RIP William H. Gass

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RIP William H. Gass, 1924-2017

I have now deleted three iterations of this “RIP William H. Gass” blog post. (If this iteration survives I will not edit it (this is the only way it will survive)). Each of these earlier drafts did not start with the grammatical subject “I” (here referring to me, Ed Turner, the dumbass blogger running this dumbass blog).  Instead, I (I!) tried to make “William H. Gass” the grammatical subject of each sentence (or, like, he, the pronoun reference to Gass; or, in a bit of extension, his body of literature (or some such iteration))—leading to sentences like these:

“William H. Gass was one of the best and perhaps most underrated American authors of the past one hundred years. He published three novels in his lifetime: Omensetter’s Luck (1966), The Tunnel (a project that took over a quarter century to finish, published in 1995), and Middle C (2013). Gass’s literary criticism—a broad term here, one that serves as a catchall for language and life and what it all means—was and is especially special in its special specialness. William Howard Gass is a literary giant who will continue to cast a long shadow” [Etcetera].

The truth is that I have to be the grammatical subject here because want to perform the action expressed by the predicate verb, a verb which we have not yet arrived to, thanks to all of my dilly-dallying. That verb I want to arrive at is Thanks. Thanks is the whole damn big main point of this deal: I want to say Thank you. I want to say thank you to William H. Gass (he here the you) for teaching me to read literature anew. And by literature, I mean words:

“It seems a country-headed thing to say: that literature is language, that stories and the places and the people in them are merely made of words as chairs are made of smoothed sticks and sometimes of cloth or metal tubes” (Gass, “The Medium of Fiction,” Fiction and the Figures of Life, 1970).

I look at the silly little blurb I spurted out above, the indented bit that begins with the grammatical subject William H. Gass. It ends in a metaphor that is properly a cliché—Gass as a giant who casts a long shadow—an image that Gass the critic wouldn’t even bother to pick apart, I hope, it being such a hackneyed bit. I’d be better off to image Gass as a giant reflecting light, not casting a shadow. A generative grow lamp, a big fat beaming sun, shining down, nourishing words. But that’s probably just as corny too.

The cast a shadow cliché though seems maybe kinda sorta perhaps possibly peradventure appropriate.  Gass (never the kind of  hedger to use like maybe seven synonyms for peradventure) was a critic-author profoundly confident in his prose prowess. Unlike Harold Bloom, Gass didn’t foreground an anxiety of influence in his criticism or writing. Bloom’s heir apparent James Wood claimed that the “writer-critic is always showing a little plumage to the writer under discussion.” Whether he was teaching me how to read or reread Gertrude Stein or William Gaddis or Franz Kafka (et al), Gass never had to show a little plumage. I never registered any competitive anxiety, but rather a writer fully in control of his own prowess. Gass was a goldenthroated original, a dude who could wallop out a few sentences, fat and heavy, and then make them nimbly bend obliquely back to some other purpose that you weren’t aware you were jogging along to.

Hell, look at Gass’s contemporary Denis Donoghue wrasslin’ with Gass’s prose in a 1978 review of The World Within the World

“I haven’t, I know, given the impression that I enjoyed Mr. Gass’s book. The truth is I reveled in it, every last vivid, golden-tongued, wrong-headed word of it. Normally, I don’t like golden boys: monsters of wit, charm, the well-shaped thighs of phrase and cadence. But I don’t claim credit for making an exception in Mr. Gass’s favor…Mr. Gass will not thank me for suggesting that his book is best read as a sensuous experience, but the fact is (embarrassing to a sobersides like me) that his sentences, true or false, are pleasures. Reading them, I find myself caring about their truth or error to begin with, but ending up not caring as much as I suppose I ought, and taking them like delicacies of the palate.

Donoghue shows a bit of plumage here to Golden Boy Gass and his “well-shaped thighs of phrase,” methinks—and why not?! What motherfucker wouldn’t wish to serve up delicious sentence after delicious sentence, if he or she was able to? Donoghue calls out Gass as a “literary rake” (as if that were a bad thing) and eventually gets to the real but secret point of his essay:

“The price the literary rake pays for his dazzle is that his works stay in the reader’s mind not as convincing arguments but as things the reader wishes he had said–like this, for me, on [Malcolm] Lowry:

‘Lowry could not invent at the level of language, only at the level of life, so that having lied life into a condition suitable for fiction, he would then faithfully and truthfully record it.'”

