after agonizing for days (two) over the title and look of this blog (the look is still "under construction," as they say), i'm ready to get it going. an update of what i'm reading now: anne carson's autobiography of red (a novel in verse), jay cantor's the death of che guevara (about che guevara), and richard russo's straight man (about life in a small-town university english dept.). i never read, nor was i interesting in reading, anything by r. russo, but a friend of mine who is not an academic kept laughing whenever i talked to her about my university adventures, because, she said, they reminded her of this book, so i decided to share in the funniness and read it for myself.
i am also reading judith herman's trauma and recovery to refresh my ideas in preparation for the editing of my dissertation, which i would like to turn into a book, and eric foner's forever free, a(nother) history of reconstruction, because i got very interested in reconstruction when i taught james weldon johnson's autobiography of an ex-colored man last semester.
the way i envision this blog is as a sort of multi-authored book journal, in which people share what they are reading (even as they are reading it, if they want). since however books are legion, i'd also like us to agree on something to read together and discuss. finally, i'm not averse to discussions of other "texts" of any kind, except of course films, which will be discussed only here. let a thousand flowers bloom!
I see we can leave comments even without yet being subscribed. I suppose it works in the same way as the film blog.
I have suggestions for a group read…see what you think:
Philip Roth Everyman
Pierre Merot Mammals
Paul Auster New York Trilogy
DeLillo Cosmopolis
these are books I’m interested in reading right now. I am also very interested in Christopher Sorrentino’s Trance but I think I’ll hold off as I want to do some writing myself about the SLA. other suggestions? I’ve got a load of Borges sitting around here too that I’ve been meaning to dip into, as well as Bruno Schulz’ Street of Crocodiles which I want to read because of the Brother’s Quay brilliant stop-animation “adaptation.” borges and schulze are nice because they’re short….i’d like to hear some other ideas too. and by the way, gio, how can you read so many books–I can barely read one at a time.
Hey-
I'm a big fan of Russo. I started with _Straight Man_, which I found to be funny and generous, but _Nobody's Fool_ was far better, and _The Risk Pool_ was outstanding. He's at his best in the small-town, scratching-by community life that I recall. (And I'm from a similar upstate New York town to the ones he tends to describe.)
Monkey's suggestions for reads are fine with me–Roth's been on a roll, so I'm willing to give this new one a shot. Don't know Merot, the Auster seems a little too familiar but they're worth reading. I liked _Cosmopolis_, but I'm a DeLillo nut… I might suggest _The Body Artist_ as a far more interesting variant on his stuff. But the Sorrentino and Schulz — I'm very interested in both of those.
At semester's end, I pull out the pile built up, and weave from genre to genre. I have recently enjoyed Peter Hamilton's first half of a space opera opus (_Pandora's Star_); Martin McDonagh's brutally funny play _The Lieutenant of Inishmore_. The best thing has been, by far, Philip Gourevitch's account of the Rwandan genocide, _We wish to inform you that tomorrow we will be killed with our families_…. very well-written, moving, even on occasion marked by wit. It's just a great book. So I picked up his second book, an account of a long-unsolved murder, _A Cold Case_, and I"m knee-deep in that.
T.C. Boyle has impressed me a lot in the last few books. Occasionally you read someone and then it seems like you figure out their shtick: they repeat a set of thematic issues, run through some of the same narrative conventions, get stuck in certain stylistic ruts … not that they weaken, they just stop challenging you as a reader. I almost gave up on Philip Roth, mid-'80s, for exactly that reason, as the Zuckerman alter ego and the recurrent obsessive quasi-narcissistic sexual comedy was wearing on me… and then damn if he didn't go and explode those traits, running through an amazing string of great and very different kinds of novels.
Boyle's done the same thing. I felt like I had his hyperbole figured out, and _Road to Wellville_ was…. well, an amiable experience but not so memorable. But the last couple of novels–_Drop City_ and, especially, the excellent and empathetic _The Inner Circle_–seemed to indicate a re-focusing, where his old acrobatic precision with prose and fondness for placing woebegone characters in extravagantly woe-begetting situations was enriched by an ability to underline a deep empathy for often deeply unsympathetic characters. His newest is, alas, not so wonderful. It's called _Talk Talk_, and its central plot revolves around a deaf woman (Dana Halter) whose identity is stolen by a sharp-edged lost soul named Peck Wilson. It is a thriller, of sorts, with some occasional intimations of deep thoughts around issues of language and identity. But it seems too comfortable going in knee-deep to those issues, and concentrates on the suspense, and it's passably entertaining as such. My problem is that I felt like Boyle sold a bit shallow on both ends. I'd have loved more of the engagement with the suggestions of how we perform identity, and how language doesn't just echo but engenders self. Or, conversely, a bit more careful energy on the development of suspense. Or, ideally, both. But the novel's less satisfying on either count, and… well, it's a quick read, and has a lot of technical skill.
