rifəlraftər

A piece of Literary Modernism arrives at its terminal significance exclusively when in concert with its composite parts. In this regard, as a departure from precedent modes of literary creation, Literary Modernism can be seen as an architectural art form, containing dimensional depth and structural diversity. That is, Modernist literature is not merely dependent upon narrative standards (sequence of plot, development of character, or a two dimensional temporal progression) but also relies on a structure of dimensionally complex multiformity. The form that the work adopts corresponds with its meaning. This is revolutionary, and artistic revolution usually breeds obscurity. This resultant obscurity, however, should not be seen as a meaningless obstacle, nor as something developed simply to render the work incomprehensible and thus iconoclastic. Instead, this obscurity must be considered as an indelible component of Modernist literary structure. Viewed in this way, the obscurity becomes a facet of the art’s purpose, and, as an element of structural reinforcement, the obscurity ironically clarifies the work’s meaning. Distilling what precedes: In an unprecedented way, modernist literary art relies on its structure to transmit its inherent meaning and purpose.

Consider Joyce’s Ulysses, specifically in its tenth part, Symplegades (The Wandering Rocks). As has been observed elsewhere, this subsidiary episode, relative to the larger work, can be seen as a condensation or a representation of the novel’s mode in miniature. This conclusion is supported by the episode’s structural position within the novel—at its center. The tenth part, as a somewhat core of the novel’s eighteen parts, serves as the nucleus—a hub at which both anterior and posterior episodes radiate and recall.

The first scene of this episode, which follows Father John Conmee, is the longest of the 19 therein. Its length, and consequently the large amount of temporal real estate covered in its narrative, serves as an initial frame of reference within which all subsequent scenes are positioned. This can be understood as a literarily accurate representation of the concepts of time and space in communion. From Conmee, we learn that the hour is precisely five minutes of three, and a perfect “time to walk to Artane” (Joyce 219). With this succinct presentation of Conmee as a man—as a character—we are led forward, following the reverend throughout the city, now understanding him to be a function of structure and of time.

With each step, Conmee extends the lateral dimension of the work’s structure, as well as the spatial dimension of his environment, for he is moving forward through time and onward through the city. Thus our perception of the corporeal city is expanded and developed through Conmee’s eyes. What is perhaps more important to note, however, is when and to whom father Conmee “saluted” “smiled” or otherwise “doffed his silk hat” (Joyce 219-224). It is in these moments of salutation that Conmee expands and reveals the multidimensional (spherical) representation of the city and its society as an enclosure of existence and an interlacement of time-perceptions. Thus Conmee increases our understanding of Dublin spatially on a plane, and temporally within a series of planes, or within a finite three dimensional space with the encountered characters acting as its representatives and foci.

The personages encountered during Conmee’s perambulation become the sensual and physical descriptors of urban life in Dublin. In a word, the characters become adjectives. Besides being descriptive elements, however, they also act as doorways through which narrative potentialities are briefly perceived. Each persona given us through Conmee’s journey and observation becomes an additional lattice upon which the structure of the episode is supported. This is the way in which the episode –and Ulysses more generally—is given depth and multiformity: through its characters and the overlapping of their unique spheres of consciousness.

This depth becomes apparent only after the subsequent scenes have been considered and aligned with their antecedent companions. As touched upon above, Conmee’s journey can be most basically understood as a comprehensive, temporal frame which extends through most, if not all, of the subsequent episodes. As Conmee walks, Dublin lives. e.g. as Corny Kelleher looks “idly out,” in the scene directly following Conmee’s, “Father John Conmee stepped into the Dollymount tram” (Joyce 225). The two events are contemporary and exist jointly on two separate, though parallel planes. We are sentient of this. However, Conmee and Kelleher, ignorantly encapsulated within their roles, are not. The synchronism of various events is upheld in the same manner throughout. This leads us to a conclusive statement that directly defends our original thesis: The final logic of the episode cannot be understood until the entirety of its body—its synchronism, its repetition, and its multiplicity—is presented in unison, as one finalized and coherent organism composed of interrelated parts. Given the episode’s structure, what is encountered in one scene cannot be known as final until the others have been encountered and finalized as well.

As we are transported into the world of Dublin, we are also presented with its composition. The depth of the narrative is constructed through the depth of its inhabitants’ perceptions. Dublin as it stands is static. The way in which it is perceived is mercurial and organic. By injecting the subconscious acuities of individuals, and thus the way in which they perceive their surroundings, Joyce causes the stasis of Dublin to dissolve. Dublin, and consequently Joyce’s episode, assumes the depth of individual perceptions which are combined to produce a wholly realistic portrayal of social interaction and urban existence.

The finale of the episode can be seen as the completion of the frame, and a general recapitulation of the world that has been created. Thus, therein, the entire body politic of Dublin and of Joyce’s mind is seen in totality. This is the architectural photograph. With all of the structural elements developed, finished, and glaringly new, what is left to be done is observe and appreciate what has been created. The previous focus dissolves, the perceptive limitations are dropped, and a panoramic vision of Joyce’s most recent creation is set out—moving, living, breathing, and changing. All of the characters previously encountered are here, gyrating around the viceregal parade and the city center. It is as if Joyce has built an interminable dynamo which he has been winding in all precedent sections, and building with all of his characters as blocks. And finally, at the episode’s denouement, the impossible thing is set free; the multi-dimensional formation is observed in its complex entirety; all previous perceptions unite in a whirling portrait of urban vitality and variety.

In this way, the initial obscurity of the episode is transmuted into clarity. But, after all, as the analogy has been made, the work is architectural. Each component presented alone does little to lend the observer understanding; each piece is without purpose in isolation. The sutures are fitted, the related points interlocked, and the final edifice presents itself as it was meant to be. The structure of the work, though nearly impressionistic in its atomized state, finds definitive purpose in its solid, finalized form. And just as an example of Modern Architecture appears fragmented, disjointed, and even dangerously askew, there remains hidden within its shape the mathematical certainty of structural integrity and purpose of design. With this parallel, literature has been revolutionized for the modern era. Dropping the dependence on narrative standards, Joyce has developed a new mode of literary realism. This is a mode in which every aspect of the given work is seen as integral to its meaning. Further, a method has been formed that integrates diverse elements into a structural sum that contains its embryonic meaning in composite form, but only grants it in completion and in beautiful finality.

i’ve found it.

In essence, Poetry is a condensed mode of perception. Though its role as a condensation of anything should not be taken to imply a resulting increase in simplicity; namely, there is somewhat of a reversal regarding the laws of language inherent to poetic construction—the complexity of poetical meaning, implication, and imagery is most often inversely proportional to its simplicity in syntax and form. That is: With poetry, saying something simply is not necessarily the same thing as saying something straightforwardly.

Consider Wallace Stevens, and the gap between the two widens all the more. If we are to trust self promotion, “Artists,” Ezra Pound says, “are the antennae of the race,” endowed with a heightened sense of perception, graced with the ability to see and consequently speak concisely what they observe. Hopefully this well of intellectual greatness is used to inform and guide the populace. However, where Pound would implement a stark separation between the artist and the everyman, Stevens, viewing this role of the poet as an artistic impertinence, is keen to dwell on the democratic multiplicity found in the act of perception itself—he seeks the poet within the everyman, and the poetry within the corporeal, not just the spiritual and the far removed. In Stevens’ work, a deconstruction of poetry is at hand. Therein, layers of philosophical rumination are removed, and the object—the idea, the image, the poem—is revealed in its essence: condensed, transformed, and undoubtedly complex.

Stevens is a compiler of cognizance. His poetry often never speaks with a single voice, but rather with the voices of many. For this reason, a blackbird can be seen in thirteen diverse ways. However, are we to take all thirteen “ways” of seeing this blackbird as individualized instances of unique perception, or rather as the collective product of a single persona, attempting to view something mundane in new, different ways? Perhaps the answer is less important than the question itself; granted, we can accept that this is Stevens at work, the capable wordsmith, testing his abilities to express a singular image in multiple styles, moods, and constructions. But, the poem’s authorship could be feasibly contributed to a consortium of individuals as well, all of them composing unique submissions for our consideration with the only prompt being a blackbird which ostensibly “whirled in the autumn winds.”

The importance of the poem is in its potential for expansion; if Stevens’ sense of humor had gone unrestricted, the poem very well could have been called, “Seven Hundred and Forty Eight Ways of Looking at a Blackbird.” And this was precisely his point—perception, being an individual construct of the human imagination, is endless, limitless, and boundlessly eccentric.

Thereby, there exists an infinite number of ways of looking at a blackbird. And the thirteen that come to us through Stevens—each constructing the same bird in distinct, and specific ways—could ultimately be the products of a poetically inspired flock of dichromatic nuns, issuing from a stone church, and frantically pencilling their ideas and thoughts regarding blackbirds within the margins of their prayer books—glory be to God, and all his creatures here on Earth…The specifics of the poem’s inspired origin are inconsequential.

In short, Stevens refused to become a despot of perception. Through his poetry, Stevens did not seek to present something as he perceived it, but rather sought to explore the various ways in which things are, and can be perceived. This is the primary element of Stevens’ complexity. The mercurial aspect of his poetry—the flippancy, the inconclusiveness—though repelling the less than vigilant reader, works to distance Stevens from the poetical “high-horse” upon which Pound (“The Antenna” of his race) would have gladly ridden.


Because Stevens does not present a concrete method of understanding in his poems, there is an implied expectation of contribution. In this regard, Wallace Stevens’ poetry can be seen as a kinetic machine requiring input and even insight of its readers in order to function. The act of perception is rife with movement and association. The production of poetry—and, in connection, the reading of it—thus becomes a kinetic conversation of the mind in relation with the objective, physical world. This is most basically exhibited in Stevens’ inclination to question, and to conclude images and thoughts mid-stride before an answer is reached. This aspect of Stevens could be extended and contrasted with the complacently thoughtful stasis of Frost and the Romantics.

Stevens, instead of presenting the reader with a fully fledged poetical edifice of American ingenuity and art, is content in asking the reader to despair in his own ignorance. Though in doing so, Stevens simultaneously assures the confused peruser that he is not alone in his desperation. Numerous examples can be found within the enigmatic spiritualism of “Sunday Morning.” “Shall our blood fail?” he asks, “And shall the earth/ Seem all of paradise that we shall know?” These are profound and troubling questions, lacking an explicative antecedent or conclusion. Should not the poet answer these perplexing uncertainties? Given the common model, it would seem so. But engendering this hasty conclusion would be to disregard the implied multiplicity of perceptions—the questions are open and therefore exposed. Here, the open question as a linguistic device is an instigator of depth—with each reading, and thereby with each new reader, an additional answer is contributed, an ancillary route of perception is laid bare.

Perhaps the most powerful effect of a unique perception is its ability to transform an object or idea into something conforming to the perceiver’s immediate mode of thought. It is safe to assume that Stevens was aware of this, and thus attempted to expose the dark side of poetry implicit in this characteristic of perception. Capable of providing insight and awareness, poetry is also capable of clouding those same ideals—the goals and aspirations of its own production—in vague verbiage, only masking something it seeks, in vain, to expose. Poetic perception, being a construct of the mind, and thereby a product of the imagination, can never express a thing as it truly is. Rather, perception can only attempt to express in its own language things that are without language. By perceiving something, we subconsciously enact a cycle with the ultimate aim of reconciling things of a corporeal nature—things of the earth—with things and processes of the mind. It is within this cycle, within this attempt at defining singular perceptions, that poetry takes its root.

This concept of the relation between mental perception and the physical, almost organic process of visual reception became Stevens’ primary theme. The definition and understanding of the physical object in the poem thus becomes, to a certain extent, nonessential. Instead, the importance of the same object lies in its infinite potential for the production of a series of unique perceptions. The subject of the poem—whether it be a scene, a persona, or an event—does not exist in isolation; there is no individual approach to dismantling or perceiving it. It is in this way that Stevens’ work can be seen as a summation of every poet’s role within himself and as a working component of a cognizant society.

Poetry relies on perception, and thereby can never be an honest and simple representation of reality; what was described and perceived by one poet is discounted entirely by another. Stevens understood this and thus presented his subjects as they were: mercurial, open-ended, and unresolved. In this regard, Wallace Stevens, battling some of his “naive” contemporaries, was unwilling to break his subjects down into their visual essences. Each image—each subject—as Stevens’ poetry manipulates it, is a silo of potential perceptional approaches. Inevitably, these approaches become more important than the subject—the image—itself. At root, the physical existence of the subject cannot be contained, nor can it become a “mask” for the object’s true identity. For this reason, “Water never formed to mind or voice”. Water, as an element—as an image—forms not to the mind but to itself and from a series of perceptions spread across time.


And what of Wallace Stevens? Is he to fall away, lost in the complexities of his own making? What did Wallace Stevens perceive? If the thirteen ways are, in fact, individual representations of a blackbird, which impression belonged to Stevens? It is easy to assume VIII. With its nobility and calm acceptance of what is, it is perhaps the closest we can come to pinning Stevens down:

I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

The speaker is older, educated, and wise. The segment could easily be taken as the poet’s admittance of his own insufficiencies and a recognition of the shortcomings in his art. It is the poet, elated by his ability to interpret and to “know noble accents,” to compose “lucid, inescapable rhythms,” realizing for the first time that, as an element of the world which he—the poet—must see, the blackbird demands recognition—it is the divine within the mundane, though it is seen as such only through a unique and individual form of perception.

If I when my wife is sleeping
and the baby and Kathleen
are sleeping
and the sun is a flame-white disc
in silken mists
above shining trees—
if I in my north room
dance naked, grotesquely
before my mirror
waving my shirt round my head
and singing softly to myself:
“I am lonely, lonely.
I was born to be lonely,
I am best so!”
If I admire my arms, my face,
my shoulders, flanks, buttocks
against the yellow drawn shades—

Who shall say I am not
the happy genius of my household?

-William Carlos Williams

I’ve recently re-read Nabokov’s ‘Lolita.’

I cannot even think of what to say.

I really like it.



“you can always count on a murderer for a fancy prose style.”

Accepting that fiction is a largely linear craft regarding time progression and development, it becomes obvious that Proust was an adversary of protocol.

For within Proust, the present, as a specified point in both space and time, forms the center of a nebulous web that reaches contemporaneously into the future, the past, and deeper into the present moment as it exists than what is immediately perceived by the reader, and perhaps the author himself.
Diagrammatically—for I currently am unable to adequately describe it—this can be represented in two different ways. It can be seen as a sort of linear, though dendritic narrational line, thus:

dendritic representation

or as a sort of concentric relation of three diverse, remote epochs in time, thus:

concentric representation

I’m partial to the second myself. Though, if you are quick to counter: “Yes, but that’s a fancy way of showing the obvious: our current lives are inherently affected by and constructed of events in the past as well as aspirations found solely in the future—a future idealized, remote, though inflexibly real.” You wouldn’t be wrong in saying so.

However, in Proust, the perception of this widely acknowledged “truth” goes beyond such a topical explanation. In Proust, the past and future, instead of merely acting invisibly upon the characters’ actions, as well as constructing their individual traits, maintain a nearly physical presence within each successive contemporary moment.

In this regard, past, present, and future are all actors upon Proust’s stage. The amorphous idea of one’s identity based on one’s experience of an individual temporality is not forced behind the satin curtain of “common sense.” Proust denies that this idea of temporality in an individual should be taken for granted. In short: time is a near-entity; time is not the structure in which events are placed, but rather the essence behind an event’s impetus, placement, and outcome.

What Proust means to expose is that time, that “thing”—for lack of a better word—that has perpetually confounded scientists and novelists alike, is rather simple. Taken literally, time, as opposed to being something metaphysical and beyond definition, rather is composed of easily recognizable physical elements, sensory data, and—it is Proust, after all—memories.

Whether it be the smell of lilac tainting the nose of a youthful perambulator, or the savory effect engendered by a Madeleine, dipped into a strong lime tea, each of these perceptions—moments, supported by one’s senses, left suspended in an individual’s unique understanding of time—work as pieces which ultimately compile to produce a life.


This is all very vague and philosophical—if that. Patience is pleaded for.
I’m sure that it will develop into something containing at least a meager amount of sense and worth. More will be added later as I get further along in the reading.

In the meantime: Think of a cephalopod, for this is the consummate Proustian character. With a brain for a body, and countless suctioning digits, its reason, its perception of time, reaches outward in every which way, in an attempt to hold onto and assimilate moments, ideas, dreams, entire lives. And sometimes—for this is an unavoidable result of having suction cups for fingers—we cannot seem to shake these things free.
And now, for the cephalopods.

Proust’s volumo secundo, “Within a Budding Grove,” has been veritably subdued! Onwards—gallantly, headlong into the thick of it—toward and through volume the third.

Reflections, observations, vehement fulminations are still warranted. Give it time. I am even now reeling with the “news” undoubtedly disclosed to southbound eyes.

Still…..I’m guiltily enjoying it, without knowing why I should feel guilty in doing so. The work is beautiful, plainly beautiful, and my advocacy of high modernism, against which I place Proust as a sort of over-qualified and contemporaneous preamble, has been trundling into obscurity and uncertainty as a result.

I, too, doubt the accuracy of my Latin.

MR. SAMUEL VINCENT LEMLEY
PO BOX 15338 UCSB
SANTA BARBARA, CA 93107
Dear Samuel:

It gives me great pleasure to offer you admission to the Sophomore class at the University of North Carolina at Chapel Hill in the General College. Even among the many strong students applying for admission this year, your academic and personal achievements set you apart. We believe that you have an exciting future ahead of you, and we hope that Carolina will be the next step in your journey.

Because we want you to finish strongly and come to Carolina ready to excel, your enrollment will depend upon your successful completion of your current academic year and your continued achievement at the level that enabled us to offer you admission. If you are currently enrolled in spring courses, we require that you have your final end-of-year record sent to us as soon as it becomes available.

Enclosed you will find a detailed description of the opportunities that await you, as well as a checklist of the steps you must take in order to complete your enrollment. Please review this information carefully, and please note that you will need to submit your response to our offer of admission no later than May 11, 2009, to guarantee your place in the class. Shortly, you will receive a written evaluation of your transfer credit that summarizes the credits you will be awarded upon your enrollment at the University. Please note that your class standing may change as result of our formal credit evaluation.

Again, congratulations on your admission to the University of North Carolina at Chapel Hill. I am delighted to be the first to welcome you to Carolina, and I wish you every success in the months ahead.

Sincerely,

Stephen Farmer
Associate Provost and Director of Admissions

And so, each step of mine jauntily bounces off of the fleeting promises inherent to life; a goal has been reached, and in consequence, a chain of potentialities has been simultaneously revealed, promised, and resolved.

As an English major with an adequate amount of the old amour propre, I have taken on the challenge of Marcel Proust’s “In Search of Lost Time.”

Reflections and reactions are bound to follow; I have only completed Vol. 1, “Swann’s Way,” and it can be said that its position as a masterpiece is fully justified. The intricacies in its architecture and syntax, which, in fact, are presented in a most simple way, are resplendent—coursing with life and hidden associations. The ambiguities present act as agents of disambiguation to what came before—I will not begin here, I hope to have the entirety of this beautiful monstrosity tamed and constrained by summer’s end.

Luck wished once is appreciated,
twice, and it is abhorred.

An outpouring of tension is needed; a cathartic burst of noise.
Igor will suffice: