{"id":95443,"date":"2016-03-10T08:57:36","date_gmt":"2016-03-10T13:57:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95443"},"modified":"2016-03-10T10:09:17","modified_gmt":"2016-03-10T15:09:17","slug":"some-unearthly-master-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/","title":{"rendered":"Some Unearthly Master, and Other News"},"content":{"rendered":"<div id=\"attachment_95444\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h.jpg\" rel=\"attachment wp-att-95444\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-95444\" class=\"wp-image-95444\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h.jpg\" alt=\"\" width=\"600\" height=\"441\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h.jpg 1111w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h-300x221.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h-768x565.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h-1024x753.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-95444\" class=\"wp-caption-text\">William Horton\u2019s illustration in <i>The Savoy No. 7.<\/i>\u00a0Via the Public Domain Review.<\/p><\/div>\n<ul>\n<li>Brad Bigelow thinks of his blog, Neglected Books, as \u201cone little step against entropy.\u201d His reviews of forgotten or obscure books have led, in many cases, to publishers reissuing them, sometimes even in translation: \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/the-custodian-of-forgotten-books?mbid=social_facebook\" target=\"_blank\">One of Bigelow\u2019s favorite rediscoveries is <em>Gentleman Overboard<\/em>, a 1937 novella by Herbert Clyde Lewis, a son of Russian immigrants<\/a>. Lewis grew up in New York, became a journalist, and eventually wrote Hollywood screenplays. The book\u2019s protagonist is a steamship passenger named Henry Preston Standish, who slips on a spot of oil and tumbles overboard. <em>Gentleman Overboard<\/em> is a record of his final day and his fading hopes of rescue \u2026 The most accessible online edition was scanned from an old library copy, which was last checked out in 1950. That\u2019s the same year that Lewis died, of a heart attack, at the age of forty-one. But Bigelow has saved <em>Gentleman Overboard<\/em> from going completely underwater: a few years ago, he recommended it to a publisher in Argentina, who decided to release a Spanish translation.\u201d<\/li>\n<li>While we\u2019re on forgetting: Yeats wrote that his friend William Horton \u201chas 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.\u201d Despite the poet\u2019s praise, few remember Horton\u2019s drawings today\u2014after some early success, his career, as Jon Crabb writes, found him listing toward occultism: \u201cHorton was clearly immersed in the London occult scene during the 1900s, but in 1905 he also finally attracted the attention of\u00a0<em>The Studio<\/em>, the era\u2019s foremost journal of design and illustration. The September issue featured several Horton illustrations, which are of a more mature and less ominous style \u2026 <a href=\"http:\/\/publicdomainreview.org\/2016\/03\/09\/the-strange-case-of-mr-william-t-horton\/\" target=\"_blank\">Sadly, he published little after 1912 and, in 1916, suffered a mental breakdown after the death of his partner Amy Audrey Locke<\/a>. In 1918, he was hit by a car and further incapacitated. He died in obscurity the following year.\u201d<\/li>\n<li>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\u2014<em>Donaudampfschifffahrtsgesellschaftskapit\u00e4n<\/em>, anyone?\u2014with reckless abandon and effortless precision. Bruce Duncan picks some of his favorites and looks at the grammatical back end: \u201c<a href=\"https:\/\/theconversation.com\/why-the-german-language-has-so-many-great-words-55554\" target=\"_blank\">Both German and English\u00a0can create compound words out of most parts of speech, not just nouns<\/a> \u2026 My own personal favorite [is]\u00a0<em>Verschlimmbesserung<\/em>. This construction doesn\u2019t just present contrasting concepts. It also employs a playful use of German\u2019s grammatical structures to tie them together. The word begins with two verbs\u2014<em>verschlimmern\u00a0<\/em>(\u2018to worsen\u2019) and\u00a0<em>verbessern <\/em>(\u2018to improve\u2019). It then conflates their prefixes (<em>ver-<\/em>), and adds the suffix (<em>-ung<\/em>) to turn it into a noun. This process compresses an idea that only a wordy English translation can unpack: \u201can intended improvement that makes things worse.\u201d<\/li>\n<li>If you\u2019re fluent in German, you\u2019ll get more out of Paul Klee\u2019s notebooks\u2014<a href=\"http:\/\/www.openculture.com\/2016\/03\/3900-pages-of-paul-klees-personal-notebooks-are-now-online.html\" target=\"_blank\">thirty-nine hundred pages of which have just been digitized and released online<\/a>\u2014than I was able to. Klee used these notes \u201cas the source for his Bauhaus teaching between 1921 and 1931 \u2026 His\u00a0extensively detailed textual theorizing on the mechanics of art (especially the use of color, with which he struggled\u00a0before returning from a 1914 trip to Tunisia declaring, \u2018Color and I are one. I am a painter\u2019) [and] \u2026 his copious illustrations of all these observations and principles, in\u00a0their vividness, clarity, and reflection of\u00a0a truly active mind, can still captivate anybody\u2014just as\u00a0his paintings do.\u201d<\/li>\n<li>Michael Wood on Orson Welles\u2019s adaptation of Kafka: \u201cIt\u2019s not that Welles has \u2018a stunning visual intelligence and a numbingly banal view of human experience,\u2019 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\u00a0<em>The Trial<\/em> \u2026 But <a href=\"http:\/\/www.nybooks.com\/articles\/2016\/03\/24\/looking-for-citizen-welles\/\" target=\"_blank\">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<\/a>. Welles\u2019s 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 \u2026 In\u00a0<em>The Trial\u00a0<\/em>more than anywhere else we see how much Welles\u2019s imagination has to do with space. A set for him is a location to be explored, and a location is full of stories.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Brad Bigelow thinks of his blog, Neglected Books, as \u201cone little step against entropy.\u201d His reviews of forgotten or obscure books have led, in many cases, to publishers reissuing them, sometimes even in translation: \u201cOne of Bigelow\u2019s favorite rediscoveries is Gentleman Overboard, a 1937 novella by Herbert Clyde Lewis, a son of Russian immigrants. Lewis [&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":[9241,21462,21460,5410,1273,231,687,707,21461,11718,1470,2054,8928,21463],"class_list":["post-95443","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-artists","tag-blogs","tag-brad-bigelow","tag-franz-kafka","tag-german","tag-grammar","tag-language","tag-michael-wood","tag-neglected-books","tag-notebooks","tag-orson-welles","tag-paul-klee","tag-w-b-yeats","tag-william-horton"],"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>William Horton, the Forgotten Artist Championed by Yeats<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Some Unearthly Master, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"March 10, 2016 \u2013 Brad Bigelow thinks of his blog, Neglected Books, as \u201cone little step against entropy.\u201d His reviews of forgotten or obscure books have led, in many cases,\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-03-10T13:57:36+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-03-10T15:09:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1111\" \/>\n\t<meta property=\"og:image:height\" content=\"817\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Some Unearthly Master, and Other News\",\"datePublished\":\"2016-03-10T13:57:36+00:00\",\"dateModified\":\"2016-03-10T15:09:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/\"},\"wordCount\":757,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/some-unearthly-master-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/25014404653_2d3bc5e277_h.jpg\",\"keywords\":[\"artists\",\"blogs\",\"Brad Bigelow\",\"Franz Kafka\",\"German\",\"grammar\",\"language\",\"Michael Wood\",\"Neglected Books\",\"notebooks\",\"Orson Welles\",\"paul klee\",\"W.B. 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