Okay–group reads. I have a big pile, as I mentioned. All of these seem pretty interesting, and in the interests of full disclosure, I admit that the last four are books I am teaching in the Fall (and have yet to read):
_U!S!_ by Chris Bachelder, a strange dark political comedy about Upton Sinclair, forever being assassinated and then resurrected.
_The Russian Debutatante's Handbook_ by Gary Shteyngart, highly recommended to me.
_Atomik Aztex_ by Sesshu Foster, an alternate history set in present-day L.A. centuries after the conquest of the Europeans by the Aztecs.
_Love_, by Toni Morrison. I always buy her books upon publication and then sit on them, thinking they'll be work, and they never are. I loved _Paradise_, but I'm still sitting on this one.
_Persepolis_, by Marjane Satrapi, a comic book memoir about growing up in Iran.
_Air_, by Geoff Ryman, a sci-fi story about globalization–set in a small, distant Chinese village, the last place on earth not yet 'connected' to the new form of computer/cultural networking…
_Graceland_, by Chris Abani, a novel about a boy named Elvis growing up in Nigeria in the '70s and '80s.
_Wild Seed_ by Octavia Butler.
Okay, enough of my rambling.
I started Absurdistan and couldn’t dig it. Did read the new Julia Glass novel and liked it as well as Karen Shepard’s new novel, which was disconcerting but a quick read. Right now I am starting David Mitchell’s Cloud Atlas as well as The Stolen Child, which I am most excited about. I love Russo’s Straight Man (its very funny and truer to my experiences in academia than anything except, maybe, Jane Smiley’s Moo).
woah woah woah. this is a a veritable outpouring of book titles. okay, two questions (no, three):
a) did you get the invitation i sent you? (which implies the question: did you subscribe to wordpress?)
b) how did you manage to have a linked name, mike? i don't understand these things, so many you will be kind enough to explain it to me.
c) should we do the same thing we are doing in WE LIKE TO WATCH and have one person choose a title, in rotation? if so, let's discuss the ground rules. here's my rule no. 1: no more than 150 pages.
i meant maybe.
Hey Gio-
a) the big list from me is simply a kind of hello–here's the broad range of crap I'm interested in. Plus I like to blather on.
b) I used to have a wordpress blog for a class, and had an account–so I simply deleted that old blog and kept the account/name… and in changing my account details, put in this blog's address. That's how I got the link.
However, I don't know how to log into this blog. I think YOU can add in details–like a login link on the side–through your account, as the blog originator, Gio.
c) 150 pages! Sheesh.
d) I think someone should just pick a book. I vote for you.
Gio,
1.) I did not receive invite yet
2.) we should probably follow the same procedure for choosing a group book as the film blog–perhaps you should have the first choice, as our illustrious founder.
3.) the shorter the better–I live very concentrated authors like borges and beckett, but I think 150 may be too strict, considering the length of most novels. perhaps 250? and again books shouldn't be too obscure–something we can get from alibris in a reasonable amount of time. as with films, I have no particularly good bookstore near by so I must rely on the internet and its time delays.
4.) who's filmclass?
5.) can't do Graceland–I associate it with the obnoxious effusions of my former dept. chair at USC
something about the dates is screwed up..how could gio have posted on June 14th (right now it's June 13th 2PM)?
Reynolds is filmclass–again, a leftover login name from a wordpress thing I did before. I stuck with it just so I could log on and write posts.
the dates are screwed up because i changed them in mid-stream, so to speak. the time of posting is accurate east-coast time now.
oh, what the heck. i just tried to rearrange all the time stamps but i have such a sketchy sense of time to start with that i made things worse, not better. sorry. i’m thinking about the book. hard in the middle of the world cup. are you guys averse to older stuff? i would like to read nelson algren’s man with a golden arm. or do you prefer recently-published books?
Well, I just started The Stolen Child and am hooked. Books are harder than movies, yes? I’m willing to give anything a shot. I’ve never read Death in Venice and given my scholarly interests I probably should. I’ve never read anything by John O’Hara. Reading novels is truly recreational for me and I rarely jump into unknown territory so I will need a little prodding. Books I’ve read recently that I would love to share with others include Michael Cunningham’s wonderful Speciman Days: A Novel or David Mitchell’s Black Swann Green (which Reynolds has read). I’ve never read Beloved . . . egads! Or, as my daughter now likes to say, “Sheesh!.” Everyman doesn’t really intrigue me but Roth is not my cup of tea though I have read about four or five of his novels (and do believe American Pastoral to be a masterpiece. Reynolds is usually my go to guy for important fiction . . . meanwhile my library reserve list is up to nine titles for wasting away the summer. Perhaps a novella to get things started?
after much mental hand wringing i just don’t think i can pick a book for this group! i would have to research your proposals, many of which i never heard of, check the length…
unlike y’all, however, i’m easy and i’ll read just about anything unless it’s a homage to male sexuality (not a rarity, mind you).
i don’t have these long lists ahead of me that you guys have, though i wish i did. not being in a situation in which i’m reading a good book throws me in a psychologically treacherous area. this is not even an exaggeration. having a good book i can go back to at night makes any day at least bearable, if not downright happy. and yet a remarkably small number of books fill this ticket for me. i suppose they are legion out there and i don’t know about them, since i don’t get/read the nyt book review or any other book thingie, paper or online (the classic outlets are disproportionally unbalances towards lit. by men, which makes me seethe).
this blog will help, doubtless, though other people’s tastes can lure one in unwieldy territory. take julia glass. i read three junes and, though i made it to the end, i didn’t like it. it seemed clanky to me and pedestrian to me (i’m sure i’m being unfair; it was some time ago).
the authors i would like to read this summer are mary gaitskill (veronica) and deborah eisenberg.
ah, and i pretty much refuse to buy books, because our house is overrun by them and i don’t want to own any more than i strictly have to. simon has this incredible book hoarding disease, and he won’t allow me to get rid even of my books (which he demands to have first dibs on, and invariably ends up keeping). they are so damn hard to keep the dust out of, so we spend a lot of the time we are in the house sneezing and coughing and blowing noses. which i find deeply absurd.
that leaves libraries but of course rules out fresh releases.
i think i’ll start blogging on russo and leave the choice of books to read collectively to you boys.
can you now post? did you get my invites?
Gio!
can we also then be spared any kind of feminist statement about discovering middle aged sexuality or about how bad boys are? I got plenty of that in grad school. I don’t in principle have anything against explorations of the sexuality of girls, middle aged or not, but I figure I must put up some kind of defense. (by the way, Gio, isn’t Simon middle-aged now? most of the rest of us are or approaching it). I do find cloying those films which feature Joan Plowright or Helen Mirren suddenly discovering their saucy sides–I can’t quite figure what disturbs me unless it’s the idea of Joan rolling around in the sheets. I don’t know gio, if middle aged men can’t write about their sexuality, who is supposed to do it? young women? old men? Or should it just disappear as a topic for discussion? I’m deleting any sex talk from my recent novel–though I don’t think my agent will be pleased. as for choosing a book, I’ll settle this dithering by taking first choice, unless there’s an objection. Or, not to be so dictatorial, I’ll provide three choices for hashing out: all are short.
Borges Brodie’s Report (collection of later short stories)
Bruno Schulz Street of Crocodiles (and it would be nice if everyone could see the Quay brothers film after reading it)
H.P. Lovecraft–a selection of stories I’d make, not to exceed about 100 pages. I figure it would provide a nice discussion of genre, conventions, whether genre provides something so-called “serious” fiction doesn’t and the qualities of Lovecraft’s rather nihilistic view of being. Is Lovecraft a ridiculous minor figure or a major American author?
so there you go. if people have an absolute repulsion toward me picking the book on the first round, let me know. but I think a round of giving everyone a choice works best, as it does in the film blog.
right now, I’m going upstairs to give my middle-aged sexuality a good thinking over. Then I’m calling a 900 number! I’m sorry you had to read that, Gio!
michael, no, you cannot be spared feminist takes on middle-aged male sexuality, but you can certainly express your disagreement with them.
yes, simon is fast approaching middle-age, and i don’t much care for discussions of his sexual cravings for young flesh either.
i will read any of the books you suggest, in a heartbeat.
young flesh, eh? you make him sound like a vampire! which of the books most interest you?
