Friday, December 27, 2024
“Unfabling the East” by Jurgen Osterhammel
Friday, December 20, 2024
“The Complete Works of Alvaro de Campos” by Fernando Pessoa (translated by Margaret Jull Costa and Patricio Ferrari)
Pessoa wrote under many heteronyms. Campos was a poet and a sensualist. He did not intellectualize, but felt. “May God either change my life or end it.” In another poem, Campos again pontificates on death, “Once the session is over and we leave,/ There’s no house to go home to, no car to take us anywhere,/ but only Absolute Night and God perhaps like a Vast Moon/ signifying”
Campos was also a subjectivist, “Everything we’ve ever seen is us, we alone experience the world./ We have only ourselves inside and outside,/ We have nothing, we have nothing, we have nothing…” He was a dreamer, not a doer, “No, I don’t believe in me./ The lunatic asylums are full of madmen brimming with certainties!/ And since I have no certainty, am I more right than them or less?/ No, I don’t even believe in me… The world is for those born to conquer it/ And not for those who dream they might conquer it, even if they’re right./ I’ve dreamed far more than Napoleon ever did./ I’ve clutched to my hypothetical bosom more humanities than Christ ever did./ I’ve secretly written philosophies that no Kant ever wrote./ But I am, and perhaps always will be, a tenant in one of those garrets,/ even if I don’t live in one;/ I will always be one of those not born to do this.”
In his poetry, Campos also stressed the reality of the mind, “We all have two lives:/ The real one, which is the one we dreamed when we were children,/ And which we continue to dream as adults, in a substratum of mist;/ The false one is the life we live in the company of others,/ Which is the practical, the useful life,/ The one where they end up, putting us in a coffin./ In the other life there are no coffins, no deaths./ There are only illustrations from childhood:/ Big colored books, to look at rather than read;/ Big colorful pages to remember later on./ In that other life, we are us,/ In that other life, we live;/ In this one we die, which is what living means.”
Finally, Campos also wrote prose, which justified and explained both his poetry and the differences between himself and Pessoa, along with the other heteronyms. Campos expressed his own philosophy to life, “No age can pass its sensibility on to another age; it can only pass on the intelligence implicit in that sensibility. It is through emotion that we become ourselves, whereas through intelligence we become other…. Each age gives to subsequent ages only what it was not.” In prose, Campos also gave his literary opinions, “The superior poet says what he actually feels. The average poet says what he decides to feel. The inferior poet says what he thinks he should feel…. Most people feel conventionally, albeit with great human sincerity, not, however, with any kind or degree of intellectual sincerity, that is what matters to the poet.”
Friday, December 13, 2024
“Aspiration- The Agency of Becoming” by Agnes Callard
Friday, December 6, 2024
“The Civilization of the Renaissance in Italy” by Jacob Burckhardt (translated by S.G.C. Middlemore)
Burckhardt’s treatise on the Italian Renaissance is a comprehensive history of the cultural transition from the Middle Ages. He also seeks to explain why, in his view, the Renaissance started in Italy, as opposed to elsewhere in Europe. He begins, “The worst that can be said of the movement is that it was anti-popular, that through it Europe became for the first time sharply divided into the cultivated and uncultivated classes…. The civilization of Greece and Rome, which, ever since the fourteenth century, obtained so powerful a hold on Italian life, as the source and basis of culture, as the object and ideal of existence, partly also as an avowed reaction against preceding tendencies—this civilization had long been exerting a partial influence on medieval Europe…. That an age existed which idolized the ancient world and its products with an exclusive devotion was not the fault of individuals. It was the work of an historical providence, and all the culture of the ages which have followed, and of the ages to come, rests upon the fact that it was so.”
For Burckhardt, the prime example of the Renaissance artist was Dante Alighieri. “With unflinching frankness and sincerity he lays bare every shade of his joy and his sorrow, and moulds it resolutely into the strictest forms of art. Reading attentively these sonnets and canzoni, and the marvelous fragments of the diary of his youth which lie between them, we fancy that throughout the Middle Ages the poets have been purposely fleeing from themselves, and that he was the first to seek his own soul. Before his time we meet with many an artistic verse; but he is the first artist in the full sense of the word—the first who consciously casts immortal matter into an immortal form. Subjective feeling has here a full objective truth and greatness…. More than a century elapsed before the spiritual element in painting and sculpture attained a power of expression in any way analogous to that of the Divine Comedy.”
