E is for Endogeny or What you Will

With my two volume Oxford English Dictionary, I resort to taking my glasses off and placing my nose close to the page where I can smell that ever relaxing fragrance of print and paper. This is the dictionary with the print the size of a grain of sand and the one that is a challenge to the eyesight of most, if not all, people, even with the magnifying glass, a glass which usually comes nestled in the little drawer built into the slipcase for the set--mine having mysteriously vanished with some previous owner who couldn't resist, perhaps, the shadowy sherlock mystique of holding one or having it just so, at hand, upon the writing table; then again, perhaps it was a youth who withdrew it from a parent's study to observe the structure of tiny black ants or the patterned veins of a butterfly's wing and then left it behind, forgotten in the meadow, grown over, lost. . . (Easy enough to replace a magnifying glass, but indeed, it would always be an impostor.) It was to my print intoxicating OED that I turned when, in the midst of enjoying Javier Marias's novel All Souls, I came across a wonderful passage--one of many--with a word that sent me to the dictionary: endogeny. Marias (here pictured), or more correctly the unnamed narrator, is describing a bachelor, a professor emeritus at Oxford, one Toby Rylands:

He was a very big man, really massively built, who still had a full head of hair: his statuesque head was crowned with wavy, white locks like whipped cream. He dressed well though, with more affectation than elegance (bow ties and yellow sweaters, rather in the American style, or the way undergraduates used to dress) and he was regarded as a future--indeed almost extant--never to be forgotten glory of the university, for in Oxford, as in all places where people perpetuate themselves by some form of endogeny, individuals only achieve glory when they begin to relinquish their posts and become passive beings about to be shuffled off to make room for their legatees. He and Ellmann, Wind and Gombrich, Berlin and Haskell, are or were all destined to end up as members of the same race: the retrospectively desired.

-Javier Marias, All Souls (New York: New Directions, 2000 ) translated by Margaret Jull Costa (1992) p. 128.

Endogeny: "growth from within." A botanical appropriation. It seems appropriate with Javier Maria's novel whose very subject matter, the endogenous intellectuals of Oxford, is spun around the themes of time, identity, the past, memory and change. How to reveal the inner lives of the characters is the challenge. The narrator is an outsider and is showing us a small group of intellectuals who lead rather closed lives, often solitary, withdrawn from everyday concerns. If one knows gossip about another, it is money in the bank, but one does not reveal anything about oneself. It is rather like a grand card game with all the players holding their cards close to their respective chests. But for the closed nature of the group, the narrator does enter into their world and does gain insight and understanding into some of these dead souls.

The unnamed narrator recalls his two years as a visiting lecturer of Spanish literature and translation theory at Oxford, "a city in syrup, where simply being is far more important than doing or even acting." He looks back and it is through his memory--reliable or not--that we learn of his observations, ever so detached, of the city life, its eccentric characters, and his experiences. The preoccupation with time, identity and perception is revealed in characters such as the touchingly drawn character of Will, the aged (almost 90 year old) porter of the Institutio Tayloriana who takes Martial's epigram to heart { "To be able to enjoy (in memory) your former life is to live live twice over." [Epigrams, Bk. 10, 23, I] }, for Will is a character whose life is atemporal. A man whose "limpid gaze" saw individuals differently each day:

Will literally did not know what day it was and spent each morning in a different year, travelling backwards and forwards in time according to his desires or, more likely, quite independently of any conscious desire on his part. (p. 4)

There is also Clare Bayes with whom the narrator has a rather abstract affair. He says of her that:

Everything about her was expansive, excessive, excitable; she was one of those beings not made for time, for whom the very notion of time and its passing is a grievance, and one of those beings in need of a constant supply of fragments of eternity. . . (p. 21)

It is perhaps within these abstract parameters of time that this novel exists. The narrator sees his time at Oxford as one of "unease" for the University was not in time, rather out of it, in stasis if you will, and it is only when he is back in Madrid does he re-enter the real world of time.

If one reads the novel with the thematic structures in mind, the series of observations drawn by our visiting narrator take on greater cohesion for each chapter seems to deal with a different individual or situation. There is the wonderfully comic scene of "high table" where the Oxonian congregation gather for their ritual meal; the visits to Oxford bookshops especially Mr. and Mrs. Alabaster's bookshop, two amusingly drawn individuals like spiders in their web of words; his observations of Oxford beggars, some fallen from creative accomplishment like the violinist John Mollineux and the theologian Professor Mew; his fellow dons, Cromer-Blake, Toby Rylands and Dewar, the latter a multi-linguist solitary and occasional pen-pushing spy; and Clare Bayes, the fellow professor with whom he is having the affair and who reveals to him in their final meeting in Brighton, the dramatic events of her mother's death, which, with a twisted trajectory, is connected with the author--the real-life author--John Gawsworth.

