excerpt #1: Montesquieu

Alfred Bendiner, Coffee (1936)

Some months ago I read The Persian Letters (1721), Montesquieu's seminal faux-naïf epistolary novel about expatriates from Isfahan settling in Paris and trying to figure out French society. It is at once a vehicle for the author's humanist beliefs, a series of satirical episodes, and an uncomfortable cautionary tale about patriarchy. What we'll be looking at today are some passages from the letters written by the character Rica, who of all the emigres goes the furthest in assimilating to French society and is the most eager to explore the city, converse with the locals, and issue sardonic reports on what he discovers. (To give credit where it's due, the edition from which these were stol'n was translated by Margaret Mauldon.)

In the following excerpt, substitute in your mind the coffee shop wits debating Homer with YouTubers, bloggers, and comments-section dwellers arguing about video games. The academics and students who "live on obscure reasoning" in the final paragraph can still be academics and students; just imagine they are dressed differently.

Coffee is widely drunk in Paris: there are a great many public establishments where it is served. In some of these establishments news is disseminated; in other, people play chess: there is one place where coffee is prepared in such a manner as to sharpen the wits of those who drink it; at any rate, of those who emerge from there, not a single one fails to be convinced that he is four times cleverer than he was upon entering.

preoccupation: gloomblossoms

Sometimes I get wrapped up in something strange and/or beautiful (really the two attributes seldom occur independently) I find out in the woods, like damselflies or wood thrushes or spring peepers. Lately I've been into Monotropa uniflora, which I must insist on calling gloomblossoms. They're already called Indian pipe, ghost pipe, ghost flowers, and corpse plants; what's one more colloquial name?

Via the Botanical Society of America:

The plant is entirely white, and each step is tipped by a single flower. If the plant is bruised or dries up, it turns dark brown or black. The fact that the flowers bend over probably relates to the wet places where they grow: if the flowers pointed upward, they might collect rainwater, and the nectar that they offer visiting insects would be diluted. The pollen grains would also be wet and wouldn't cling to visiting insects properly. 

The indian pipe gloomblossom is a flowering plant, but it isn't green, so how does it get its food? Even today, you see misinformation about that. People thought that it lived on decaying leaves and called it a saprophyte. Today we know that it has short, stubby roots that contain fungi. And the fungi, extend in a web-like way through dead rotting leaves and connect up to the roots of conifers. The conifers provide sugar, which the fungi carry to the Indian Pipe gloomblossom plant. So it's really a parasite, but on fungi.

Field observations:

Stray thoughts: on wood thrushes & cetera

Apologies for leaving this "web log" of mine to sit unattended and cultivate moss. I've been absorbed in a longform fiction project (superstition inhibits me from calling it a "n-v-l" until it's finished) which has swallowed most of my (non-procrastinatory) leisure time. I don't think this one will be a mere wind egg, though I'll be skipping directly to self-publishing instead of spending a year trying to get the attention of the small presses and gatekeepers. I already know that this one has no chance of impressing them, but it is nevertheless a project I'm compelled to see through to completion.

*               *               *

Bench where yr correspondent jotted down the rudiments of this post

Today I'm visiting the folks in North Jersey again. As usual during these trips, I stopped by Hidden Valley, a public park I've written about before, and where most of my Instagram photos are taken. As usual, I got a lot of thinking done; saw a lot of ghost pipe (gloomblossoms) and dwarf ginseng, encountered several different dragonfly species in the meadows, chewed on some wild raspberries and blackberries, and got my feet muddy following after a pileated woodpecker. Good times. But I was dismayed to to find the woods much quieter than expected.

At 3:00 PM on a mid-July day, with the sun out and the temperature approaching 90° F, I heard jays shouting, catbirds mewing and rambling, chipmunks yipping, the distant thudding of a woodpecker banging its face against a tree trunk, and the sibilant agitations of the leaves in the way of the wind. But on an afternoon that should have been ideal for them, I heard almost no cicadas, and not one wood thrush.

exordium to some excerpts.

