Saturday, December 26, 2009

The White Tiger - Trapped in The Rooster Coop

Servitude is engrained in the Oriental. Give them freedom and they won't know what to do with it. Supplication, propitiation and obsequiousness certainly have their place in a generalised view of the characteristic Indian steriotype. Genetically predisposed to be of service, even when being dishonest. A behaviour full of contradiction. And this is the kind of sense Adiga creates in the character of Balram Halwai, who attempts to break free of this 'Rooster Coop'. But what exactly does it mean and how does it work:
'When you get here, you'll be told we Indians have invented everything from the Internet to hard-boiled eggs to spaceships before the British stole it all from us.
Nonsense. The greatest thing to come out of this country in the ten thousand years of its histor is the Rooster Coop.
        Go to Old Delhi, behind the Jama Masjid, and look at the way they keep chickens there in the market. Hundreds of pale hens and brightly coloured roosters, stufed tightly into wire-mesh cages, packed as tightly as worms in a belly, pecking each other and shitting on each other, jostling just for breathing space; the whole cage giving off a horrible stench - the stench of terrified, feathered flesh. On the wooden desk above this coop sits a grinning butcher, showing off the flesh and organs of a recently chopped up chicken, still oleaginous with a coating of dark blood. The roosters in the coop smell the blood from above. They see the organs of their brothers lying around them. They know they're next. Yet they do not rebel. They do not try to get out of the coop.
        The very same thing is done with human beings in this country.

        Watch the roads in the evenings in Delhi; sooner or later you will see a man on a cycle-rickshaw, pedalling down the road, with a giant bed, or a table, tied to the cart that is attached to his cycle. Every day furniture is delivered to people's homes by this man - the deliver-man. A bed costs five thousand rupees, maybe six-thousand. Add the chairs, and a coffee table, and it's ten or fifteen thousand. A man comes on a cycle-cart, bringing you this bed, table, and chairs, a poor man who may make five hundred rupees a month. He unloads all this furniture for you, and you give him the money in cash - a fat wad of cash the size of a brick. He puts it into his pocket, or into his shirt, or into his underwear, and cycles back to his boss and hands it over without touching a single rupee of it! A year's salary, two years' salary in his hands, and he never takes a rupee of it.
........
Why?
        Because Indians are the world's most honest people, like the prime minister's booklet will inform you?
        No. It's because 99.9 per cent of us are caught in the Rooster Coop just like those poor guys in the poultry market.
        The Rooster Coop doesn't always work with miniscule sums of money. Don't test your chauffeur with a rupee coin or two - he may well steal that much. But leave a million dollars in front of a servant and he won't touch a penny...The trustworthiness of servants is the basis of the entire Indian economy...The Great Indian Rooster Coop.
.......
A handful of men in this country have trained the remaining 99.9 per cent - as strong, as talented, as intelligent in every way - to exist in perpetual servitude; a servitude so strong that you can put the key of his emancipation in a man's hands and he will throw it back at you with a curse.
.......
I will never envy the rich of America or England...they have no servants there. They cannot even begin to understand what a good life is.
        Now, a thinking man like you...must ask two questions.
        Why does the Rooster Coop work? How does it trap so many millions of men and women so effectively?
        Secondly, can a man break out of the coop? What if one day, for instance,  driver took his employer's money and ran? What would his life be like?
.......
        The answer to the first question is that the pride and glory of our nation, the repository of all our love and sacrifice...the indian family, is the reason we are trapped and tied in the coop.
        The answer to the second question is that only a man who is prepared to see his family destroyed - hunted, beaten, adn burned alive byu the maasters - can break out of the coop. That would take no normal human being, but a freak, a pervert of nature.
        It would, in fact, take a White Tiger. You are listening to the story of a social entrepreneur, sir.' pp. 173-177

Friday, December 25, 2009

The White Tiger - Value for Money

The reason behind 3hr+ movies with intermissions and tasteless excess:

'That evening, while driving back to the apartment, I looked into the rearview mirror. Mr Ashok was wearing a T-shirt.
It was like no T-shirt I would ever choose to buy at a store. The larger part of it was empty and white and there was a small design in the centre. I would have bought something very colourful, with lots of words and designs on it. Better value for the money.' - p.149
[please post any pics to best communicate this]

The White Tiger - Murder

'Here's a strange fact: murder a man, and you feel responsible for his life - possessive, even. You know more about him than his father and mother; they knew his foetus, but you know his corpse. Only you can complete the story of his life; only you know why his body has to be pushed into the fire beofre its time, and why his toes curl up and fight for another hour on earth.' -pp.46-47
Reminiscent for me of Clint Eastwood's excellent portrayal of the reality of violence in Unforgiven:
 
                               MUNNY
                   Well, that fella today, you shot
                   him alright.

                              THE KID
                          (forced bravado)
                   H-hell yeah.  I killed the hell
                   out of him... three shots... he
                   was takin' a sh-sh-shit an'...
                   an'...

     The Kid is shaking, becoming hysterical, he can't go on, and
     Munny hands the bottle back.

                               MUNNY
                   Take a drink, Kid.

                              THE KID
                      (breaking down, crying)
                   Oh Ch-ch-christ... it don't... it
                   don't seem... real... How he's...
                   DEAD... how he ain't gonna breathe
                   no more... n-n-never.  Or the
                   other one neither... On account
                   of... of just... pullin' a
                   trigger.

     Munny walks back to the edge of the rise and watches the
     rider and it is a lovely sunset happening and he is talking
     to no one in particular.

                               MUNNY
                   It's a hell of a thing, ain't it,
                   killin' a man.  You take
                   everythin' he's got... an'
                   everythin' he's ever gonna have...

                              THE KID
                        (trying to pull him-
                           self together)
                   Well, I gu-guess they had it...
                   comin'.

                               MUNNY
                   We all got it comin', Kid.


Thursday, December 24, 2009

A Passage to India - Death (Again)

Fielding converses with Adela Quested:

''...it has made me remember that we must all die; all these personal relations we try to live by are temporary. I used to feel death selected people, it is a notion one gets from novels, because some of the characters are usually left talking at the end. Now "death spares no one" begins to be real.'
'Don't let it become real, or you'll die yourself. That is the objection to meditating upon death. We are subdued to what we work in. I have felt the same temptation, and had to sheer off. I want to go on living a bit.'' - p.262

A Passage to India - Marriage



Fielding, the learned professor provides us with another rejection of accepted tradition:

'At my age one's seldom amazed,' he said, smiling. 'Marriage is too absurd in any case. It begins and continues for such very slight reasons. The social business props it up on one side, and the theological business on the other, but neither of them are marriage, are they? I've friends who can't remember why they married, no more can their wives. I suspect that it mostly happens haphazard, though afterwards various noble reasons are invented. About marriage I am cynical.' -p.260

But Fielding obviously has a view on REAL marriage of which he is not cynical, surely...

A Passage to India - The Eternal Sleep

'Those in the Civil Station kept watch a little, fearing an attack, but presently they too enteredt the world of dreams - that world in which a third of each man's life is spent, and which is thought by some pessimists to be a premonition of eternity.' - p.239

It is interesting then that quickly following this passage, Fielding has this to say:

'Liking here better he smiled and said, 'It'll get us to heaven.'
'Will it?'
'If heaven existed.'
'Do you not believe in heaven, Mr Fielding, amy I ask?' she said, looking at him shyly.
'I do not. Yet I believe that honesty gets us there.'' - pp.240-241

 
Hypnos, Greek god of sleep, and his brother, Thanatos, god of death, as painted
by John William Waterhouse (1849-1917)

A Passage to India - Poetry to address the Heat?

