February 25, 2016 Prison Lit Haunted Convict By Max Nelson The rediscovered prison memoir of a nineteenth-century black man. The inside cover and first page of Reed’s manuscript. Photo: Beinecke Rare Book & Manuscript Library. Max Nelson is writing a series on prison literature. Read the previous entry, on Jean Genet’s Our Lady of the Flowers, here. On the back cover of the manuscript of his prison memoir, which he completed in New York’s Auburn state jail sometime after 1858, Austin Reed pasted a clipping of the third chapter of Lamentations: “I am the man that hath seen affliction by the rod of his wrath … / He hath builded against me, and compassed me with gall and travail. / He hath set me in dark places, as they that be dead of old.” Around the thirtieth verse, the tone shifts to one of reassurance—“For the Lord will not cast off forever”—and then, by the fifty-fifth, to one of retributive anger. The last verses Reed excerpted are a plea “out of the low dungeon” for God to avenge the poem’s narrator against his enemies: “Persecute and destroy them in anger from under the heavens of the Lord.” These lines suggest the tone and shape of a literary genre: a lament in which sorrow coexists with requests for divine vengeance. By placing them at the end of The Life and the Adventures of a Haunted Convict—acquired by Yale’s rare-book library in 2009 and published last month with helpful editorial comments by the scholar Caleb Smith—Reed was making a strong suggestion about the kind of book he’d written. The text itself, however, is an amalgam of genres that wouldn’t seem to combine: a picaresque memoir in which sermons jostle up against pulpy adventure anecdotes; dutiful recollections of fact move with little notice into fantasies and dreams; radical gestures of black empowerment share the page with the coarsest kinds of racial caricatures; and assertive denunciations of the prison system coexist with passages of meek and guilty self-recrimination. It’s puzzling to make sense of these apparent contradictions—to decide what Reed meant his book to do. Read More
January 21, 2016 Prison Lit Kicked Toward Saintliness By Max Nelson On the dark erotics of Jean Genet’s Our Lady of the Flowers. From a German edition of Our Lady of the Flowers. On September 11, 1895, the deputy chaplain of Wandsworth prison wrote a worried report about one of his new charges, Oscar Wilde, who had been transferred from Pentonville two months before. “He is now quite crushed and broken,” the chaplain recorded: This is unfortunate, as a prisoner who breaks down in one direction generally breaks down in several, and I fear from what I hear and see that perverse sexual practices are again getting the better of him. This is a common occurrence among prisoners of his class and is of course favoured by constant cellular isolation. The odour of his cell is now so bad that the officer in charge of him has to use carbolic acid in it every day. The possibility that a famous author had been driven to masturbating during his internment in Wandsworth would not have reflected well on the prison’s authorities, who immediately denied the charge and changed the indiscreet chaplain’s assignment. One wonders how they would have reacted to Jean Genet’s short film Un chant d’amour (1950), which the French author, playwright, and criminal directed in collaboration with Jean Cocteau soon after writing the last of the five novels that earned him international fame. Midway through the film, a poker-faced prison guard peers one at a time into a row of cells, each of which turns out to contain an autoerotic peepshow more wild, graphic, and uninhibited than the one before. A convict rubs his exposed member against the wall of his cell; a smiling bather lathers himself lasciviously in soap; a young black man, one of the many dark-skinned figures in Genet who appear to their white observers as sexual threats, dances with a tight grip on his open-flied crotch. Read More
