Overheard

No doubt someone whose class was canceled:

"Dammit — I woke up for nothing!"

All "Overheard" posts (via Pinboard)

Marianne Moore magic

Consider the title and first two lines of Marianne Moore's "The Fish" (1921):

The Fish

wade
through black jade.

The first line of the poem performs two kinds of magic: it reveals what seemed to be a singular noun as a plural, and it gives these fish legs. To wade: "to step in or through a medium (as water) offering more resistance than air" (Merriam-Webster's Collegiate Dictionary). The second line adds another bit of magic, transforming the fishes' medium into one that offers more resistance than water. The water turns to stone via a metaphor whose visual accuracy is surprising: luminous, milky-black water does indeed look like black jade.

Another kind of magic: Moore's idiosyncratic sense of poetic form helps to slow down the movement that the sentence tracks. Compare:

The fish wade through black jade.

And

The FISH

WADE
through BLACK JADE.

The short lines and extreme enjambment enact a deliberate, stubborn progress, four stresses in six syllables.

These strategies of metaphor, sound, and form return again and again in a poem that turns out to be not about the fish but about movement, difficulty, color, light, water, rock, survival, and time.

I never read Marianne Moore as a student: her poems must have seemed slight to an academic community caught up in Yeats' mythic self-absorption and Eliot's mythic impersonality. Now I'm catching up. You can read the poem via the link, Until the Real Thing Comes Along:

The Fish (via Google Book Search)

Related post
Q and A (What's in Moore's handbag?)

Product placement in tween lit

Susan Katz, publisher of HarperCollins Children’s Books, on product placement in Mackenzie Blue, a new fiction series for 8- to-12-year-old girls:

“If you look at Web sites, general media or television, corporate sponsorship or some sort of advertising is totally embedded in the world that tweens live in. It gives us another opportunity for authenticity.”

Yes, authenticity.

The novels' author, Tina Wells, is "chief executive of Buzz Marketing Group, which advises consumer product companies on how to sell to teenagers and preteenagers." Read more:

In Books for Young, Two Views on Product Placement (New York Times)

Proust was a soldier

Neuroscientist? Yes. Next president? Yes. Marcel Proust was a soldier too. He enlisted at the age of 18, in 1889, for one year of service, joining an infantry regiment at Orléans.

William Carter calls Proust a "strange but zealous private." Private Proust was permitted to live in a room in a private house because his coughing kept his fellow soldiers awake at night. He was excused from morning parades and jumping ditches on horseback. He went home on Sundays. He never learned to swim. After finishing his service as 63rd (of 64) in his class, Proust applied to reënlist and was turned down.

In the early sketch "Memory's Genre Paintings," Proust writes of his "regimental life" as "a series of small paintings," "filled with happy truth and magic over which time has spread its sweet sadness and its poetry." Évelyne Bloch-Dano reports that Proust "always had excellent memories" of his army days. His service is of course the background for the narrator's visit to Robert de Saint-Loup in The Guermantes Way.

Ghislain de Diesbach, quoted in Bloch-Dano's Madame Proust, likens Proust in the photograph above to "a clown disguised as a municipal security guard and a sultan's page trying out a dance step."

Works consulted

Bloch-Dano, Évelyne. Madame Proust: A Biography. Trans. Alice Kaplan. Chicago: University of Chicago Press, 2007.

Carter, William C. Proust: A Life. New Haven: Yale University Press, 2002.

Proust, Marcel. Complete Short Stories. Trans. Joachim Neugroschel. New York: Cooper Square, 2001.

All Proust posts (via Pinboard)

W!SCONS!N

"Number nine, number nine, number nine . . . ."

[Primary night. Yes, we can.]

Iambic pentameter

It isn't very difficult to do. A little practice, that is all it takes:

Answering casual questions in iambic pentameter (xkcd, "A webcomic of romance, sarcasm, math, and language")

[This post replaces a previous post whose title, made of five iambs (x /), might suggest to a search engine quintuple-X content, as forward slashes don't appear as characters in a url. Thanks to the commenter who got me to think about this point.]

Proust contest

For Proustheads: Mari Mann at Madeleine Moments is celebrating the one-year anniversary of her blog with a contest. There are five Proust-related questions, with a $25 Amazon gift certificate as prize:

One-Year Anniversary Contest (Madeleine Moments)

A semicolon in the news

A semicolon on a New York City subway sign is in the news; read about it here:

Celebrating the Semicolon in a Most Unlikely Location (New York Times)

(Reading this article has made me realize that semicolon has no hyphen. I have been misspelling — or better, mispunctuating — this word for years.)

Related posts
France debates le point-virgule
Paul Collins on the semicolon

Dueling chin dimples

[Kirk Douglas (Whit Sterling) and Robert Mitchum (Jeff Markham), in Out of the Past, dir. Jacques Tourneur (1947).]

Reviewing Out of the Past in the New York Times (November 26, 1947), Bosley Crowther was lukewarm: "If only we had some way of knowing what's going on in the last half of the film, we might get more pleasure from it. As it is, the challenge is worth a try." It is, but there's a lot to be said for surrendering to ambience too.

Aristeia

The aristeia (from aristos, best) is a recurring element in Homer's Iliad. It's a warrior's moment of greatest glory in battle, the poem focusing on him alone as he kills victim after victim after victim.

The longest and bloodiest aristeia in the poem is that of Achilles, who seeks to make the Trojans pay for killing his beloved comrade Patroclus. What sets Achilles' aristeia apart from all others in the Iliad is that it is, at heart, a suicide mission: Achilles knows that if he kills the Trojan warrior Hector (who dealt the final blow to Patroclus), his own death will soon follow. He doesn't mind. When his horse Xanthus — magical, immortal, and gifted with prophetic speech — warns Achilles of his fate, he replies, "I don't need you to prophesy my death, / Xanthus. I know in my bones I will die here."

What follows is unrelenting in its horror. Spattered with blood and tissue, fire shooting from his head, Achilles is both animal and god. He has lost his humanity, killing and mutilating as he moves toward his own death. He fights not alongside his fellow Achaeans, but in a private war. The only community he can now acknowledge is a community of the dead, the one that holds Patroclus and which he soon will join.

I think that what we're seeing in a campus rampage is a version of Achilles' aristeia, the work of a person dissociated from his own humanity and from reality. Simone Weil called the Iliad the poem of force, force being that which turns a human being into a thing. In the fragile version of pastoral that is the open American campus, it seems terrifyingly easy for one who would wield that force to be able to do so.

[Iliad translation by Stanley Lombardo, 1997.]