The following passage describes quite incisively the severity of the heat that accompanies India's summer months, drawing neat contrast with the life pattern of Europe:




'Making sudden changes of gear, the heat accelerated its advance after Mrs moore's departure, until existence had to be endured and crime punished with the thermometer at a hundred and twelve. Electric fans hummed and spat, water splashed onto screen, ice clinked, and outside these defences, between a grayish sky and a yellowish earth, clouds of dust moved hesitatingly. In Europe life retreats out of the cold, and exquisite fireside myths have resulted - Balder, Persephone - but here the retreat is from the source of life, the treacherous sun, and no poetry adorns it, because disillusionment cannot be beautiful. Men yearn for poetry though they may not confess it; they desire that joy shall be graceful, and sorrow august, and infinity have a form, and India fails to accommodate them. The annual helter-skelter of April, when irritability and lust spread like a canker, is one of her comments on the orderly hopes of humanity. Fish manage better: fish, as the tanks dry, wriggle into the mud and wait for the rains to uncake them. But men try to be harmonious all the year round, and the results are occasionally disastrous. The triumphant machine of civilisation may suddenly hitch and be immobilized into a car of stone, and at such moments the destiny of the English seems to resemble their predecessors', who also entered the country with intent to refashion it, but were in the end worked into its pattern and covered with its dust.' - pp.214-215

Is the weather so linked to civilisation? And is it true that India fails to accomodate the men who yearn for poetry? What kind of poetry?

A Passage to India - Judgement on Indian Behaviour

'Aziz was innocent and all actions must be based on that, and the people who said he was guilty were wrong and it was hopeless to try to propitiate them. At the moment when he was throwing in his lot with Indians, he realized the profundity of the gulf that divided him from them. They always do something disappointing. Aziz had tried to run away from the police, Mohammed Latid had not checked the pilfering. And now Hamidullah! - instead of raging and denouncing, he temprized. Are Indians cowards? No, but they are bad starters and occasionally jib. Fear is everywhere; the British Raj rests on it; the respect and courtesy Fielding himself enjoyed were unconscious acts of propitiation.' - p.182

A Passage to India - South of Latitude 30

'Mr McBryde [District Superintendent of Police] was shocked at his downfall [Aziz's after his accusation of assault], but no Indian ever surprised him, because he had a theory about climatic zones. The theory ran: 'All unfortunate natives are criminals at heart, for the simple reason that they live south of latitude 30. They are not to blame, they have not a dog's chance - we should be like them if we settled here.' Born at Karachi, he seemed to contradict his theory, and would sometimes admit as much with a sad, quiet smile.' - p.176

Why Latitude 30? The heat? Physical, social, economic geographical concerns?

Wednesday, December 23, 2009

A Passage to India - Proverbs and Peaceful Co-existence

The following takes place towards the end of Aziz's planned picnic to the Marabar caves as he replies to Fielding's query as to the day-trip's cost:

'Aziz, have you figured out what this picnic will cost you?'
'Sh! my dear chap, don't mention that part. Hundreds and hundreds of rupees. The completed account will be too awful; my freinds' servants have robbed me right and left, and as for an elephant, she apparently eats gold. I can trust you not to repeat this. And M.L. - please employ initials, he listens - is fat the worst of all.' [ML is Mohammed Latif, a servant]
'I told you he's no good.'
'He is plenty of good for himself; his dishonesty will ruin me.'
'Aziz, how monstrous!'
'I am delighted with him really, he has made my guests comfortable; besides, it is my duty to employ him, he is my cousin. If money goes, money comes. If money stays, death comes. DId you ever learn that useful Urdu proverb? Probably not, for I have just invented it.'
'Mt proverbs are: A penny saved is a penny earned; A stitch in time saves nine; Look before you lap; and the British Empire rest on them. You will never kick us out, you know, until you cease employing MLs and such.'
'Oh, kick you out? WHy should I trouble over that dirty job? Leave it to the politicians...No, when i was a student I got excited over your damned countrymen, certainly; but if they'll let me get on with my profession, and not be too rude to me officially, I really don't ask for more.'
'But you do; you take them to a picnic.'
'This picnic is nothing to do with English or Indians; it is an expedition of friends.' - p.170

A Passage to India - Life and Freud's Death Instinct (Again)

The following chestnut from Forster describes an aspect of life I'm sure everyone has acknowledged at some point in a kind of nihilistic confrontation of our insignificance. And it is the last line of the paragraph which I get quite excited over as it once again conjures up Freud's theory of Thanatos, or the Death Drive, in which we all aim at reducing stimulus to absolute zero - achievable only in death. There's a lot of material out there for elucidation, but i especially like the following article: http://www.artsandopinion.com/2007_v6_n3/lewis-29.htm

'Most of life is so dull that there is nothing to be said about it, and the books and talk that would describe it as interesting are obliged to exaggerate, in the hope of justifying their own existence. Inside its cocoon of work or social obligation, the human spirit slumbers for the most part, registering the distinction between pleasure and pain, but not nearly as alert as we pretend. There are periods in the most thrilling day during which nothing happens, and though we continue to exclaim 'I do enjoy myself' or 'I am horrified' we are insincere. 'As far as i feel anything, it is enjoyment, horror' - it's no more than that really, and a perfectly adjusted organism would be silent.' -p.145

I warn you, as soon as you starting reading Freud, you'll see him everywhere in everything...

A Passage to India - Thoughts over Children

Aziz and Fielding's relationship is a healthy enjoyable one that truly inspires as well as saddens due its intrinsically tragic inevitability. The following is a bonding moment of many; Aziz is baffled by the lack of acepted tradition in Fielding's character:

'Aziz after another silence said, 'Why are you not married?'
Fielding was pleased that he had asked. 'Because I have more or less come through without it...The lady i liked wouldn't marry me - that is the main point, but that's fifteen years ago and now means nothing.'
'But you haven't children.'
'None.'
'Excuse the following question: have you any illegitimate children?'
'No. I'd willingly tell you if i had.'
'Then your name will entirely die out.'
'It must.'
'Well.' He shook his head. 'This indifference is what the Oriental will never understand.'
'I don't care for children.'
'Caring has nothing to do with it,' he said impatiently.
'I don't feel their absence, I don't want them weeping around my deathbed and being polite about me afterwards, which I believe is the general notion. I'd far rather leave a thought behind me than a child. Other people can have children. No obligation, with England getting so chock-a-block and overrunning India for jobs.' - 130

A Passage to India - Life Between Worlds

There's a wondeful passage that seems to define life as a transcient trifle where what is really important is the snatching and appreciation of moments of beauty, for it is beauty that characterises this quick burst of humanity and makes it beyond bearable, but enjoyable:

'The poem had done no 'good' to anyone, but it was a passing reminder, a breath from the divine lips of beauty, a nightingale between two worlds of dust. Less explicit than the call to Krishna, it voiced our loneliness nevertheless, our isolation, our need for the Friend who never comes yet is not entirely disproved.' - p.119
Religion vs Beauty. It recalls a particular metaphor in a poem I can't for the life of me recall where life is reduced to a bird flying in from the cold to enjoy the warmth and tremendous excitement of a festive feast in an instant before exiting through another open window. Two worlds of dust separated by life.

If anyone knows the poem, please put me out of my misery, there's a connection awaiting conclusion.

Monday, December 14, 2009

A Passage to India - Colonialism. Why are we here?

