Meditation rock

[Zippy, July 13, 2018.]

One rock, two rocks, three — but what is stage four? You’ll have to click through to find out.

I’m pretty sure Zippy’s practice is not what Allen Ginsberg had in mind.

Related reading
All OCA “some rocks” posts
All OCA Nancy posts: Nancy and Zippy posts : Zippy posts (Pinboard)

‽

What‽ An episode of 99% Invisible about punctuation.

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All OCA punctuation posts (Pinboard)
You Call That a Punctuation Mark?! (The Millions)

Principiis obsta and finem respice

A professor of philology (“Middle High German was my life”) speaks:

“The dictatorship, and the whole process of its coming into being, was above all diverting. It provided an excuse not to think for people who did not want to think anyway. I do not speak of your ‘little men,’ your baker and so on; I speak of my colleagues and myself, learned men, mind you. Most of us did not want to think about fundamental things and never had. There was no need to. Nazism gave us some dreadful, fundamental things to think about — we were decent people — and kept us so busy with continuous changes and ‘crises’ and so fascinated, yes, fascinated, by the machinations of the ‘national enemies’ without and within, that we had no time to think about these dreadful things that were growing, little by little, all around us. Unconsciously, I suppose, we were grateful. Who wants to think?

“To live in this process is absolutely not to be able to notice it — please try to believe me — unless one has a much greater degree of political awareness, acuity, than most of us had ever had occasion to develop. Each step was so small, so inconsequential, so well explained or, on occasion, ‘regretted,’ that, unless one were detached from the whole process from the beginning, unless one understood what the whole thing was in principle, what all these ‘little measures’ that no ‘patriotic German’ could resent must some day lead to, one no more saw it developing from day to day than a farmer in his field sees the corn growing. One day it is over his head.

“How is this to be avoided, among ordinary men, even highly educated ordinary men? Frankly, I do not know. I do not see, even now. Many, many times since it all happened I have pondered that pair of great maxims, Principiis obsta and Finem respice — ‘Resist the beginnings’ and ‘Consider the end.’ But one must foresee the end in order to resist, or even see, the beginnings. One must foresee the end clearly and certainly and how is this to be done, by ordinary men or even by extraordinary men? Things might have changed here before they went as far as they did; they didn’t, but they might have. And everyone counts on that might.”

Quoted in Milton Mayer, They Thought They Were Free: The Germans, 1933–1945 (Chicago: University of Chicago Press, 1955)

Resist the beginnings. Consider the end. Consider too what Chris at Dreamers Rise wrote earlier today: “Stay alert.”

Meow?

[Mutts, July 12, 2018.]

Cf. Ludwig Wittgenstein, Philosophical Investigations II, xi (1958): “If a lion could talk, we could not understand him.”

Twin State Typewriter

“He had a Remington, a Royal. And he loved this place”: in White River Junction, Vermont, Twin State Typewriter is closing. The Remington and Royal owner was J.D. Salinger, who went to Twin State for ribbons and repairs.

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All OCA typewriter posts (Pinboard)

Sliding pond

I heard the term while listening to an episode of A Way with Words not long ago: sliding pond. It brought me back to my Brooklyn childhood.

A sliding pond (or sliding pon) is what most English-speaking United States residents would call a slide or, less commonly, a sliding board or sliding plank. A wonderful article by David L. Gold, “Three New-York-Cityisms: Sliding Pond, Potsy, and Akey” suggests three possible origins of sliding pond : 1. Sliding on a frozen pond or on a slide built at the edge of a frozen pond. 2. The Dutch glijbaan or German Rutschbahn, each of which means “slide,” with baan or bahn morphing into pahn. 3. An “indigenous creation,” deriving from slide-upon or sliding-upon. Gold leans to a “partial loan translation” of glijbaan as the most plausible explanation.

All I know is that I hadn’t thought of a sliding pond in ages. And all of a sudden, there one was, all metallic and blazing hot, right in the playground at New Utrecht and 43rd.

[“Three New-York-Cityisms: Sliding Pond, Potsy, and Akey” appeared in American Speech 56, no. 1 (1981).]

“Extended controlled inundation”

From an episode of the podcast Reveal, about families separated by government and by storms: “This subdivision [in Houston] is adjacent to Barker reservoir and is subject to extended controlled inundation.” That’s an Orwellian way of saying that you’re living in a reservoir, that the land on which your house sits can be flooded, under the auspices of the United States Army Corp of Engineers. And the text is in very fine print. And it’s not the most disheartening part of the episode.

Misquoting from memory

I’m glad that I reread Yeats’s “Easter, 1916” before spoofing one of its lines in a post yesterday. Writing from memory, I had “The stone’s in the midst of it all.” That’s how I’ve had the line in my head since I was an undergrad. But no. Yeats’s poem reads, “The stone’s in the midst of all.” There is no it, not in the variorum text of Yeats’s poems, not elsewhere. I must have turned the last five words of the line into a pair of anapests: x x / x x /, in the MIDST of it ALL. Yeats’s anapest and iamb make a more oracular sound: x x / x /, in the MIDST of ALL.

The curious thing, as I’ve discovered, is that I’m not alone in my mistake. Here’s a lit-crit it from 1953. Here’s one from 2000. And here’s Harper’s in 2008, adding an it not to a quotation but to the poem itself.

Now I’m wondering what else I’ve misquoted from memory. July is the cruellest month.


[A Yeats typescript. From the Huntington Digital Library.]

On Proust’s birthday

Marcel Proust was born on July 10, 1871.

I don’t know whether I have told you that this book is a novel. At least it deviates least from the novel form. There is a Monsieur who narrates and who says “I”; there are a great many characters; in the first volume they are “prepared” in such a way that what they do in the second is exactly the opposite of what one would expect from the first. From the publisher’s point of view, unfortunately, this first volume is much less narrative than the second. And from the point of view of composition, it is so complex that it will not be clear until much later when all the “themes” have begun to be combined. You see, there is nothing very engaging about all this. But under the conditions we have discussed, it seems to me that M. Grasset cannot lose anything, and, literarily speaking, I do not think that he will be “déclassé ” because of it.

Marcel Proust, in a letter to René Blum, February 24, 1913. From Letters of Marcel Proust, translated by Mina Curtiss (New York: Helen Marx Books / Books & Co., 2006).

René Blum arranged for the publisher Bernard Grasset to publish “this first volume,” Du côté de chez Swann, at Proust’s expense. Blum (1878–1942) was a journalist, art collector, and ballet impresario. He died in Auschwitz.

Related reading
All OCA Proust posts (Pinboard)

Double articles

Grammarphobia offers everything you always wanted to know about double articles, as in “the El Niño effect.” Which reminds me of the El Phoenix Room. Gone but not forgotten.

I have the strongest of suspicions that the El Phoenix is the model for The Unexamined Life, a Boston bar in David Foster Wallace’s Infinite Jest. Notice the capitalized article in the bar’s name. In the El Phoenix’s place stands Harry’s Bar & Grill, unless something has already taken its place.

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Infinite Jest, “night-noises”