue is a distant second.) Since Chinua Achebe cribbed Yeats’s lines for Things Fall Apart in 1958 and Joan Didion for Slouching Towards Bethlehem a decade later, dozens if not hundreds of others have followed suit, in mediums ranging from CD-ROM games to heavy-metal albums to pornography. These references have created a feedback loop, leading ever more writers to draw from the poem for inspiration. But how many of them get it right? Read More >>
September 8, 2015 | by Dan Piepenbring
When the French playwright Alfred Jarry—born on this day in 1873—was fifteen, he enjoyed lampooning his physics teacher, a plump, inept man who so amused his students that he became the subject of Jarry’s first attempt at drama, Les Polonais, staged with marionettes when he was still in short pants. Père Heb, as the physics teacher was called in it, had a prominent gut, a retractable ear, and three teeth (stone, iron, and wood). These features by themselves make him a distinctive figure in the history of French drama. But years later, Jarry revived Heb—as all responsible playwrights do with their juvenilia—making him somehow even more ridiculous, even more obese, and putting him at the center of Ubu Roi, a play so contentious that its premiere, in December 1896, was also its closing night. It lives in the annals of drama because it offended almost everyone who saw it. In this, it prefigured modernism, surrealism, Dadaism, and the theater of the absurd. Read More »
August 12, 2015 | by Sadie Stein
In the great cities we see so little of the world, we drift into our minority. In the little towns and villages there are no minorities; people are not numerous enough. You must see the world there, perforce. Every man is himself a class; every hour carries its new challenge. When you pass the inn at the end of the village you leave your favorite whimsy behind you; for you will meet no one who can share it. We listen to eloquent speaking, read books and write them, settle all the affairs of the universe. The dumb village multitudes pass on unchanging; the feel of the spade in the hand is no different for all our talk: good seasons and bad follow each other as of old. The dumb multitudes are no more concerned with us than is the old horse peering through the rusty gate of the village pound. The ancient map-makers wrote across unexplored regions, “Here are lions.” Across the villages of fishermen and turners of the earth, so different are these from us, we can write but one line that is certain, “Here are ghosts.”
―W. B. Yeats, The Celtic Twilight: Faerie and Folklore
In a Boston hotel, I sit waiting for a glass of sherry. The hotel is old and historic, but it is not what I envisioned; a corporate renovation has done away with all but the most stubborn traces of the past. Conference attendees stream through, “Jesse’s Girl” is blasting overhead. The menu has gone dubiously fusion. But then, this is why I can afford it.
No matter. I’m a master at ignoring the present. I find the reluctant concessions to history on that menu. I focus on the brass dial above the elevator, and the black-and-white photos in the lobby, and bury my nose in a book. The sherry is warm and sweet and awful, but that’s my fault. Read More »
August 11, 2015 | by Dan Piepenbring
- Shakespeare scholars are reeling from a discovery so major, so irrefutably epochal, that it sets the entire field on its head: four clay pipes found in his Stratford-upon-Avon garden contain cannabis residue. Historians may never know for certain if Shakespeare composed his masterworks among purple plumes of the dankest kush, but for the sake of sensationalism, we of the media have no choice but to assume he did. T-shirts featuring the Bard ripping tubes, smoking bowls, and otherwise enjoying a good old-fashioned toke will be available in novelty shops near you by C.O.B. today. I had nothing to do with them.
- A 1991 letter from Elena Ferrante to her Italian publisher, Sandra Ozzola, lays out her approach to promotion with the utmost candor: “I’ve already done enough for this long story: I wrote it. If the book is worth anything, that should be sufficient. I won’t participate in discussions and conferences, if I’m invited. I won’t go and accept prizes, if any are awarded to me. I will never promote the book, especially on television, not in Italy or, as the case may be, abroad … I believe that books, once they are written, have no need of their authors. If they have something to say, they will sooner or later find readers; if not, they won’t.”