Like many explorations of colonisation there is always a fundamental difficulty that no matter how deeply investigated and logically reasoned fails to be fully addressed; the coloniser despite just and reasonable justifications has no choice but to trail off into silence or obscurity. Marlowe in Conrad's 'Heart of Darkness' is just as guilty of this as Ronny here arguing with his perhaps naive mother who maybe comes as close to the issue as possible:

''We're not out here for the purpose of behaving pleasantly!'
'What do you mean?'
'...We're out here to do justice and keep the peace. Them's my sentiments. India isn't a drawing room.'
'Your sentiments are those of a god,' she said quietly...
...'India likes gods.'
'And Englishmen like posing as gods.'
'There's no point in all of this...I am out here to work, mind, to hold this wretched country by force. I'm not a missionary or a Labour Member or a vague sentimental sympathetic literary man. I'm just a servant of the Government...We're not pleasant in India, and we don't intend to be pleasant. We've something more important to do.'
   He spoke sincerely. Every day he worked hard in the court trying to decide which of two untrue accounts was the less untrue, trying to dispense justice fearlessly, to protect the weak against the less weak, the incoherent against the plausible, surrounded by lies and flattery. That morning he had convicted a railway clerk of overcharging pilgrims for their tickets, and a Pathan of attempted rape. He expected no gratitude, no recognition for this, and both clerk and Pathan might appeal, bribe their witnesses more effectually in the interval, and get their sentences reversed.
...He spoke sincerely, but she could have wished with less gusto. How Ronny revelled in the drawbacks of his situation! how he did rub it in that he was not in India to behave pleasantly, and derived positive satisfaction therefrom!'
...'I'm going to argue, and indeed dictate, ' she said...'The English are out here to be pleasant.'
'How do you make that out, mother?' he asked, speaking gently again, for he was ashamed of his irritability.
'Because India is part of the earth. And God has put us on the earth in order to be pleasant to each other. God...is...love.' She hesitated, seeing how much he disliked the argument, but something made her go on. 'God has put us on earth to love our neighbours and to show it, and He is omnipresent, even in India, to see how we are succeeding...The desire to behave pleasantly satisfies God...The sincere if impotent desire wins His blessing. I think everyone fails, but there are so many kinds of failure. Goodwill and more goodwill and more goodwill.'' -pp.69-71

A Passage to India - Privacy, conventions and the weather

'[Mrs Moore] Accustomed to the privacy of London, she could not realise that India, seemingly so mysterious, contains none, and that consequently the conventions have greater force.' - p.68
This is certainly true, there is no privacy; fear of liberal talk proliferating keeps one self-consciously in check. Everyone knows everyone who knows anyone who talks to everyone such that noone can afford to adopt an entirely independent 'who cares what anyone thinks' attitude because there will always be someone who cares. Obstacles of interconnection are everywhere; only the white tiger can break through at great personal cost and tremendously destructive consequences.

'There's nothing in India but the weather...it's the alpha and omega of the whole affair' - p.68
Lethargic. Soporific. Heat. I miss it.


Monday, November 30, 2009

My Passage to India

Back from India and what an excellent experience! I hesitate to say crazy because somehow I wasn't shocked at all, everything was just as i had pictured it. So many people had raved about how crazy it was, the pollution, the bustle, the noise, the crowds, the lack of health & safety and the list goes on to include just about every opposite quality of the west.  Of course, in true developing third world fashion, the extreme poverty is modestly off-set by the not so modest marvels of luxury hotels, restaurants and bars complete with exceptional first-calss service.  Then again, with every statement about the country, there is an aspect of india to contradict it, so the best way to describe it is to say that it is absolutely everything, just with fewer white people.
 

Naturally, my first venture to India had to be accompanied by E.M. Forster's 'A Passage to India', which presents some rather incisive comments on the British colonisation of the country with wider explorations as to the fundamental incompatibilities of two cultures. Upon my return, in keeping with the region, I have also gotten through the engaging and quick read of Aravind Adiga's 'The White Tiger', which I recommend as a kind of modern day assessment of Indian mentality and life in contrast with the comparative order of the West.

Monday, November 9, 2009

The Wasp Factory - Signs & Symbols, Systems & Processes

All our lives are symbols. Everything we do is part of a pattern we have at least some say in. The strong make their patterns and influence other people’s, the weak have their courses mapped out for them. The weak and the unlucky, and the stupid. The Wasp Factory is part of the pattern because it is part of life and – even more so – part of death. Like life it is complicated, so all the components are there. The reason it can answer questions is because every question is a start looking for an end, and the Factory is about the End – death, no less. Keep your entrails and sticks and dice and books and birds and voices and pendants and all the rest of that crap; I have the Factory, and it’s about now and the future; not the past. –pp.117-8

The Wasp Factory - Children; the sexless

I killed little Esmerelda because I felt I owed it to myself and to the world in general. I had, after all, accounted for two male children and thus done womankind something of a statistical favour. If I really had the courage of my convictions, I reasoned, I ought to redress the balance at least slightly. My cousin was simply the easiest and most obvious target.
  Again, I bore her no personal ill-will. Children aren’t real people, in the sense that they are not small males and females but a separate species which will (probably) grow into one or the other in due time. Younger children in particular, before the insidious and evil influence of society and their parents have properly got to them, are sexlessly open and hence perfectly likeable. –p.87

The Wasp Factory - UFOs to the Less Logical and Less Imaginative

I remembered once, in the middle of summer two years ago, when I was coming down the path in the late dusk after a day’s walking in the hills beyond the town, I saw in the gathering night strange lights, shifting in the air over and far beyond the island. They wavered and moved uncannily, glinting and shifting and burning in a heavy, solid way no thing should in the air. I stooped and watched them for a while, training my binoculars on them and seeming, now and again in the shifting images of light, to discern structures around them. A chill passed through me then and my mind raced to reason out what I was seeing. I glanced quickly about in the gloom, and then back to those distant, utterly silent towers of flickering flame. They hung there in the sky like faces of fire looking down on the island, like something waiting.
  Then it came to me, and I knew.
  A mirage, a reflection of layers on air out to sea. I was watching the gas-flares of oil-rigs maybe hundreds of kilometers away, out in the North Sea. Looking again at those dim shapes around the flame, they did appear to be rigs, vaguely made out in their own gassy glare. I went on my way happy after that – indeed, happier that I had been before I had seen the strange apparitions – and it occurred to me that somebody both less logical and less imaginative would have jumped to the conclusion that what they had seen were UFOs. –p.86

The Wasp Factory - The Technicolor Yawn


Christ, I was about to do the Technicolor Yawn all over this girl’s jacket, through the tears and rusting her zips and filling her pockets…
  ‘Want a fag?’ the girl said, shoving a packet up past my nose towards Jamie. I was seeing trails and lights from the blue packet’s passing even after she brought it back down…I saw the lighter go up, igniting in front of my eyes in a shower of sparks like a fireworks display. I could almost feel my occipital lobe fusing. –p.77

The Wasp Factory - Control

I think there is a secret in the study. He had hinted as much more than once, just vaguely, just enough to entice me so that I want to ask what, so that he knows that I want to ask. I don’t ask, of course, because I wouldn’t get any worthwhile answer. If he did tell me anything it would be a pack of lies, because obviously the secret wouldn’t be secret any more if he told me the truth, and he can feel, as I do, that my increasing maturity he needs all the holds over me he can get; I’m not a child any more. Only these little bits of bogus power enable him to think he is in control of what he sees as the correct father-son relationship. It’s pathetic really, but with his little games and his secrets and his hurtful remarks he tries to keep his security intact. –p.16

  ‘I’m not sleeping.’
  ‘You’re not sleeping?’
  ‘Of course not. You don’t have to sleep. That’s just something they tell you to keep control over you. Nobody has to sleep; you’re taught to sleep when you’re a kid. If you’re really determined, you can get over it. I’ve got over the need to sleep. I never sleep now. That way it’s a lot easier to keep watch and make sure they don’t creep up on you, and you can keep going as well. Nothing like keeping going. You become like a ship.’-pp.59-60

The Wasp Factory - Women and the Sea

My greatest enemies are Women and the Sea. These things I hate. Women because they are weak and stupid and live in the shadow of men and are nothing compared to them, and the Sea because it has always frustrated me, destroying what I have built, washing away what I have left, wiping clean the marks I have made. And I’m not all that sure the Wind is blameless, either.
  The Sea is a sort of mythological enemy, and I make what you might call sacrifices to it in my soul, fearing it a little, respecting it as you’re supposed to, but in many ways treating it as an equal. It does things to the world, and so do I; we should both be feared. Women… well, women are a bit too close for comfort as far as I’m concerned. I don’t even like having them on the island, not even Mrs Clamp, who comes every week on a Saturday to clean the house and deliver our supplies. She’s ancient and sexless the way the very old and the very young are, but she’s still been a woman, and I resent that, for my own good reason. –pp.43-44


Don't quite see what Frank's issue is...

The Wasp Factory - God's Creatures

  ‘I hope you weren’t out killing any of God’s creatures.’
  I shrugged at him again. Of course I was out killing things. How the hell am I supposed to get heads and bodies for the Poles and the Bunker if I don’t kill things? There just aren’t enough natural deaths. You can’t explain that sort of thing to people, though. –p.13


The Wasp Factory by Iain Banks



The narrator of Banks' novel is an incredibly intriguing and disturbing specimen of a character.  There are a couple core elements to this book that really interest me.  The first I suppose being the intricacy of Frank's self-constructed world, with all its bizarre rituals and processes which we gradually get drawn deeper into.  Then there is the sheer disturbing creativity of it all as we witness Frank's crimes and understand the devilishly logical thought processes behind them.  But I suppose what really intrigued me was the occasionally beautiful yet sinisterly succinct and perhaps almost at times feminine passages of prose which are juxtaposed against the cruelty and disturbing subject matter of teenager Frank Cauldhame's life. It’s all just so oddly calibrated.

My father’s leg, locked solid, has given me my sanctuary up in the warm space of the big loft, right at the top of the house where the junk and the rubbish are, where the dust moves and the sunlight slants and the Factory sits – silent, living and still. –p.10

Ominous.

Clouds were coming in off the sea, closing the sky like a door and trapping the day’s heat over the island. Thunder rumbled on the other side of the hills, without light. I slept fitfully, lying sweating and tossing and turning on my bed, until a bloodshot dawn rose over the sands of the island. –p.157

The breaks in the cloud overhead were moving slowly inland as I walked back up the path towards the town. It was dark for half-seven, a summery gloom of soft light everywhere over the dry land. A few birds stirred themselves lethargically as I went past. Quite a few were perching on the wires of the telephone line snaking its way to the island on skinny poles. Sheep made their ugly, broken noises, little lambs bleated back. Birds sat on barbed-wire fences farther on, where the snagged tufts of dirty wool showed the sheep trails underneath…I sighed and kept on walking, through the slowly diminishing dunes and past the rough fields and straggle pastureland. –p.166

Perverse Pastoral?

Sunday, October 4, 2009

Women in Love - Strangulation & Porphyria's Lover



He took the throat of Gudrun between his hands, that were hard and indomitably powerful. And her throat was beautifully, so beautifully soft, save that, within, he could feel the slippery chords of her life. And this he crushed, this he could crush. What bliss! Oh what bliss, at last, what satisfaction, at last! The pure zest of satisfaction filled his soul. He was watching the unconsciousness come unto her swollen face, watching the eyes roll back. How ugly she was! What a fulfilment, what a satisfaction! How good this was, oh how good it was, what a God-given gratification, at last! He was unconscious of her fighting and struggling. The struggling was her reciprocal lustful passion in this embrace, the more violent it became, the greater the frenzy of delight, till the zenith was reached, the crisis, the struggle was overborne, her movement became softer, appeased.

Loerke roused himself on the snow, too dazed and hurt to get up. Only his eyes were conscious.

'Monsieur!' he said, in his thin, roused voice: 'Quand vous aurez fini—'

A revulsion of contempt and disgust came over Gerald's soul. The disgust went to the very bottom of him, a nausea. Ah, what was he doing, to what depths was he letting himself go! As if he cared about her enough to kill her, to have her life on his hands! -pp.413-14
Reminiscent of a beautifully sinister poem:
Robert Browning's 'Porphyria's Lover':

THE rain set early in to-night,
    The sullen wind was soon awake,
It tore the elm-tops down for spite,
    And did its worst to vex the lake:
    I listen'd with heart fit to break.
When glided in Porphyria; straight
    She shut the cold out and the storm,
And kneel'd and made the cheerless grate
    Blaze up, and all the cottage warm;
    Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
    And laid her soil'd gloves by, untied
Her hat and let the damp hair fall,
    And, last, she sat down by my side
    And call'd me. When no voice replied,
She put my arm about her waist,
    And made her smooth white shoulder bare,
And all her yellow hair displaced,
    And, stooping, made my cheek lie there,
    And spread, o'er all, her yellow hair,
Murmuring how she loved me—she
    Too weak, for all her heart's endeavour,
To set its struggling passion free
    From pride, and vainer ties dissever,
    And give herself to me for ever.
But passion sometimes would prevail,
    Nor could to-night's gay feast restrain
A sudden thought of one so pale
    For love of her, and all in vain:
    So, she was come through wind and rain.
Be sure I look'd up at her eyes
    Happy and proud; at last I knew
Porphyria worshipp'd me; surprise
    Made my heart swell, and still it grew
    While I debated what to do.
That moment she was mine, mine, fair,
    Perfectly pure and good: I found
A thing to do, and all her hair
    In one long yellow string I wound
    Three times her little throat around,
And strangled her. No pain felt she;
    I am quite sure she felt no pain.
As a shut bud that holds a bee,
    I warily oped her lids: again
    Laugh'd the blue eyes without a stain.
And I untighten'd next the tress
    About her neck; her cheek once more
Blush'd bright beneath my burning kiss:
    I propp'd her head up as before,
    Only, this time my shoulder bore
Her head, which droops upon it still:
    The smiling rosy little head,
So glad it has its utmost will,
    That all it scorn'd at once is fled,
    And I, its love, am gain'd instead!
Porphyria's love: she guess'd not how
    Her darling one wish would be heard.
And thus we sit together now,
    And all night long we have not stirr'd,
    And yet God has not said a word!

Women in Love - No Greater Tedium


'No—Paris,' he resumed, 'it makes me sick. Pah—l'amour. I detest it. L'amour, l'amore, die Liebe—I detest it in every language. Women and love, there is no greater tedium,' he cried.

She was slightly offended. And yet, this was her own basic feeling. Men, and love—there was no greater tedium.

'I think the same,' she said.

'A bore,' he repeated. 'What does it matter whether I wear this hat or another. So love. I needn't wear a hat at all, only for convenience. Neither need I love except for convenience. I tell you what, gnadige Frau—' and he leaned towards her—then he made a quick, odd gesture, as of striking something aside—'gnadige Fraulein, never mind—I tell you what, I would give everything, everything, all your love, for a little companionship in intelligence—' his eyes flickered darkly, evilly at her. 'You understand?' he asked, with a faint smile. 'It wouldn't matter if she were a hundred years old, a thousand—it would be all the same to me, so that she can UNDERSTAND.' He shut his eyes with a little snap.

Again Gudrun was rather offended. Did he not think her good looking, then? Suddenly she laughed.

'I shall have to wait about eighty years to suit you, at that!' she said. 'I am ugly enough, aren't I?'

He looked at her with an artist's sudden, critical, estimating eye.

'You are beautiful,' he said, 'and I am glad of it. But it isn't that—it isn't that,' he cried, with emphasis that flattered her. 'It is that you have a certain wit, it is the kind of understanding. For me, I am little, chetif, insignificant. Good! Do not ask me to be strong and handsome, then. But it is the ME—' he put his fingers to his mouth, oddly—'it is the ME that is looking for a mistress, and my ME is waiting for the THEE of the mistress, for the match to my particular intelligence. You understand?'

'Yes,' she said, 'I understand.'

'As for the other, this amour—' he made a gesture, dashing his hand aside, as if to dash away something troublesome—'it is unimportant, unimportant. Does it matter, whether I drink white wine this evening, or whether I drink nothing? IT DOES NOT MATTER, it does not matter. So this love, this amour, this BAISER. Yes or no, soit ou soit pas, today, tomorrow, or never, it is all the same, it does not matter—no more than the white wine.'

He ended with an odd dropping of the head in a desperate negation. -pp.401-2
Continuing the notion of Paris and Love and convention a lovely provocative poem is James Fenton's 'In Paris with You':
Don’t talk to me of love. I’ve had an earful
And I get tearful when I’ve downed a drink or two.
I’m one of your talking wounded.
I’m a hostage. I’m maroonded.
But I’m in Paris with you.

Yes, I’m angry at the way I’ve been bamboozled
And resentful at the mess that I’ve been through.
I admit I’m on the rebound
And I don’t care where are we bound.
I’m in Paris with you.

Do you mind if we do not go to the Louvre,
If we say sod off to sodding Notre Dame
If we skip the champs Elysees
And remain here in this sleazy
Old hotel room
Doing this or that
To what and whom
Learning who you are,
Learning what I am.

Don’t talk to me of love. Let’s talk of Paris,
The little bit of Paris in our view.
There’s that crack across the ceiling
And the hotel walls are peeling
And I’m in Paris with you.

Don’t talk to me of love. Let’s talk of Paris.
I’m in Paris with the slightest thing you do.
I’m in Paris with your eyes, your mouth,
I’m in Paris with…..all points south.
Am I embarrassing you?
I’m in Paris with you.

Women in Love - Torn like Silk



'Do you know what it is to suffer when you are with a woman? She's so beautiful, so perfect, you find her SO GOOD, it tears you like a silk, and every stroke and bit cuts hot—ha, that perfection, when you blast yourself, you blast yourself! And then—' he stopped on the snow and suddenly opened his clenched hands—'it's nothing—your brain might have gone charred as rags—and—' he looked round into the air with a queer histrionic movement 'it's blasting—you understand what I mean—it is a great experience, something final—and then—you're shrivelled as if struck by electricity.' He walked on in silence. It seemed like bragging, but like a man in extremity bragging truthfully.-p.385

Women in Love - Destruction of The Self

Birkin's letter is read aloud and ridiculed by acquaintances in his absence, it expresses some interesting thoughts:

'Isn't that the letter about uniting the dark and the light—and the Flux of Corruption?' asked Maxim, in his precise, quick voice.

'I believe so,' said the Pussum.

'Oh is it? I'd forgotten—HIC!—it was that one,' Halliday said, opening the letter. 'HIC! Oh yes. How perfectly splendid! This is one of the best. "There is a phase in every race—"' he read in the sing-song, slow, distinct voice of a clergyman reading the Scriptures, '"When the desire for destruction overcomes every other desire. In the individual, this desire is ultimately a desire for destruction in the self"—HIC!—' he paused and looked up.

'I hope he's going ahead with the destruction of himself,' said the quick voice of the Russian. Halliday giggled, and lolled his head back, vaguely.

'There's not much to destroy in him,' said the Pussum. 'He's so thin already, there's only a fag-end to start on.'

'Oh, isn't it beautiful! I love reading it! I believe it has cured my hiccup!' squealed Halliday. 'Do let me go on. "It is a desire for the reduction process in oneself, a reducing back to the origin, a return along the Flux of Corruption, to the original rudimentary conditions of being—!" Oh, but I DO think it is wonderful. It almost supersedes the Bible-'

'Yes—Flux of Corruption,' said the Russian, 'I remember that phrase.'

'Oh, he was always talking about Corruption,' said the Pussum. 'He must be corrupt himself, to have it so much on his mind.'

'Exactly!' said the Russian.

'Do let me go on! Oh, this is a perfectly wonderful piece! But do listen to this. "And in the great retrogression, the reducing back of the created body of life, we get knowledge, and beyond knowledge, the phosphorescent ecstasy of acute sensation." Oh, I do think these phrases are too absurdly wonderful. Oh but don't you think they ARE—they're nearly as good as Jesus. "And if, Julius, you want this ecstasy of reduction with the Pussum, you must go on till it is fulfilled. But surely there is in you also, somewhere, the living desire for positive creation, relationships in ultimate faith, when all this process of active corruption, with all its flowers of mud, is transcended, and more or less finished—" I do wonder what the flowers of mud are. Pussum, you are a flower of mud.'

'Thank you—and what are you?'

'Oh, I'm another, surely, according to this letter! We're all flowers of mud—FLEURS—HIC! DU MAL! It's perfectly wonderful, Birkin harrowing Hell—harrowing the Pompadour—HIC!'

'Go on—go on,' said Maxim. 'What comes next? It's really very interesting.'

'I think it's awful cheek to write like that,' said the Pussum.

'Yes—yes, so do I,' said the Russian. 'He is a megalomaniac, of course, it is a form of religious mania. He thinks he is the Saviour of man—go on reading.'

'Surely,' Halliday intoned, '"surely goodness and mercy hath followed me all the days of my life—"' he broke off and giggled. Then he began again, intoning like a clergyman. '"Surely there will come an end in us to this desire—for the constant going apart,—this passion for putting asunder—everything—ourselves, reducing ourselves part from part—reacting in intimacy only for destruction,—using sex as a great reducing agent, reducing the two great elements of male and female from their highly complex unity—reducing the old ideas, going back to the savages for our sensations,—always seeking to LOSE ourselves in some ultimate black sensation, mindless and infinite—burning only with destructive fires, raging on with the hope of being burnt out utterly—"'-p.334-35

Women in Love - Marriage; Achieving Something Beyond Love

Read first, Something Beyond Love.

He sat looking at her. She could feel his darkened steady eyes looking at her all the time. It made her a little bit frightened. She pushed her hair off her forehead nervously.

'Do I look ugly?' she said.

And she blew her nose again.

A small smile came round his eyes.

'No,' he said, 'fortunately.'

And he went across to her, and gathered her like a belonging in his arms. She was so tenderly beautiful, he could not bear to see her, he could only bear to hide her against himself. Now; washed all clean by her tears, she was new and frail like a flower just unfolded, a flower so new, so tender, so made perfect by inner light, that he could not bear to look at her, he must hide her against himself, cover his eyes against her. She had the perfect candour of creation, something translucent and simple, like a radiant, shining flower that moment unfolded in primal blessedness. She was so new, so wonder-clear, so undimmed. And he was so old, so steeped in heavy memories. Her soul was new, undefined and glimmering with the unseen. And his soul was dark and gloomy, it had only one grain of living hope, like a grain of mustard seed. But this one living grain in him matched the perfect youth in her.

