From the book by George Saunders, A Swim in a Pond in the Rain
Note: I taught Russian literature in a university for thirty years. Naturally, I was intrigued when the short-story writer George Saunders published a book detailing how he teaches Russian stories in his creative writing classes at Syracuse University. Among those stories are two by Anton Chekhov that I once taught (“The Darling” and “Gooseberries”) and one by Nikolai Gogol (“The Nose”).
I decided that before looking at the Saunders commentary I would publish my own critical remarks on each story. The result would be an interesting contrast: material as presented by a teacher of Russian literature versus material as presented by a teacher of creative writing. The first story treated by Saunders is Anton Chekhov’s “In the Cart.” I have already posted my critical analysis of that story on my blog, “U.R. Bowie on Russian Literature” and on Dactyl Review. What follows below is my commentary on how George Saunders approaches the story.
[Note: the story has appeared in English translation under a variety of titles; I know of at least three: “The Schoolmistress” (Constance Garnett trans.), “A Journey by Cart” (Marian Fell) and “In the Cart” (Avrahm Yarmolinsky, the translation discussed by George Saunders in his book, A Swim in a Pond in the Rain). My method, were I to be teaching this story in a course on Russian literature: I would read the original first, then compare translations, trying to pick the best one for my students to read. In quoting here from the story in English I use the Marian Fell translation, which appears in the Norton Critical Edition, Anton Chekhov’s Short Stories (edited by Ralph Matlaw). I have made slight changes in certain passages and have changed her title.]
The Structure of the Story, the Protagonist, the Venality, the “Slice of Life”Continue reading →
Somebody gave me a copy of this book (Charles Baxter, The Feast of Love, Random House, 2000. Vintage paperback edition, 2001, 308 pp.). It lay about my house for a long time, the bright blues of the cover occasionally calling out to me, “Read me.” I resisted, probably because the title put me off. “The Feast of Love” promises a light read, maybe a melodrama, nothing serious. The book, however, turns out to be a wonderful piece of literary fiction.
Here’s the epigraph, from Samuel Beckett’s Molloy: “Yes, there were times when I forgot not only who I was, but that I was, forgot to be.” Is the novel that follows about forgetting to be? Not really. This book as a whole is about being, and all the messiness of being human in flesh. That epigraph misleads the reader into thinking he’s in for something resembling Kafka, and the “Preludes” part that comes next—first subheading under “Beginnings”—reinforces that expectation of the Kafkaesque. In the prelude the writer Charles Baxter—most people call him Charlie—wakes up in the middle of the night and “cannot remember or recognize myself . . . I can’t manage my way through this feeling because my mind isn’t working, and because it, the flesh in which I’m housed, hasn’t yet become me.” Continue reading →
With his Loömos book (Laocoön Press, 2021, 128 pp.), the author attempts a presentation of art as an integrated whole. As the subtitle tells us, “Text, drawings, paintings, music and sculpture” are included here. We read the words of the book, but, simultaneously, we interact with everything else. We, of course, do not interact directly with the sculptures by Saint-Denis—here we must be content with their visual representations. Nor do we hear the actual music, as this is not an audiobook. But the final section, “Songs and Laments,”—four separate pieces comprising a total of fourteen pages—consists entirely of musical notations.
Therefore, in order to “hear” the music of the final section you have to be a musician yourself, able to read the notes provided on paper. The author may have considered publishing an audiobook, or including a CD of the final section with this paperback. But then again, given certain unique and avant-garde features of Loömos, he may have deliberately intended the final section not to be played. So as to achieve something like what the composer John Cage created when he wrote his famous composition consisting of silence. All the musicians sit in stillness on the proscenium, holding their instruments, while the conductor stills his baton and all his gesticulations. The “music” consists of isolated coughs and throat-clearings from the audience, plus a few car horns blowing and ambulance sirens from the outside world.
A Happy New Year to all Dactylians, i.e., supporters of, readers of, and contributors to, Dactyl Review. Once more we have BAM-bam-bammed our way through what looks like a not-so-nice year, 2021. But it was no worse than the one before and possibly much better than many, many other years we’ve lived through in the past. Everything, actually, is relative. Take 1940. For millions of persons worldwide that year was none too swift. For millions more it was a BE year—Before Existence, since they had not yet been born. But 1940 was good to me, for I was delivered into earthly being at the very moment that Hitler was taking Paris.
Hold on, old man. You lost me there. The stuff about the BAM-bam. . .
Yes, well . . . all Dactylians are BAM-bam-bammers, because in versification a dactyl is defined as a metrical foot consisting of one accented syllable followed by two unaccented (trinary verse). Like all trinary (three-beat) verse, dactyls can tend toward the sing-songy, and, therefore, may be frowned upon. Except in nonsense verse or children’s rhymes: Continue reading →
Time and place. We’re in post-apartheid South Africa, apparently in the largest city, Johannesburg. We’re at the turn of the millennium, early in the new century. The Pickup (Farrar, Straus and Giroux, 270 pages) begins with a scene describing a helpless woman and “clustered predators round a kill.” But not to worry, it’s only a modern young white woman, Julie Summers, having car trouble in the midst of a traffic snarl. Her gesture: “hands, palms open, in surrender.” I give up. Help me. They do. Julie Summers is assured of help because she is white and her father is rich. Her social status is that of one who belongs; she is born into privilege, part of the “real” world of Western capitalism. But does she feel that she belongs? Is her world really real? No. So we have, early on, the central theme of the book: identity, or the lack of, belonging and unbelonging. Continue reading →
The Brothers Carburi (Bloomsbury, 311 pages) tells the story of three brothers who lived in the eighteenth century. Born in the Greek Ionian Islands, which were at the time in possession of the Republic of Venice, “none of the brothers thought of himself as Greek.” The language they most speak and think in is Italian, although many other languages come into play: Greek, Latin, French, and even a smattering of Russian. Oddly enough, in this, a novel written in English, none of the brothers is conversant in that language. Continue reading →
Kazuo Ishiguro, A Pale View of Hills, first published in 1982, Vintage paperback, 1990, 183 pp.
Sometimes I think I’m not a very attentive reader. I didn’t really catch on to the narrative trick of this, Ishiguro’s first published novel, until near the end. Going back for a second reading—all really good fiction deserves, and sometimes demands a second reading—I found all sorts of clues that I missed the first time through. More on the trick later.
I did not discover Ishiguro until recently; the fact that the won the Nobel Prize for Literature in 2017 makes you stand up and take notice, but plenty of nobelist-writers seem somehow undeserving, while the very best writers are often passed over. Not so Ishiguro; he’s deserving. Continue reading →
J.M. Coetzee, The Master of Petersburg (Penguin Books, 1995, 250 pp.). First published in Great Britain in 1994.
Abbreviations used in this article: FM (Fyodor Mikhailovich [Dostoevsky], AG (Anna Grigorievna [Snitkina-Dostoevskaya], his wife), AS (Anna Sergeyevna, character in Coetzee’s novel), Master (The Master of Petersburg)
Note: Fyodor Mikhailovich Dostoevsky was born in 1821; the year 2021 marks the two-hundredth anniversary of his birth. Continue reading →
In the early pages of the W.G. Sebald’s Austerlitz, (Modern Library—Random House, 298 pages), in the year 1967, the narrator visits the Antwerp Nocturama. There he comes upon a woebegone raccoon who “sat beside a little stream with a serious expression on its face, washing the same piece of apple over and over again, as if it hoped that all this washing, which went far beyond any reasonable thoroughness, would help it to escape the unreal world in which it had arrived, so to speak, through no fault of its own.” Continue reading →