I’d love to read the Schulz–been wanting to for years, and this would get me off my virtual ass, while allowing me to remain on my actual ass. Since we’ve been talking about flesh.
I’d be fine with returning to Lovecraft, too–it’s been a while–or with Borges. But I’d vote for Crocodiles.
crocodiles is fine by me, too. what do you mean that reading this book will get you off your virtual ass? do you read books on the screen?!?
vampire… hmmm. we just saw irma vep (get it?). but that belongs to another blog.
ok, Bruno Schulz Street of Crocodiles it is. and please also try to see the quay brothers film, too. what kind of time frame are we looking at–what do people need to get, read and comment on the book. I’ll take the responsibility to make the first post–let me know when
also, gio, still no sign of any invitations to join the blog…have you already added our email addresses. do we have access to make a topic yet?
michael and jeff, did you register with wordpress? i cannot add you if you haven’t.
if the shulz is not too long i’ll be ready to go in, say, two weeks. it may be sooner, but to be on the safe side….
Gio,
yes I did register at wordpress…perhaps the problem is that you can’t find the name I used and email address? remind me in regular email and I’ll send them to you.
two weeks sounds good to me…let’s say Friday June 30th?
In preparation for our reading of Bruno Schulz later (by the way how many people are participating on this blog?)–an Article from The New Yorker 2001
http://www.newyorker.com/printables/critics/021216crbo_books
THE LOST
by RUTH FRANKLIN
Searching for Bruno Schulz.
Issue of 2002-12-16
Posted 2002-12-09
In 1941, when the Germans seized the Polish town of Drohobycz, Felix Landau, the notorious Gestapo officer in charge of the Jewish labor force, took an interest in Bruno Schulz, a local writer and artist who had submitted samples of his work to the Judenrat in the hope of gaining employment. Landau had an eye for design—after the war, he went on to start an interior-decorating firm in Bavaria—and he commissioned a number of works from Schulz, including a set of murals for his young son’s bedroom depicting scenes from fairy tales. In return, Landau supplied Schulz with extra food and with protection that temporarily spared the artist’s life. Ultimately, though, Landau’s favors contributed to Schulz’s death. In November, 1942, Landau killed a Jewish dentist favored by a rival Gestapo officer, Karl Günther. Soon after, on a day that has come to be known as Black Thursday, Günther saw his opportunity for revenge. That morning, a “wild action”—a spontaneous Gestapo shooting spree—broke out. Schulz was not at work but in the ghetto, perhaps getting food in preparation for an escape, which he had planned for that night. According to Schulz’s friend Izydor Friedman, who witnessed his death, Günther caught up with Schulz at the corner of Czacki and Mickiewicz Streets and shot him twice in the head. “You killed my Jew—I killed yours,” he later boasted to Landau.
After the war, Drohobycz became part of the Soviet Union, and bureaucratic difficulties made searching for the murals nearly impossible. In February, 2001, however, the German documentary filmmaker Benjamin Geissler went with a crew to Drohobycz, now part of Ukraine, to look for them. With the help of several residents of the town, they were able to gain access to Landau’s house, which had been converted into apartments. There, in a tiny room being used as a pantry, they discovered the faint outlines of Schulz’s paintings, hidden beneath a coat of whitewash. As they rubbed the walls, bright spots of color began to appear: Schulz’s kings and queens and gnomes, released after their long period in hiding.
It is cause for celebration whenever a work of art thought to have been lost is found, but in the context of Schulz’s life the discovery seemed like a miracle. At the time of his death, Schulz had published only two books of short stories, “Cinnamon Shops” (which appeared in English as “The Street of Crocodiles”) and “Sanatorium Under the Sign of the Hourglass,” and some illustrations and other graphic art works. These books have established him as one of the most original voices of European modernism. Schulz has been called a symbolist, an Expressionist, and a Surrealist, and compared to writers as different as Kafka and Proust. His work shares the former’s fascination with metamorphosis and the latter’s reverence for childhood, while embodying a radical sensuality that is unique. But it is hard to evaluate Schulz’s work with confidence, because much of what he wrote, or may have written, has been lost. When he was forced to move to the Drohobycz ghetto, a year before his death, he divided up his papers, which are said to have included at least two unpublished manuscripts and hundreds of drawings, prints, and paintings, and entrusted them to a few non-Jewish friends for safekeeping. They have not been seen since.
