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Monday, February 9th, 2009
I haven't really made up my mind what to think about the arguments in Elizabeth Costello -- I'm a little sorry nobody seems to believe any of them passionately? It's fun to engage with them playfully, in fun, but hard to treat them as actual advocacy. Well I don't think advocacy is the intent... That said, this is just lovely and seems exactly right to me: The behaviorists who designed [the tests for cognition in animals] claim that we understand only by a process of creating abstract models and then testing those models against reality. What nonsense. We understand by immersing ourselves and our intelligence in complexity. Coetzee's creation Costello is a marvelous speaker when she keeps her focus.
posted evening of February 9th, 2009: Respond
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Elizabeth Costello is a book which I am finding requires access to source material. (I am kind of ignoring the major piece of source material for this book, but trying to track down the incidental pieces...) Below the fold, some source material for chapter 4, "The Poets and the Animals." This interview with Coetzee from the Swedish magazine Djurens Rätt ("Animal Rights"), while not strictly speaking "source material," also seems useful.
↷read the rest...
posted evening of February 9th, 2009: 4 responses
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Sunday, February 8th, 2009
...Storytelling works by lulling the reader or listener into a dreamlike state in which the time and space of the real world fade away, superceded by the time and space of the fiction.
-- But some books (and particularly this book, as I think Coetzee is making quite clear in this chapter titled "Realism") work by inserting themselves into the reader's "real world" head, rather than creating a separate "fiction" head -- instead of rivetting plot you have long reflective sessions riffing off the book.The narrator's intrusions, reminding us that he is telling us a story, become less frequent after the first chapter -- once Coetzee has established what kind of world he is creating, they are not necessary. This is good as they could become heavy-handed. I almost want to think of this as a book of essays rather than a novel -- each chapter centers around a long prepared talk, and the characters' responses to it. A curious sort of essays, though, as the narrator/author is explicitly not invested in the arguments being made but rather in the speakers' reasons for making and methods of making the arguments and in the listeners' understandings of the arguments. Elizabeth "is not sure, as she listens to her own voice, whether she believes any longer in what she's saying" -- but "on the other hand, she no longer believes very strongly in belief."
 The Kafka story to which Elizabeth alludes in some of her talks is Ein Bericht für eine Akademie (at the bottom of the page), translated as A Report for an Academy. Wolfgang Köhler's book The Mentality of Apes can be read in part at Google Books; and there is some discussion of it at the Tufts Animal Cognition page. Plutarch's essay "On the Eating of Flesh" (which John fears Elizabeth will start talking about while she is at Appleton) is reproduced at the Animal Rights Library site.
posted morning of February 8th, 2009: Respond
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Saturday, February 7th, 2009
Let us assume that, however it may have been done, it is done. Let us take it that the bridge is built and crossed, that we can put it out of our mind.
I started reading Coetzee's Elizabeth Costello today (I went to the library looking for Disgrace, but it has been misfiled -- they put my name in the computer and will let me know when/if it turns up...) and found myself just immediately struck by the spare, elegant beauty of the author's constructions. A few notes at the outset.This novel puts me strongly in mind of In Hovering Flight, there are several points of detail that the two books have in common; I have no idea yet how strong a parallel actually exists though. I talked to Joyce this morning and she said she read Elizabeth Costello last year -- so not a formative influence certainly -- and that she could see where I was coming from with the comparison. I want to call this "a novel of ideas" and to use that as a way of contrasting it with some other books I've been reading lately; every page is sending me off into reveries of reflection from which I need to pull myself back to what I was reading. I think this would be a lousy book to hear read aloud. This book is making me more interested than I've ever been before in reading Ulysses, just so I can have more of a context for understanding The House on Eccles Street.
 Oh and also: I was put in mind a bit of Peter Cole's statement that the translator of a mediæval text is "creating a fictional character" for the author of the text -- I'm not sure how much of a linkage there is to Coetzee's project here since Coetzee is not "translating" Costello's book or indeed showing it to us at all; he is imagining it like Borges does in his fictions. But obviously Coetzee is "creating a fictional character" who's an author -- so, interesting, I'll keep Cole's statement in mind.
posted morning of February 7th, 2009: 3 responses
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Wednesday, February 4th, 2009
José Arcadio BuendÃa no logró descifrar el sueño de las casas con paredes de espejo hasta el dÃa en que conoció el hielo. This (in chapter 2 of Cien Años de Soledad) seems like the first really strong punchline of the book. There have been plenty of chuckles throughout the first chapter and the beginning of the second, but this one absolutely cracked me up. My memory of reading the translation suggests that there are a lot more to come.
posted evening of February 4th, 2009: 2 responses
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Monday, February second, 2009
A really intriguing experience as I was reading The Amber Spyglass with Sylvia this evening -- we were reading about the deliberations of the Consistorial Court of Discipline, and my internal picture of it was based on the Magisterium scene from the movie of The Golden Compass; and it was dragging. Then I remembered what I had been thinking about last week, and re-imagined the scene as animated, in the style of Studio Ghibli. And the reading picked right up!  The internal imagery got a lot more interesting, the story seemed more real. Maggie's note in comments that His Dark Materials is based on Paradise Lost has me really intrigued over the past week. I'm dying to find out which of the details of plot are in Milton, and how Pullman has transformed them.
 (The Authority's Clouded Mountain fortress totally makes me think of Laputa: The Castle in the Sky.)
posted evening of February second, 2009: Respond
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Sunday, February first, 2009
I just finished Senselessness -- nothing prepared me for those last sentences. Probably need to reread the book without the preconceptions I had going in.
posted evening of February first, 2009: Respond
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...wanting to tell everything once I'd been encouraged to start talking, down to the hairs and the smells, spill it all out to a point of satiety, compulsively, in a kind of verbal spasm, as if it were an orgiastic race that would culminate in my total abandon, until I was left without secrets, until my interlocutor knew all he wanted to know, in an exhaustive confession after which I would suffer the worst possible backlash.
(Wow, has Castellanos Moya spent much time in the blogosphere?...) I want to refine my previous declaration about this work being a dark comedy, and say instead that it does not fit into a genre. I'm a little surprised because it's such a brief book, it seems like too little space for such a lot to be going on. But each chapter now is changing how I want to categorize the book; so I think the best approach is to call it sui generis.
posted evening of February first, 2009: Respond
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It strikes me midway through that I have been reading Senselessness wrong, that I have been reading it as "foreign" when actually it's a comic piece similar to other works I'm familiar with. I was expecting it for some reason to be more on the order of Innocent Voices but it's not that at all. Reminiscent of wartime slapstick like the first portion of Gravity's Rainbow? Not as fully realized as that, I think, and the narrator's misogyny really strikes me as off, in a way. Like it's impossible to sympathize with it unless it were being made fun of, and I sort of can't read where the author is coming from here. But the powerful memory of that pearl of pus between my legs made me understand that this was an issue of first things coming first, that my strategy for repudiating Fátima could wait, and that first I had to stop the infection, so, swiftly, perhaps with the speed of one possessed, I made my way toward the enormous wooden door, crossed the filthy street teeming with beggars and street vendors, and entered the corner drugstore to find a pharmacist who could give me a prescription for the strongest possible penicillin to treat the disease I had caught. Got my first real laugh in the book here -- kind of black comedy I'm thinking as I review the passage -- and clicked Oh, I see, this is a funny book not (or not only) a grim one...
posted evening of February first, 2009: Respond
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Saturday, January 31st, 2009
...Until she had gotten over what had happened with Humberto she wouldn't be capable of being with anyone else, she insisted, even though she liked me and she felt good with me, she just couldn't. And then all the listlessness in the world fell upon my shoulders -- I had gone to the wrong theater, which was showing a boring old movie I could follow with my eyes closed because I'd seen it a thousand times -- a listlessness so overwhelming and paralyzing that I didn't even have the wherewithal to stand up and get myself a taxi...
I'm kind of circling around the text in Senselessness, I find -- the imagery is vivid and the rhythm, as I said, pulls me in, and it seems like Castellanos Moya is encouraging me to identify with his narrator; but there's a feeling of being manipulated, that Castellanos Moya is setting up his narrator as obviously flawed and disordered, to make room for his redemption by the work he is doing. I'll be the first to admit this reading is facile and superficial; I'm having a hard time getting past the surface of the narration. I see a distinction between third-person narration of flawed characters (which I've seen recently with Saramago and with García Márquez), and this first-person narration -- with the former I had a much easier time putting myself into the story. Of course I may be projecting this reading, this difficulty, onto the text; I don't know if anybody else would have this reaction.
posted afternoon of January 31st, 2009: Respond
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