Sunday, August 30, 2020

In Plain Sight - A Short Story by Mavis Gallant - first published October 17, 1993 in The New Yorker


In Plain Sight - A Short Story by Mavis Gallant - first published October 17, 1993 in The New Yorker


Included in The Collected Short Stories of Mavis Gallant and in Paris Stories


Buried in Print’s Mavis Gallant Project


Gateway to Mavis Gallant on The Reading Life


Peter Orner pays tribute to of one of the past century's great character builders, including his thoughts on In Plain Sight


Mavis Gallant


April 11, 1922 - Montreal


1950 - moves to Paris


September 1, 1951- publishes, in The New Yorker, her first short story.  She would publish 116 stories in The New Yorker. 


February 18, 2014 - passes away in her beloved Paris


Since March 2017 I have been reading through the short stories of Mavis Gallant, following the lead of Buried in Print.  I have access to about half the stories.  Buried in Print has three stories left to read, sadly “In Plain Sight” is the last of her stories included in The Collected Short Stories of Mavis Gallant.  The project will end in September.   


The central character in this story, he has appeared before, is Henri Grippes, a novelist living in Paris.  As the story opens, an air raid siren has just sounded:


“ON THE FIRST Wednesday of every month, sharp at noon, an air-raid siren wails across Paris, startling pigeons and lending an edge to the midday news. Older Parisians say it has the tone and pitch of a newsreel sound track. They think, Before the war, and remember things in black-and-white. Some wonder how old Hitler would be today and if he really did escape to South America.”


Concerns over memory, over aging, meditations on a “lost world” permeate this story as they do much of her work.


My mind is distracted by the dark times we are in.  Buried in Print and Peter Orner have written much more elegantly on this story than I can.


Reading through these stories with Buried in Print has been a great Reading life experience.  It takes real optimism to begin long term Reading Projects.  It means for me I am not giving up.


I look Forward to joining in on Buried in Print’s next project


Mel u







 

Friday, August 28, 2020

Housekeeping by Marilynne Robinson - 1980

 

Housekeeping was a finalist for the Pulitzer Prize for Fiction and was awarded the PEN/Hemingway Award for best first novel.




As I finished Housekeeping I was somehow in shock by the sheer power of this work.  The Guardian in an essay in their 100 greatest novels of all time series (they place  it at 82) says 

It is “the work of an American writer, and Calvinist, intimately at home with the Bible and the great transcendentalists, Ralph Waldo Emerson, Henry David Thoreau and Herman Melville”.  I did find it also very much an American book. (Robinson has been highly praised by President Barack Obama.). It is also about drifters, people who do not quite fit into the surrounding societies.  Water has a heavy presence in Housekeeping.The plot line opens with a passenger train plunging from a railroad bridge into a lake, killing everyone on the train.  American church rituals and music  are replete with trains bound for glory.  


Housekeeping is the story of two orphan girls, Ruth and Lizzie. Both their grandfather and their mother drowned in the same lake the train plunged into.  The symbolism of water is as open to interpretation as that of the White Whale. It sustains life and brings death.  The novel is set in the imaginary community of Fingerbone, Idaho.  Not date is given but references set it in the early 1950s.


Narrated by Ruthie, the girls are raised by a series of eccentric relatives until their mother’s sister, their Aunt Sylvia shows up.

  Sylvia has long been a drifter.  She commits to acting as a “housekeeper” for her neices.  At first both girls think she will soon leave but then perceptions change:  “Ruth says: “I was reassured by her sleeping on the lawn, and now and then in the car. It seemed to me that if she could remain transient here, she would not have to leave.”  Much of the depth of Housekeeping is in the drawn of a transient life.  There are several brief stories of homeless drifters encountered on trains.  


Ruth begins to ponder the dark past of her family.  She is more comfortable with the behavior of Sylvia than her more conventional sister Lucille.


