Showing posts with label Translation. Show all posts
Showing posts with label Translation. Show all posts

Wednesday, 21 October 2020

Fracture | Andrés Neuman #InTranslation


What a wonderful reading experience!

From the beautifully designed hardcover dust jacket (the gold seams actually sparkle in real life), to the impressive translation that seems to have captured the beauty and thoughtfulness of Neuman's original story, Fracture is a journey to savour.

I knew I was in for a treat from the very first sentence, “The afternoon appears calm, and yet time is waiting to pounce.” This leads us into the startling realisation that we are about to feel the tremors of the 2011 Tohoku earthquake and tsunami in Tokyo, along with our protagonist, Yoshi Watanabe.

The fear and shock of the magnitude 9 earthquake, followed by the images of the horrifying tsunami and the subsequent Fukushima Daiichi nuclear disaster, take Yoshie back in time.

Time and it's passing, memory and what we choose to remember and what we choose to forget become the central themes in Neuman's story about Yoshie, a survivor of the bombing of Hiroshima and Nagasaki by default. Yoshie is a hibakusha, a person affected by exposure to an atomic bomb, in a country unable to talk about it. His life is fractured, broken. He spends the rest of his life trying to piece it back together.

Neuman is a writer not afraid to take a risk with his writing. 

He's an Argentinian man writing about a much older Japanese man, from the perspective of numerous women living all around the world (Paris, New York, Argentina, Madrid). We have Yoshie's narration about life in Tokyo now and his remembrances of the war, and we have these women reflecting on their time with Yoshie. What he was like at that period of his life, their views on how the war affected him and why their relationships with him ultimately failed.

Writing and reading is all about the journey into someone else's world. The oft quoted Atticus Finch saying about 'you never really understand a person until you consider things from his point of view . . . until you climb into his skin and walk around in it' is very true about Yoshie's story. Neuman gives us multiple ways to climb into Yoshie's skin, because if he had left it entirely to the very reserved Yoshie, our insights would be greatly diminished. 

For some unknown reason, I've found it very difficult to adequately document my journey with this book. This response has taken weeks to complete.

Fracture was a slow, considered read. Thoughtful and thought-provoking. It delved into many of my favourite themes. From very early on, I considered this book 'a keeper', deserving of a reread and a much coveted position on my groaning bookshelf. I savoured every minute, every word, but I simply don't feel like gushing or raving or shouting about it from the roof tops. It's not that kind of book, I guess. It's contemplative and quietly spoken, much like Yoshie himself.

Sometimes, some books, just need to be sat with quietly.

A prolific writer, Neuman – born in Argentina, now based in Granada – delights in language and linguistic ambiguity. In Fracture, he explores the fragmented nature of memory, emotional scars, a city’s wounds after a disaster and the cracks in a relationship caused by cultural difference. He draws profound parallels between collective traumas – Japan’s bombing, Vietnam in 1968, Argentina’s “disappeared”, Chernobyl and the 2004 Madrid train attacks. Recalling Japan’s enforced silence in the war’s aftermath, Yoshie’s Argentinian girlfriend, Mariela, ponders: “Maybe the most brutal thing is not that you were bombed. Most brutal of all is that they don’t even allow you to tell people that you’ve been bombed. During the dictatorship here they would kill one of your children and you couldn’t tell anyone.” 

Facts:
  • Originally published in 2018
  • Translated by Nick Caistor and Lorenza Garcia in 2020
  • Neuman is a poet, short story writer and columnist. 
  • The late Chilean novelist Roberto Bolaño, said of him “The literature of the 21st century will belong to Neuman.” 

Epigraphs:
  • If something exists somewhere, it will exist everywhere | Czeslaw Milosz (Polish winner of the Nobel Prize for Literature 1980).
  • Love came...after the kill | Anne Sexton (1928 - 1974 a US confessional poet & Pulitzer prize winner for Poetry 1967).
  • I wonder if there is/any operation/that removes memories | Shinoe Shōda (born in Hiroshima 1910, she was a hibakusha. She died of breast cancer 1965. Tanka (II) finishes with Where is a cure/for my pain-filled heart?)
  • ...and if my body is still the soft part of the mountain/I'll know/I am not yet the mountain | José Watanabe (1946 - 2007 a Peruvian poet with a Japanese father).

Favourite Quote:
...the ancient art of kintsugi. When a piece of pottery breaks, the kintsugi craftspeople place powdered gold into each crack to emphasise the spot where the break occurred. Exposed rather than concealed, these fractures and their repair occupy a central place in the history of the object. By accentuating this memory, it is ennobled. Something that has survived damage can be considered more valuable, more beautiful. (my highlights)

Saturday, 22 August 2020

The Plague | Albert Camus #ReadtheNobels


What does one read during a pandemic that has changed the way we all live our lives? 

The Plague (La Peste) by Albert Camus of course! 

This existentialist (or absurdist, depending on who you talk to) classic from 1947 presents us with the day to day changes that occurred in a small city in Algeria when the plague suddenly turned up out of the blue.

The French Algerian town of Oran experienced real life plague events in 1556, 1678 as well as three lesser outbreaks in the early 1900's. Camus wrote his fictional version of The Plague during and after WWII. Since then many have drawn parallels between the coming of the plague in his book and the Nazi's. I'll leave that for students of English and Philosophy to mull over, but for today, this review will focus more on the parallels between what we're all experiencing now with Covid-19 and what the imaginary characters of this real town experienced during their fictional plague.

But first a little reminder about the definition of existentialist literature. 

Existentialism is all about the experience of the individual - the thinking, feeling, acting, living human being - as they navigate an absurd, meaningless world with a sense of confusion, angst, anxiety and disorientation. It is the individuals responsibility to make sense of the world, not society or religion.

While Absurdism is the conflict between the human tendency to seek some kind of inherent value and meaning in life with our inability to actually find any in a purposeless, meaningless, chaotic and irrational universe! Camus was an Absurdist and believed we should live a life rich in 'purposeful experience' in spite of the 'psychological tension of the Absurd'.

The fictional plague in Oran began with the sighting of one dead rat by Dr Bernard Rieux on the 16th April. It was considered to be 'odd' by the doctor and 'a practical joke' by the concierge. The next day there were three dead rats. The doctor was now 'intrigued' while the concierge hung around the doorstep waiting to catch the 'jokers'. However on his rounds, the doctor realised that the dead rats were everywhere and that 'the whole district was talking about the rats.' Most people agreed that it was 'peculiar, but it will pass.'

By the next day the papers had picked up the story and the authorities started to talk about 'emergencies measures.'

In the population, some people complained, some were disconcerted, some felt threatened or anxious. People began to accuse the authorities of inaction and others escaped town completely. Rumours spread along with a sense of foreboding. 'Surprise gradually gave way to panic.'

Mistaken ideas had to be readjusted as new information about the rats and the plague were learnt the hard way...with people dying. Old habits and daily routines had to change and fear set in. 

