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Friday, January 29th, 2010
At The Millions, Garth Hallberg discusses Nabokov's Ada, or Ardor -- the "Difficult Book par excellence"; in the course of this discussion he describes the experience of reading difficult books with marvelous concision: "A willingness to let things wash over you can be the difference between sublimity and seasickness." Yes! I love this; I am adding it to my list of epigraphs for the site. (via Conversational Reading.)
posted evening of January 29th, 2010: Respond
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Wednesday, June 9th, 2010
An idea I just had which I think it would be fun to implement: a database table with favorite (striking or profound) brief lines from each book I read -- When you read the archive page for the book in question, those lines, or some randomized subset of them, would be displayed as part of the information in the left hand sidebar. Add to this a setting in the database for "current reading", the book or books that I'm currently reading/thinking about, and a set of lines from those books could be on the front page's sidebar. A little bit like the epigraphs I run at the top of the page, but a bit more fleeting, less a permanent part of the site. For instance I really liked the line, "He does not know -- nobody could know -- my immeasurable contrition, my weariness," from "The Garden of Forking Paths." But it really only seems meaningful in the context of that reading. (This would really free me up in terms of posting short quotations, too -- generally I try only to post a quotation when I have something in particular to say about it. And only to create a new epigraph when I find a really meaningful one. -- So this is a third way.)
Two notes about the translation of that line, * Thanks John for helping with the adjective, "immeasurable" sounds much better than "innumerable" or than "endless", and * Thanks Dr. Hurley for the repetition of "my" at the end, I was leaning towards just using "contrition and weariness" as being the closest thing in format to "contrición y cansancio" -- but somehow that doesn't sound quite right in English.
 Implementation: have a button or link on the editing view of the blog that is called "Add Quotation" or something similar -- clicking on it will bring up a dialog box or form where you can enter your quote and the book it is from -- then the the "current reading" books will be books for which I have either posted a quotation or a journal entry over the past say week or two.
posted evening of June 9th, 2010: 2 responses
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Tuesday, November 9th, 2010
Another Saramago epigraph from El libro de los consejos -- at the front of his Small Memories is the line, "Déjate llevar por el niño que fuiste/(roughly) Allow the child you were to carry you." The first time I've been able to find a lead suggesting affirmatively that these quotations are actual quotations from somewhere else, not invented by Saramago -- this line takes me to Juan Pedro Villa-Isaza's blog
Casi un objeto, which gives some context for it:
Mientras no alcances la verdad, no podrás corregirla. Pero si no la corriges, no la alcanzarás. Mientras tanto, no te resignes.*
Déjate llevar por el niño que fuiste.
As long as you do not know the truth, you will not be able to alter it. But if you do not alter it, you will never be able to reach it. Still, do not resign yourself. Allow the child you were to carry you.
(Also, Googling for the original Portuguese rendering of this quote "Deixa-te levar pela criança que foste" leads me to a 2006 interview with Saramago, where he talks about his life and his writing process.) ..."llevar/levar" can also mean "to lead" -- indeed that appears to be the primary meaning in Portuguese; a better rendering of this line might be "Let yourself be led by the child you were." *... and now I am remembering that this line is the epigraph for The History of the Siege of Lisbon... and am back to thinking the whole thing is Saramago's invention.
posted evening of November 9th, 2010: 2 responses
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Wednesday, November 24th, 2010
If you think, “I breathe,†the “I†is extra. There is no you to say “I.†What we call “I†is just a swinging door which moves when we inhale or when we exhale.
—Shun Ryu Suzuki
A magnificent recent story, which I discovered today thanks to a comments thread at Crooked Timber, is Daryl Gregory's Second Person, Present Tense, published in Asimov's in 2005. About hindering or disabling the narrative process of self, about how this can be a goal of drug use or of meditation. (Can't guarantee that link will always work -- his web site says the story will be readable online "for a limited time" but it looks like that was written a while ago. Update -- The link broke, Asimov's took the story down. The link is now pointing to a short piece about Gregory's story, at bestsciencefictionstories.com.) I fell in love with the story from the moment of reading the epigraph above, which I've never seen before but have just now added to my collection of header quotes for the site. And every sentence of the story moves me as strongly as this quote...
