The Kingdom of This World (1949), Alejo Carpentier, tr. by Pablo Medina (2017). What is this novel about.  It is about the Haitian Revolution, although not in the sense that it is a substitute for reading The Black Jacobins (1938). It is about – I am looking at the translator’s Afterword – “the clash of cultures and races; it is a book about overwhelming social injustice; it is, above all, a book about the good and the evil that people will inflict on one another” (133).  True up to the last item; I do not know where in the novel anyone is inflicting good.  There is certainly plenty of evil.  “Like Mark Twain before him, Carpentier tackles slavery head-on and in so doing helps us to understand the awful legacy of racial discrimination with which our society still struggles.”  I doubt anyone reading this will improve their understanding of racial discrimination at all by reading The Kingdom of This World, but maybe some readers at a much earlier point in their education will? The novel is about the failures of Surrealism, and it is also a positive argument for a particular kind of post-Surrealism that Carpentier calls “the marvelous real.”  Let’s look at the novel’s prose.  I’m on the second page here: While his master was being shaved, Ti Noël was able to study carefully the four wax heads propped on the shelf by the entrance.  The wigs’ curls framed the fixed faces before spreading into a pool of ringlets on the red runner.  Those heads seemed as real – and as dead, given their motionless eyes – as the talking head that a traveling charlatan had brought to the Cap years before as a ploy to help him sell an elixir that cured toothaches and rheumatism.  By charming coincidence, the butcher shop next door displayed the skinned heads of calves, which had the same waxy quality.  (4) I want to quote the entire page, I enjoy it so. … Ti Noël distracted himself  by thinking that the heads of white gentlemen were being served at the same table as the discolored veal heads…  All they needed was a bed of lettuce or radishes cut in the shape of fleur-de-lys as adornment. The novel is more or less written like this.  The point of view moves around.  There is, for example, an amusing digressive section starring Josephine Bonaparte.  Ti Noël becomes the protagonist because, essentially, he survives the violence.  Let’s see what happens to him at the end of the novel. Tired of risky transformations, Ti Noël used his extraordinary powers to change himself into a goose and thus live among the birds that had taken residence in his domain.  (128) Humans transforming into animals is one of the novel’s running themes.  Why, I see an example up above, way back on page 4.  Now, even within the realm of fiction is it not likely that Ti Noël transformed into a goose.  Sadly, he is rejected by the other “real” geese, because “no matter if he tried for years, he would never have access to the rites and roles of the clan” (129). Ti Noël believes he becomes a goose, though, and given how narrative works, what is the difference between him believing he is a goose and actually being a goose. I think you may be able to detect a little bit of Revolutionary political symbolism in the earlier passage, and the story of the geese has a parable-like quality.  The entire ending, the last three chapters, is full of marvelous symbolic writing, all with this Surrealist character, things transforming into other things, or things in illogical places or logical reasons.  Real and also marvelous. I might have figured out Carpentier’s argument with Surrealism from the novel itself, but in the Preface he openly says all this. By dint of wanting to elicit the marvelous at every turn, the magician becomes a bureaucrat.  Invoked by means of the usual formulas that make of certain paintings a monotonous junk pile of rubbery clocks, tailor’s mannequins, or vague phallic monuments, the marvelous never goes beyond an umbrella or a lobster or a sewing machine or whatever, lying on a dissection table inside a sad room in a rocky desert.  Imaginative poverty, Unamuno used to say, is the consequence of learning codes by heart (xiv-v). Although there are some recognizable targets in this passage, only poor Yves Tanguy is directly attacked for his “troubling imaginative poverty” in “painting the same stony larvae under the same gray sky for twenty-five years” (xv).  The de-bureaucratizing solution, by the way, is to go to America, Haiti for example, and write about what is actually there.  “For what is the story of all of the Americas if not the chronicle of the marvelous and the real?” (xx).  Americans still believe in magic and miracles. I will note that in the last two paragraphs of his Afterword, Medina takes up these more aesthetic ideas.  He also translated that Preface. I will also note that, although I have not read the older translation or compared it to the Spanish at all, Medina’s translation seemed wonderful, energetic and clear.  Brightly lit, like freshly restored baroque architecture. Carpentier’s subsequent novel, The Lost Steps (1953), strongly recommended to fans of the Pixar movie Up (2009), is also about aesthetics, Modernism versus Romanticism, say.  It is too long since I read Explosion in a Cathedral (1962) to argue that it is mostly about books, really, but now I wonder. Carpentier praises Wilfredo Lam in the Preface so I put a contempory Lam painting, La Jungla (1943), up above.

