{"id":91979,"date":"2015-11-16T09:29:19","date_gmt":"2015-11-16T14:29:19","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91979"},"modified":"2015-11-16T10:47:11","modified_gmt":"2015-11-16T15:47:11","slug":"tumefied-and-syphilitic-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/16\/tumefied-and-syphilitic-and-other-news\/","title":{"rendered":"Tumefied and Syphilitic, and Other News"},"content":{"rendered":"<div id=\"attachment_91980\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-91980\" class=\"wp-image-91980\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans.jpg\" alt=\"Huysmans\" width=\"600\" height=\"594\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans.jpg 1127w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans-300x297.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/huysmans-1024x1014.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-91980\" class=\"wp-caption-text\">J. K. Huysmans just relaxing in front of this crucifix like it\u2019s no big thing.<\/p><\/div>\n<ul>\n<li>Houellebecq\u2019s <em>Submission<\/em> features many an excursus on Joris-Karl Huysmans, the nineteenth-century French writer of whom Houllebecq himself has said, \u201cI think he could\u2019ve been a real friend to me.\u201d What was Huysmans\u2019s MO? His novel <em>\u00c0 rebours<\/em>, which tells of \u201ca nature-hating aesthete named Jean des Esseintes,\u201d has an approach to desire and spiritual malady that feels strikingly on point, even in 2015: \u201cSubtitled \u2018A Novel Without a Plot,\u2019 <a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/what-houellebecq-learned-from-huysmans\" target=\"_blank\">the narrative concerns des Esseintes\u2019s attempts to furnish and decorate a country home where he will be able to live without ever again having to deal with the outside world<\/a> \u2026 He gets turned on by locomotive engines: their steaming, sweating loins girdled in glittering copper corsets; their disheveled manes of black smoke; their horns\u2019 muffled, impassioned cries \u2026 Huysmans\u2019s prose isn\u2019t just purple: it\u2019s ultraviolet. Everything in <em>\u00c0 Rebours<\/em> is tumefied and syphilitic, damasked with ennui, liver-spotted with arcane longings.\u201d<\/li>\n<li>In which Gay Talese slips on a pair of virtual-reality goggles, and balks: \u201c<a href=\"http:\/\/www.thehandandeye.com\/blog\/11-13-2015-gay-talese-on-virtual-reality\" target=\"_blank\">But this doesn\u2019t interest me in the least!<\/a> \u2026 You know why? You know why? It\u2019s the sort of stuff you see in a documentary, but there\u2019s no insight into the situation, into the characters \u2026 It\u2019s just a bunch of scenes \u2026 Television is driven by imagery \u2026 There will be a lead on a slow night, the networks will lead with a forest fire in Topanga California\u2014great visual scenes\u2014or a bombing of Baghdad. Anything that shows you color,\u00a0smoke, fire, bullets, dodging gets on because it\u2019s visual, but you don\u2019t get anything \u2026 There has to be face to face confrontation between the writer and the subject, and the writer has to be able to cultivate something from the subject to get something approximate to the truth of the subject.\u201d<\/li>\n<li>What does a debate about the abridgment of <em>Moby-Dick <\/em>tell us about reading on the Internet? Oh, nothing terribly encouraging: \u201cCountless readers have run aground on Melville\u2019s mountain of details on the art of whaling, or have been left behind as he plunges, like his Catskill eagle, into philosophical realms, but it is precisely in these passages where his real appeal resides \u2026 It is rather quaint to locate the manifestation of our collective ruin in a British publisher of abridgments, which have been around nearly as long as novels themselves \u2026 <a href=\"https:\/\/newrepublic.com\/article\/123522\/moby-dick-in-the-clickhole\" target=\"_blank\">Thanks to the oceanic expanses of the web, there is no need to condense or abridge anything anymore<\/a>, at least not for want of space \u2026 This would appear to be a problem. And it is one that is likely to get worse.\u201d<\/li>\n<li>Today in techno prophesy: a bunch of smart interdisciplinary types got together and decreed that by the year 2100, \u201c<a href=\"http:\/\/www.slate.com\/blogs\/future_tense\/2015\/11\/13\/will_libraries_outlive_books_a_future_tense_event_recap.html\" target=\"_blank\">libraries will be both highly distributed and deeply connected, sharing a single collection as they work to meet the emerging demands of their individual communities<\/a>.\u201d As for the physical books in the libraries, they\u2019ll probably disappear, but only a fuddy-duddy would mourn their loss. \u201c<em>Library<\/em> isn\u2019t etymologically related to books at all, deriving instead from a Latin word for the smooth inner bark of a tree. It was, in this sense, a thing on which one might write rather than a storehouse of what had already been written. Whatever they become \u2026 libraries will retain that original implication, always \u2018spaces for creation or curiosity,\u2019 even if they leave the books behind.\u201d<\/li>\n<li>Meanwhile, in a concrete bunker seventeen feet underground, the New York Public Library is preparing to store vast, high-density reserves of print: \u201ca new retrieval system [will] ferry the volumes and other materials from their eighty-four miles of subterranean shelving, loaded into little motorized carts \u2026 <a href=\"http:\/\/www.nytimes.com\/2015\/11\/16\/books\/beneath-new-york-public-library-shelving-its-past-for-high-tech-research-stacks.html\" target=\"_blank\">Books will be stacked by height and tracked by bar code rather than by a subject-based system<\/a>, making for some odd bookfellows \u2026 The climate-controlled repository encompasses more than 110,000 square feet \u2026 It stretches from beneath the back wall of the main building, which fronts Fifth Avenue, a full block west to Sixth Avenue, and from 42nd Street to 40th Street.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Houellebecq\u2019s Submission features many an excursus on Joris-Karl Huysmans, the nineteenth-century French writer of whom Houllebecq himself has said, \u201cI think he could\u2019ve been a real friend to me.\u201d What was Huysmans\u2019s MO? His novel \u00c0 rebours, which tells of \u201ca nature-hating aesthete named Jean des Esseintes,\u201d has an approach to desire and spiritual malady [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[17629,18125,20206,7148,822,952,2237,9404,14767],"class_list":["post-91979","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-abridgment","tag-gay-talese","tag-joris-karl-huysmans","tag-libraries","tag-michel-houellebecq","tag-moby-dick","tag-new-york-public-library","tag-print","tag-virtual-reality"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Joris-Karl Huysmans\u2019s Ultraviolet Prose<\/title>\n<meta name=\"description\" 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