Dr Rieux was keen to prepare and take precautions, whilst the authorities tried not to upset public opinion. However, hygiene posters popped up around town, gas was injected into the sewers to kill the rats and the water supply was strictly supervised. Hospital wards were 'suitably equipped' and relatives of patients were urged to get tested.

Some people began to suggest the whole thing was exaggerated and refused to change their ways. Trams were still packed and the theatres and restaurants were full each night as many chose to defy the odds and thought that somehow the plague would not affect them.

As things worsened, the ports were closed and guards were set on the town gates. The people blamed the authorities and prioritised 'their personal concerns.' Discussions raged about whether everyone was actually dying of the plague or of other causes instead or even whether this number of deaths was within the normal range for the month.

A sense of unreality crept in. Some bewailed their fate, while others 'accepted with good humour'. Monotony and indifference became factors as the 'dreary struggle between the happiness of each individual and the abstractions of the plague' set in.

Summer arrived and the heat served only to exaggerate the fear and anxiety. 'The plague sun extinguished all colours and drove away all joy.' Yet for some 'a sort of crazed excitement, an uneasy freedom' bubbled up, sending them out into the streets, craving pleasure and company, despite the risks.

A vaccination was talked about, with very few understanding the 'industrial quantities' that would be required to actually inoculate the general population. 

Our good doctor believed that most people were more often good than bad and that the main vice was ignorance, especially 'ignorance that thinks it knows everything.
There were no longer any individual destinies, but a collective history that was the plague, and feelings shared by all.

As more people became sick and died, exhaustion and indifference set in. People began to neglect the good hygiene practices of before and mass burials became the norm. Irrational superstitions and old prophecies and predictions emerged. At this point, Camus, via his characters went into a lengthy discussion about the nature of good and evil, the meaning of life and death and the lessons that could be learnt from history, yet never seem to be learnt.

As the course and nature of the plague changed, ebbed and flowed and eventaully eased, people reacted with a curious mix of excitement and depression. The uncertainty was the hardest thing to live with, yet saved up reserves of hope were always close to the surface. People began to wonder what life would be look like after the plague. Would it return to 'normal'? What had been changed irrevocably?

'The plague would leave its mark, at least on people's hearts.'

'All that a man could win in the game of plague and life was knowledge and memory.'

Camus leaves the ending open. Deliberately, I suspect. 
We don't get to see the end of the plague in Oran, yet reading this 70 years later, we know that this fictional plague and all the earlier historical plagues did in fact, eventually disappear. So much so, that when another one appears in 2020, we have no knowledge or memory to help us work out what to do! 

It's like each generation has to learn everything anew all over again, ad nauseam, instead of learning from history. One gets a sense that every generation thinks it is somehow immune, separate, different or special compared to any previous generations and that there is nothing that those older times could possibly teach us now. Our refusal to not see the repeating patterns of history is nothing but wilful ignorance. 

I'm only part of the way into Absurdism with Camus, as I believe it IS possible to find some meaning in the chaos if you only pay attention to the history.

Facts:
  • Born 7th November 1913 in French Algeria
  • Died 4th January 1960 
  • Was living in Paris when the Germans invaded during WWII. 
  • Unable to join the army due to his earlier tuberculosis diagnosis, so fled to Lyon, then Oran with his wife, where they taught in the local primary school.
  • On medical advice he moved to the French Alps to help his tuberculosis. Started writing La Peste.
  • In 1943 returned to Paris and joined the French Resistance. 
  • Became friends with Jean-Paul Sartre. 
  • Greatly influenced by Simone Weil. He saw her writings as an antidote to nihilism.
  • Camus wrote in cycles - each cycle being a novel, an essay and a play. 
    • The first cycle, Sysyphus was about the absurd (L'Étranger, Le Mythe de Sysiphe, and Caligula). 
    • The second cycle, Prometheus, was revolt (La Peste (The Plague), L'Homme révolté (The Rebel), and Les Justes (The Just Assassins) 
    • The third cycle was love, Nemesis (Le Premier homme (The First Man)
  • My Popular Penguin Classic was translated by Robin Buss.
  • Introduction by Tony Judt.
  • Camus was awarded the Nobel Prize for Literature in 1957.
  • He asks: Is it possible for humans to act in an ethical and meaningful manner, in a silent universe?
  • In his notebooks, Camus suggested that the book ‘may be read in three different ways’:
    • It is at the same time a tale about an epidemic; a symbol of Nazi occupation (and incidentally the prefiguration of any totalitarian regime, no matter where), and thirdly, the concrete illustration of a metaphysical problem, that of evil.

Favourite Quotes:
  • There have been as many plagues in the worlds as there have been wars, yet plagues and wars always find people equally unprepared.
  • "This rotten bastard of a disease! Even those who don'y have it, carry it in their hearts."
  • "What is true of the ills of this world is also true of the plague. It may serve to make some people great. However, when you see the suffering and the pain that it brings, you have to be mad, blind or a coward to resign yourself to the plague."
  • "I have decided to reject everything that, directly or indirectly, makes people die or justifies others in making them die."
  • He knew what those jubilant crowds did not know but could have learned from books: that the plague bacillus never dies or disappears for good; that it can lie dormant for years and years in furniture and linen-chests; that it bides its time in bedrooms, cellars, trunks, and bookshelves; and that perhaps the day would come when, for the bane and the enlightening of men, it would rouse up its rats again and send them forth to die in a happy city.
Book 9 of 20 Books of Summer Winter

Monday, 3 August 2020

Maigret and the Killer | Georges Simenon #ParisinJuly


A big part of the reason I love reading Maigret's so much is the glimpse into life in Paris in the middle of the 20th century. Maigret and the Killer opens with Mrs Maigret and her man, dining out with friends discussing the merits of the Madame Pardon's 'unparalleled boeuf bourguignon...filling, yet refined', provincial cookery that was 'born of necessity', whilst finishing off the meal with the obligatory 'coffee and calvados'.

This is the 70th book in the series and the year is 1969. The setting is Quai d'Anjou - the home of the young man killed in the first chapter. His parents are the wealthy owners of a cosmetic company. A stroll around the Quai d'Anjou is definitely on the cards if I ever return to Paris in real life!


As always, time with Maigret is easy. He may be getting stressed out by the details of the crime, but all the reader has to do is simply sit back and enjoy the ride. It's a pleasure watching how Maigret works to solve the case. It's a joy to walk the streets of Paris with him and I never get tired of watching him eat. Whether its a golden tench baked in the oven, or 'rilletes made locally, coq au vin blanc and, after goat's cheese, rum babas' washed down with a little after dinner cognac, Maigret looks forward to each and every meal.

And I look forward to each and every Maigret.

Facts
  • This Penguin edition was published 2019.
  • Originally titled Maigret et le tueur. 
  • Translated by Shaun Whiteside.

Book 6 of 20 Books of Summer Winter

Thursday, 30 April 2020

The Conquest of Plassans | Émile Zola #FRAclassic


La Conquête de Plassans, or The Conquest of Plassans (1874) is the fourth novel in Émile Zola's twenty-volume Rougon-Macquart series that I have been reading with Fanda for #Zoladdiction. My Oxford World's Classics 2014 edition is translated by Helen Constantine and has an Introduction by *Patrick McGuinness. He reminded me that,
Like all of Zola's fiction, (The Conquest of Plassans) is also a novel of human truth told with drama, symbolism, lyricism, and imaginative power.