'I love you,' he whispered as he kissed her, and trembled with pure hope, like a man who is born again to a wonderful, lively hope far exceeding the bounds of death.

She could not know how much it meant to him, how much he meant by the few words. Almost childish, she wanted proof, and statement, even over-statement, for everything seemed still uncertain, unfixed to her.

But the passion of gratitude with which he received her into his soul, the extreme, unthinkable gladness of knowing himself living and fit to unite with her, he, who was so nearly dead, who was so near to being gone with the rest of his race down the slope of mechanical death, could never be understood by her. He worshipped her as age worships youth, he gloried in her, because, in his one grain of faith, he was young as she, he was her proper mate. This marriage with her was his resurrection and his life.

All this she could not know. She wanted to be made much of, to be adored. There were infinite distances of silence between them. How could he tell her of the immanence of her beauty, that was not form, or weight, or colour, but something like a strange, golden light! How could he know himself what her beauty lay in, for him. He said 'Your nose is beautiful, your chin is adorable.' But it sounded like lies, and she was disappointed, hurt. Even when he said, whispering with truth, 'I love you, I love you,' it was not the real truth. It was something beyond love, such a gladness of having surpassed oneself, of having transcended the old existence. How could he say "I" when he was something new and unknown, not himself at all? This I, this old formula of the age, was a dead letter.

In the new, superfine bliss, a peace superseding knowledge, there was no I and you, there was only the third, unrealised wonder, the wonder of existing not as oneself, but in a consummation of my being and of her being in a new one, a new, paradisal unit regained from the duality. Nor can I say 'I love you,' when I have ceased to be, and you have ceased to be: we are both caught up and transcended into a new oneness where everything is silent, because there is nothing to answer, all is perfect and at one. Speech travels between the separate parts. But in the perfect One there is perfect silence of bliss. They were married by law on the next day, and she did as he bade her, she wrote to her father and mother. -p.322-33
Ursula demonstrates her understanding in a later conversation with her sister Gudrun:
'And what will happen when you find yourself in space?' she cried in derision. 'After all, the great ideas of the world are the same there. You above everybody can't get away from the fact that love, for instance, is the supreme thing, in space as well as on earth.'

'No,' said Ursula, 'it isn't. Love is too human and little. I believe in something inhuman, of which love is only a little part. I believe what we must fulfil comes out of the unknown to us, and it is something infinitely more than love. It isn't so merely HUMAN.'

Gudrun looked at Ursula with steady, balancing eyes. She admired and despised her sister so much, both! Then, suddenly she averted her face, saying coldly, uglily:

'Well, I've got no further than love, yet.'

Over Ursula's mind flashed the thought: 'Because you never HAVE loved, you can't get beyond it.'

Gudrun rose, came over to Ursula and put her arm round her neck. -p.383

Women in Love - Yearning for The Past & Materialism of The Present




'Look,' said Birkin, 'there is a pretty chair.'

'Charming!' cried Ursula. 'Oh, charming.'

It was an arm-chair of simple wood, probably birch, but of such fine delicacy of grace, standing there on the sordid stones, it almost brought tears to the eyes. It was square in shape, of the purest, slender lines, and four short lines of wood in the back, that reminded Ursula of harpstrings.

'It was once,' said Birkin, 'gilded—and it had a cane seat. Somebody has nailed this wooden seat in. Look, here is a trifle of the red that underlay the gilt. The rest is all black, except where the wood is worn pure and glossy. It is the fine unity of the lines that is so attractive. Look, how they run and meet and counteract. But of course the wooden seat is wrong—it destroys the perfect lightness and unity in tension the cane gave. I like it though—'

'Ah yes,' said Ursula, 'so do I.'

'How much is it?' Birkin asked the man.

'Ten shillings.'

'And you will send it—?'

It was bought.

'So beautiful, so pure!' Birkin said. 'It almost breaks my heart.' They walked along between the heaps of rubbish. 'My beloved country—it had something to express even when it made that chair.'

'And hasn't it now?' asked Ursula. She was always angry when he took this tone.

'No, it hasn't. When I see that clear, beautiful chair, and I think of England, even Jane Austen's England—it had living thoughts to unfold even then, and pure happiness in unfolding them. And now, we can only fish among the rubbish heaps for the remnants of their old expression. There is no production in us now, only sordid and foul mechanicalness.'

'It isn't true,' cried Ursula. 'Why must you always praise the past, at the expense of the present? REALLY, I don't think so much of Jane Austen's England. It was materialistic enough, if you like—'

'It could afford to be materialistic,' said Birkin, 'because it had the power to be something other—which we haven't. We are materialistic because we haven't the power to be anything else—try as we may, we can't bring off anything but materialism: mechanism, the very soul of materialism.'-p.310

Women in Love - Romantic Midnight Visit



Some lovely writing:

'Won't you take off your boots,' she said. 'They must be wet.'

He dropped his cap on a chair, unbuttoned his overcoat, lifting up his chin to unfasten the throat buttons. His short, keen hair was ruffled. He was so beautifully blond, like wheat. He pulled off his overcoat.

Quickly he pulled off his jacket, pulled loose his black tie, and was unfastening his studs, which were headed each with a pearl. She listened, watching, hoping no one would hear the starched linen crackle. It seemed to snap like pistol shots.

He had come for vindication. She let him hold her in his arms, clasp her close against him. He found in her an infinite relief. Into her he poured all his pent-up darkness and corrosive death, and he was whole again. It was wonderful, marvellous, it was a miracle. This was the everrecurrent miracle of his life, at the knowledge of which he was lost in an ecstasy of relief and wonder. And she, subject, received him as a vessel filled with his bitter potion of death. She had no power at this crisis to resist. The terrible frictional violence of death filled her, and she received it in an ecstasy of subjection, in throes of acute, violent sensation.

As he drew nearer to her, he plunged deeper into her enveloping soft warmth, a wonderful creative heat that penetrated his veins and gave him life again. He felt himself dissolving and sinking to rest in the bath of her living strength. It seemed as if her heart in her breast were a second unconquerable sun, into the glow and creative strength of which he plunged further and further. All his veins, that were murdered and lacerated, healed softly as life came pulsing in, stealing invisibly in to him as if it were the all-powerful effluence of the sun. His blood, which seemed to have been drawn back into death, came ebbing on the return, surely, beautifully, powerfully.

He felt his limbs growing fuller and flexible with life, his body gained an unknown strength. He was a man again, strong and rounded. And he was a child, so soothed and restored and full of gratitude.

And she, she was the great bath of life, he worshipped her. Mother and substance of all life she was. And he, child and man, received of her and was made whole. His pure body was almost killed. But the miraculous, soft effluence of her breast suffused over him, over his seared, damaged brain, like a healing lymph, like a soft, soothing flow of life itself, perfect as if he were bathed in the womb again.

His brain was hurt, seared, the tissue was as if destroyed. He had not known how hurt he was, how his tissue, the very tissue of his brain was damaged by the corrosive flood of death. Now, as the healing lymph of her effluence flowed through him, he knew how destroyed he was, like a plant whose tissue is burst from inwards by a frost.

He buried his small, hard head between her breasts, and pressed her breasts against him with his hands. And she with quivering hands pressed his head against her, as he lay suffused out, and she lay fully conscious. The lovely creative warmth flooded through him like a sleep of fecundity within the womb. Ah, if only she would grant him the flow of this living effluence, he would be restored, he would be complete again. He was afraid she would deny him before it was finished. Like a child at the breast, he cleaved intensely to her, and she could not put him away. And his seared, ruined membrane relaxed, softened, that which was seared and stiff and blasted yielded again, became soft and flexible, palpitating with new life. He was infinitely grateful, as to God, or as an infant is at its mother's breast. He was glad and grateful like a delirium, as he felt his own wholeness come over him again, as he felt the full, unutterable sleep coming over him, the sleep of complete exhaustion and restoration.

But Gudrun lay wide awake, destroyed into perfect consciousness. She lay motionless, with wide eyes staring motionless into the darkness, whilst he was sunk away in sleep, his arms round her.

She seemed to be hearing waves break on a hidden shore, long, slow, gloomy waves, breaking with the rhythm of fate, so monotonously that it seemed eternal. This endless breaking of slow, sullen waves of fate held her life a possession, whilst she lay with dark, wide eyes looking into the darkness. She could see so far, as far as eternity—yet she saw nothing. She was suspended in perfect consciousness—and of what was she conscious?

This mood of extremity, when she lay staring into eternity, utterly suspended, and conscious of everything, to the last limits, passed and left her uneasy. She had lain so long motionless. She moved, she became self-conscious. She wanted to look at him, to see him.

But she dared not make a light, because she knew he would wake, and she did not want to break his perfect sleep, that she knew he had got of her.

She disengaged herself, softly, and rose up a little to look at him. There was a faint light, it seemed to her, in the room. She could just distinguish his features, as he slept the perfect sleep. In this darkness, she seemed to see him so distinctly. But he was far off, in another world. Ah, she could shriek with torment, he was so far off, and perfected, in another world. She seemed to look at him as at a pebble far away under clear dark water. And here was she, left with all the anguish of consciousness, whilst he was sunk deep into the other element of mindless, remote, living shadow-gleam. He was beautiful, far-off, and perfected. They would never be together. Ah, this awful, inhuman distance which would always be interposed between her and the other being!

There was nothing to do but to lie still and endure. She felt an overwhelming tenderness for him, and a dark, under-stirring of jealous hatred, that he should lie so perfect and immune, in an other-world, whilst she was tormented with violent wakefulness, cast out in the outer darkness.

She lay in intense and vivid consciousness, an exhausting superconsciousness. The church clock struck the hours, it seemed to her, in quick succession. She heard them distinctly in the tension of her vivid consciousness. And he slept as if time were one moment, unchanging and unmoving.

She was exhausted, wearied. Yet she must continue in this state of violent active superconsciousness. She was conscious of everything—her childhood, her girlhood, all the forgotten incidents, all the unrealised influences and all the happenings she had not understood, pertaining to herself, to her family, to her friends, her lovers, her acquaintances, everybody. It was as if she drew a glittering rope of knowledge out of the sea of darkness, drew and drew and drew it out of the fathomless depths of the past, and still it did not come to an end, there was no end to it, she must haul and haul at the rope of glittering consciousness, pull it out phosphorescent from the endless depths of the unconsciousness, till she was weary, aching, exhausted, and fit to break, and yet she had not done.

Ah, if only she might wake him! She turned uneasily. When could she rouse him and send him away? When could she disturb him? And she relapsed into her activity of automatic consciousness, that would never end.

But the time was drawing near when she could wake him. It was like a release. The clock had struck four, outside in the night. Thank God the night had passed almost away. At five he must go, and she would be released. Then she could relax and fill her own place. Now she was driven up against his perfect sleeping motion like a knife white-hot on a grindstone. There was something monstrous about him, about his juxtaposition against her.

The last hour was the longest. And yet, at last it passed. Her heart leapt with relief—yes, there was the slow, strong stroke of the church clock—at last, after this night of eternity. She waited to catch each slow, fatal reverberation. 'Three—four—five!' There, it was finished. A weight rolled off her.

She raised herself, leaned over him tenderly, and kissed him. She was sad to wake him. After a few moments, she kissed him again. But he did not stir. The darling, he was so deep in sleep! What a shame to take him out of it. She let him lie a little longer. But he must go—he must really go.

With full over-tenderness she took his face between her hands, and kissed his eyes. The eyes opened, he remained motionless, looking at her. Her heart stood still. To hide her face from his dreadful opened eyes, in the darkness, she bent down and kissed him, whispering:

'You must go, my love.'-pp.300-2

Saturday, October 3, 2009

Women in Love - The Formula to Understand all People

Lawrence has this irritating method of writing passages that are wonderfully constructed, sound neat and eloquent and give the impression of lexical density so that I come away feeling I have just read something quite insightful but for the life of me can't piece it together and extract that all-important meaning.  The following lines are a conversation between two characters and presents the argument that all people are fundamentally identical because they, we, are all governed by the same principles.  It even specifies 'two great ideas' but neglects to go any further.  I don't know whether I'm missing something or perhaps am meant to apply my own definitions to this framework of thought but feel obliged to record it as something to ponder over - any help welcome:

The motor-car ran on, the afternoon was soft and dim. She talked with lively interest, analysing people and their motives-Gudrun, Gerald. He answered vaguely. He was not very much interested any more in personalities and in people-people were all different, but they were all enclosed nowadays in a definite limitation, he said; there were only about two great ideas, two great streams of activity remaining, with various forms of reaction therefrom. The reactions were all varied in various people, but they followed a few great laws, and intrinsically there was no difference. They acted and reacted involuntarily according to a few great laws, and once the laws, the great principles, were known, people were no longer mystically interesting. They were all essentially alike, the differences were only variations on a theme. None of them transcended the given terms. 

Ursula did not agree-people were still an adventure to her-but-perhaps not as much as she tried to persuade herself. Perhaps there was something mechanical, now, in her interest. Perhaps also her interest was destructive, her analysing was a real tearing to pieces. There was an under-space in her where she did not care for people and their idiosyncracies, even to destroy them. -p.265

Friday, October 2, 2009

Women in Love - The Italian Cat



When one thinks about it, it seems only natural that animals in different countries should only understand their country's language such that a dog in England will respond to English as a dog in Korea, bad example... a dog in France should only respond to French. But this is on the premise that animals actually understand human language. My understanding is that actually they might grow accustomed to certain sounds and attach them to corresponding actions but really its the way things are said, the intonation, the tone, the body language etc that actually communicates. So that the following passage in Lawrence's Women in Love is quite funny:

Birkin rang the bell for tea. They could not wait for Gudrun any
longer. When the door was opened, the cat walked in.

'Micio! Micio!' called Hermione, in her slow, deliberate sing-song. The
young cat turned to look at her, then, with his slow and stately walk
he advanced to her side.

'Vieni--vieni qua,' Hermione was saying, in her strange caressive,
protective voice, as if she were always the elder, the mother superior.
'Vieni dire Buon' Giorno alla zia. Mi ricorde, mi ricorde bene--non he
vero, piccolo? E vero che mi ricordi? E vero?' And slowly she rubbed
his head, slowly and with ironic indifference.

'Does he understand Italian?' said Ursula, who knew nothing of the
language.

'Yes,' said Hermione at length. 'His mother was Italian. She was born
in my waste-paper basket in Florence, on the morning of Rupert's
birthday. She was his birthday present.'-p.260
 

And that's the end of that. No one objects, no philosophising, nothing, just natural acceptance. Does anyone else find this odd?

Women in Love - Deus Ex Machina

The following again is from Gerald Crich's stock of crystalised visions and presents a beautiful yet perhaps obtuse bit of prose communicating an extension to his beliefs around man's purpose in life, productivity and industry - read previous post first: Man's Purpose 


[Bear in mind, Gerald Crich is a colliery owner/ manager]

Immediately he SAW the firm, he realised what he could do. He had a
fight to fight with Matter, with the earth and the coal it enclosed.
This was the sole idea, to turn upon the inanimate matter of the
underground, and reduce it to his will. And for this fight with matter,
one must have perfect instruments in perfect organisation, a mechanism
so subtle and harmonious in its workings that it represents the single
mind of man, and by its relentless repetition of given movement, will
accomplish a purpose irresistibly, inhumanly. It was this inhuman
principle in the mechanism he wanted to construct that inspired Gerald
with an almost religious exaltation. He, the man, could interpose a
perfect, changeless, godlike medium between himself and the Matter he
had to subjugate. There were two opposites, his will and the resistant
Matter of the earth. And between these he could establish the very
expression of his will, the incarnation of his power, a great and
perfect machine, a system, an activity of pure order, pure mechanical
repetition, repetition ad infinitum, hence eternal and infinite. He
found his eternal and his infinite in the pure machine-principle of
perfect co-ordination into one pure, complex, infinitely repeated
motion, like the spinning of a wheel; but a productive spinning, as the
revolving of the universe may be called a productive spinning, a
productive repetition through eternity, to infinity. And this is the
Godmotion, this productive repetition ad infinitum. And Gerald was the
God of the machine, Deus ex Machina. And the whole productive will of
man was the Godhead.

He had his life-work now, to extend over the earth a great and perfect
system in which the will of man ran smooth and unthwarted, timeless, a
Godhead in process. -pp.197-98



Anyone working in consultancy, performance improvement, business effectiveness etc. should take heart and certainly commit this passage to memory as it will invariably provide greater credence to such work in effect imbuing it with a most profound and ultimately deified significance.


But something that interests and maybe puzzles me is whether the passage fundamentally equates godliness to automation? hmmmmm...... Honestly, I don't have a clear idea of how to interpret this passage, but what I do know is that I like it and it sounds very interesting - as always, extremely keen to read any thoughts and comments



Women in Love - The Meaning of Life; Man's Purpose

My past few posts have concerned Death and Freud's theories regarding the Death Instinct or Death Wish that highlights a physiological compulsion to negate all stimulus to ultimately return to an inorganic state.  As a result, the characters in DHLawrence's Women in Love who seem to demonstrate this tendency towards death also present questions regarding the meaning of life but in most cases fail to really define what life has to offer as they are preoccupied with death.  In the following passage, Gerald Crich lends his assistance.  He is a colliery manager and injects the novel with some fantastic writings on industry and modernisation.  First, his fundamental views on life:

His vision had suddenly
crystallised. Suddenly he had conceived the pure instrumentality of
mankind. There had been so much humanitarianism, so much talk of
sufferings and feelings. It was ridiculous. The sufferings and feelings
of individuals did not matter in the least. They were mere conditions,
like the weather. What mattered was the pure instrumentality of the
individual. As a man as of a knife: does it cut well? Nothing else
mattered.

Everything in the world has its function, and is good or not good in so
far as it fulfils this function more or less perfectly. Was a miner a
good miner? Then he was complete. Was a manager a good manager? That
was enough. Gerald himself, who was responsible for all this industry,
was he a good director? If he were, he had fulfilled his life. The rest
was by-play.-p.193
 
Contextualise with those other ruminations:
Between the Desire and the Spasm 
The Death Instinct, Love and Tennyson 
Death and The Afterlife

Thursday, October 1, 2009

Women in Love - Nihilism; a Protection against Pain

 
This little character is extremely intriguing as she demonstrates a fantastic ability to detach herself emotionally in the blink of an eye so as to avoid any kind of pain - something I feel everyone should to some degree aspire to.  She's also called Winifred and happens to be the sister of Diana Crich who's death prompted Birkin's arguably insensitive exhortations regarding life and death covered in a previous post: Women in Love - The Death Instinct, Love and Tennyson.  But now back to Winifred and her life lesson for us all:

She was an odd, sensitive, inflammable child, having her father's dark
hair and quiet bearing, but being quite detached, momentaneous. She was
like a changeling indeed, as if her feelings did not matter to her,
really. She often seemed to be talking and playing like the gayest and
most childish of children, she was full of the warmest, most delightful
affection for a few things--for her father, and for her animals in
particular. But if she heard that her beloved kitten Leo had been run
over by the motor-car she put her head on one side, and replied, with a
faint contraction like resentment on her face: 'Has he?' Then she took
no more notice.

...She was quite single and by herself, deriving
from nobody. It was as if she were cut off from all purpose or
continuity, and existed simply moment by moment.

...She who could never suffer, because she never formed vital connections, she who could lose the dearest things of her life and be just the same the next day, the
whole memory dropped out, as if deliberately, she whose will was so
strangely and easily free, anarchistic, almost nihilistic, who like a
soulless bird flits on its own will, without attachment or
responsibility beyond the moment, who in her every motion snapped the
threads of serious relationship with blithe, free hands, really
nihilistic...never troubled. -pp.190-91


But does that leave us hollow and wanting in some way?

Women in Love - Death and The Afterlife



I have always been puzzled when it comes to death such that my convictions have evolved from first believing in an afterlife to then finding greater comfort in absolute nothingness and now finally settling on the concept of reincarnation. The thing that got me with heaven and hell, the rub as it were, was that it was endless, there was nothing speculated beyond that stage.  As human beings, I believe we are all physiologically programmed with the end in mind, there's no getting away from the passage of time and the teliological desire.  Everything has a beginning, but the end is the future and that is what we aspire to and what we are concerned with.  An entire film may be terrible but if the end is excellent then we can forgive the previous 80 minutes.  Therefore, for me, the idea of a constant state of any kind, an endless existence, was quite frightening; the only way this would not be terrible would be if in death as I'm sure would be the case, we are completely inhuman, freed from these desires and able to exist in an utterly other state. Something which we will never experience because to experience it would mean being something other than you or me entirely.  Far too abstract for me.  Reincarnation is therefore the only logical answer, nothing is created, all is recycled through transference.


Leaving reincarnation aside, these thoughts tie in somewhat with the Death Wish as explored in a previous post: Women in Love - The Death Instinct, Love and Tennyson. But it is also reassuring to find my sentiments expressed by Lawrence's Ursula in Women in Love, indubitably presenting a more eloquent, succinct and lucid argument:


But the great, dark, illimitable kingdom of death, there humanity was
put to scorn. So much they could do upon earth, the multifarious little
gods that they were. But the kingdom of death put them all to scorn,
they dwindled into their true vulgar silliness in face of it.

How beautiful, how grand and perfect death was, how good to look
forward to. There one would wash off all the lies and ignominy and dirt
that had been put upon one here, a perfect bath of cleanness and glad
refreshment, and go unknown, unquestioned, unabased. After all, one was
rich, if only in the promise of perfect death. It was a gladness above
all, that this remained to look forward to, the pure inhuman otherness
of death.

Whatever life might be, it could not take away death, the inhuman
transcendent death. Oh, let us ask no question of it, what it is or is
not. To know is human, and in death we do not know, we are not human.
And the joy of this compensates for all the bitterness of knowledge and
the sordidness of our humanity. In death we shall not be human, and we
shall not know. -p.167, DHLawrence, Women in Love