 (Matt Dickerson calls my attention to Daniel Wegner's book The Illusion of Conscious Will, which looks to have a lot of bearing on Gregory's story.) Gregory's notes on his story can be found on his home page. He recommends some sources for further reading on consciousness.
posted evening of November 24th, 2010: 1 response
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Sunday, May 15th, 2011
I picked up Krakauer's Into the Wild at the South Orange Public Library's annual sale yesterday, and read it last night and today. It is a great read, hard to put down: it takes you into McCandless' world and into various historical frames with remarkable clarity. I have always admired Krakauer as a journalist; what he is doing here is not so much journalism as memoir -- he is examining himself through the lens of the research he did into McCandless' life and death. I wrote at the time I saw the movie that I found it sappy and that I expected the sappy qualities were Penn's additions to the story rather than Krakauer's writing. But they're not, or not precisely -- the book is an exercise in romanticization. What keeps it from being sappy is Krakauer's clarity about what he is doing in writing the book, about why he is romanticizing McCandless' life. The reflexive element of Krakauer's authorial voice was missing from the movie, so the problem was not additions by Penn but rather omission. Anyways: I found myself crying on the last pages of the book, and it came as something of a surprise how emotionally invested in the story, in the author's voice, I had become. Another beautiful thing about the book which was (as best I can recall) missing from the movie, is the epigraphs. Every chapter is headed with excerpts from the books McCandless was reading at the end of his life, and from other books Krakauer finds relevant to the case. His judgement is superb.
posted afternoon of May 15th, 2011: 2 responses
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Saturday, June 4th, 2011
For I reckon that the sufferings of this present time [are] not worthy [to be compared] with the glory which shall be revealed in us. For the earnest expectation of the creature waiteth for the manifestation of the sons of God. For the creature was made subject to vanity, not willingly, but by reason of him who hath subjected [the same] in hope, Because the creature itself also shall be delivered from the bondage of corruption into the glorious liberty of the children of God. For we know that the whole creation groaneth and travaileth in pain together until now. -- The letter of St. Paul to the Romans
Chapter â…§: 18-22
King James version
For a long time I have been wondering how a translation of JoachÃn Pasos' Battle-song: The War of Things might best preserve the voice of the poet. Throughout the poem he is addressing vosotros, the explicitly familiar, explicitly plural second person which does not exist in English. Turns out the key is the epigraph to the poem.For an epigraph, Pasos quotes from the Vulgate version of the above verses of Romans; but he prefaces the quotation with "Fratres:" -- "Brethren:", which is not part of these verses. Paul's letter is addressed to his brethren the Roman Christians, so this insertion makes good sense. And if you read Pasos' poem as a continuation of Paul's address to his brethren, then the familiar second-person plural is clear from context. This morning I had what seems to me like a good idea for a non-literal translation of the poem's third stanza:
Give me a motor, a motor stronger than man's heart.
Give me a robot's brain, let me be murdered painlessly.
Give me a body, metal body without and within another metal body,
just like the leaden soldier's who never dies,
never begs oh Lord, your grace, let me not be disgraced among your works
like the soldier of mere flesh, our feeble pride,
who will offer, for your day, the light of his eyes,
who will take, for your metal, take a bullet in his chest,
who will give, for your water, give back his blood.
Who wants to be like a knife, like one no other knife can ever wound.
(With liberal borrowings from Steven F. White's more literal translation.) This poem reminds me strongly of León Ferrari's paintings of armaments. Remember that the poet is addressing his brethren: He is asking for these cybernetic enhancements not from his God but from his peers.
posted morning of June 4th, 2011: Respond
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Friday, July 15th, 2011
I wake to sleep, and take my waking slow
He dreamt of his distributed weight
lying hair's-breadth by hair's-breadth this side of collapse
on the springs of his mattress; his linen-clad pillow,
the thousands of hairs on the nape of his neck; dreamt of
covers and sheets and the million thread count, the
mechanics of sleep, of the pale thunder moon, of the
gasp from his lungs as his body escapes
this cold matrix of wakefulness, bitterness, playfulness:
memories of nuzzling close in the arms of the
black grinning spectre of night.