It's set between 1858 and 1864, straight after the events in the very first book, The Fortune of the Rougons. The central drama follows the political machinations of the Catholic Church and the Second Empire against the disaffected rural provinces. A topic, I confess I knew very little about. Even Wikipedia acknowledges the difficulty for modern readers with this now little-known historical period.
Although the novel does assume in its readers a degree of familiarity with the battle between clerical political interests and governmental influence in the provincial towns of the Second Empire - knowledge which Zola's contemporary readers would certainly have taken for granted, but which seems obscure and almost arcane now - its strength lies not in its politics but in its human drama. On the face of it this could have been a relatively dull series of political observations, but instead by the end it is almost a melodrama, such is the anticlerical fury which Zola instils in his work.
To help me get my head around all the French Empires and Republics, I created my own little timeline below.
  • Kingdom of France 987 - 1872
  • First Republic 1872 - 1804 
    • Napoléon Bonaparte
  • First Empire 1804 - 1815 
    • Napoléon I
  • Bourbon Restoration 1815 - 1830 
    • Louis XVIII (1814-1824) 
    • Charles X (1824-1830)
  • July Monarchy 1830 - 1848
    • Louis Philippe I
  • Second Republic 1848 - 1852 
    • President Louis-Napoléon Bonaparte
  • Second French Empire 1852 - 1870 
    • Napoleon III
  • Third Republic 1870 - 1940 
  • Vichy Government 1940 - 1944 
    • Philippe Pétain
  • Provisional Government of the French Republic 1944 - 1946 
    • Charles de Gaulle
  • Fourth Republic 1946 - 1958
  • Fifth Republic 1958 - present
Plassans is now in the hands of the Rougon family as we saw in the first book. They are Bonapartists. The bloody nature of his succession, with all it's betrayals and double-dealing, left a bad taste in the mouth of the locals. As this story begins in 1858, the Legitimists (or Royalists) have political favour.

Abbé Faujas', the new man in town (and surely the epitome of literary stranger danger), has his own self-interests at heart. As does Félicité Rougon, the matriarch of the family and the unofficial ruler of Plassans. She may appear to be helping him, but Bonapartist or not, if he gets in her way, she will do everything in her power to come out on top. Félicité is clearly in it for the long game.

Faujas has been enlisted, by a shadowy group of Bonapartists in Paris, to bring Plassans to heel. Le Petit Napoleon was not popular in the countryside after the violent 1851 coup d état although every effort was made to turn this opinion around. The Catholic Church and it's priests are shown here, to be as political, ambitious and lusting for power as the next man. Zola shines a light on religious hypocrisy and power plays and reveals the toxic mix of small town gossip and self-serving intrigues.

It's a heady mix of dastardly deeds, hysteria and madness.

The cover illustration, The Orange Trees, or The Artists Brother in His Garden, 1878 by Gustave Caillebotte is a very appropriate choice given the amount of time our characters spend in the back garden. 

The story begins with Mouret enjoying his garden of Eden-style space, pottering around in his vegetable and herb garden, picking fruit. It's a safe haven for his children to play in. On either side are two opposing political families - on the right are the rich Rastoil's with a pretentious English-style garden and on the left, the family of the sub-prefect, Péqueur des Saulaies with a carpet of rolling grass and a pond. The Rastoil's are Legitimists and the sub-prefect and his friends are 'bigwigs of the Empire.' Mouret is probably a Republican (like Zola), but prefers not to get caught up in the politicking.

Abbé Faujas, our very own snake in the grass, is very interested in what's happening in both gardens.

The Artist's Garden at Vétheuil | Claude Monet | 1881

As Faujas' influence grows, he uses the intermediary garden to bring together the two different groups. As he spends more time in the garden, Mouret spends less and less, isolating himself in his room instead. The addition of Faujas' sister and brother-in-law, Trouche, hasten the disintegration of Mouret's family life...and his mind. Slugs not only attack his lettuces but his peace of mind. And when Trouche takes over the garden, pulling up all the vegetables and fruit trees to create a vulgar flower show, we see this as sign of Mouret's fall from grace.

It is symbolic, and rather satisfying, that Mouret uses remnants of this showy garden as a catalyst for his last dramatic and fiery act. The garden of Eden becomes an apocalyptic fire of Hell. A Zola-esque form of purification has occurred on this troubled site.

Faujas was deliberately created by Zola to be misogynistic. Early on he says to Marthe, Mouret's wife and cousin, (she is a descendant of the legitimate Rougon line, while Mouret is part of the less than salubrious Macquart branch of the family) "you are like all women, even the noblest causes are ruined when they get hold of them."

Yet Marthe succumbs to religious fanaticism anyway, although it's often hard to tell if her fervour is for God or for Faujas. As she becomes more caught up in her religiosity, her family life suffers. The house falls into disrepair, domestic duties are ignored and eventually all her children leave or are farmed out to others.

The Mouret's decaying marriage is also another example of Zola's fixation on genetic dysfunction. This is not a genetically healthy family and when two cousins from the two different branches come together, it is sure to be disastrous. The youngest Mouret daughter is feeble-minded, but that's not enough for Zola. He throws a rat into this seemingly happy existence, to see what these characters will do.

And what they do, is unravel, rather magnificently into madness and illness. Imperfection or flaws are not enough for Zola. Natural determinism is what he is really exploring, and whether or not an individual can rise above their genetic makeup. Zola clearly believes they can't. Even though, he draws the Mouret family sympathetically (the Simpsons of the Second Empire!) they are doomed to suffer the same fate as the rest of the extended family.

The Conquest of Plassans could have been a dry novel about politics and religion, instead Zola created a gripping, fascinating insight into a period of time long gone. That time may be long gone, but our world is still suffering from the same kinds of intrigues and machinations. Except now it is faith-based initiatives being used to drive government policy across the globe, supposedly in the name of God, but really just about power and money.

Zola wrote about his time in history, but his books are now considered classics because they can still have the power to speak to us, 150 years later.

Friday, 17 April 2020

One Hundred Years of Solitude | Gabriel Garcia Márquez #NobelPrize


Goodness!

What a read. Or more accurately, a reread. I bought my Penguin edition of One Hundred Years of Solitude on the 3rd April 1996 in Sydney. At a guess, it must have been the Easter school holidays and I was visiting my sister, who lived in Coogee, for a few days. I cannot remember if I read it straight away, or waited until I went home. Either way, I have very little memory of reading this book, except that I found it challenging and often confusing. It was also funny and disturbing and completely different to anything I had ever read before. 

It was my very first magical realism and I wasn't sure if I liked it or not.

The huge cast of characters confused me the most. I couldn't remember who was who, with so many of the six generations sharing exactly the same names. The family tree in the front of the book only added to my confusion.

Since 1996, I've read a lot more magic realism and many more books set in South America. I've learnt that I enjoy magic realism when it is firmly embedded in the real or natural world. Ghosts, in particular, are something I can accept in a story. For me, it's simply taking the idea of being haunted by a memory to the next level. 

Dreams are another element that can carry over into the real world. We've all had those dreams that blur the lines between waking and sleeping, conscious and subconscious. But it's the mixing of the ordinary with the extraordinary that I find really exciting in magic realism. It can become a way of describing something difficult or traumatic in a palatable way - turning our troubles into a fairytale or conflict into a something beautiful and strange. It can become a way of telling our story, especially the really tough stories, by turning them into a story, that makes it possible to get out of bed every day and face another day.

Magic realism can give us hope when despair is everywhere. It mythologises our daily lives and turns us into heroes and demons. It can make sense of the chaos and it can challenge the status quo.

One Hundred Years of Solitude does all of this and more, I simply didn't appreciate that the first time around.

I underlined and asterisked so many sections that it will be impossible to pull out a favourite, but the one the sums up the book the best is,
...always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end

One Hundred Years of Solitude is not an easy read or a comfortable read. At times it's overwhelming and so dense that you feel like you're brain might explode. But it is also subversive, humorous and utterly beguiling. Now, more than ever, it's important to be reminded that the world is bigger and more diverse than our Western minds and Western beliefs often take into account. There are other ways of seeing and experiencing this world we all share.


Facts:
  • In Spanish - Cien Años de Soledad - 1967
  • Translation by Gregory Rabassa published in 1970
  • Translated into 37 languages
  • Márquez was awarded the 1982 Nobel Prize "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts."
  • The chapters are not numbered on purpose.
  • Márquez was friends with Fidel Castro.
    • What actually strengthened our friendship were books. I discovered he was such a great reader that before publishing a book, I would send him the original. He could spot contradictions, anachronisms, and inconsistencies that even publishing professionals fail to notice. He is a very careful and voracious reader. The books he chooses to read reflect quite well the breadth of his tastes."
  • Latin American Boom - 
    • A common criticism of the Boom is that it is too experimental and has a "tendency toward elitism" - García Márquez who, in Benedetti's view, "represent a privileged class that had access to universal culture and were thus utterly unrepresentative of average people in Latin -America." Donald L. Shaw (1998), The Post-Boom in Spanish American Fiction.
    • "It is no exaggeration to state that if the Southern continent was known for two things above all others in the 1960s, these were, first and foremost, the Cuban Revolution (although Cuba is not in South America) and its impact both on Latin America and the Third World generally, and secondly, the Boom in Latin American fiction, whose rise and fall coincided with the rise and fall of liberal perceptions of Cuba between 1959 and 1971." Gerald Martin (2008), Gabriel García Márquez: A Life.

First sentence:
  • Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
    • What a first sentence! It tells us all the main things we need to know about this story - the passing of time, the acceptance of craziness and unexpected occurrences, the guarantee of death, pathos and memory, and the promise of an entire life from beginning to end.

Gabriel García Márquez:
  • Born: 6th March 1927, Aracataca, Colombia.
  • Died: 17th April 2014, Mexico City, Mexico.
  • Moved to Paris in 1957 -
    • What was important to me in Paris was the perspective that the city gave me on Latin America. There, I never ceased being a Caribbean, but rather I became a Caribbean conscious of his culture.
  • In 1958 he married a friend from his uni days, Mercedes Barcha.
  • Nickname - Gabo.
  • "The most frightful, the most unusual things are told with the deadpan expression" - McMurray, George R. (1987), Critical Essays on Gabriel García Márquez
  • “Fiction was invented the day Jonah arrived home and told his wife that he was three days late because he had been swallowed by a whale..”
  • "To oppression, plundering and abandonment, we respond with life." Gabriel Garcia Márquez (1982) Nobel Lecture: The Solitude of Latin America.
  • "What matters in life is not what happens to you, but what you remember and how you remember it."
  • [Critics], in general, have a scripted right to pontificate, but they fail to realize that a novel like One Hundred Years of Solitude is devoid of seriousness and full of nods to my most intimate friends, winks that these friends alone discover. Still, the critics claim responsibility of decoding the book, thereby covering themselves in ridicule.”
  • "The world of One Hundred Years of Solitude is a place where beliefs and metaphors become forms of fact, and where more ordinary facts become uncertain." Michael Wood (1990) Gabriel García Márquez: One Hundred Years of Solitude. Cambridge University Press.
  • "There is always something left to love."
  • "If I knew that today would be the last time I’d see you, I would hug you tight and pray the Lord be the keeper of your soul. If I knew that this would be the last time you pass through this door, I’d embrace you, kiss you, and call you back for one more. If I knew that this would be the last time I would hear your voice, I’d take hold of each word to be able to hear it over and over again. If I knew this is the last time I see you, I’d tell you I love you, and would not just assume foolishly you know it already." Love in the Time of Cholera 

A huge thank you to Silvia and Ruth for hosting The One Hundred Years of Solitude readalong. It was the excuse I needed to tackle this rather unwieldy book again. I'm glad I did and now I'm ready for Love in the Tome of Cholera!

Thursday, 2 April 2020

The Fifteen Sonnets of Petrarch #Classic

Sketch of Laura as Venus C1444
Early in chapter six of One Hundred Years of Solitude by Gabriel Garcia Marquez, the suitor, Pietro Crespi is wooing Amaranta. He 'would arrive at dusk, with a gardenia in his buttonhole, and he would translate Petrarch's sonnets for Amaranta. They would sit on the porch, suffocated by oregano and the roses, he reading and she sewing lace cuffs.'

It would seem that Petrarch wrote 366 sonnets. I'm not sure how the translator of The Fifteen Sonnets decided which 15 to chose for his collection but he seems to have created a truncated version of Petrarch's love for Laura, from the joyous start to her death. Although whether Laura was a real person or not, is another story entirely.

Given how things turned out for Pietro and Amaranta, the truncated version seemed most apt.

I
O joyous, blossoming, ever-blessed flowers!
’Mid which my pensive queen her footstep sets;
O plain, that hold’st her words for amulets
And keep’st her footsteps in thy leafy bowers!
O trees, with earliest green of springtime hours,
And all spring’s pale and tender violets!
O grove, so dark the proud sun only lets
His blithe rays gild the outskirts of thy towers!
O pleasant country-side! O limpid stream,
That mirrorest her sweet face, her eyes so clear,
And of their living light canst catch the beam!
I envy thee her presence pure and dear.
There is no rock so senseless but I deem
It burns with passion that to mine is near.




-5-
II
When Love doth those sweet eyes to earth incline,
And weaves those wandering notes into a sigh
With his own touch, and leads a minstrelsy
Clear-voiced and pure, angelic and divine,—
He makes sweet havoc in this heart of mine,
And to my thoughts brings transformation high,
So that I say, “My time has come to die,
If fate so blest a death for me design.”
But to my soul, thus steeped in joy, the sound
Brings such a wish to keep that present heaven,
It holds my spirit back to earth as well.
And thus I live: and thus is loosed and wound
The thread of life which unto me was given
By this sole Siren who with us doth dwell.