The twin aspects of the culture of the European Middles Ages that the Renaissance rebelled against were the primacy of State and Church. Burckhardt states that the conscience of the individual citizen first butted up against the demands of the Italian states, whether ruled as a principality or republic. “The fundamental vice of this character was at the same time a condition of its greatness, namely, excessive individualism. The individual first inwardly casts off the authority of a state which, as a fact, is in most cases tyrannical and illegitimate…. The sight of victorious egotism in others drives him to defend his own right by his own arm…. But this individual development did not come upon him through any fault of his own, but rather through an historical necessity…. In itself it is neither good nor bad, but necessary…. The Italian of the Renaissance had to bear the first mighty surging of a new age. Through his gifts and his passions, he has become the most characteristic representative of all the heights and all the depths of his time. By the side of profound corruption appeared human personalities of the noblest harmony, and an artistic splendour which shed upon the life of man a lustre which neither antiquity nor medievalism either could or would bestow upon it.”
The Italian man of the Renaissance took it upon himself to wrestle free from the control of the Church. The individuality of his belief would no longer allow for him to bend his knee unflinchingly to the hierarchy of the Catholic Church and the Roman Pope. “The Italians were the first modern people of Europe who gave themselves boldly to speculations on freedom and necessity, and since they did so under violent and lawless political circumstances, in which evil seemed often to win a splendid and lasting victory, their belief in God began to waver…. Distinguishing keenly between good and evil, they yet are conscious of no sin. Every disturbance of their inward harmony they feel themselves able to make good out of the plastic resources of their own nature, and therefore they feel no repentance. The need of salvation thus becomes felt more and more dimly, while the ambitions and the intellectual activity of the present either shut out altogether every thought of a world to come, or else caused it to assume a poetic instead of a dogmatic form…. That religion should again become an affair of the individual and of his own personal feeling was inevitable when the Church became corrupt in doctrine and tyrannous in practice.”
Finally, Burckhardt returns full circle, to the Italian humanists’ love of the classics as a model for living the best life. “Ancient literature now worshipped as something incomparable, is full of the victory of philosophy over religious tradition. An endless number of systems and fragments of systems were suddenly presented to the Italian mind, not as curiosities or even as heresies, but almost with the authority of dogmas, which had now to be reconciled rather than discriminated.”
Friday, November 29, 2024
“Four Reigns” by Kukrit Pramoj (translated by Tulachandra)
This novel is a Siamese classic. It follows the life of a minor royal courtier, Phloi, from her birth to her death, through the reigns of the four monarchs she lives under. A reoccurring theme of the novel is the nature of life’s impermanence. As a child, Phloi was assigned to one of the minor Princesses in Rama V’s court. ““I am not all that fond of jewelry,” Sadet said with a plaintive sigh. “But you can imagine how tongues would wag if I went about unornamented. So I wear them, without much enjoyment, which doesn’t prevent me from fussing and fuming when they get lost or broken. Aren’t we funny creatures, Phloi? How we cling to our possessions! And be it a precious gem or worthless pebble, if we let ourselves become too attached to it we suffer when it’s gone.”” Years later, in the reign of Rama VI, speaking to her husband, Prem, Phloi maintains her reverence and respect for the monarchy. “It’s only because I don’t like flatterers and fawners that I don’t want to become one myself. You and I, Khun Prem, will always be loyal to the throne, as were our grandfathers and grandmothers before us. We are Nai Luang’s loyal subjects and it follows that we’re going to be loyal subjects to his wives and children.”
In Rama VII’s reign, her youngest son, Ot, explains to his uncle, Phoem, what he appreciates about Siam after returning from his studies in England, “The muang nok rich are many times richer; that’s the difference. The very rich over there are so monumentally, colossally rich that they would consider what we call a very large fortune here somewhat laughable. On the other hand, our poor people are much more fortunate than theirs. Life in a cold climate can be brutal when you don’t have money. Here food is easy to come by—fish in the water everywhere, fruit and vegetables growing wild, a bowl of rice-and-curry costing practically nothing. Here with the sun shining a poor man in a loin cloth sitting under a shady tree is cool and comfortable. His wealthier neighbor may even be dressed the same way, for rich or poor, we all like our cool comfort, don’t we?” However, Ot’s older brother, An, upon his return from studying law in France, has a slightly different view, “There are enough men with ability and expert knowledge in this country, but they don’t rise to where that can exercise effective leadership because they haven’t got the push and pull needed in our society. So what have we got? We’ve got men with little competence but lots of family influence together with old men with obsolete ideas running the country for us.” Perhaps Phloi’s brother, Phoem, puts living through the ups and downs of life’s challenges the best, “The world turns and turns, Mae Phloi. The pendulum swings. Let us enjoy our roast duck.”