In the middle of the book there is a chapter devoted to the then obscure and forgotten John Gawsworth which reads rather like a non-fiction biographical piece. By bringing the real-life character of John Gawsworth into the fictional world of his novel, Marias adds but another dimension. His treatment of this obscure author led to Marias being given the title of King of Redonda, a title, fittingly abstract and quasi-fictional, which he has taken to heart and truly has done the most with in creating a publishing imprint and a literary prize.

After the book was published and translated, many individuals thought it was a roman a clef: Javier Marias, like the narrator, was a visiting lecturer at Oxford for two years in the 1980s. Many saw themselves in the book, others wished they did. In fact, the book created so many ripples that Javier Marias penned Dark Back of Time, what he called a "false novel," nine years later dealing with, among other facets of time and theme, the reception of, and reaction to, All Souls . And it is to this book that I now turn my attention, my time, in a "holiday from the infinite".

The Book of Joe

When I was still running a bricks and mortar bookshop, I had the great pleasure of meeting many erudite and artistic customers. Stratford is home to many visual artists, writers, and musicians which makes the city a lively and diverse community. Especially in the summer months. One of my customers was Virgil Burnett, an accomplished renaissance man: artist, illustrator, author, professor, sculptor, and publisher--if he raises rare orchids I wouldn't be surprised. Virgil asked me if I would like to carry a few copies of one of his latest publications, The Book of Joe: Joseph Plaskett and the Art of Painting which he published under his imprint Pasdeloup Press and co-edited with Bruce Barber. I said I would be delighted.

It is a handsome book, with cream coloured paper covers and is finely illustrated throughout with the art work of the acclaimed Canadian artist Joseph Plaskett whose friends and colleagues have contributed reminiscences, poems and stories about their compatriot in the arts. It also includes a brief essay on art by Plaskett and an interview with the artist by the well-known Canadian broadcaster Eleanor Wachtel. The stories and anecdotes about the artist are wonderfully entertaining and informative, and the last reminiscence in the book is worth the cover price alone.

It is a book to have nearby. A book to dip into occasionally and re-read for the insights and the humour, and to enjoy the beauty of the artist's work.

Black River by Kenneth Sherman

After finishing Kenneth Sherman's new sequence of poems, Black River, (Porcupine's Quill, 2007) I lay back and realised I have been living in the fast lane of prose--library work, book selling, blogging, book clubbing, periodical reading-- for too long. Reading these poems I found myself rediscovering a natural breath and rhythm, and I was carried along with the poet's evocatively natural, yet nuanced choice of words making ripples upon the surface as he journeyed along the Black River.

To have the time to read poetry, or to make the time to read poetry, is important. As Kenneth Sherman says: "Stop and search beneath life's flux / if you wish to discover your will, / your forbearance." (p.55) It is healthy and ultimately life affirming to meditate on the past, our place in the present, and on the ghosts of history that surround us, for we live with "forgetfulness / and nightmare blood below the surface." (p.29) His references to the First Nations people and the Holocaust make us mindful of man's inhumanity to man, and that our surface culture, fast moving and forward looking, is blind, and quick to leave the past behind.

For those who escape each weekend to the cottage life, this slim volume of poetry would be a good companion. One to make us mindful and much more conscious of our relationship to this land and to those we share it with; If you don't have a cottage, yet know someone who does, order one, it would be an ideal thank you gift for that invitation to visit.

Like all books issued by Porcupine's Quill, it is a fine papered edition printed and bound with great artistry. The cover and the images in the text are by the Canadian print maker George Raab. The book was readied for the press by Eric Ormsby.

D was for Digressive Thoughts Unsubdued

There is a saying in Tilvanica: "Whatever you do, don't discuss physics with mourning doves." Or so I was told. This reminds me of the day when an old friend Tristy Ramshand found himself on the street where Chumley and Pepys Used Books once existed, bricks and mortar that is; I was placing the sandwich sign out one morning, when who strolled by with pipe and avuncular smile but old Trist, and in he walked and proceeded to expound on the nature of coincidence (quoting a writer whose name I have forgotten: "coincidence traced back far enough leads to inevitability") and began to trace the veritable trajectories of his life and how they came to intersect with mine on the sidewalk outside old Chumley and Pepys. He rarely looked at me, fearing no doubt a vacuously rapt expression which might interrupt his thoughts with present reality. (He was rather like having the radio on, except one couldn't turn it off.) Within twenty minutes he had moved on to a discussion of theoretical physics which led him to reminisce about growing up in a small town in Outer Manitoba, called Tilvanica. (For years I have been meaning to see if such a place exists, but his digressions always left me exhausted, and therefore, once he had gone, I was ever reluctant to revisit these memories--does Outer Manitoba even have mourning doves?) Trist was a talking machine capable of holding multiple conversations on diverse topics, a true top lister at any dinner party or get together; and yet, though his digressions had digressions, he somehow managed to round off each conversation with what I like to call a cornerstone remark, which would leave everyone thinking to themselves "hmm, yes. . . .the man is brilliant, but thank god I don't have to live with him and pity the person that does."