- In which Avies Platt, “an art mistress at Wellingborough County High School for Girls in Northamptonshire,” has a stirring encounter with an aging W. B. Yeats: “she met the seventy-two-year-old Yeats at an open meeting of the Sex Education Society, a group headed by controversial sexologist Norman Haire … As the evening progressed it became obvious that the elderly poet’s interest in Platt went further than conversation—she mentions him sitting outside the Athenaeum club in Pall Mall and expressing his regrets at ‘the stupid rule that we may not take ladies in after midnight.’ ”
- Let’s talk about trolling, and while we’re at it, let’s throw some existentialism in there, too: “If the Internet was predicated on everyone co-existing on a level playing field, able to distribute and share knowledge without the previous gatekeepers of status or affiliation to slow things down (perhaps one of the main benefits of having user names rather than real names), trolling takes that utopian possibility and throws it by the wayside … trolling is a destructive way of addressing the ambivalent state of being that is life online, that is, being connected to millions and even billions of people simultaneously, but being incredibly isolated, separated from the nuance of subtle body language, body odor, touch, taste, et cetera.”
- Today in new applications for 3-D printing: haute couture. At Paris Fashion Week, Chanel presented a version of its classic two-piece suit: “Using selective laser sintering—a high powered laser fusing together tiny particles—much of the suit vest was sculpted, appearing boxlike, with no sewing necessary … With endless possibilities in shape, texture and transparency, the experimentation of 3-D printing techniques and materials has a worthy place on the cutting edge of couture. But fashion designers must learn how to generate computer files and complex computer-aided drafting techniques for the printing process to work.”
June 11, 2015 | by Dan Piepenbring
- Alice, of Wonderland fame, has osmosed right on into the culture and found a life of her own; we no longer need to read Lewis Carroll’s books to feel that we know her. But we should read Carroll—there’s a certain amount of drift between his Wonderland and the one we think we understand. “Conversations about what is real, what is possible, and how rubbery the rules that govern such distinctions turn out to be abound in the tales of Alice. Yet they are sold as children’s books, and rightly so. A philosopher will ask how the identity of the self can be preserved amid the ceaseless flux of experience, but a child—especially a child who is growing so fast that she suddenly fills an entire room—will ask more urgently, as Alice does, ‘Was I the same when I got up this morning? I almost think I can remember feeling a little different.’ Children, viewed from one angle, are philosophy in motion.”
- This Saturday marks Yeats’s sesquicentennial, an occasion celebrated easily enough by reading his poems—but why not read his plays, which are always given short shrift among his work? In a way, they anticipated Beckett: “What happens in a Yeats play can be startling. Purgatory, for example, verges on the lurid. Its material is the rough red wine of sex and violence: a woman’s lust for her groom and their son’s murderous determination to extirpate her sin in blood. Yeats’s genius is to distill that red wine into a fine but heady spirit, a short, incredibly potent theatrical essence that goes straight to both the head and the guts.”
- Since Jerry Seinfeld declared, earlier this week, that he no longer plays college campuses because they’re “too P.C.”—such a taboo-buster, that Seinfeld, with his wry observations!—many have asked if comedy is in jeopardy. They often lean on the same tired rhetoric about laughter’s potential as a “unifying force”; why? “Comedy isn’t supposed to be anything, except what the comedian tries to make it—harmless, mean, political, dirty, dumb. You wouldn’t say that music or fiction are ‘supposed’ to be anything; so why do we saddle all comedy with a curative democratic mission? Too often we view comedy as a craft, a service brought to us by cheerful comfort-workers, more than the work of serious artists. Thus, when they don’t comfort us, we want to complain to the manager.”
- “I can remember in the Fifties when Goatman would come by, up near Arab, Ala. The first time I ever saw him we were picking cotton in the fields near Arab and he was coming down the road. You could hear him coming a mile away with all the bells and all the pots and pans rattling. People would come by and say, ‘Goatman’s coming! Goatman’s coming!’ We’d all rush to the end of the cotton row to watch Goatman go by.” That’s Ansel Elkins, quoting her father in a new interview about her poems and the South.
- Chinese publishers routinely censor their translations of Western books—and the West just as routinely greets this news with a small shrug. “As the anecdotal evidence started to accumulate, it became clear that though cuts tended to be surgically precise, they were also extremely common. Only rarely was there outrage. Many were fatigued by the idea of having to police all their overseas editions. With international publishing, they argued, something is always going to get lost in translation. Many had simply decided to not worry about it.”