Friday, November 22, 2024
“American Pastoral” by Philip Roth
This is a grotesque Jewish-American bildungsroman of sorts. Roth’s novel depicts the inner and outer nature of man and his utter infathomablity to other humans. We are completely alone in this world, incomprehensible to even those closest to us, all the while going through our own lives. We, humans, are utterly unknowable to each other. “The Swede had got up off the ground and he’d done it—a second marriage, a second shot at a unified life controlled by good sense and the classic restraints, once again convention shaping everything, large and small, and serving as barrier against the improbabilities—a second shot at being the traditional devoted husband and father, pledging allegiance all over again to the standard rules and regulations that are the heart of family order…. He had learned the worst lesson that life can teach—that it makes no sense. And when that happens the happiness is never spontaneous again…. Stoically he suppresses his horror. He learns to live behind a mask. A lifetime experiment in endurance. A performance over a ruin. Swede Levov lives a double life…. The brutality of the destruction of this indestructible man. Whatever Happened to Swede Levov…. And in the everyday world, nothing to be done but respectably carry on the huge pretense of living as himself, with all the shame of masquerading as the ideal man.”
Friday, November 15, 2024
“A History of the Island” by Eugene Vodolazkin (translated by Lisa C. Hayden)
This is an odd novel-length parable, told as a centuries-long history about a fairytale island, often enmeshed in political strife, strange rivalries, occasional conspiracies, on-and-off-again civil wars, and, occasionally, threatened by its mainland enemies, such as France. The royal couple, Prince Parfeny and Princess Ksenia, whose commentary is interspersed within this history of the island, are three hundred and fifty years-old and have lived through every change in the island’s history, political and otherwise. Princess Ksenia remembered, “Agafon the Forward-Looking spoke reluctantly to the princes about the impending pestilence and he said nothing about their deaths. He did not like looking ahead. Strictly speaking, the very nickname “Forward-Looking” was not given to him entirely fairly. Agafon looked in all directions simultaneously…. He saw coming events with the same clarity as he saw events that had already arrived. Possibly even more clearly because the imperfections of the human memory had not distorted them. History, Agafon taught, tells much more about the present than the past.” The court historian relates, “In our land, nothing worthy of notice happened during all those years. Is that not a sign of the authorities’ wisdom? Happy are the times that do not enter the annals. Blessed is he whose rule is unmarked by historical events, for nearly all of them are born of blood and suffering.” Prince Parfeny concludes, “Our discovery seemed so beautiful to us that we had no doubt of its truthfulness since beauty and truth accompany one another.”
Friday, November 8, 2024
“The Custom of the Country” by Edith Wharton
This is Wharton’s masterful portrayal of the social-climbing gold-digger par-excellence, Undine Spragg. The aristocratic New York world of old money that she is, at first, so eager to enter is best described through the eyes of her first husband, Ralph Marvell. “Ralph sometimes called his mother and grandfather the Aborigines, and likened them to those vanishing denizens of the American continent doomed to rapid extinction with the advance of the invading race. He was fond of describing Washington Square as the “Reservation,” and of prophesying that before long its inhabitants would be exhibited at ethnological shows, pathetically engaged in the exercise of their primitive industries…. Small, cautious, middle-class, had been the ideals of aboriginal New York; but it suddenly struck the young man that they were singularly coherent and respectable as contrasted with the chaos of indiscriminate appetites which made up its modern tendencies…. Nothing in the Dagonet and Marvell tradition was opposed to this desultory dabbling with life. For four or five generations it had been the rule of both houses that a young fellow should go to Columbia or Harvard, read law, and then lapse into more or less cultivated inaction. The only essential was that he should live “like a gentleman”—that is, with a tranquil disdain for mere money-getting.”
Throughout Wharton’s novel, it seemed that being entranced by Undine’s charms was many a man’s undoing, including her own husband, Ralph Marvell’s. “It was a point of honour with him not to seem to disdain any of Undine’s amusements…. He told himself that there is always a Narcissus-element in youth, and that what Undine really enjoyed was the image of her own charm mirrored in the general admiration. With her quick perceptions and adaptabilities she would soon learn to care more about the quality of the reflecting surface…. She would not take more risks than she could help, and it was admiration, not love, that she wanted. She wanted to enjoy herself, and her conception of enjoyment was publicity, promiscuity—the band, the banners, the crowd, the close contact of covetous impulses, and the sense of walking among them in cool security…. And with the sense of inevitableness there came a sudden wave of pity. Poor Undine! She was what the gods had made her—a creature of skin-deep reactions, a mote in the beam of pleasure…. That the reckoning between himself and Undine should be settled in dollars and cents seemed the last bitterest satire on his dreams: he felt himself miserably diminished by the smallness of what had filled his world.”
For all intents and purposes, Undine lived on a different plane than those with whom she inhabited her life. Her conceptions of reality simply did not always conform to theirs and life was often just a contest of wills. “It was impossible for Undine to understand a social organization which did not regard the indulging of woman as its first purpose, or to believe that any one taking another view was not moved by avarice or malice…. She could never be with people who had all the things she envied without being hypnotized into the belief that she had only to put her hand out to obtain them, and all the unassuaged rancours and hungers of her early days in West End Avenue came back with increased acuity. She knew her wants so much better now, and was so much more worthy of the things she wanted!”