-7-
III
Sweet air, that circlest round those radiant tresses,
And floatest, mingled with them, fold on fold,
Deliciously, and scatterest that fine gold,
Then twinest it again, my heart’s dear jesses;
Thou lingerest on those eyes, whose beauty presses
Stings in my heart that all its life exhaust,
Till I go wandering round my treasure lost,
Like some scared creature whom the night distresses.
I seem to find her now, and now perceive
How far away she is; now rise, now fall;
Now what I wish, now what is true, believe.
O happy air! since joys enrich thee all,
Rest thee; and thou, O stream too bright to grieve!
Why can I not float with thee at thy call?




-9-
IV
Doth any maiden seek the glorious fame
Of chastity, of strength, of courtesy?
Gaze in the eyes of that sweet enemy
Whom all the world doth as my lady name!
How honor grows, and pure devotion’s flame,
How truth is joined with graceful dignity,
There thou mayst learn, and what the path may be
To that high heaven which doth her spirit claim;
There learn that speech, beyond all poet’s skill,
And sacred silence, and those holy ways
Unutterable, untold by human heart.
But the infinite beauty that all eyes doth fill,
This none can learn! because its lovely rays
Are given by God’s pure grace, and not by art.




-11-
V
O wandering steps! O vague and busy dreams!
O changeless memory! O fierce desire!
O passion strong! heart weak with its own fire;
O eyes of mine! not eyes, but living streams;
O laurel boughs! whose lovely garland seems
The sole reward that glory’s deeds require!
O haunted life! delusion sweet and dire,
That all my days from slothful rest redeems;
O beauteous face! where Love has treasured well
His whip and spur, the sluggish heart to move
At his least will; nor can it find relief.
O souls of love and passion! if ye dwell
Yet on this earth, and ye, great Shades of Love!
Linger, and see my passion and my grief.





-13-
VI
I once beheld on earth celestial graces
And heavenly beauties scarce to mortals known,
Whose memory yields nor joy nor grief alone,
But all things else in cloud and dreams effaces.
I saw how tears had left their weary traces
Within those eyes that once the sun outshone,
I heard those lips, in low and plaintive moan,
Breathe words to stir the mountains from their places.
Love, wisdom, courage, tenderness, and truth
Made in their mourning strains more high and dear
Than ever wove soft sounds for mortal ear;
And heaven seemed listening in such saddest ruth
The very leaves upon the bough to soothe,
Such sweetness filled the blissful atmosphere.




-15-
VII
Those eyes, ’neath which my passionate rapture rose,
The arms, hands, feet, the beauty that erewhile
Could my own soul from its own self beguile,
And in a separate world of dreams enclose,
The hair’s bright tresses, full of golden glows,
And the soft lightning of the angelic smile
That changed this earth to some celestial isle,—
Are now but dust, poor dust, that nothing knows.
And yet I live! Myself I grieve and scorn,
Left dark without the light I loved in vain,
Adrift in tempest on a bark forlorn;
Dead is the source of all my amorous strain,
Dry is the channel of my thoughts outworn,
And my sad harp can sound but notes of pain.




-17-
VIII
She ruled in beauty o’er this heart of mine,
A noble lady in a humble home,
And now her time for heavenly bliss has come,
’Tis I am mortal proved, and she divine.
The soul that all its blessings must resign,
And love whose light no more on earth finds room
Might rend the rocks with pity for their doom,
Yet none their sorrows can in words enshrine;
They weep within my heart; no ears they find
Save mine alone, and I am crushed with care,
And naught remains to me save mournful breath.
Assuredly but dust and shade we are;
Assuredly desire is mad and blind;
Assuredly its hope but ends in death.




-19-
IX
Dreams bore my fancy to that region where
She dwells whom here I seek, but cannot see.
’Mid those who in the loftiest heaven be
I looked on her, less haughty and more fair.
She took my hand, she said, “Within this sphere,
If hope deceive not, thou shalt dwell with me:
I filled thy life with war’s wild agony;
Mine own day closed ere evening could appear.
My bliss no human thought can understand;
I wait for thee alone, and that fair veil
Of beauty thou dost love shall yet retain.”
Why was she silent then, why dropped my hand
Ere those delicious tones could quite avail
To bid my mortal soul in heaven remain?




-21-
X
Gentle severity, repulses mild,
Full of chaste love and pity sorrowing;
Graceful rebukes, that had the power to bring
Back to itself a heart by dreams beguiled;
A tender voice, whose accents undefiled
Held sweet restraints, all duty honoring;
The bloom of virtue; purity’s clear spring
To cleanse away base thoughts and passions wild;
Divinest eyes to make a lover’s bliss,
Whether to bridle in the wayward mind
Lest its wild wanderings should the pathway miss,
Or else its griefs to soothe, its wounds to bind;
This sweet completeness of thy life it is
Which saved my soul; no other peace I find.




-23-
XI
The holy angels and the spirits blest,
Celestial bands, upon that day serene
When first my love went by in heavenly sheen,
Came thronging, wondering at the gracious guest.
“What light is here, in what new beauty drest?”
They said among themselves; “for none has seen
Within this age arrive so fair a mien
From changing earth unto immortal rest.”
And she, contented with her new-found bliss,
Ranks with the perfect in that upper sphere,
Yet ever and anon looks back on this,
To watch for me, as if for me she stayed.
So strive my thoughts, lest that high heaven I miss.
I hear her call, and must not be delayed.




-25-
XII
Oft by my faithful mirror I am told,
And by my mind outworn and altered brow,
My earthly powers impaired and weakened now,—
“Deceive thyself no more, for thou art old!”
Who strives with Nature’s laws is over-bold,
And Time to his commandment bids us bow.
Like fire that waves have quenched, I calmly vow
In life’s long dream no more my sense to fold.
And while I think, our swift existence flies,
And none can live again earth’s brief career,—
Then in my deepest heart the voice replies
Of one who now has left this mortal sphere,
But walked alone through earthly destinies,
And of all women is to fame most dear.




-27-
XIII
Sweet wandering bird that singest on thy way,
Or mournest yet the time for ever past,
Watching night come and spring receding fast,
Day’s bliss behind thee and the seasons gay,—
If thou my griefs against thine own couldst weigh,
Thou couldst not guess how long my sorrows last;
Yet thou mightst hide thee from the wintry blast
Within my breast, and thus my pains allay.
Yet may not all thy woes be named with mine,
Since she whom thou dost mourn may live, yet live,
But death and heaven still hold my spirit’s bride;
And all those long past days of sad decline
With all the joys remembered years can give
Still bid me ask “Sweet bird! with me abide!”




-29-
XIV
Lust and dull slumber and the lazy hours
Have well nigh banished virtue from mankind.
Hence have man’s nature and his treacherous mind
Left their free course, enmeshed in sin’s soft bowers.
The very light of heaven hath lost its powers
Mid fading ways our loftiest dreams to find;
Men jeer at him whose footsteps are inclined
Where Helicon from dewy fountains showers.
Who seeks the laurel? who the myrtle twines?
“Wisdom, thou goest a beggar and unclad,”
So scoffs the crowd, intent on worthless gain.
Few are the hearts that prize the poet’s lines:
Yet, friend, the more I hail thy spirit glad!
Let not the glory of thy purpose wane!