And it may well be that my history will seem less easy to read because of the absence in it of a romantic element. It will be enough for me, however, if these words of mine are judged useful by those who want to understand clearly the events which happened in the past and which (human nature being what it is) will, at some time or other and in much the same ways, be repeated in the future. 

——Thucydides, History of the Peloponnesian War (431 BCE), trans. R. Warner 

"Any single historical event is too complex to be adequately known by anyone. It transcends all the intellectual capacities of men. Our practice is to wait until a sufficient number of details have been forgotten. Of course things seem simpler then!" 

..."But we're getting away from the point," he went on. "I don't care how well historical facts can be known from afar. Is it important to know them at all? I submit that history never comes close to repeating itself. Even if we had reliable information about the past, we couldn't find a case similar enough to justify inferences about the present or immediate future. We can make no real use of history as a current guide." 

——B.F. Skinner, Walden Two (1948)

When I'm reading a book authored prior to the twentieth century, I habitually scribble notes in the margins when a remark or passage seems like it could apply to contemporary events if a few historical names were swapped out with modern ones. (I'd aspire to be a gentleman scholar, but let's face it, the best I'll ever be is a degenerate scholar.) My old copy of Thucydides, for instance, is full of references to Vietnam, Iraq, and the neoconservative milieu of the second Bush Administration, especially in the pages treating Athens's doomed Sicilian expedition.

Tonight I was thinking I would share a couple of passages from Montesquieu and Burkhardt and elaborate on some of my off-the-cuff annotations, but then I wondered if the exercise might amount to just a lot of pointless pseudo-intellectual paddleball.

Well, "pointless" goes without saying. If the longform personal blog ever served a useful purpose, that time is already past. I'm talking about the lay practice of trying to clarify the present through the lens of the narrative past. The method, such as it is, has lately seemed to me to stand on dubious ground, so I'd like to spend a few minutes probing it. Even if someone only seeks out knowledge for his own pleasure, and not for some utilitarian purpose, he shouldn't want to settle for a facile understanding.

Knowing the past is necessary to navigate the present, because history tends to repeat itself. This is the central dogma of historical studies, and common sense bears it out. If you get food poisoning at a restaurant, you don't go back. One shouldn't get back together with an ex because if it didn't work out the first time, the second won't be any different. We accept the truism's validity whenever we nod at and retweet the commentariat's reminders that the global order today is much like it was on the eve of World War I, or their exhortations to remember 1930s Germany here in year two of the MAGA epoch. An air of prophecy often emanates from the eloquent argument from history. The parallels seem to obvious to gainsay. But the line between "obvious" and "specious" is ever drawn with a fine-tip pen.

Animation April, belated: Samurai Jack, Season 5 (2017)

I wasn't planning on doing any Animation April writeups this year. I'm still pushing my way through a fairly big project elsewhere, and had no ideas for prolix toon-related posts that wouldn't have been huge wastes of time. (Just because one can examine all three X-Men animated series doesn't mean it's a good idea.) But then April dragged on, cold and cloudy and generally miserable, and in my gloomy mood I stayed inside and watched a lot of cartoons. Now that we've got a May that's looking and feeling like April waylaid, maybe a quick glance at an old favorite is in order.

It's been about a year since the fifth and final season of Samurai Jack (2001–2003; 2017) premiered on Adult Swim. Now with a TV-14 rating, its titular time-displaced ronin could finally incarnadine his sword with living blood after fifty-two episodes of oil-spurting robot villains. Was that what people were most excited about? To judge from The Comments, one might believe so, but I don't think that's actually the case. The prospect of bloodletting in a Samurai Jack cartoon was just an appealing corollary to the real cause for anticipation, which was the promise of a resolution at last. Samurai Jack had a definite beginning and an episodic middle, but no end.

Samurai Jack's very premise necessitates the eventuality of a conclusion. Jack isn't a protagonist like, say, Bruce Wayne, whose essential story is of being Batman forever. Until he either rids Gotham City of all crime (not going to happen) or suffers a case of superhero perma-death (probably not in my lifetime), his saga cannot end. Batman exists in the amorphous narrative space of myth, while Jack is more representative of the comparatively diminutive but more distinct figure of the novel. He sets off with one avowed purpose: to find a way back to his own era and defeat his archnemesis Aku before the shapeshifting master of darkness conquers the world for all time. The goalpost never moves. It doesn't change. When the fourth and once-final season concluded with an episode where Jack rescues a baby and tells it a Japanese fairy tale, Samurai Jack certainly didn't end with a bang, but not with a whimper either. It went out on an ellipsis.

Zitatcollage: Kant

Immanuel Kant:

How, indeed, can Philosophy be learned? Every philosophical thinker builds his own work on the ruins, so to speak, of another; but nothing has ever been built that could be permanent in all its parts. It is, therefore, impossible to learn philosophy, even for this reason, that it does not yet exist. But even supposing there were a philosophy actually existing, yet no one who learned it could say of himself that he was a philosopher, for his knowledge of it would still only be subjectively historical. (Introduction to Logic, 1800)

Hubert Robert, The Washerwomen (1792)

The Getty Guide to Imagery:

The Temple of Modern Philosophy [at Ermenonville, pictured above], built in 1775 and copied from the Temple of the Sibyl at Tivoli, is unfinished, because "philosophy never attains her goals." (Gardens in Art, 2007)

Herman Melville:

They are mostly artists of various sorts; painters, or sculptors, or indigent students, or teachers of languages, or poets, or fugitive French politicians, or German philosophers. Their mental tendencies, however heterodox at times, are still very fine and spiritual upon the whole; since the vacuity of their exchequers leads them to reject the coarse materialism of Hobbes, and incline to the airy exaltations of the Berkelyan philosophy. Often groping in vain in their pockets, they can not but give in to the Descartian vortices; while the abundance of leisure in their attics (physical and figurative), unite with the leisure in their stomachs, to fit them in an eminent degree for that undivided attention indispensable to the proper digesting of the sublimated Categories of Kant; especially as Kant (can't) is the one great palpable fact in their pervadingly impalpable lives. (Pierre, 1852)

because there's no money in poetry.

Roy Lichtenstein, Masterpiece (1962)

From Jack Collom's Second Nature (2012): excerpt from an interview between Mr. Collom (JC) and Reed Bye (RB):

JC: [B]eing in NYC the last five years where the critical intelligence is so voracious, it's very hard to maintain faith and there's a lot of cynicism in the air about everything being done, people categorize——well, in New York with its excessive input, that categorization problem, I mean so much is coming in at you from all sides that people develop this habit of rejecting and classifying and uh——it is very hard to be open when you have that voice around you that's like a school of piranha ready to gobble up your words. You just feel it even if people don't say things like that. 

RB: And the pressure to have your own critical reference and express it with great confidence is much more pronounced there too. You get some overconfident——uh——well it's the sort of trend phenomenon that sweeps over New York or anywhere, any cultural center where trying to constantly keep on top of what has set the trend, or be aware of the new trend, that never stops. 

JC: Yeah——the novelty thing gets a little heavy there. Whatever has not been cloaked with aesthetic feeling before is searched out and eventually after you've gone through a whole bunch of sensibilities, there's a certain aesthetic delight popped out of them because nobody's ever looked at them that way before. There's certainly a lot to that, you know, finding aesthetic delight in anything in the world, but the chase for untried fields in that way just runs around and around, ah, it becomes too conceptual for one thing, people don't have time to develop a competency in a style, they're just after the weird idea that nobody ever thought of, rather than practicing and deepening themselves in some sensibility, filling out a world of nuances... 

RB: In the poetry world, that doesn't seem quite as true. 

JC: No, partly because there's no money in poetry. 

[end of interview]