Thankfully closing time came round and I went out to get the sandwich board leaving Trist talking to a cornered customer. Upon returning, I interrupted old Trist by giving him a copy of Sterne's Tristram Shandy so the customer could breakaway and make a quiet and quick exit. He said he had numerous copies--though he would like this one--and began to tell me about finding a singular copy translated into Spanish which he found in a book stall in the small town of Upper Sneezewood, and how the name on the flyleaf just happened to be that of a distant, and most eccentric, uncle of his. . . .

But that is another story.

C was for Corso a Book Scout Pursued

When it was released in 1999, The Ninth Gate really didn't do well at the till, nor did it give critics much of a thrill, but I, like many who enjoyed reading Arturo Perez-Reverte's The Club Dumas (originally published Madrid: Alfaguara Hispanica,1993), ventured out to see this film with a visibly evanescent hope that it might capture something of the novel's flair.

Dealing with books as it does, I had thought that there would at least be qualities of production design that would be of interest to the eye, and here it didn't disappoint; and with Roman Polanski and Johnny Depp one could be assured of something dramatically skewed, ever so slightly, like a cocked spine on an old Chandler first. The screenplay(s), however, dropped much of the book's material which was par for the cinematic course. Film is film.

Having not seen the film since its initial outing, I look forward to the recent DVD release and hope it has extras of interest. Perhaps it would be good to reread the book, though it can be a dicey affair to try and recapture that dizzily reserved feeling of a first reading. But one can try.

"B" Was for Blogger Who Went For a Walk

Walking thought No. 1:
I--like the majority of bloggers I imagine--have never submitted written work other than university papers for the eyes of Professors--or their assistants. I have always written though: journals, unfinished short stories, reviews and exercises in non-fiction, light verse and of course, ponderously derivative poetry written during my teen years, which, thankfully, still basks in the shadows of the unread--or is it the shadows of the unreadable? But though I have never submitted written work, I find I am still able to express myself, and weblogs are wonderful tools for self-expression. I envy the youth of today who are at the starting gate for they will be able to create an archive, an extended memory if you will, so upon reaching my graying age, they can, one hopes, with whatever technology exists in thirty years or so, bring up a review from their early university days and either nod or groan over what they had written.

Walking thought No. 2: The persistent discussions over the book review table of late have centered on whether reviews written by bloggers have any real merit. All I know is that I enjoy reviews written by bloggers as well as by professional reviewers and published authors. With blogs one doesn't know what diction to expect because there are no set parameters. With the New York Review of Books, or the Times Literary Supplement, one has certain expectations. But blogs vociferously run the gamut. The diversity of views, and their likewise diverse use of language and style, can stimulate thought and promote the exchange of ideas. Perhaps it comes down to, like most things, tribalism, territorial defence and change.

Walking thought No. 3: Like most people too, I feel more comfortable with a few books on the go; I am not, however, one for building stacks beside the bed which threaten vulnerable toes in the night. No, a manageable pile is required. One that doesn't overwhelm. One that can sit upon the bedside table without undue stress. (Perhaps the older one gets, the greater the need to moderate and balance the weight of so many words, so many pages, so many books. Then again, it might just be me--I get vertigo, and perhaps a hint of envy, looking at all those book stack pictures on people's blogs!) Having a few books on the go, however, brings up, as many readers know, companion readings, or tandem narratives which are unplanned, at least consciously. How these narratives weave their way through the brain and affect my dreams I don't know, but it is sometimes quixotic how the narratives of different books mingle and exchange thoughts seemingly of their own accord, forcing themselves into my consciousness; at times it is dispassionately subtle and at other times emphatically obvious. This is generally the point where I reach for the pen and notebook, nodding as if to placate the intrusive nature of that other narrative as I jot down a few words and hopefully delineate my thoughts from the mingled narrative strategies.

Addendum: Perhaps in my dreams Paul Auster, Matthew Pearl and Cees Nooteboom are exchanging narrative secrets while I pour the wine and keep the fictional characters away from the expensive cheeses. Or maybe it is the fictional characters in control, and I find myself looking over the shoulders of the authors as we all try to catch a peek through the window--that point of view of the house of fiction--and try to catch glimpses of the cavorting characters.

Tables do furnish a room

On the official letterhead of the Palace, Jaipur, Rajasthan, this extremely thin blue paper was creased and folded inside a book on, what else, a history of western furniture.

This letter offers much to the imagination.



The history of the royal family of Jaipur can be found here.

After Dark with Murakami

Our viewpoint is from above, like a camera, our vision pans down to the rectangular structure lying upon the highly polished veneered tabletop, the subtly coloured dustwrapper of the book intrigues our eyes as the light from the window glints off the lettering, H a r u k i M u r a k a m i. Our left hand--or our right--reaches out and lifts the book closer to our vision and we see the title of the book is called: a f t e r d a r k; these letters are artificially superimposed on an image of thin vertical blinds over a photograph of what appears to be an urban night scene. We turn it over and scan the blurbs of acclaim for the author's Blind Willow, Sleeping Woman: 24 Stories, and our eyes rest upon the bottom edge of the dustwrapper where the image of colourful Japanese drink bottles nestle against one another, like bottles nestling against one other. We open the rear board and the photograph of the author instills us with a sense of anxiety, his expression is one of distant perplexity. We look down and see that Chip Kidd was responsible for the jacket photography and design. We nod. Our eyes notice the small print near the author's photo and we zoom in to see that it is not Jerry Bauer but Elena Siebert, photographer. We nod again.

Slipping the dustwrapper off the hardcover, our eyes widen with the colours displayed: pink on the spine, purple on the boards, with special ribbed paper for both. Spine title in gilt stamp. Our vision blurs as our hands feel the tactile qualities of the ribbed paper covered boards, the ribs echoing the vertical blinds of the cover image in a nuanced dance of sight and touch.

Opening the book to the title page our vision takes in the typeface used for the title and author, something modern, something different; a resemblance to a stamped name, a stamped title. Then, a fleeting image in our imaginations comes up, of a vast floor of workers, each sitting at a desk, each stamping books on title pages, the sound, a loud musical counterpoint to the unheard rhythms of their hearts. . . .

We turn to the first page and observe a stylised image of a clock showing just before midnight. We hear an old Pet Shop Boys song on the radio, in the distance. Our eyes scan down and we begin to read:

"Eyes mark the shape of the city. . . ."


-for a review of Murakami's After Dark, millions has an interesting one, or perhaps this review at Christian Science Monitor or here at the L. A. newspaper.

From Awnings To Steinways

I must say that I am not a collector of ephemera or bookmarks. There are professional dealers in ephemera but I have never purchased anything, though I have browsed shows devoted to ephemera. Having been involved with books for so many years, I have merely accumulated items which I have found in books, certainly a modest collection. I am an accumulator if you will. And a preserver. I find them quite fascinating. There is much to be learned from them.

This business card which I found in a book on American history is attractive. Before air-conditioning, awnings and canopies did the trick. On the back of this card is written in pencil with a flourish: "$2.00 a window." Certainly sounds like a bargain today. I imagine many booksellers relied on awnings and canopies to keep the fading and sunning to a minimum in their display windows. There is certainly something stylish with those old awnings and canopies.

I am not familiar with Astoria and I didn't know of Steinway & Sons connection with the borough. Fascinating to find this out. The homepage for Steinway can be found here.

Pepys' Letters

My alter ego, or doppleganger, Mr. Pepys, (so quiet here at Chumley and Pepys on Books, never a peep out of old Pepys I always say) has started a weblog devoted to Letters. A daily selection of letters for the delectation of readers. A commonplace book shared.

Good luck, Mr. Pepys!

A Fridge Magnet Childe Roland

Self

The profligate juggernaut scion
through arid vicissitude
by fusillade steed
and subterfuge
trod full
and brazen
lest
turgid
herculean pedagogue
festoon him
with unctuous
pithy droll.

{A handfull of fridge magnet words brought this out and they seemed to bring up, in my mind, old Childe Roland to the Dark Tower Came--even if the young knight was afoot and not on a horse-- or am I thinking of some other Browning bit? (Although, to be precise, the magnets were on the dryer, and, as I waited for the laundry to dry. . . idle hands.) With apologies to Robert Browning}

Bookmark of the Week: No. 14

For a change from the standard rectangular card stock bookmark we all know, this little leather corner marker is rather quaint. It measures 2" along the sides. This one has the name of the original owner on the reverse stamped in gilt. The short quotation on this side: "Books are Keys," my wife informs me is from a verse by Emilie Poulsson.

Not a bookmark for the busy commuter's paperback, or that thriller on the beach, but rather one made for the family bible or the book beside the bed.