-31-
XV
O ye who trace through scattered verse the sound
Of those long sighs wherewith I fed my heart
Amid youth’s errors, when in greater part
That man unlike this present man was found;
For the mixed strain which here I do compound
Of empty hopes and pains that vainly start,
Whatever soul hath truly felt love’s smart,
With pity and with pardon will abound.
But now I see full well how long I earned
All men’s reproof; and oftentimes my soul
Lies crushed by its own grief; and it doth seem
For such misdeed shame is the fruitage whole,
And wild repentance and the knowledge learned
That worldly joy is still a short, short dream.


Petrarch or Francesco Petrarca born 20th July 1304 - died 18th or 19th July 1374.
The Fifteen Sonnets selected and translated by Thomas Wentworth Higginson 1900
A Poem For A Thursday
One Hundred Years of Solitude Readalong

Saturday, 14 March 2020

The 2020 Booker International Longlist


I no longer post about longlists and shortlists like I once did. I have various pages on the right hand side of my blog that now feature all the book prizes that I'm keen to follow and read. Generally speaking, I don't feel like I have anything new to say that hasn't already been said, so I leave it in the capable hands of others.

However, this year's International Booker is another matter entirely.

Firstly, the longlist looks a little something like this:

  • Red Dog | Willem Anker, translated by Michiel Heyns from Afrikaans
  • The Enlightenment of the Greengage Tree | Shokoofeh Azar, translated by Anonymous from Farsi
  • The Adventures of China Iron | Gabriela Cabezón Cámara, translated by Iona Macintyre and Fiona Mackintosh from Spanish
  • The Other Name: Septology I-II | Jon Fosse, translated by Damion Searls from Norwegian
  • The Eighth Life | Nino Haratischvili, translated by Charlotte Collins and Ruth Martin from German
  • Serotonin | Michel Houellebecq, translated by Shaun Whiteside from French
  • Tyll | Daniel Kehlmann, translated by Ross Benjamin from German
  • Hurricane Season | Fernanda Melchor, translated by Sophie Hughes from Spanish
  • The Memory Police | Yōko Ogowa, translated by Stephen Snyder from Japanese
  • Faces on the Tip of My Tongue | Emmanuelle Pagano, translated by Sophie Lewis and Jennifer Higgins from French
  • Little Eyes | Samanta Schweblin, translated by Megan McDowell from Spanish
  • The Discomfort of Evening | Marieke Lucas Rijneveld, translated by Michele Hutchison from Dutch
  • Mac and His Problem | Enrique Vila-Matas, translated by Margaret Jull Costa and Sophie Hughes from Spanish

Secondly, take another look at book 2 on the list.


The Enlightenment of the Greengage Tree was one my favourite reads of 2018 and I can't express how excited and thrilled I am for Shokoofeh Azar that her book is now getting such international attention too.

It is now two years since I finished and reviewed the book. It is one of those books that grows larger in my imagination and in my remembering of it. My fondness for it has grown as has my appreciation of the story and what Azar was trying to achieve. It's a book that keeps on giving and stays with you for a long, long time.

I've included part of my 2018 review for it below and hope it convinces you to give this amazing, beautiful story your serious consideration.

I have The Eighth Life and The Memory Police on my TBR pile, but without knowing anything else about any of the other titles, I'm throwing all my blogging weight behind The Enlightenment of the Greengage Tree.

The cover alone might have been enticement enough (a collage of three of Azar's art works), but the promise of a mystical, magical tour through the horrors of revolutionary Iran, 'using the lyrical magic realism style of classical Persian storytelling', was the final prompt I needed to make this my first book to read from this year's prize. 
Magical realism can be a problem for many readers I know. I'm happy to embrace some forms of magic realism more than others. I especially like those that draw fairy tales, fables and myths into our modern real-world setting. (FYI: I'm not so keen on the type of magic realism that brings in a lot of deliberately disorientating layers and details. I like my magical realism to still make sense somehow!) 
Azar's use of magic realism did that and more. It's quite a skill to weave a story that allows your somewhat sceptical reader to accept the existence of ghosts, jinns and mermaids. But Azar did it for me - I was with her from the start, on that level at least.
However, it did take me a while to get going. It may have been a translation thing or it may have been a slightly different approach to sentence structure. Many of the books I gravitate towards lately are ones with concise, short sentences. So maybe it was simply my lack of practice in reading longer, flowing, complex sentences. Whatever it was, I found the start of The Enlightenment of the Greengage Tree choppy and erratic. 
It wasn't until the special circumstances of our narrator were revealed at the beginning of chapter 5 that I was hooked. Suddenly the 'playful, poetic and deeply melancholy' Alice Pung quote on the back cover came to life. 
I dropped into a dreamy, almost trance-like state every time I picked up the book. Jinns and groves of trees haunted my own dreams as fleeting childhood memories of news items about the 1979 Revolution were triggered by events in the story. It was angry, it was heart-rending, it was glorious, mesmerising and confronting. 
Azar has given us a classic story of good and evil. Her words are fluid as is her approach to time and truth. Belonging, love and loss are the major themes while the search for solace is the main concern for her characters. Given the horrific events that occurred during the Iranian Revolution, it is easy to understand why and how an author would choose to wrap these unreal events up in mythology. When the real world you live in suddenly gets turned on it's head, sometimes the only response is imagination and the only hope is magic. 
I, for one, hope with all my heart, that this story gets shortlisted for the Stella - it deserves to get as much attention as possible.

I'm not the only one who loves this book.
Check out Meredith's recent review here

Friday, 6 March 2020

The Three Questions | Leo Tolstoy #ShortStory


As part of our year long readalong of War and Peace (it's not too late to join!), Nick has selected a number of Tolstoy's short stories and essays to make our 361 chapter book stretch to 366 days.

At the end of Volume 1, we have the first such extension read. Perfectly timed, too, I have to say Nick!

In the final pages of this section, Prince Andrey is pondering the nature of life and death after being wounded at the battle of Austerlitz. He says,
How good it would be to know where to seek for help in this life, and what to expect after it beyond the grave! How happy and calm I should be if I could now say: ‘Lord, have mercy on me!’... But to whom should I say that? Either to a Power indefinable, incomprehensible, which I not only cannot address but which I cannot even express in words—the Great All or Nothing-” said he to himself, “or to that God who has been sewn into this amulet by Mary! There is nothing certain, nothing at all except the unimportance of everything I understand, and the greatness of something incomprehensible but all-important.                         Louise and Aylmer Maude translation


The Three Questions from What Men Live By, and Other Tales by Leo Tolstoy is a short parable about a king who also wants to know what is right, who to turn to for help and which way to go.

Because it is relatively short, I've included the complete story below as translated by Louise and Aylmer Maude.