Gammer Gurton loses her needle (solution to the mystery: distracted by her cat she forgets it in her servant Hodge’s pants).  A wandering stranger uses the hubbub to sow chaos for some reason, which gives the play a kind of plot, which for something like this is just a way to give the gags some order.  The stranger wants chaos but of course  so do we, the readers, the audience.  That is the point of comedy. Such is Gammer Gurton’s Needle.  I date it near but somewhat after Ralph Roister Doister, so mid-1550s.  It was possibly printed in 1563 and certainly printed in 1575.  There we go.  The authorship is a total hash.  The author is one or another Cambridge do, writing a holiday entertainment performed by and for an audience of teenage boys. They presumably found it hilarious. Tib.  See, Hidge, what’s this may it not be within it? Hodge. Break it, fool, with thy hand, and see an thou canst find it. Tib. Nay, break it you, Hodge, according to your word. Hodge.  Gog’s sides! Fie! It stinks; it is a cat’s turd!  (Act !, Scene v) As a character says later, “An thadst seen him, Diccon, it would have made thee beshit thee / For laughter” (IV.iii).  Gammer Gurton’s Needle is rather more earthy than the English comedies that would follow it.  The student of Shakespeare soon learns that anything that looks like a dirty joke probably is.  Such is true here, too. Gammer.  For these and ill luck together, as knoweth Cock, my boy, Have stuck away my dear neele, and robber me of my joy, My fair long straight neele, that was mine only treasure; The first day of my sorrow is, and last end of my pleasure!  (I.iv) The play has an outstanding cat, Gib, who sadly never appears on stage, such were the limits of mid-16th century theatrical special effects.  In Act III, scene iv, for example, Gib “stands me gasping behind the door, as though her wind hath faileth” – has she swallowed the lost needle!  The characters debate what to do – “Groper her, ich say, methinks ich feel it; does not prick your hand?” – but the cat stays behind the door the whole time. Whoever the author was, he knew how to have some fun with the language, which is again in rhyming couplets but with more North English rural dialect. My guts they yawl-crawl, and all my belly rumbleth; The puddings cannot lie still, each one over other tumbleth.  (II.i.) Or these two old ladies screaming at each other: Gammer.          Thou wert as good as kiss my tail! Thou slut, thou cut, thou rakes, thou jakes! Will not shame make thee hide thee? Chat.  Thou scald, thou bald, thou rotten, thou glutton!  I will no longer chide thee, But I will teach thee to keep home.  (III.iii) And the humor deepens when I remember that these are two teenage boys dressed as old women shouting these lines for an audience of teenage boys.  This is what we call classic humor. Next week I switch to tragedy, with Gorboduc (1561) by Thomas Norton and Thomas Sackville, written and performed for young lawyers and full of important lessons and Classical learning and so on.  It will be a tonal shift.

I have been learning a lot about Elizabethan literature.  Next month we will see what good it does me.  I am enjoying myself.  The title quotation is from Ralph Roister Doister. I plan to put up a post about Marlowe’s first – probably his first – play, Dido, Quen of Carthage, on September 29, and in the meantime will write about some plays preceding Marlowe.   FICTION Ralph Roister Doister (1552, perhaps), Nicholas Udall – enjoyed over here. The Loved One (1948), Evelyn Waugh – amusing and minor.  Waugh briefly visited Los Angeles and imagined Disneyland (as a cemetery), just a few years before it was built.  Perceptive. The Kingdom of This World (1949), Alejo Carpentier – Outstanding debut novel about the Haitian Revolution.  Or about the failures of Surrealism.  I should write a longer note on this one. Franny and Zooey (1955 / 1957 / 1961), J. D. Salinger – I enjoyed Nine Stories (1953) and enjoyed “Franny” (1955) all right but boy “Zooey” (1957) was a real nerve saw.  I am amazed that New Yorker readers had so much patience for Salinger’s dialectical Buddhist fiction. The Ballad of Beta-2 (1965), Samuel R. Delany – I found Delany’s first novel, The Jewels of Aptor (1962), creative but clumsy and I suppose this novel, his fifth, is the same, but the level of creativity is even higher.  It was mostly written over four days and sometimes feels like it, but it is overflowing with exciting conceits.  The basis of the plot is literary criticism, the interpretation of the title ballad.  To do literary criticism, the protagonist must visit ruined spaceships and befriend a space monster. Delany was – let me go look this up – 22, 23 years-old.   POETRY The Desert Music and Other Poems (1954), William Carlos Williams The Selected Poetry of Yehuda Amichai (1948-89), Yehuda Amichai Every Sound Is Not a Wolf (2025), Alberto Rios   PURSUIT OF THE SUBLIME / MADNESS Annapurna: First Conquest of an 8000-meter Peak (1951), Maurice Herzog – enjoyed back here.   IN FRENCH AND PORTUGUESE Os Escravos (1865), Castro Alves – Three abolitionist poems by a Brazilian teenager who wanted to be Victor Hugo and/or Byron and died young after introducing Romanticism to Brazilian poetry.  I have little idea how good these poems are, but this is pretty exciting. Les voix du silence (1951), André Malraux – A work of imaginative art criticism by French literature’s great con man, in effect his successful application to be French Minister of Culture.  I really should write a longer note about this book, some of which is highly interesting. Um estranho em Goa (2000), José Eduardo Agualusa – An Angolan writer’s autofiction about a visit to Goa, a place about which I knew nothing, which is why I read the book. Plus it is at my language level, plus it is a reasonable length, plus, I suppose, many other things.  The travel writing aspects were of high interest, the fiction less so, but fine.  I hope the plot line where Agualusa halfheartedly tries to buy, mostly out of morbid curiosity, the living heart of the local saint is fiction.  Some of Agualusa’s books have been translated into English recently but not this one.  I hope to read another someday.

Ralph Roister Doister (written c. 1550, published 1567) once had the distinction of being the first comedy in English.  Please see this 1911 edition of the play calling it “the first regular English comedy.”  I do not know what 19th century critics meant by “regular” but this was a 19th century idea, as scholars began to work seriously on figuring which plays survived from the 16th century, that Ralph Roister Doister was the first English comedy.  It is not the first, regular or otherwise.  Let’s return to this issue. A braggart soldier type (“I am sorry God made me so comely, doubtless,” Act I, Scene ii), the title character, decides, urged on by a parasite type, Matthew Merrygreek, to woo a widow, who is engaged and not very interested.  The big comic misunderstanding involves the mispunctuation of a love letter.  The result is a battle between the widow and her maids, armed with their “tools” (for sewing and weaving and so on) versus Roister Doister, a pail on his head, and his idiot servants.  Perhaps there is a goose involved: Tibet Talkapace:                                   Shall I go fetch our goose? Dame Custance:  What to do? TT:  To yonder captain I will turn her loose: An she gape and hiss at him, as she doth at me, I durst jeapord my hand she will make him flee.  (IV. viii) The battle scene is a bit vague, with lots of room for whatever gags the director can think of.  As you see, the play is written in competent rhyming couplets. The braggart soldier, and more or less the plot is from Miles Gloriosus (2nd cent. BCE) by Plautus.  The parasite is from English morality plays.  The servants, the goose, the songs, the names, and the whole tone of the thing are likely from English popular plays, whatever touring groups were performing at fairs. The names are wonderful.  Tristram Trusty, Margery Mumblecrust, Tibet Talkapace.  I’ve remembered Ralph Roister Doister’s name since I first saw it in some potted history of English theater nearly forty years ago.  The first English comedy should be titled Ralph Roister Doister. The domestic detail is also a delight.  Here are the maids early on, at work: Margery Mumblecrust: Well, ye will sit down to your work anon, I trust. Tibet Talkapace: Soft fire maketh sweet malt, good Madge Mumblecrust. MM: And sweet malt maketh jolly good ale for the nones. TT: Which will slide down the lane without any bones.   [Sings. Old brown bread-crusts must have much good mumbling, But good ale down your throat hath good easy tumbling.  (I.iii) The play is slackly paced giving plenty of its time to watching the maids sew and sing.  It is not exactly digressive, but like a musical.  Let’s stop and have a song or whatever: With every woman he is in some love’s pang. Then up to our lute at midnight, twangledom twang; Then twang with our sonnets, and twang with our dumps, And heigho from our heart, as heavy as lead lumps; Then to our recorder with toodleloodle poop, And the howlet out of an ivy bush should whoop…  (II.i) Nicholas Udall, the likely author, was a schoolmaster.  He likely wrote this play for performance by his schoolboys.  Maybe he was the first schoolmaster to rewrite a Plautus play for his students, although I doubt it.  He may have been the first to make his rewritten Plautus so inventively English.  It could easily be much, much less English.  The Englishness is the best part. The title character is a direct ancestor of Falstaff, although, remembering the pail on Roister Doister’s head, the Falstaff of Merry Wives of Windsor, Falstaff in the laundry basket. The play is also a little step towards the creation of the professional boy’s companies, the aspect of Elizabethan theater I find hardest to imagine.  Fourteen year-old boys performing plays at the level of The Alchemist, how did that work?  But I can imagine them doing Ralph Roister Doister. Next Monday I will write about another early boy’s comedy, and is it ever, Gammer Gurton’s Needle.

Books that generate other books, books that are first in the line, interest me.  Despite little interest in mountaineering, I read Annapurna: First Conquest of an 8000-meter Peak (1951, tr. Nea Morin and Janet Adam Smith) by Maurice Herzog, the subject of the book well summarized in the title, a book that led to many other books. Annapurna was a big hit, and soon after there were books by other members of the expedition, and a parody novel, The Ascent of Rum Doodle (William Ernest Bowman, 1956) and a feminist response.  That response was to climb Annapurna, but also to write a book, Annapurna: A Woman’s Place (Arlene Blum, 1980).  The book inspired a great deal of mountaineering, Himalayan and otherwise.  The last line, “There are other Annapurnas in the lives of men” (311), apparently became famously inspirational  among crazy people, by which I mean mountain climbers, but I am more interested in what inspired people to write books. The story of the 1950 French and Swiss expedition in Nepal to climb whichever 8,000-meter peak was easiest, using state-of-the-art techniques, is a terrific adventure story, “terrific” in the current sense (entertaining) but also in the old sense (terrifying, these climbers are out of their minds), and it is the latter that really surprised me.  Annapurna is study in the variety of human taste for risk, or to put it in Wuthering Expectations terms* the taste for the sublime. “Sublime” has softened into an inelegant variation for “very beautiful,” but I again mean the old aesthetic sense of beauty that is frightening, beauty that is trying to kill you, like the view from the top of an 8,000-meter Himalayan peak.  This was quite different [from the Alps].  An enormous gulf was between me and the world.  This was a different universe – withered, desert, lifeless; a fantastic universe where the presence of man was not foreseen, perhaps not desired.  We were braving an interdict, overstepping a boundary, and yet we had no fear as we continued upward.  I thought of the famous ladder of St. Theresa of Avila.  Something clutched at my heart.  (207) Herzog does not normally write like this.  He is typically a model of clarity.  But atop Annapurna he goes on for three pages like this, while his companion keeps insisting they head back before the bad weather hits them. Some additional fragments: How wonderful life would now become! (208) Never had I felt happiness like this – so intense and yet so pure. (209)  Before disappearing into the couloir I gave one last look at the summit which would henceforth be all our joy and all our consolation. (210) The latter is well into the descent which at that point has become terrible and will get much worse.  But Herzog remains captured by his sublime experience, wavering between the struggle to descend and an obliterating acceptance of imminent death. Given the practicalities of the earlier part of the book, the organization of camps and supplies, the turn towards St. Theresa was fascinating.  It’s those camps and supplies, along with the team doctor, that save Herzog.  If you happen to have strong feelings about needles I recommend that you skip chapter 16, “The Retreat,” which is full of horrors (frostbite treatments).  Perhaps skim the next couple of chapters as well, although the worst is over. The whole of this book has been dictated at the American Hospital at Neuilly where I am still having rather a difficult time.  (11) I suppose another reason for the rise of the mountaineering book in the is that explorers had used up other parts of the world.  The Arctic and Antarctic had been exhausted as subjects for books.  I will note that while Roald Amundsen insisted on the scientific value of his pointless feats, Herzog and his team have no illusion that climbing a Himalayan mountain has any value beyond the adventure.  The legendary Alpine guide Lionel Terray, one of the members of the team who got Herzog down off Annapurna, titled his 1961 memoir Conquistadors of the Useless.  Useless except for generating books. Page numbers are from the first edition, which has a helpful fold-out map in the back.   * See this old post about Little House on the Prairie for more on the sublime.