January 15, 2016 Books Black Ink By Matthew Neill Null Henry de Montherlant’s novels have fallen out of fashion, but at their best they’re perfect for our confused age. Henry de Montherlant, c. 1953. Henry de Montherlant began writing in earnest after he came home wounded from the Great War, a decorated veteran. France in the 1930s made him a literary star, awarding him the Grand Prix—yet he hated the Third Republic. Montherlant, a true misfit, had many such contrarian tendencies: though he was gay, he wrote caustic articles for right-wing magazines and loathed modernity. In print, he professed admiration for the soldiers of the Wehrmacht, writing that France, with its “shopgirl’s morality,” deserved to lose the war. His book Le solstice de juin counseled “acceptance, then adherence” to German occupation and Vichy; after the war, it earned him a yearlong ban from publishing. Even so, Montherlant was elected to the Académie française in 1960. His plays were staged, his novels published. In 1972, he swallowed cyanide and, to make sure, shot himself in the head. He has made the long slide from fame to infamy, but in his time he was tolerated and even praised, a guilty reminder that there were far more collaborators than Charles de Gaulle’s myth of noble France ever could admit. His literary biographer Lucille Becker writes, Read More
January 8, 2016 Books The Countries We Think We See By Tara Isabella Burton For Lesley Blanch, travel writing offered a chance to explore her preconceptions about a place as much as the place itself. Every travel writer is a character in her own narrative, no less a part of the story than the “foreigners” that story depicts. In my own travels, I’ve found that women in countries that discourage mixed-gender interactions often speak to me more openly about culturally illuminating subjects—sex, love, motherhood—than they might to a male writer. My femaleness, it seemed, wasn’t simply a question of perspective; it was a question of action. When I raised this subject in a lecture last year, someone in the audience broke in with a question. Why did I feel the need to “insert” myself into my narratives at all? She brought up the travel writer Colin Thubron, whom she cited as the paradigmatic example of the quiet, objective observer. “He doesn’t insert himself into his writing at all!” she exclaimed. Read More
January 5, 2016 Prison Lit In the Madhouse By Max Nelson John Clare, Christopher Smart, and the poetry of the asylum. Saint Luke’s Home for Lunatics, where Christopher Smart was confined for more than five years Max Nelson is writing a series on prison literature. Read the previous entry, on George Jackson’s Soledad Brother, here. In an agrarian or preindustrial Britain, a brilliant young man bristles at his assigned vocation. After reading insatiably for years, he starts publishing odd, distinctive poems that cause a local stir. Urged to settle down, he instead experiments with more startling writing and shows more worrying behavior. His wife and family, understandably troubled but also driven by some unsavory motives, arrange for him to be sent to a madhouse, where confinement turns out to be much more to his harm than to his good. As his mental and physical health declines, his poetry starts to develop more radical formal arrangements. It also takes on a new tone: a strange, arresting combination of de-sexed innocence, bitter wisdom, childlike whimsy, and intensity of focus. Well after his death, as literary critics start pillaging the past for works of inadvertent modernism, his surviving poetry becomes a source of inspiration for a new generation of writers by whose books he’d have been equally fascinated and baffled. This account corresponds roughly to the lives of both John Clare (1793–1864) and Christopher Smart (1722–’71), though it ignores much of what set the two poets apart. An archetypical urban poet, the son of a bailiff, Smart spent years on Grub Street writing satires, poems, attacks on his contemporaries, and flurries of hackwork, much of it under pseudonyms. Years earlier, when he started his career as a brilliant (if eccentric) divinity student at Pembroke College, he’d already received a thorough grounding in the classics. Clare, an agricultural laborer who lived and worked in Britain’s East Midlands during a period of rapid industrialization, grew up to a family of poor tenement farmers and went to school only sporadically. No less intelligent and formally imaginative than Smart’s, his poetry was as closely informed by Helpston’s birds, flowers, and folk songs—he might have been one of Europe’s earliest ethnomusicologists—as his predecessor’s was by the gospels, the classics, and the Grub Street press. Read More
December 10, 2015 Books Whiting Winners Choose Their Most Influential Books By Whiting Honorees Last March, we announced the ten winners of this year’s Whiting Awards, given annually to writers of fiction, nonfiction, poetry, and drama, based on early accomplishment and the promise of great work to come. Now we’ve asked eleven Whiting winners, past and present, to write about the books that have influenced them the most—a list to bear in mind as you choose your holiday reading. —D. P. Read More