Woke up this morning without much memory of the dream but with the strong impression that I had been dreaming about being asleep. Within a few minutes the poem had assembled itself in rough outline; over the next hour or so it came into a nice sharp focus.The epigraph is from a villanelle by Roethke: one I did not know of until today. I like its sense and its sound. "I learn by going where I have to go."
 Here is a link to several pieces I've posted over the last few months that I've been particularly happy with: Memories and Dreaming -- 7 original pieces plus 2 translations. Maybe if I get a couple more together, I will make a chapbook.
posted evening of July 15th, 2011: Respond
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Sunday, August 14th, 2011
In the first chapter of Tor Nørretranders' User Illusion (an engrossing and highly interesting read which I am starting on the recommendation of the Julian Jaynes Society) I find a quotation from James Clerk Maxwell which I think will serve very nicely as an epigraph for READIN (and for the phenomenon of blogging in general):
A memorandum-book does not, provided it is neatly written, appear confused to an illiterate person, or to the owner who understands it thoroughly, but to any other person able to read it appears to be inextricably confused.
I don't really see yet how Nørretranders is planning to move from thermodynamics and information systems to consciousness and perception; but his enlightening summary of the history of physics in the 19th and 20th Centuries is delicious reading even without the frisson provided by wondering where he is headed with it.
posted afternoon of August 14th, 2011: Respond
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Sunday, September 4th, 2011
The epigraph to Zupcic's collection Dragi Sol* is from Vicente Gerbasi's poem My Father the Immigrant:
¿Qué fuego de tiniebla, qué cÃrculo de trueno,
cayó sobre tu frente cuando viste esta tierra?
What fire of darkness, what circle of thunder,
Fell over your visage when you beheld this land?
(making no claims for the quality of that translation/transliteration; I have not read the rest of the poem yet so I don't have any context) -- Gerbasi, a key figure of Venezuelan poetry in the 20th Century, was a son of Italian immigrants; Zupcic's father is an immigrant from Croatia. Several of the stories in this collection are told from the point of view of a Venezuelan named Vinko Spolovtiva, concerning his (absent) Croatian father.
* Dragi is Croatian for "Dear", the salutation at the top of a letter. The story "Letters toward writing a novel" consists in part of letters written by Zlatica Didic to his siblings, and his son, narrating, comments, "There is a word which opens most of the letters: Dragi. According to Bozidar, who translated them, this means something like "dearest". I decided not to translate it: it has a sweet sound, a nice sound. Nigmar thinks it looks like a sunstone -- that seems right to me."
posted afternoon of September 4th, 2011: Respond
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Wednesday, May 16th, 2012
That rare treasure arrived in today's mail, a book towards which I have no predjudices one way or the other... All I know about Michael Stutz' Circuits of the Wind is that its protagonist is roughly my coeval and vaguely that he grows up with computers and hacking and such.* A wonderful epigraph from Ecclesiastes sheds a little light on the title: The wind goeth toward the south, and turneth about unto the north ; it whirleth about continually, and the wind returneth again according to his circuits. I'm sort of sniffing around the edges of the book trying to figure out how to approach it now, looking at the epigraphs and the dedication and acknowledgements (to among others, "the gurus, Daniel Frank Kirk [this Daniel F Kirk? this Daniel Kirk?] and Irwin Allen Ginsberg" and "Bill Burroughs for the blessing")... Some fun stuff.
*(Well and that its author considers READIN a worthy target for a review copy, which I'll grant is a big prejudicial point in his favor.)
posted evening of May 16th, 2012: Respond
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I posted a brief note about Carlos Saura's breathtaking movie Fados at 