And there we go: Donoghue gets to it then, bending assbackwards over to not say what he really means to say: I wish I had written what Gass had written. I. There, the point.  wish I had written what William H. Gass had written.

Gass was a great writer, a great critic. I haven’t read everything he’s written—I still haven’t made it through The Tunnel, but that’s something to look forward to, not a distant chore—I haven’t read everything Gass has written, but those interested in his fiction might start with Middle C or In the Heart of the Heart of the Country (1968) or really Cartesian Sonata and Other Novellas (1998), which I think is pretty perfect. Later, advance to his first novel, Omensetter’s Luck.

And you can’t go wrong with Gass’s nonfiction. Start with Fiction and the Figures of Life; here’s a sample:

“The aim of the artist ought to be to bring into the world objects which do not already exist there, and objects which are especially worthy of love. We meet people, grow to know them slowly, settle on some to companion our life. Do we value our friends for their social status, because they are burning in the public blaze? do we ask of our mistress her meaning? calculate the usefulness of our husband or wife? Only too often. Works of art are meant to be lived with and loved, and if we try to understand them, we should try to understand them as we try to understand anyone—in order to know them better, not in order to know something else (‘The Artist and Society,’ Fiction and the Figures of Life, 1970).

Or seek On Being Blue (1976), a poem disguised as a riff disguised as an essay. Or The World within the Word (1978), a collection of essays pretending to be about literary criticism that are actually about life and death and family and love and etcetera. Or if you want something more recent, something more like a master syllabus (?!), get to A Temple of Texts (2006) and read Gass on Flann O’Brien and Robert Coover and Stanley Elkin and William Gaddis and Rainer Maria Rilke and Gertured Stein and etcetera.

Etcetera etcetera.

I could keep listing.

Gass loved lists. Good Christ, if you want a good list, you can look to his “Fifty Literary Pillars,” included (but not really the foundation of) A Temple of Texts. Gass led me to read stuff I might not have found or tried, like Georg Büchner’s fragment Lenz, or  John Hawkes’s  The Lime Twig or Stendhal—but what he did best was articulate what I loved or hated or what had perplexed me in the literature I’d read or tried to read before, whether it was Gaddis or Stein or Faulkner. And, selfishly, I want more of that. RIP William Gass. But, more than that, I thank you, William Gass. 

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A reading madman about to lose his soul to the seductions of a sentence | William H. Gass

Stendhal’s The Red and the Black

Boston, 1943. I am about to go down to the submarine base to test out for the school there. I have come into possession of the Liveright Black and Gold edition. (What a wonderful series. I loved them all. There was Jules Romain’s The Body’s Rapture, a kooky, overwrought book, I know now, but it was sex, and it was French. There was Remy de Gourmont’s The Natural Philosophy of Love, more sex, more French. There was Balzac’s The Physiology of Marriage, more sex, more French. There was Stendhal’s own On Love, ditto. There was The Collected Works of Pierre Loüys, double dots, double ditto. There was Alexandre Dumas’s The Journal of Madame Giovanni, which was simply French, a disappointment. And The Red and the Black, like checker squares.) Anyway, I am lining up New London in my train table’s sights, and scanning the novel I have bought because of the series it is in, thinking that I’m not going to like climbing a rope through all that water, and thinking that the first chapter, a description of a small town, is commonplace, ho-hum, and will I be put in a pressure chamber at sub school like a canned tomato? When suddenly, I am suckered into Stendhal, and no longer read words (against all the rules of right reading I will later give myself), but barrel along like my own train, a runaway, holding my breath oftener and oftener, aware only of a insistently increasing tension, and it is not because I am underwater; it is because I am inside the magic of this narrative master. The Charterhouse of Parma would do exactly the same thing to me, except that I didn’t let a sub school come between us, but covered its lengthy length as nearly in one sitting as might be managed, snacking at the edge of it as though it were on a TV tray. That sort of gluttonous read is rare, and never happens to me now, when I read, because I read to write or teach or otherwise to talk, and not because I am a reading madman about to lose his soul to the seductions of a sentence.

From William H. Gass’s “Fifty Literary Pillars,” part of A Temple of Texts (2006). The essay in question is not so much an essay as it is/was a catalog to “inaugurate the International Writers Center” at Washington University.

The last sentence is what matters most to me; when I read it I nodded, or maybe didn’t nod, maybe just acquiesced in some other way, physically.

Who wouldn’t love to read like that again?

(Maybe persons young enough to not know that they are in fact reading like madpersons, seduced, etc.).

I tip my glass for gluttonous reads.

I would love to be a reading madman again, and not one who reads to write or read or otherwise talk.

 

William H. Gass reads from The Tunnel

Why are works of art so socially important? | William H. Gass

Why are works of art so socially important? Not for the messages they may contain, not because they expose slavery or cry hurrah for the worker, although such messages in their place and time might be important, but because they insist more than most on their own reality; because of the absolute way in which they exist. Certainly, images exist, shadows and reflections, fakes exist and hypocrites, there are counterfeits (quite real) and grand illusions – but it is simply not true for the copies are as real as their originals, that they meet all of the tests which I suggested earlier. Soybean steak, by God, is soybean steak, and a pious fraud is a fraud. Reality is not a matter of fact, it is an achievement; and it is rare – rarer, let me say – than an undefeated football season. We live, most of us, amidst lies, deceit, and confusions. A work of art may not utter the truth, but it must be honest. It may champion a cause we deplore, but like Milton’s Satan, it must in itself be noble; it must be all there. Works of art confront us the way few people dare to: completely, openly, at once. They construct, they comprise, our experience; they do not deny or destroy it; and they shame us, we fall so short of the quality of their Being. We live in Lafayette or Rutland – true. We take our breaths. We fornicate and feed. But Hamlet has his history in the heart and none of us will ever be as real as vital, as complex and living as he is – a total creature of the stage. 

From William H. Gass’s essay “The Artist and Society” (1968). Collected in Fiction and the Figures of Life.

The aim of the artist | William H. Gass

The aim of the artist ought to be to bring into the world objects which do not already exist there, and objects which are especially worthy of love. We meet people, grow to know them slowly, settle on some to companion our life. Do we value our friends for their social status, because they are burning in the public blaze? do we ask of our mistress her meaning? calculate the usefulness of our husband or wife? Only too often. Works of art are meant to be lived with and loved, and if we try to understand them, we should try to understand them as we try to understand anyone—in order to know them better, not in order to know something else.

–From William H. Gass’s essay “The Artist and Society” (1968). Collected in Fiction and the Figures of Life.

“Tea” — Wallace Stevens

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Pine — Albrecht Durer

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Pine, 1497 by Albrecht Durer (1471-1528)

Chatham Bend — George Boorujy

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Chatham Bend, 2017 by George Boorujy.

(Read my interview with Boorujy).

Roosters — Ito Jakuchu

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Roosters by Ito Jakuchu (1716-1800)

Candle Dancers — Emil Nolde

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Candle Dancers, 1912 by Emil Nolde (1867-1956)

Georges de La Tour’s Mary Magdalene has not yet arrived at an ecstasy of repentance (Angela Carter)

a

Mary Magdalene, the Venus in sackcloth. Georges de La Tour’s picture does not show a woman in sackcloth, but her chemise is coarse and simple enough to be a penitential garment, or, at least, the kind of garment that shows you were not thinking of personal adornment when you put it on. Even though the chemise is deeply open on the bosom, it does not seem to disclose flesh as such, but a flesh that has more akin to the wax of the burning candle, to the way the wax candle is irradiated by its own flame, and glows. So you could say that, from the waist up, this Mary Magdalene is on the high road to penitence, but, from the waist down, which is always the more problematic part, there is the question of her long, red skirt.

b

Left-over finery? Was it the only frock she had, the frock she went whoring in, then repented in, then set sail in? Did she walk all the way to the Sainte-Baume in this red skirt? It doesn’t look travel-stained or worn or torn. It is a luxurious, even scandalous skirt. A scarlet dress for a scarlet woman. …

c

Georges de La Tour’s Mary Magdalene has not yet arrived at an ecstasy of repentance, evidently. Perhaps, indeed, he has pictured her as she is just about to repent — before her sea voyage in fact, although I would prefer to think that this bare, bleak space, furnished only with the mirror, is that of her cave in the woods. But this is a woman who is still taking care of herself. Her long, black hair, sleek as that of a Japanese woman on a painted scroll — she must just have finished brushing it, reminding us that she is the patron saint of hairdressers. Her hair is the product of culture, not left as nature intended. Her hair shows she has just used the mirror as an instrument of worldly vanity. Her hair shows that, even as she meditates upon the candle flame, this world still has a claim upon her.

Unless we are actually watching her as her soul is drawn out into the candle flame.

From Angela Carter’s short story “Impressions: The Wrightsman Magdalene.”

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Songs without Words — Frederic Leighton

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Songs without Words, c. 1860 by Frederic Leighton (1830-1896)

The Deluge — Winifred Knights

The Deluge 1920 by Winifred Knights 1899-1947

The Deluge, 1920 by Winifred Knights (1899–1947)

Lincolnshire Giant — Glenn Ibbitson

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Lincolnshire Giant, 2000 by Glenn Ibbitson

Now seems as good a time as any to read Jack London’s dystopian novel The Iron Heel

The Iron Heel

by

Jack London

 


 

Foreword

 

It cannot be said that the Everhard Manuscript is an important historical document. To the historian it bristles with errors—not errors of fact, but errors of interpretation. Looking back across the seven centuries that have lapsed since Avis Everhard completed her manuscript, events, and the bearings of events, that were confused and veiled to her, are clear to us. She lacked perspective. She was too close to the events she writes about. Nay, she was merged in the events she has described.

Nevertheless, as a personal document, the Everhard Manuscript is of inestimable value. But here again enter error of perspective, and vitiation due to the bias of love. Yet we smile, indeed, and forgive Avis Everhard for the heroic lines upon which she modelled her husband. We know to-day that he was not so colossal, and that he loomed among the events of his times less largely than the Manuscript would lead us to believe.

We know that Ernest Everhard was an exceptionally strong man, but not so exceptional as his wife thought him to be. He was, after all, but one of a large number of heroes who, throughout the world, devoted their lives to the Revolution; though it must be conceded that he did unusual work, especially in his elaboration and interpretation of working-class philosophy. “Proletarian science” and “proletarian philosophy” were his phrases for it, and therein he shows the provincialism of his mind—a defect, however, that was due to the times and that none in that day could escape.

But to return to the Manuscript. Especially valuable is it in communicating to us the FEEL of those terrible times. Nowhere do we find more vividly portrayed the psychology of the persons that lived in that turbulent period embraced between the years 1912 and 1932—their mistakes and ignorance, their doubts and fears and misapprehensions, their ethical delusions, their violent passions, their inconceivable sordidness and selfishness. These are the things that are so hard for us of this enlightened age to understand. History tells us that these things were, and biology and psychology tell us why they were; but history and biology and psychology do not make these things alive. We accept them as facts, but we are left without sympathetic comprehension of them.

This sympathy comes to us, however, as we peruse the Everhard Manuscript. We enter into the minds of the actors in that long-ago world-drama, and for the time being their mental processes are our mental processes. Not alone do we understand Avis Everhard’s love for her hero-husband, but we feel, as he felt, in those first days, the vague and terrible loom of the Oligarchy. The Iron Heel (well named) we feel descending upon and crushing mankind.

And in passing we note that that historic phrase, the Iron Heel, originated in Ernest Everhard’s mind. This, we may say, is the one moot question that this new-found document clears up. Previous to this, the earliest-known use of the phrase occurred in the pamphlet, “Ye Slaves,” written by George Milford and published in December, 1912. This George Milford was an obscure agitator about whom nothing is known, save the one additional bit of information gained from the Manuscript, which mentions that he was shot in the Chicago Commune. Evidently he had heard Ernest Everhard make use of the phrase in some public speech, most probably when he was running for Congress in the fall of 1912. From the Manuscript we learn that Everhard used the phrase at a private dinner in the spring of 1912. This is, without discussion, the earliest-known occasion on which the Oligarchy was so designated.

The rise of the Oligarchy will always remain a cause of secret wonder to the historian and the philosopher. Other great historical events have their place in social evolution. They were inevitable. Their coming could have been predicted with the same certitude that astronomers to-day predict the outcome of the movements of stars. Without these other great historical events, social evolution could not have proceeded. Primitive communism, chattel slavery, serf slavery, and wage slavery were necessary stepping-stones in the evolution of society. But it were ridiculous to assert that the Iron Heel was a necessary stepping-stone. Rather, to-day, is it adjudged a step aside, or a step backward, to the social tyrannies that made the early world a hell, but that were as necessary as the Iron Heel was unnecessary.

Black as Feudalism was, yet the coming of it was inevitable. What else than Feudalism could have followed upon the breakdown of that great centralized governmental machine known as the Roman Empire? Not so, however, with the Iron Heel. In the orderly procedure of social evolution there was no place for it. It was not necessary, and it was not inevitable. It must always remain the great curiosity of history—a whim, a fantasy, an apparition, a thing unexpected and undreamed; and it should serve as a warning to those rash political theorists of to-day who speak with certitude of social processes.

Capitalism was adjudged by the sociologists of the time to be the culmination of bourgeois rule, the ripened fruit of the bourgeois revolution. And we of to-day can but applaud that judgment. Following upon Capitalism, it was held, even by such intellectual and antagonistic giants as Herbert Spencer, that Socialism would come. Out of the decay of self-seeking capitalism, it was held, would arise that flower of the ages, the Brotherhood of Man. Instead of which, appalling alike to us who look back and to those that lived at the time, capitalism, rotten-ripe, sent forth that monstrous offshoot, the Oligarchy.

Too late did the socialist movement of the early twentieth century divine the coming of the Oligarchy. Even as it was divined, the Oligarchy was there—a fact established in blood, a stupendous and awful reality. Nor even then, as the Everhard Manuscript well shows, was any permanence attributed to the Iron Heel. Its overthrow was a matter of a few short years, was the judgment of the revolutionists. It is true, they realized that the Peasant Revolt was unplanned, and that the First Revolt was premature; but they little realized that the Second Revolt, planned and mature, was doomed to equal futility and more terrible punishment.

It is apparent that Avis Everhard completed the Manuscript during the last days of preparation for the Second Revolt; hence the fact that there is no mention of the disastrous outcome of the Second Revolt. It is quite clear that she intended the Manuscript for immediate publication, as soon as the Iron Heel was overthrown, so that her husband, so recently dead, should receive full credit for all that he had ventured and accomplished. Then came the frightful crushing of the Second Revolt, and it is probable that in the moment of danger, ere she fled or was captured by the Mercenaries, she hid the Manuscript in the hollow oak at Wake Robin Lodge.

Of Avis Everhard there is no further record. Undoubtedly she was executed by the Mercenaries; and, as is well known, no record of such executions was kept by the Iron Heel. But little did she realize, even then, as she hid the Manuscript and prepared to flee, how terrible had been the breakdown of the Second Revolt. Little did she realize that the tortuous and distorted evolution of the next three centuries would compel a Third Revolt and a Fourth Revolt, and many Revolts, all drowned in seas of blood, ere the world-movement of labor should come into its own. And little did she dream that for seven long centuries the tribute of her love to Ernest Everhard would repose undisturbed in the heart of the ancient oak of Wake Robin Lodge.

ANTHONY MEREDITH

Ardis,

November 27, 419 B.O.M.


 

Read or download the rest of Jack London’s 1908 dystopian novel The Iron Heel at Project Gutenberg (and consider donating to their worthy cause while you’re there!).

Building the Boat, Tréboul — Christopher Wood

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Building the Boat, Tréboul, 1930 by Christopher Wood (1901-1930)

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