It once occurred to a certain king that if he always knew the right time to begin everything; if he knew who were the right people to listen to, and whom to avoid; and, above all, if he always knew what was the most important thing to do, he would never fail in anything he might undertake. 
And this thought having occurred to him, he had it proclaimed throughout his kingdom that he would give a great reward to anyone who would teach him what was the right time for every action, and who were the most necessary people, and how he might know what was the most important thing to do. 
And learned men came to the king, but they all answered his questions differently.
In reply to the first question, some said that to know the right time for every action, one must draw up in advance a table of days, months, and years, and must live strictly according to it. Only thus, said they, could everything be done at its proper time. Others declared that it was impossible to decide beforehand the right time for every action, but that, not letting oneself be absorbed in idle pastimes, one should always attend to all that was going on, and then do what was most needful. Others, again, said that however attentive the king might be to what was going on, it was impossible for one man to decide correctly the right time for every action, but that he should have a council of wise men who would help him to fix the proper time for everything 
But then again others said there were some things which could not wait to be laid before a council, but about which one had at once to decide whether to undertake them or not. But in order to decide that, one must know beforehand what was going to happen. It is only magicians who know that; and, therefore, in order to know the right time for every action, one must consult magicians. 
Equally various were the answers to the second question. Some said the people the king most needed were his councilors; others, the priests; others, the doctors; while some said the warriors were the most necessary. 
To the third question, as to what was the most important occupation, some replied that the most important thing in the world was science. Others said it was skill in warfare; and others, again, that it was religious worship.

All the answers being different, the king agreed with none of them, and gave the reward to none. But still wishing to find the right answers to his questions, he decided to consult a hermit, widely renowned for his wisdom. 
The hermit lived in a wood which he never quitted, and he received none but common folk. So the king put on simple clothes and, before reaching the hermit’s cell, dismounted from his horse. Leaving his bodyguard behind, he went on alone. 
When the king approached, the hermit was digging the ground in front of his hut. Seeing the king, he greeted him and went on digging. The hermit was frail and weak, and each time he stuck his spade into the ground and turned a little earth, he breathed heavily.
The king went up to him and said: “I have come to you, wise hermit, to ask you to answer three questions: How can I learn to do the right thing at the right time? Who are the people I most need, and to whom should I, therefore, pay more attention than to the rest? And, what affairs are the most important and need my first attention?” 
The hermit listened to the king, but answered nothing. He just spat on his hand and recommenced digging. 
Vincent Van Gogh |Bauern Bei der Arbeit | 1890
“You are tired,” said the king, “let me take the spade and work awhile for you.”
“Thanks!” said the hermit, and, giving the spade to the king, he sat down on the ground.
When he had dug two beds, the king stopped and repeated his questions. The hermit again gave no answer, but rose, stretched out his hand for the spade, and said:
“Now rest awhile – and let me work a bit.”

But the king did not give him the spade, and continued to dig. One hour passed, and another. The sun began to sink behind the trees, and the king at last stuck the spade into the ground, and said: “I came to you, wise man, for an answer to my questions. If you can give me none, tell me so, and I will return home.” 
“Here comes someone running,” said the hermit. “Let us see who it is.” 
The king turned round and saw a bearded man come running out of the wood. The man held his hands pressed against his stomach, and blood was flowing from under them. When he reached the king, he fell fainting on the ground, moaning feebly. The king and the hermit unfastened the man’s clothing. There was a large wound in his stomach. The king washed it as best he could, and bandaged it with his handkerchief and with a towel the hermit had. But the blood would not stop flowing, and the king again and again removed the bandage soaked with warm blood, and washed and re-bandaged the wound. When at last the blood ceased flowing, the man revived and asked for something to drink. The king brought fresh water and gave it to him. Meanwhile the sun had set, and it had become cool. So the king, with the hermit’s help, carried the wounded man into the hut and laid him on the bed. Lying on the bed, the man closed his eyes and was quiet; but the king was so tired from his walk and from the work he had done that he crouched down on the threshold, and also fell asleep – so soundly that he slept all through the short summer night.

When he awoke in the morning, it was long before he could remember where he was, or who was the strange bearded man lying on the bed and gazing intently at him with shining eyes. 
“Forgive me!” said the bearded man in a weak voice, when he saw that the king was awake and was looking at him.
“I do not know you, and have nothing to forgive you for,” said the king. 
“You do not know me, but I know you. I am that enemy of yours who swore to revenge himself on you, because you executed his brother and seized his property. I knew you had gone alone to see the hermit, and I resolved to kill you on your way back. But the day passed and you did not return. So I came out from my ambush to find you, and came upon your bodyguard, and they recognised me, and wounded me. I escaped from them, but should have bled to death had you not dressed my wound. I wished to kill you, and you have saved my life. Now, if I live, and if you wish it, I will serve you as your most faithful slave, and will bid my sons do the same. Forgive me!” 
The king was very glad to have made peace with his enemy so easily, and to have gained him for a friend, and he not only forgave him, but said he would send his servants and his own physician to attend him, and promised to restore his property. 
Having taken leave of the wounded man, the king went out into the porch and looked around for the hermit. Before going away he wished once more to beg an answer to the questions he had put. The hermit was outside, on his knees, sowing seeds in the beds that had been dug the day before.  
Bill Strain | "I've been sitting here all day, feeling like I need to apologize to someone." | 2010
The king approached him and said, “For the last time, I pray you to answer my questions, wise man.”
“You have already been answered!” said the hermit, still crouching on his thin legs, and looking up at the king, who stood before him.
“How answered? What do you mean?” asked the king. 
“Do you not see?” replied the hermit. “If you had not pitied my weakness yesterday, and had not dug these beds for me, but had gone your way, that man would have attacked you, and you would have repented of not having stayed with me. So the most important time was when you were digging the beds; and I was the most important man; and to do me good was your most important business. Afterwards, when that man ran to us, the most important time was when you were attending to him, for if you had not bound up his wounds he would have died without having made peace with you. So he was the most important man, and what you did for him was your most important business. Remember then: there is only one time that is important – now! It is the most important time because it is the only time when we have any power. The most necessary person is the one with whom you are, for no man knows whether he will ever have dealings with anyone else: and the most important affair is to do that person good, because for that purpose alone was man sent into this life.”

Prince Andrey certainly needs some lessons in living in the now, as well as appreciating those around him and dealing with what is in front of him, instead of fantasising about future possibilities for heroics for himself.

I understand that Tolstoy came at this story from a religious perspective, but the whole 'live in the now' message is such a Zen Buddhist one, that I wonder if he was also influenced by Eastern philosophies?

Naturally this led me to dig a little deeper.

The short answer is that Tolstoy was interested in philosophical questions from a young age. He delved into the works of Schopenhauer as well as Christian, Buddhist, Hindu and Taoist texts.

The long answer begins with a 19 yr old Tolstoy, hospitalised at Kazan (apparently for venereal disease) where he met a Buddhist monk who had been attacked and robbed. The story goes that Tolstoy was impressed by the monks principle of non-violence.

A growing dissatisfaction with the Russian Orthodox Church led him to formulate his own faith that focused on peace, harmony and unity. By the end of his life, he was a vegetarian, living an ascetic life. He believed that Christian churches were corrupting and falsifying the word of Christ. He was drawn to the teachings of Jesus, particularly the sermon on the mount, rather than any idea of a divinity or miracles.

Later in life, when he was trying to find answers to his many questions about life and it's meaning and purpose, he looked to science, but found that it asked even more questions. The scientific way of working on the finite, didn't bring Tolstoy any closer to his search for the infinite. Neither did the ancient philosophers.

In 1879, he published A Confession, where he attempted to study how the people in his social sphere managed this vexing question of existential angst.
I found that for people of my circle there were four ways out of the terrible position in which we are all placed. The first was that of ignorance. It consists in not knowing, not understanding, that life is an evil and an absurdity. From [people of this sort] I had nothing to learn — one cannot cease to know what one does know. 
The second way out is epicureanism. It consists, while knowing the hopelessness of life, in making use meanwhile of the advantages one has, disregarding the dragon and the mice, and licking the honey in the best way, especially if there is much of it within reach… That is the way in which the majority of people of our circle make life possible for themselves. Their circumstances furnish them with more of welfare than of hardship, and their moral dullness makes it possible for them to forget that the advantage of their position is accidental … and that the accident that has today made me a Solomon may tomorrow make me a Solomon’s slave. The dullness of these people’s imagination enables them to forget the things that gave Buddha no peace — the inevitability of sickness, old age, and death, which today or tomorrow will destroy all these pleasures. 
The third escape is that of strength and energy. It consists in destroying life, when one has understood that it is an evil and an absurdity. A few exceptionally strong and consistent people act so. Having understood the stupidity of the joke that has been played on them, and having understood that it is better to be dead than to be alive, and that it is best of all not to exist, they act accordingly and promptly end this stupid joke, since there are means: a rope round one’s neck, water, a knife to stick into one’s heart, or the trains on the railways; and the number of those of our circle who act in this way becomes greater and greater, and for the most part they act so at the best time of their life, when the strength of their mind is in full bloom and few habits degrading to the mind have as yet been acquired… 
The fourth way out is that of weakness. It consists in seeing the truth of the situation and yet clinging to life, knowing in advance that nothing can come of it. People of this kind know that death is better than life, but not having the strength to act rationally — to end the deception quickly and kill themselves — they seem to wait for something. This is the escape of weakness, for if I know what is best and it is within my power, why not yield to what is best? … The fourth way was to live like Solomon and Schopenhauer — knowing that life is a stupid joke played upon us, and still to go on living, washing oneself, dressing, dining, talking, and even writing books. This was to me repulsive and tormenting, but I remained in that position.

It's curious to see that, just like Herman Melville in the US and Charles Darwin in the UK, Tolstoy was wracked by the same existential doubt and insecurity. In their modern world, teeming with scientific discoveries, these highly educated men struggled to find a way to live a meaningful, purposeful life, that didn't involve the strict (and often hypocritical) doctrines of their childhood religions or a belief in a supreme being.
Rational knowledge presented by the learned and wise, denies the meaning of life, but the enormous masses of men, the whole of mankind receive that meaning in irrational knowledge. And that irrational knowledge is faith, that very thing which I could not but reject. It is God, One in Three; the creation in six days; the devils and angels, and all the rest that I cannot accept as long as I retain my reason. 
My position was terrible. I knew I could find nothing along the path of reasonable knowledge except a denial of life; and there — in faith — was nothing but a denial of reason, which was yet more impossible for me than a denial of life.... 
And I understood that, however irrational and distorted might be the replies given by faith, they have this advantage, that they introduce into every answer a relation between the finite and the infinite, without which there can be no solution. 
So that besides rational knowledge, which had seemed to me the only knowledge, I was inevitably brought to acknowledge that all live humanity has another irrational knowledge — faith which makes it possible to live. Faith still remained to me as irrational as it was before, but I could not but admit that it alone gives mankind a reply to the questions of life, and that consequently it makes life possible.

Tolstoy found his way through the quagmire by differentiating between faith and religion. His faith incorporated man-made philosophies from all around the world.
So, yes, the Buddhist ideas intermingled in this parable are there deliberately and by choice.

There is also a children's picture book by Jon J. Muth (most well-known for his picture book Zen Shorts) based on this tale. He uses a young boy, various animals and the weather to explore the three questions and their answers. He clearly arrives at

  • The only important time is now. 
  • The most important one is always the one you are with. 
  • The most important thing is to do good for the one standing at your side.

I can highly recommend Muth's picture books if you are looking for a way to discuss these big ideas with young children.

Monday, 2 March 2020

The Forest of Wool and Steel | Natsu Miyashita #JPNfiction


I wanted to love The Forest of Wool and Steel far more than I did in the end. 

A coming-of-age story about a piano tuner from a remote mountain region in Hokkaido had all the right ingredients for me - one as a former (very amateur) piano enthusiast and two, as a recent visitor to Japan. It was beautifully, elegantly written, with gorgeous chapter illustrations showing a piano slowly being returned to the wild. Nature, naturalness and nurturing were ideas that ran through the piece. It's tone was pianissimo (softly, softly), it's tempo larghissimo (as slow as possible).

I'm beginning to realise that even though I like the practice and philosophy of Zen, it's not enough for me in a story. I prefer richer, epic, detailed narratives - something I can really sink my teeth into.
I've been slow in working out that I prefer my Japanese Lit with a twist of magic realism and a decent dose of kookiness. Think Banana Yoshimoto and Haruki Murakami, my two favourite Japanese writers to date. The Forest of Wool and Steel was simply too sedate for me!

Despite the lovely, lovely passages about music, listening, tone and nuance, I was never really fully engaged in the story. The emotional heart alluded me. The story failed to take flight or go anywhere.

Facts:
  • Published in Japan 2016 as Hitsuji to Hagane no Mori
  • Made into a movie in Japan in 2018.
  • Translated in to English 2019 by Philip Gabriel (who also translated most of Murakami's books).
  • Winner of the 2016 National Booksellers Award.


Sadly, I had the same problem with Strange Weather in Tokyo by Hiromi Kawakami, but in this case I was unable to finish the book. I simply didn't care enough about either of the protagonists to continue. Which is odd, as stories about loneliness and being alone are ones that generally draw me in. Perhaps the trick with stories about disconnection is not to disconnect your readers! Odd-ball romances have never really been my thing either.

I have since heard that Kawakami finished the book with a twist of magic realism, which is intriguing, but not enough in my current reading frame of mind to make me pick it up again. If I hadn't just finished a wonderful #slowread experience with Moby-Dick, I might be concerned that my modern technology brain has changed too much to appreciate a more gentle paced meandering story.

Facts:
  • Published in Japan 2001 as Sensei no kaban.
  • Translated by Allison Markin Powell in 2017
  • Published as The Briefcase in the US in 2012.
  • Shortlisted for the 2013 Man Asian Literary Prize.
Both books were read (or not) for Meredith's Japanese Literature Challenge 13.

My other Japanese Lit reads  over the years: