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Sunday, July 19th, 2009
The video Máximo Afonso rents at the beginning of The Double is called Quem Porfia Mata Caça -- internet translation sites seem to think this proverb should be translated as "Where there's a will, there's a way"; Jull Costa chooses "The race is to the swift" -- which does sound like a good title for a movie, though from checking with imdb, it does not appear to have been used that way yet. This title is repeated several times in the first few pages -- makes it seem like riffing on the adage is going to be an important part of the book. I think the literal translation is something like "He who perseveres will kill his prey."
posted morning of July 19th, 2009: 3 responses
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Saturday, July 18th, 2009
Yikes! I am starting another book by José Saramago -- namely The Double. I haven't heard much about this one, I think Jorge has referenced it once or twice as an enjoyable read. It is from 2003, after The Cave and before Seeing. Just want to say up front, with each book I read of his I am more deeply in awe at the breadth of his writing -- what is prompting this is one of the few explicit references I've seen him make within a novel to his other work. On page 2, Saramago is describing Máximo Afonso as a solitary man who has "succumbed to the temporary weakness of spirit ordinarily known as depression."
What one mostly sees, indeed it hardly comes as a surprise anymore, are people patiently submitting to solitude's meticulous scrutiny, recent public examples, though not particularly well known and two of whom even met with a happy ending, being the portrait painter whom we only ever knew by his first initial, the GP who returned from exile to die in the arms of the beloved fatherland, the proofreader who drove out a truth in order to plant a lie in its place, the lowly clerk in the Central Registry Office who made off with certain death certificates,...
Gosh! four of his other novels and only two that I have read! (plus one that is on my reading list.) I wonder if the portrait painter is the main character of Manual of Painting and Calligraphy. ...Somehow I had been going along thinking that Baltasar and Blimunda was his first major novel, that I was close to mastering his back catalog. Somehow I had formed the silly impression that Manual of Painting and Calligraphy was what it claimed to be, that based on this and Journey to Portugal, Saramago's previous, untranslated works were not fiction. That is clearly false and it looks like if I really want to know his work, I need to learn Portuguese -- or at least get better at Spanish, it looks like almost all of his novels are translated into that language. As far as his poetry, I've been reading some of it in Spanish online; I think the combination of reading in Spanish for understanding and Portuguese for the sound will be sufficient for getting it, at least once I figure out how to pronounce Portuguese.
posted morning of July 18th, 2009: 3 responses
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In the course of reading the second half of Baltasar and Blimunda I had sort of begun to assume that the end of the novel would feature the cripple and the clairvoyant repairing Bartolomeu's flying machine and taking again to the air -- I have come to expect a romantic vision of Saramago's novels in which the protagonists transcend their gritty reality through love. (This is a little simplistic, and it certainly does not apply to every one of his books, but speaking very broadly it is a common feature of a lot of his fiction -- and it just seemed like it would be the natural ending for this book.) The fairy-tale imagery was making me expect a fairy tale. Do not want to give away the ending, exactly -- I am recommending this book very strongly and it is always a better reading experience not to know just what's coming -- suffice to say that while the airship does fly again and while broadly speaking, the ending does involve the protagonists transcending their gritty reality through romantic love, it is much, much darker and less pat than what I was imagining.
posted morning of July 18th, 2009: Respond
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Tuesday, July 14th, 2009
As in tales of yore, a secret word was uttered and before a magic grotto there suddenly arose a forest of oak trees that could be penetrated only by those who knew the other magic word, the one that would replace the forest with a river and set thereon a barge with oars. Here, too, words were uttered, If I must die on a bonfire, let it at least be this one, the demented Padre Bartolomeu Lourenço had once exclaimed, perhaps these bramble thickets are the forest of oak trees, this woodland in flower the oars and the river, and the distressed bird the barge, what word will be spoken that will give meaning to all of this.
This scene feels like a critical juncture. Baltasar and Blimunda have already been into the sky and back to land, back to Malfa and the drudgery and toil of building the convent, and now for the first time they are venturing together back to the wrecked airship. And suddenly Saramago is speaking in terms of a fairy tale and wondering what word can be spoken that will give meaning to all this. This passage illuminates his earlier efforts to give meaning to the labour of the six hundred men transporting a stone from the quarry to the construction site, by naming them and telling their story; it casts a subtle light on Saramago's project in telling this story.
posted evening of July 14th, 2009: Respond
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Sunday, July 12th, 2009
There are other fellows too, named José, Francisco, and Manuel, very few named Baltasar, but many named João, Ãlvaro, António, and Joaquim, and perhaps even the odd Bartolomeu though never the one who disappeared, as well as Pedro, Vicente, Bento, Bernardo, and Caetano, every possible name for a man is to be found here and every possible kind of existence, too, especially if marked by tribulation and, above all, by poverty, we cannot go into the details of the lives of all of them, they are too numerous, but at least we can leave their names on record, that is our obligation and our only reason for writing them down, so that they may become immortal and endure if it should depend on us, ...
I'm noticing how well Saramago draws his minor characters -- in this chapter of transporting the huge stone for the convent's balcony, there are hundreds of workers, and those that he spends any time on come through very clearly and distinctly -- I'm thinking specifically of Francisco Marques, Manuel Milho (who I believe is a stand-in for Saramago), and José Pequeno. This passage is a funny piece of that, Saramago is lamenting that he does not have space and time to make characters of all the workers in this scene.  The Convent at Mafra -- I believe the balcony referenced here is the one at the center of the façade, above the main entrance -- behind the lamp post in this picture. Below the fold, a bit of the story about moving this stone.
 Let others testify who may know more than we do. Six hundred men desperately clinging to the twelve cables that had been fixed to the back of the platform, six hundred men who felt that with time and continuous effort they were gradually losing the stiffness in their limbs, six hundred men who were six hundred creatures terrified of being there, and now more than ever, for, compared with this, yesterday was child's play and Manuel Milho's story a fantasy, for that is all man really is, when he is only the strength he possesses, when his is nothing other than the fear that he might not be able to summon the strength to detain this monster that implacably drags him on, and all because of a stone that never had to be so huge, with some three or ten smaller stones the balcony could have been built just as easily, even though we would no longer have been able to tell His Majesty with pride, It is made from a single stone, or to tell visitors before they pass into the next room, It is made from a single stone, and by means of these and other foolish vanities, absurdities become rife, with all their national and individual characteristics, such as the following statement one reads in manuals and history books, The Convent of Mafra was built by Dom João V in fulfillment of a vow he made should God grant him an heir, here go six hundred men who did not make the Queen pregnant yet they are the ones who pay for that vow and carry the can, if you will pardon that old-fashioned expression.
↻...done
posted morning of July 12th, 2009: Respond
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Saturday, July 11th, 2009
So the show was just great. Deni played a lot of songs I recognized from her first records and some new ones. It was a small enough space that the acoustic sound really filled it up and you could see and feel exactly what the musicians were doing. (Though I sometimes wished her voice was amplified.) The two musicians backing her up, Austin Donohue and Kevin Moon, were just great musicians and Austin in particular, a very fine vocalist. Austin is also a songwriter, in the second set they played a couple of his pieces -- I was sorry we had to leave before the end of the show, we brought Sylvia and two of her friends to the show and they were getting pretty tired. Here is the song they closed the first set with:
posted evening of July 11th, 2009: Respond
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Friday, July 10th, 2009
 Exciting! Tomorrow night I'm finally going to see Deni Bonet live. I've loved her music ever since I heard Moss Elixir but I keep not being able to make it in to the city when she's playing. Well tomorrow night, Chris of the Notes From Home house concert series in Montclair is bringing her out here! We're going as a family, with a couple of Sylvia's friends in tow too. Should be a great time.
posted morning of July 10th, 2009: Respond
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 Nigel Smith at Carnival Saloon notes that "after his classic 60s records I reckon Blood on the Tracks is the Bob Dylan album most commonly cited as a favourite." This seems true from conversations I've had; and I've never quite understood why so many people name this as their favorite, when to me it seems like pleasant music not remotely in the league of the classic 60's records. Anyways, Mr. Smith had the great idea of assembling a Blood on the Tracks disc on which every song is performed by a different artist -- Robyn Hitchcock, Joan Baez, Elvis Costello,... You can listen to it at his blog. Mr. Smith also links to a previous instance of the same idea, put together by JayEss of The Saddest Music in the World; the music files there are no longer online but the track list is nice.
 Update: Also, here are some alternate cuts of these tunes by Dylan himself, courtesy of Recessed-Filter: Blood on the Tracks: New York Sessions. Another Update: and more! Mary Lee's Corvette has recorded covers of these tunes on their 2002 live album Blood on the Tracks. I'm listening to their "Simple Twist of Fate" right now and digging it. (Though I am missing Dylan's harmonica...)
posted morning of July 10th, 2009: 4 responses
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Tuesday, July 7th, 2009
Take a look at Saramago's blog today for some beautiful pictures of Castril de la Peña, in the northern part of Granada. His reflections on its age are reminding me pretty strongly of One Hundred Years of Solitude:
The river which passes through Lisbon is not called Lisbon, it's called Tagus, the river which passes through Rome is not called Rome, it's called Tiber, and that other one which passes through Seville, neither is it called Seville, it's called Guadalquivir.... But the river which passes through Castril, this one is called Castril. Many inhabited places will right away be given the name of that which they are known for, not just rivers. For thousands and thousands of years, patiently, every river in the world had to wait for someone to show up and to baptize it, in order to be able to appear on maps as something more than a scribble, sinuous and anonymous. Through centuries and centuries the waters of a river as yet nameless would pass tumultuously through the place where one day Castril would have to erect itself and, while passing by, would look up at the cliff and say one to the other, "Not yet." And they would continue their journey to the sea thinking, with the same patience, that in time, a time would come, and that new waters would arrive, would meet women washing their clothing against the stones, children inventing swimming, men fishing for trout and all the rest that would rise to the bait. At this moment the waters knew that they had been given a name, that henceforth they would be not the River Castril, but the River of Castril, so strong would be the pact uniting them with the people building their first rustic houses on the slopes of the mountainside, who would later construct second and third dwellings, one next to the other, one over the ruins of the others, generation after generation, until today....
The José Saramago Center in Castril funds and promotes cultural, literary and artistic projects.
posted evening of July 7th, 2009: Respond
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Another point of comparison for Padre Bartolomeu Lourenço that hit me this morning, as I was reading about Signor Scarlatti proposing to bring his harpsichord aboard the Passarola, is Moominpappa in Moominpappa's Memoirs -- holed away in his retreat, working at the pleasure of the whimsical monarch, building a mystical flying vessel... Interesting how Baltasar and Blimunda is bringing children's books to mind.
posted afternoon of July 7th, 2009: Respond
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