Restoration work on the murals began immediately. The Ukrainian minister of culture announced that they would be put on the country’s list of protected national monuments. Shortly afterward, three people representing Yad Vashem, the Holocaust museum in Jerusalem, came to the apartment and removed Schulz’s paintings. Fragments “were pried from the walls hurriedly and crudely,” leaving behind “mutilated remnants,” Jerzy Ficowski writes in his biography of Schulz, “Regions of the Great Heresy” (Norton; $25.95), which has been newly translated by Theodosia Robertson. All of a sudden, Bruno Schulz became front-page news. “THEY STOLE SCHULZ,” a headline in Gazeta Wyborcza, Poland’s leading newspaper, announced. Dora Katznelson, a member of the Drohobycz Jewish community, wrote in a letter to the editor, “Not only Jews and Poles but Ukrainians as well, reading daily in the Ukrainian papers about the barbaric theft of Schulz’s paintings, cry out in amazement: ‘Yad Vashem? It can’t be!’ ” After several days of silence, a Yad Vashem spokesperson claimed that the removal “was conducted with the full coöperation of the Drohobycz municipality,” adding that, since Schulz was a Jew and had been killed by the Nazis, the museum could assert a “moral right” to the art work. Ficowski believes that such arguments “offend logic and common sense and invalidate the work of a generation of Polish intellectuals whose goal it has been to force a nation to come to grips with its past.” He adds, “Despite local and world protest, a work of art was allowed to disappear.”
The murals’ disappearance, though, was strangely appropriate. Schulz’s fiction is preoccupied with the attempt to locate things that have been lost, from an exquisite book, glimpsed in childhood and never seen again, to his own father, whose death is reënacted in many of the stories. Indeed, the idea of loss is a crucial aspect of Schulz’s principal endeavor: to reconstruct the world of childhood, a world that the writer can approach only through memory and imagination. It is a phantasmagorical region in which mundane incidents—a nighttime walk, an encounter with a tramp—expand to take on a mystical dimension. “An event may be small and insignificant in its origin, and yet, when drawn close to one’s eye, it may open in its center an infinite and radiant perspective because a higher order or being is trying to express itself in it and irradiates it violently,” Schulz wrote. “Thus we shall collect these allusions, these earthly approximations, these stations and stages on the paths of our life, like the fragments of a broken mirror.”
Schulz’s biography, too, is a collection of fragments. Ficowski calls his book a “biographical portrait,” but “sketch” would be more apt, since much about the writer’s life is simply not known. Schulz was born on July 12, 1892, in Drohobycz, which was then part of the Austro-Hungarian Empire. (The high school he attended was named after Franz Josef, but by the time he returned there as a teacher, in a newly independent Poland, it had been patriotically rechristened after the medieval Polish king Wladyslaw Jagiello.) Schulz grew up speaking both Polish and German. He started to draw as a very young child, long before his first attempts to write. “Before I could even speak,” he told a friend, “I covered any piece of paper and the edges of newspapers with scribbles that caught the attention of those around me.”
After graduating from high school, in 1910, Schulz went to Lwów, the provincial capital, to study architecture. His studies were interrupted by poor health—he suffered heart and lung ailments throughout his life—and with the outbreak of war in 1914 he had to abandon them. His father died the following year, and responsibility for the upkeep of the family, which included his widowed elder sister and her two children, fell in part to Schulz. In the first years after the war, he concentrated on his art, exhibiting his work in galleries in Lwów, Wilno, and Warsaw and assembling a collection of prints under the title “The Booke of Idolatry,” which he bound and sold. Whether from embarrassment or modesty, he told the students who assisted him that the prints were illustrations of Leopold von Sacher-Masoch’s “Venus in Furs.” This gives a fair idea of their content—highly erotic, with a recurrent motif of men collapsed in worship at the feet of a long-legged nude woman. (When Schulz’s art was displayed in a spa town where he periodically went to take the cure, a senator condemned it as pornography and threatened to have the exhibit shut down.) But he was unable to earn a living through art, and his family responsibilities weighed heavily. In 1924, he began teaching drawing and “handicrafts”—essentially, shop—at the high school in Drohobycz.
At about this time, Schulz began to write in earnest. While teaching, he would tell stories to get his rowdy students to calm down and pay attention. One former student recalled “those tales in which a pencil, an inconspicuous water jug, or a tile stove had their own histories and lived in a manner close to us and so much like human beings.” As Schulz recounted the tales, he illustrated them “with a few strokes of chalk on the blackboard.” He seems always to have done his best work before an audience, a tendency that made him an extraordinary correspondent. In a series of letters to the poet Debora Vogel, he composed elaborate postscripts—long, descriptive passages based on episodes from his childhood. Vogel encouraged Schulz to turn his postscripts into a book, which eventually came to the attention of the novelist Zofia Nalkowska, an important figure in the Warsaw literary scene. After reading Schulz’s manuscript, she proclaimed him “the most sensational discovery in our literature!” and promised to take his book to the publisher herself. “Cinnamon Shops” was published in 1934; “Sanatorium Under the Sign of the Hourglass” followed, three years later.
“The books we read in childhood don’t exist anymore; they sailed off with the wind, leaving bare skeletons behind,” Schulz wrote in a 1936 letter. “Whoever still has in him the memory and marrow of childhood should rewrite these books as he experienced them.” This was the foundation of his creative project, and he realized it most vividly in a story called simply “The Book,” which opens his second collection and may originally have been part of a novel, now lost. The story’s narrator recalls a volume whose pages, when rubbed, reveal fragments of kaleidoscopic color:
Sometimes my father would wander off and leave me alone with The Book; the wind would rustle through its pages and the pictures would rise. And as the windswept pages were turned, merging the colors and shapes, a shiver ran through the columns of text, freeing from among the letters flocks of swallows and larks. Page after page floated in the air and gently saturated the landscape with brightness. At other times, The Book lay still and the wind opened it softly like a huge cabbage rose; the petals, one by one, eyelid under eyelid, all blind, velvety, and dreamy, slowly disclosed a blue pupil, a colored peacock’s heart, or a chattering nest of hummingbirds.
When, years later, the boy asks his father what happened to The Book, he is told that it is “a myth in which we believe when we are young, but which we cease to take seriously as we get older.” One day, he finds some tattered pages that he believes were part of the treasured volume. Alas, all the text has been destroyed; only old advertisements remain. Yet even these rise “over the sphere of daily affairs into the region of pure poetry”: an ad for canaries carries the sound of chirping birds, a procession of cripples yields to distant landscapes beyond. No image ever appears twice; the writing “unfolds while being read, its boundaries open to all currents and fluctuations.” This book, the boy is certain, is “the Authentic,” to which all books aspire. Without it, “they live only a borrowed life, which at the moment of inspiration returns to its ancient source.”
All artists, Schulz believed, spend their lives interpreting images that are stamped in their minds during childhood. He wrote, “They do not discover anything new after that, they only learn how to understand better and better the secret entrusted to them at the outset; their creative effort goes into an unending exegesis, a commentary on that one couplet of poetry assigned to them.” For Schulz, this “couplet” was the mythology of his early life—a “spiritual genealogy,” he called it. The linked stories that make up his two collections are all narrated from the perspective of a young boy who is an apparent stand-in for the author. His father, the central figure of the stories, combines physical frailty with prodigious psychic power. In an illustration for “Sanatorium Under the Sign of the Hourglass,” the father is bedridden, but his force manifests itself in an enlarged, bulbous forehead and in his hair, which sticks up in thick ropes. In the story “Tailors’ Dummies,” a mannequin inspires the father to imagine how man might be re-created in disposable form: “For each action, each word, we shall call to life a different human being.” His son labels him a “Heresiarch,” though this particular heresy is an attack not on religion but on the banality of life: the linear flow of hours and days, which Schulz’s stories, with their magical transformations and moments outside time, seek to overcome.
“Reality is as thin as paper, and betrays with all its cracks its imitative character,” Schulz wrote in one story. His fiction peers through those cracks. Familiar streets unexpectedly become labyrinths of hidden corners and strange courtyards; forgotten passageways become gateways to another, more vibrant world. In “Cinnamon Shops,” the boy is sent to run an errand at night and becomes lost: “There open up, deep inside a city, reflected streets, streets which are double, make-believe streets. One’s imagination, bewitched and misled, creates illusory maps of the apparently familiar districts, maps in which the streets have their proper places and usual names but are provided with new and fictitious configurations by the inexhaustible inventiveness of the night.” In “Tailors’ Dummies,” the father recalls a surprising discovery he made upon entering a neglected room in an old apartment: “From all the crevices in the floor, from all the mouldings, from every recess, there grew slim shoots filling the grey air with a scintillating filigree lace of leaves: a hot-house jungle, full of whispers and flicking lights—a false and blissful spring.” The vision vanishes almost as soon as it appears: “The whole elusive sight was a Fata Morgana, an example of the strange make-believe of matter which had created a semblance of life.”
Like prose poems, the stories work not through conventional structures of plot or character but by building up a welter of images that create their own logic. Their anthropomorphism can be dizzying. “Now the windows, blinded by the glare of the empty square, had fallen asleep,” Schulz writes in “August.” “The balconies declared their emptiness to heaven; the open doorways smelt of coolness and wine.” In “Birds,” we are told, “The days hardened with cold and boredom like last year’s loaves.” Then Schulz prods the simile just a bit further than expected: “One began to cut them with blunt knives without appetite, with a lazy indifference.” The sensuality that characterizes Schulz’s language is rooted in the Polish poetic tradition, but the surreal and grotesque tweaks are his own.
Although Schulz’s stories revel in the metaphysical, his letters reveal that he was preoccupied with mundanities. He found teaching burdensome, and fretted constantly about not being granted the leaves of absence that he requested. “Time to which someone else has laid claim, to which someone made the slightest allusion—is already tainted, ruined, inedible,” he wrote in a 1934 letter. “When I have to prepare a lesson for the next day, buy materials at the lumberyard—the entire afternoon and evening are already ruined for me.” He was also obsessed with the pettier details of a writer’s career: reviews of his books (which were mixed), nominations for prizes (which he seldom received), foreign translations (which did not occur in his lifetime). He longed to escape his family, with whom he lived, and marry Józefina Szeli´nska, a Catholic schoolteacher to whom he became engaged in 1935, but he worried that his meagre income could not support two households. After two years, they broke off the engagement.
In addition to his financial concerns, Schulz was oppressed by fears of personal danger; in one of the biography’s few personal details, Ficowski poignantly recounts that, when Schulz was anxious, to calm himself he would sketch the outline of a little house. If he found himself without a pencil, he would trace the shape with his finger. These worries, naturally, interfered with his writing. After he wrote the stories in his two published books, he never enjoyed another period of sustained productivity. For years, he labored over a novel, to be called “Messiah,” in which the Jewish Messiah appears in Drohobycz. Except for a couple of stories published in Schulz’s second book which may originally have been part of the novel, nothing of “Messiah” ever made its way into print. The romantic allure of this apparently lost masterpiece has inspired endless speculation and at least two novels, Cynthia Ozick’s “The Messiah of Stockholm” and David Grossman’s “See Under: Love.” But, considering the slow pace of Schulz’s progress, it seems fair to wonder how much of “Messiah” ever got written. “I am waiting for more free time in order to return to work on the novel ‘Messiah,’ ” Schulz wrote in a 1935 letter. “My work progresses very slowly” was the next report. “I’ve not had good periods. Over vacation I couldn’t write anything. Now when I could write—school.” In 1937, the book was “still in its infancy.”
In September, 1939, Germany invaded Poland. Just two weeks later, the Soviets took Drohobycz. Schulz was safer under the Soviets than he would have been under the Germans, but he suffered in the new political climate. He was unable to publish his written work, which clearly did not conform to the dictates of socialist realism, though he did earn money by painting portraits of officials, including Stalin. (When a Stalin portrait he had done for the Drohobycz town hall was destroyed by jackdaws, Schulz is said to have told a friend that the loss of his own work actually brought him satisfaction.) This relative reprieve did not last long. The Germans retook Drohobycz in June, 1941, during Operation Barbarossa, and Schulz was forced to give up his home and move to the ghetto. Ironically, this may have galvanized his art. Ficowski reports that ten days before his death Schulz told an acquaintance that he was collecting material for a work about “the most awful martyrdom in history.” Already, he said, he had amassed a hundred pages of notes.
These notes, like the rest of Schulz’s manuscripts, have never been found. The search for the writer’s papers has been Ficowski’s lifelong occupation, and he has pursued it with a fervor that sometimes looks like mania. “For a half-century I have lived in expectation, believing and not believing by turns that I will see it in the end,” he writes of “Messiah.” Described as Schulz’s “chronicler and archeologist,” Ficowski has acted as the writer’s agent, producing numerous editions of his stories, letters, and drawings and getting them published in Poland and abroad. He has also served as a one-man literary detective agency, placing advertisements in Polish and Ukrainian newspapers imploring the people to whom Schulz entrusted his work to make themselves known, and attempting to track down every living correspondent of Schulz’s in the effort to find any remaining letters or other papers, no matter how insignificant.
At times, Ficowski seems to have come excruciatingly close to the jackpot. In 1987, a man named Alex Schulz, who claimed to be the writer’s cousin, contacted him to say that a man from Lwów, possibly a diplomat or a K.G.B. official, had offered to sell him a package of Schulz’s manuscripts and drawings weighing two kilograms. Ficowski readily agreed to verify the authenticity of the documents; months passed; and then Alex Schulz died of a brain hemorrhage, leaving Ficowski with no way to contact the mysterious man from Lwów. Several years later, he met the Swedish ambassador to Warsaw, who told him that a “bulging packet” containing Schulz’s manuscripts, “with the novel ‘Messiah’ at the top,” was hidden in the K.G.B. archives. The ambassador had learned about this from a “Russian” who had come upon the packet by accident, hidden under the name of an unknown Pole, presumably one of those to whom Schulz had given his papers. He asked Ficowski to accompany him to Ukraine to look for it, but the authorities twice denied the ambassador a visa, and he, too, died before the quest could be completed.
Amid these spy-novel machinations, one begins to wonder whether Ficowski could have been the object of a terrible joke—the bulging packet with “Messiah” at the top sounds too good to be true. And the fact that fifty years of searching have turned up only about a hundred letters might well be evidence that nothing else ever existed. Still, the chapters in which Ficowski writes autobiographically about his quest are the most engaging in his book. And the frustration of the ongoing search for Schulz’s traces explains the magnitude of the excitement when the Drohobycz wall paintings were found, and the disappointment that ensued when they vanished. For local devotees of Schulz, the removal of the murals was deeply wounding. A national treasure had been lost and, it was claimed, the force required to remove the murals from the walls could have damaged them irrevocably.
Yet the events in that Drohobycz apartment have a certain chilly logic. For Schulz’s stories suggest that, like the childhood episodes he reimagines, works of art, too, have an inherent ephemerality, vanishing almost as soon as they are experienced. The Book, the mysterious landscape of “Cinnamon Shops,” the Fata Morgana in the empty room—all are momentary creations of the imagination, glimpses through a crack that is already closing. They exist for just one glorious instant, made all the more beautiful by the impossibility of their reconstruction. Schulz, in one story, compared books to meteors. “Each of them has only one moment, a moment when it soars screaming like the phoenix, all its pages aflame,” he wrote. “For that single moment we love them ever after, although they soon turn to ashes.”
this is one long-ass article! there are three people on this blog at this point, you, reynolds, and i. jeff has been to busy to register.
What about the others from the film blog? are they going to participate?
jeff is in. so, michael, it’s me, you, jeff, and reynolds. i guess no one else in we like to watch likes to read. philistines. if you have colleagues and friends who would enjoy writing here (and will actually WRITE, not just lurk), feel free to extend an inviation to them! and, um, it would be nice, for a change, to have some women?
there’s a book blog as well?
I just returned here for a brief look–I am cramming for an interview so I thought I’d get a nice painless overview of some recent lit here, from you bookhounds. whatever happened to “textualities?” Why the migration to “goodreads” which I hate (for its encouragement of pointless list-making and for its burdensome trivial categories like books-I-glanced-at, books-I-am-currently-thinking-about-reading-maybe, etc.) and, jebus, must we assign stars to everything? Last book read: The Narrative of A. Gordon Pym by Poe. I give it 3 stars. Next up, weird American death-cults, Manson in The Family and the SLA in Trance. as death cults go, I give the SLA 3 1/2 stars and the Manson family 4 stars, for “witchiness.”
You’re right. I like it over there, for the open forum feel, but… I preferred this, where there’s meatier, funnier shit going on. I was checking in periodically, but then I stopped. I promise to return!
I give my post 1.3 stars.
Mike–you want to make a post to help revive textualities or should I? anything we’re all reading or interested in reading? I do have Some-Books-I-Saw-Out-Of-The-Corner-of-My-Eye-Somewhere.
Ummm–
you jump if you have it in mind, otherwise–I’ll yank something out of my hat. I’ve been reading a ton of South African detective fiction, if anyone’s interested in that…..
south african detectives eh? well, go to it. at my pace, it may take me another 6 weeks to finish my book.