Sylvie wanders by the lake while the family house goes to pieces. Ruth, our narrator, is at home with her aunt’s transient spirit, and comfortable with solitude: “Once alone,” she says, “it is impossible to believe that one could ever have been otherwise. Loneliness is an absolute discovery.”  If Loneliness is an absolute discovery is housekeeping a way of hiding, and then we ask hiding from what.?


Lucille moves away, the Fingerbone community tries to have Sylvia declared an unfit guardian.  In response Ruth and Sylvia burn down their house.  They escape across the lake.  The town’s people assume they have drowned in the lake.  I will leave the rest of this fascinating novel untold.  In a way it is a novel of the reading life with both Sylvia and Ruthie having works of classic literature deeply impressed on them.  


From the Guardian 


“In the words of an early New York Times review, this novel is “about people who have not managed to connect with a place, a purpose, a routine or another person. It’s about the immensely resourceful sadness of a certain kind of American, someone who has fallen out of history and is trying to invent a life without assistance of any kind, without even recognising that there are precedents. It is about a woman who is so far from everyone else that it would be presumptuous to put a name to her frame of mind”.

As a modern classic, Housekeeping can bear any weight of interpretation. Like Fingerbone’s lake water, it has become a mirror in which generations of new readers can find themselves, as if for the first time”


I think this is correct but shallow.  Why or is the drifting life so powerful a draw?  There are many precedents in American history and literature for this.  What does Sylvia and Ruthie see the towns people do not.  


I have a copy of Robinson’s second novel Gilead on my E Reader and hope to read it soon. Gilead did win the Pulitzer Prize for Fiction.


From her publisher


“MARILYNNE ROBINSON is the author of Gilead, winner of the Pulitzer Prize for Fiction and the National Book Critics Circle Award; Home, winner of the Orange Prize and a finalist for the National Book Award; and Lila, also a finalist for the National Book Award and winner of the National Book Critics Circle Award. Housekeeping won the PEN/Hemingway Award. Her nonfiction includes Absence of Mind; The Death of Adam; Mother Country, nominated for a National Book Award; and When I Was a Child I Read Books. She teaches at the Iowa Writers’ Workshop”. 


She has so far published four novels and four essay collections.  I hope to read them all.


Mel u














Tuesday, August 25, 2020

A Father and his Fate by Ivy Compton-Burnett - 1957



A Father and his Fate by Ivy Compton-Burnett - 1957 - with an Introduction by Penelope Lively

“The purest and most original of contemporary English artists."
— Rosamond Lehmann

Opening question

From “Notes on Camp” by Susan Sontag - From Against Interpretation and other Essays - 1963

Do you agree with Sontag, are the novels of Ivy Compton-Burnett Camp?  I see Ronald Firbank but I am not so far seeing Ivy Compton-Burnett’s novels as camp.

“Random examples of items which are part of the canon of Camp: Zuleika Dobson Tiffany lamps Scopitone films LA The Enquirer, headlines and stories Aubrey Beardsley drawings Swan Lake Bellini’s operas Visconti’s direction of Salomé and ’Tis Pity She’s a Whore certain turn-of-the-century picture postcards Schoedsack’s King Kong the Cuban pop singer La Lupe Lynd Ward’s novel in woodcuts, Gods’ Man the old Flash Gordon comics women’s clothes of the twenties (feather boas, fringed and beaded dresses, etc.) the novels of Ronald Firbank and Ivy Compton-Burnett stag movies seen without lust”



Almost ten years ago I read my first Ivy-Compton-Burnett novel, Manservant and Maidservant.  At long last I have now read a second of her 19 novels, A Father and his Fate.


Ivy Compton-Burnett (1884 to 1969-London) wrote her first novel in 1911 and her last was published (after her death)  in 1971.   Her most famous and most still read work, Manservant and Maidservant was published after WWII in 1947.   To me she should be classified as  a "between the wars" British writer even though she her work extends well beyond that era  because her sensibilities are really quite Edwardian..    This puts her in the company of Katherine Mansfield , Virginia Woolf, and Ford Madox Ford.   The consensus is to see her as a writer of the second order behind the truly great writers of  the era.     She came from what seems to have been a very troubled family.    One of her brothers was killed in WWI and two of her sisters died together in a suicide pact.   Of her and her 12 siblings no one had child.

After doing a bit of post read research, reading articles by Francine Prose, Hilary Spurling and others, Father and his Fate centering around a late Edwardian Family, three unmarried living at home daughters, a wife, and ruling it as a despot the paterfamilias, Miles Mowbray is very much a prototypical  Compton-Burnett novel.The novel is almost entirely in dialogue.  Not everyone likes her work, some see her world as narrow, the same thing once being sad about Jane Austen, others say they do not find the conversations at all reflective of how real people speak. Some complain they cannot follow the plot or tell who is speaking.  Others adore her work and love the exquisite conversations.  I am in this category.

Words are weapons in A Father and his Fate, the weapons of the weak.

““I wonder if there is anyone in the world who cares for me,” said Miles, leaning back in his chair. “I often ask myself that question.” “Then you should answer it,” said Ursula. “It is less safe to put it to other people.”

 The three adult unmarried daughters live at home.  Penelope Lively in her introduction tells us

“To be young, in an Ivy Compton-Burnett world, is to be the lowest of the low: dependent, powerless, biding one’s time.”

Many a character in a 19th century novel has been largely occupied with waiting for a parent to die.

The opening lines of the novel set a stage for a dark drama

““MY DEAR, GOOD girls!” said Miles Mowbray. “My three dear daughters! To think I have ever felt dissatisfied with you and wished I had a son! I blush for the lack in me, that led me to such a feeling. I feel the blood mount to my face, as I think of it. I would not change one of you for all the sons in the world. I would not barter you for all its gold. And I am not much of a person for wealth and ease. I am happy as a countryman, husbanding the land his fathers held before him.”

We see how Miles views his place in the world, soon we will learn how the daughters and his wife feel about him and their lives.  There is a very dramatic turn of events I will leave untold.

A Father and his fate is available in the Kindle Unlimited Program.

I will soon read, I hope, her Darkness and Day.

Mel u








Thursday, August 20, 2020

Who We Are and How We Got Here: Ancient DNA and the New Science of the Human Past by David Reich - 2018



Who We Are and How We Got Here: Ancient DNA and the New Science of the Human Past by David Reich - 2018

An autodidactic corner selection.

Who We Are and How We Got Here: Ancient DNA and the New Science of the Human Past by David Reich is as fascinating a work as I have read in a long time.  If you have any serious interest in understanding how the human species evolved and spread all over the  in diverse forms, you will be spellbound by this book.

Who We Are and How We Got Here: Ancient DNA and the New Science of the Human Past was to me a challenging read.  I have very little formal training in science and none in the intricacies of DNA.  The book focuses on the results of the application of genome-wide testing of ancient DNA to human prehistory and genetics.  Doctor Reich is a leading researcher in this field.  Much of his work develops insights based on comparisons of ancient DNA from remains and modern groups.

He describes the book as intended to be both an introduction to this field for those new to the area and an overview for professionals in various impacted areas.  I left this book seeing how ancient migrations and mixing of groups produced the world today.

Using cutting edge technology Reich is able to deduce migration of human groups from many thousands of years ago.  Reich is acutely sensitive to the uses racists including the Nazis made of bogus genetic claims of race based genetics.  He talks about resistance to  Ancient DNA studies based on this.

The book is in part a memoir of his career.  He began his post doctoral research focusing on why members of some races are especially prone to certain diseases.  From this he began to study ancient DNA, how it lingers on in modern humans.


A look at the table of contents shows the broad scope of this book.

Part I The Deep History of Our Species
1 How the Genome Explains Who We Are
2 Encounters with Neanderthals
3 Ancient DNA Opens the
 Part II How We Got to Where We Are Today
4 Humanity’s Ghosts
5. The Making of Modern Europe
6 The Collision That Formed India
7 In Search of Native American Ancestors
8 The Genomic Origins of East Asians
9 Rejoining Africa to the Human Story Part III The Disruptive Genome
10 The Genomics of Inequality
11 The Genomics of Race and Identity
12 The Future of Ancient DNA

The website of Professor Reich is a great resource

https://reich.hms.harvard.edu/

Professor David Reich, of the Department of Genetics at Harvard Medical School and the Howard Hughes Medical Institute, is a pioneer in analyzing ancient human DNA to learn about the past. In 2015, Nature magazine named him one of “10 people who matter” in all of the sciences for his contribution to transforming ancient DNA data “from niche pursuit to industrial process.” He has received numerous awards, including the 2017 Dan David Prize in the Archaeological and Natural Sciences for the computational discovery of intermixing between Neanderthals and modern humans.

I hope to read through this book a second time this year.

Ancient DNA studies has really only being truly in process since 2010.  It will change as it develops and change our world view as it does.  The book is a celebration of the love of knowledge and the diversity of humanity.

Mel u






Tuesday, August 18, 2020

“Auction” - A Short Story by María Fernanda Ampuero - from her debut collection, Cockfight - 2020 - from Feminist Press - Translated from the Spanish by Francis Riddle




“Auction” - A Short Story by  María Fernanda Ampuero - from her debut collection, Cockfight - 2020 - - Translated from Spanish by Francis Riddle 

You may read today’s story here



“Auction” is part of what I call post Bolano Latin American fiction, works focusing on the consequences of terrible poverty, misogynistic cultures and machismo set within a violent society.  

The narrator of the story, a young woman, has involuntary memories of her childhood trips to cockfights with her father brought about by odors.  She is trying to figure out where she is being kept captive.

“There are roosters around here somewhere.
Kneeling, with my head down and covered by a filthy rag, I concentrate on hearing them: how many there are, if they’re in cages or inside a pen. When I was young, my dad raised gamecocks, and since there wasn’t anyone else to look after me, he’d take me along to the fights. The first few times, I cried when I saw the poor rooster ripped to shreds in the sand, and he laughed and called me a girl.
At night, giant vampire roosters devoured my insides. I would scream and he’d come running to my bed, and again he’d call me a girl.
“Come on, don’t be such a girl. They’re just roosters, dammit.””

She discovers her friendly cab driver has transferred her to an auction to be sold as a sex slave.

“I know that here, somewhere, there are roosters because I’d recognize that smell from a thousand miles away. The smell of my life, the smell of my father. It smells of blood, of man, of shit, of cheap liquor, of sour sweat and industrial grease. You don’t exactly have to be a genius to gather that this is some abandoned place, hidden away god knows where, and that I’m totally fucked.
A man speaks. He must be around forty. I imagine him fat, bald, and dirty, wearing a sleeveless white undershirt, shorts, and flip-flops; I imagine his pinkie and thumb nails are long. I can tell by the way he’s speaking that there are other people here. There’s someone else here besides me. There are other people on their knees, with their heads bent, covered by dark, disgusting sacks.
“Come on now, let’s all calm down—the first sonofabitch who makes a sound is gonna get a bullet in his head. If you all cooperate, we’ll all make it through the night in one piece.”
I feel his stomach brush against my head and then the barrel of a gun. No, he’s not joking. A girl cries a few feet to my right. I suppose she couldn’t handle the feeling of the gun to her temple. The sound of a slap.”

Young nubile women are not the most valuable items at the auction.  The biggest prize is a man from a gated community who looks like he could be ransomed.  The nightmarish auction begins with an innocent seeming woman, maybe a teacher.being stripped and raped in a kind of demonstration for the bidders.  The narrator cannot see what is going on but she can hear enough to figure it out.  After this, the rich man is auctioned.  Then it is the narrator’s turn. 

I will leave the ending untold other than say it was hilariously inventive.

María Fernanda Ampuero is a writer and journalist, born in Guayaquil, Ecuador, in 1976. She has published articles in newspapers and magazines around the world, as well as two nonfiction books: Lo que aprendí en la peluquería y Permiso de residencia. Cockfight is her first short story collection, and her first book to be translated into English.

Frances Riddle lives in Buenos Aires, where she works as a translator, writer, and editor. She holds an MA in translation studies from the University of Buenos Aires and a BA in Spanish literature. Her book-length publications include A Simple Story by Leila Guerriero (New Directions, 2017); Bodies of Summer by Martín Felipe Castagnet (Dalkey Archive Press, 2017); Slum Virgin by Gabriela Cabezón Cámara (Charco Press, 2017); and The Life and Deaths of Ethel Jurado (Hispabooks, 2017).

I hope to read the full collection soon.  If “Auction” is a fair sample, it should be a lot of dark fun. There are thirteen stories in the collection.

Mel u















M

Monday, August 17, 2020

The Collected Stories of Pinchas Goldhar - A Pioneer Yiddish Writer in Australia - “Cain” - A Short Story


 




The Collected Stories of Pinchas Goldhar - A Pioneer Yiddish Writer in Australia, with an introduction by Pam MacLean. 2016. Stories first published between 1931 and 1947 in Yiddish

I was delighted today to stumble upon a collection of short stories by a Yiddish language writer who moved from Poland to Australia, Pinchas Goldhar.

1901- Born in Łódź, Poland

1926 - Moves, along with his widowed father and three siblings to Melbourne, Australia.  The father was rightly concerned about the rise of antisemitism in Poland.  In her introduction to the collection Pam MacLean that in this period Australia was allowing all white immigrants to settle in the country.  

1931  - The first Yiddish language newspaper is started in Australia with Pinchas Goldhar as editor.  The Jewish population in Australia was culturally dominated by Jews from England but there were enough Yiddish readers to support publications and books,  Goldhar translated a number of Australian writers into Yiddish.  He also worked at his father’s dye factory.

1934 Marries and will have three children,  his son contributed an afterword to the collection.

1947- passes away in Melbourne 

Unlike Yiddish immigrants to New York City, immigrants to Australia did not have a vast community to support them.  You had to learn English.  Some immigrants found jobs in the city, others started ranches and farms in the outback.  Goldhar has several stories showing just how isolated these settlers were.  Just like immigrants in New York City, Australian Jews became aware of the horrors of the Holocaust.  This was something no Yiddish writer could ignore.  The first two stories in the collection have a Holocaust setting.

“Cain” is structured as a final letter to his family, from a well known physician:

“DOCTOR HERMANN LOWENSTEIN took his own life by hanging himself in a concentration camp near Dresden. He had been famous throughout the medical world for his scientific experiments and discoveries, and his death was met with a profound sense of regret amongst his contemporaries. He wrote a farewell letter to his family that the Nazis mistakenly overlooked. For a long time this letter travelled a difficult, hazardous and secret road and, when it finally reached Mrs Lowenstein, it was so torn and wrinkled that it was almost impossible to decipher –evidence of how difficult its path had been. 

“This is what Dr Lowenstein wrote in his letter: My loved ones, my dear Klara and children! This letter is not being written to you by a person who has killed himself but by a murderer, someone who has spilt his brother’s blood. I don’t want this letter to arouse your sympathy or be used in defence of my actions. I have sentenced myself to death but I still feel that it is an insufficient punishment for my crime. I am writing to let you know the terrible truth. I don’t want you to grieve over my death, I don’t want you to carry loving feelings for me.”

First published in 1933 in Yiddish, translated by Tania Bruce

I don’t want  to reveal why he sentenced himself to death other than to say it was from shame at what the Germans caused him to become.  The ending of this story, a story as sad as sad can be, is beautiful and redemptive of the human spirit. 

I downloaded the sample Kindle Edition.  It contains a preface, a very informative introduction and two complete stories including “Cain”.

This collection is a major edition to my understanding of the huge scope of Yiddish literature.  It is fairly priced.

Mel u

Sunday, August 16, 2020

“The Esrog” - A Short Story by Sholem Aleichem, translated by Curt Levian from The Yiddish - 1910?





“The Esrog” - A Short Story
by Sholem Aleichem, translated by Curt Levian from The Yiddish  - 1910?

You may read today’s story here.

Sholem Aleichem

1859 Born in The Ukraine, then part of the Russian Empire

1916 Dies in New York City, then part of The U.S.A.  His funeral is attended by 250,000

To most people, certainly me a few years ago, Yiddish writers were divided into two categories, Sholom Aleichem and a bunch of authors I have never heard about that I would never have read were it not for Yale University Press giving me a full set of The Yale Yiddish Library.  These nine volumes, introduced by top authorities in Yiddish Studies, include some of the great classics.
Among the works were two totally marvelous novels  by Sholom Aleichem.  All of the works were pre-Holocaust, written in Eastern Europe and Russia.  All were by men.  As Yiddish speakers left Europe, mostly to NYC then Toronto and Montréal women writers like Blume Lempel and Chava Rosenfarb began publishing in Yiddish.  I have talked a bit about the history of Yiddish Literature (running from around 1875 to maybe 2004 with the passing of the last of the emigrated writers) in prior posts.  My perception is most seriously into Yiddish Literature, a huge treasure trove of Short Stories, are “heritage readers” seeking ties with the world of their ancestors in Eastern Europe.  Behind it is also a powerful message to those who would destroy Jewish Culture, you lose, we win.  I read in this area because it is an incredibly wonderful literature.  The stories range from heart breaking to funnier than a Mel Brooks movie.  Yiddish scholarship has very strong support and thanks to the internet, and maybe especially The Yiddish Book Center, interest is rapidly growing.  YouTube has lots of good videos and readings of stories.

Anyway Sholom Aleichem is by far now most known Yiddish writer.  He is most famous from the movie Fiddler on the Roof based on his Tevye Cycle, centering on a Russian dairyman and his relationship with his daughters.

In order to appreciate this story you need to understand the import of the Esrog (sometimes translated as “Ettog” i. Ashkenazi tradition .

“Etrog (Hebrew: אֶתְרוֹג‎, plural: etrogim; Ashkenazi Hebrew: esrog, plural: esrogim) is the yellow citron or Citrus medica used by Jews during the week-long holiday of Sukkot as one of the four species. Together with the lulav, hadass, and aravah, the etrog is taken in hand and held or waved during specific portions of the holiday prayers. Special care is often given to selecting an etrog for the performance of the Sukkot holiday rituals.” - from Wikepedia

Here are opening line, showing Sholem Aleichem skill at quickly creating character through dialogue:

“ This year we’re going to buy an esrog,” my father declared, and I imagined my father coming to shul, like a respectable householder with his own esrog and lulav and not using the congregation’s as did other poor people in town.
When I heard this news, I could no longer restrain myself and told everyone in kheyder that this Sukkos we would have our very own esrog. But no one believed me.
“Look who’s getting his own esrog!” some of my pals snickered. “That pauper is going to buy himself his own esrog! He probably thinks it’s a cheap lemon!” “

You can feel the excitement in the family when the proud father shows his family the esrog:

“Well, Father did buy one and his hands quivered with joy as he held it. He called Mama and smilingly pointed to it, as though it were an expensive necklace.
Mama approached silently and slowly stretched her hand to take hold of the esrog, whose heavenly fragrance spread to every corner of the room.
“Oh, no,” he said. “Look, but don’t touch.  But if you want to sniff it, you may.”
But I wasn’t even offered that much. I wasn’t even allowed to get too close to it. Not even to have a peek at it. For it was too risky.
“Uh-oh! Look, who’s here,” said Mama. “If you let him come close he’ll bite off the stem.”
“God forbid,” said Father, wary of the evil eye.”

The father puts it in a cabinet and tells his son do not touch the sacred fruit.  Of course he cannot resist the temptation.

I will leave the rest of this marvelous story for you to discover













Featured Post

Imperial Reckoning: The Untold Story of Britain’s Gulag in Kenya by Caroline Elkins - 2005 - 701 Pages

  Imperial Reckoning:     The Untold Story of Britain’s Gulag in Kenya by Caroline Elkins - 2005 - 701 Pages 2006 Pulitzer Prize Winner From...