Tag Archives: little bits and pieces

The REAL Author at Work, and Her Poem

Dear WordPress and Twitter followers, Sometimes an author or poet has to allow someone else to take credit for her work, due to prejudice and an inability to use the keys of the keyboard. This was so in my case, so I had to allow my human companion and servant to type this poem for me, and unfortunately also to take credit for it. Please excuse any irregularities; I found myself so excited to be given my due attention at last that I couldn’t prevent myself from walking on the keys, which may have occasioned a blank page at the very beginning. Please, advance past it and go on to my poem. Most sincerely, Dr. Lucie-Minou “Kitty” Bennett, C.A.T., P.U.R.R., F.U.R. (My picture below, wrapped in contemplation…)

As I do not smoke, or drink anything but water, you see me here

with only my superior sensibilities in evidence (no pipe, no whiskey).

An Eccleisiastical Furball
(To Christopher Smart and the author of Pangur Ba'n)
copyright Victoria Leigh Bennett, 2021 Olympia Publishers
Why does the kittty cat purr so?
Why does the kitty cat purr?
Because she's feeling so fine, bro,
Because she's licking her fur.

Why does the kitty cat hiss thus,
Why does the kitty cat hiss?
Because she's getting her teeth brushed,
Because she doesn't like this.

Why does the kitty cat stare so,
Why does the kitty cat stare?
Because the birds are outside, love,
Because the birds are out there.

Why does the kitty cat meow thus?
Why does the kitty cat meow?
Because she's been taught not to cuss, friend,
And she's in such a tight spot, and how!

Why does the kitty cat roll there,
With her belly up in the sun?
Because she's joyous and fine, lad,
And her troubles have all been outdone.

Why does the kitty cat sit there
So high up where she can't get down?
Because she was off on a lark, boy,
And wanted to see the town.

Why does the kitty cat fold her paws
Under in front when she sits?
Because she's refraining from slapping you
For asking so much just like this!

Why does the kitty cat look so profound
When it is time to pray?
Because she already knows her god
And has been in prayer all the day.

For her stare and her meow and her purr
And her rolls and her perch and her stance
And her hiss,
Are all celebrations of god's holy name,
So she needn't ask questions like this.

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Today’s the Day! “Now is the hour/Of our great content/Made uproarious self-advertisement/By this client of WordPress.”

“Wha?” say you, the innocent reader, stepping into the maelstrom of glee and self-congratulation.

Well, the misquote from Shakespeare’s Richard III above is only to confirm and announce that my 334 p. book of poems, “Poems from the Northeast,” about which I’ve been babbling for a few weeks now at least, was in fact released today, amid much hoopla by me and celebrations in a minor way.

The cat (Lucie-Minou, my heart’s darling) started it off today at 2:30 a.m., by agreeing to partake of a Fancy Feast broth to join in the day. Then, at 7:30 a.m., she had her breakfast of Fancy Feast chicken and tuna feast with all sorts of special (read: expensive) stuff in it.

Then, my mom and I ate some ice cream. And I guess, really, that wraps it up for the actual celebrating, but the mood was festive, anyway. So, just posting to let all my readers know that the book has now been released. If you’re wondering where to find it, it may be available in a lot of different places soon, but if you’re looking for a quick copy, try your local Amazon platform, the publisher’s (olympiapublishers.com), or Book Depository.

And share it with someone. Poetry is always better when shared.

All the best, and thanks for your support. Let me know your comments here, if you have any you would like to make to me directly, or if you would like to ask any questions about any of the poems you find in the book.

Namaste, Shadowoperator (Victoria Leigh Bennett)

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C. S. Lewis’s (Lack of) Sympathy for the Devil: “The Screwtape Letters” and “Screwtape Proposes a Toast”

Recently, I was watching an episode of “Inspector Lewis” on PBS television, and in the famous mystery series, Inspector Lewis and Inspector Hathaway were investigating murders of some people who were either followers of “The Inklings” (J. R.. R. Tolkien, Charles Williams, and C. S. Lewis), or of medieval alchemy, it took them some time to discover which.  Some of the details about The Inklings in this generally well-researched series made me curious, but while I was conversant with the other two, I had never heard of Charles Williams the literary figure before.  So, I dug out the only book I’d ever had by C. S. Lewis (excepting a childhood’s version of The Chronicles of Narnia), a copy of The Screwtape Letters which also included a short piece called “Screwtape Proposes a Toast.”  For those of you who are unfamiliar with the primary work, its subtitle is “How a Senior Devil Instructs a Junior Devil in the Art of Temptation.”

One of the most curious things about this book is the way in which it conveys serious moral philosophy without, however, verging either into the preachy or the satirical in a pure sense.  It examines moral issues relating to humanity, a Christian version of God, and the wages of sin in a topsy-turvy way through Screwtape’s earnest and falsely urbane written advice to his nephew, Wormwood, who is trying to tempt a young man to fall from grace.  The book traces each step (or misstep) Wormwood makes through the lessons Screwtape is apparently offering his nephew, while the nephew’s letters to Screwtape, soliciting this advice, are suppressed by the book’s creator.

In his “Preface,” C. S. Lewis says, “The commonest question is whether I really ‘believe in the Devil.’  Now, if by ‘the Devil’ you mean a power opposite to God and, like God, self-existent from all eternity, the answer is certainly No.  There is no uncreated being except God.  God has no opposite.  No being could attain a ‘perfect badness’ opposite to the perfect goodness of God; for when you have taken away every kind of good thing (intelligence, will, memory, energy, and existence itself) there would be none of him left.  The proper question is whether I believe in devils.  I do.  That is to say, I believe in angels, and I believe that some of these, by the abuse of their free will, have become enemies to God and, as a corollary, to us.  These we may call devils.  They do not differ in nature from good angels, but their nature is depraved.  Devil is the opposite of angel only as Bad Man is the opposite of Good Man.  Satan, the leader or dictator of devils, is the opposite, not of God, but of Michael….It should be (but it is not) unnecessary to add that a belief in angels, whether good or evil, does not mean a belief in either as they are represented in art and literature.  Devils are depicted with bats’ wings and good angels with birds’ wings, not because anyone holds that moral deterioration would be likely to turn feathers into membrane, but because most men like birds better than bats.”

Lewis further explains two other choices of his creation of characters, the first to give his devils no real sense of humor (“For humor involves a sense of proportion and a power of seeing yourself from the outside.”), and the second to make his devils bureaucrats and their subordinates (“I like bats much better than bureaucrats.  I live in the Managerial Age, in a world of ‘Admin.’  The greatest evil is not now done in those sordid ‘dens of crime’ that Dickens loved to paint.  It is not done even in concentration camps and labour camps.  In those we see its final result.  But it is conceived and ordered (moved, seconded, carried, and minuted) in clean, carpeted, warmed, and well-lighted offices, by quiet men   with white collars and cut fingernails and smooth-shaven cheeks who do not need to raise their voice.  Hence, naturally enough, my symbol for Hell is something like the bureaucracy of a police state or the offices of a thoroughly nasty business concern.”  He goes on to point out that the devils only have any kind of supposedly civilized concord with each other in a temporary sense.  When Wormwood finally fails, in this book, to tempt his subject to Hell when he dies, and instead sees him headed for Heaven, it’s his own uncle, Screwtape, who has been giving him devilish avuncular advice all this time, who rejoices the most (and literally salivates the most) at his downfall in Hell.

The shorter piece by Lewis, “Screwtape Proposes a Toast,” finds Screwtape the honorary speaker at the annual dinner for the Tempters’ Training College for young devils.  The piece has some quite pointed bits about what exactly they are dining upon. For example, they eat “a municipal authority with Graft sauce”; a “Casserole of Adulterers”; a “Trade Unionist stuffed with sedition”; and they drink “sound old vintage Pharisee.”  This piece is rather more politically than morally slanted, as herein C. S. Lewis takes aim at the ways in which he feels the principles of modern democracy and the annihilation of individuality are leading people from the straight and narrow to the wide broad highway of sin.  This work is not really as universal as the main text, but criticizes mainly what Lewis finds objectionable in the democratic society of his own time.  This is not to say that it’s not interesting to read, but there is a stronger Toryish flavor to it from what I can tell without having done further research beyond just reading the piece myself and judging from that (a true Britisher reading it might disagree, and might feel that Lewis’s objections are free of bias).

At any rate, I’m very glad to have read this book finally, having often wondered what lay between its covers.  Though more of a spiritual than a religious person myself (having been raised a Christian, but also having tried to extend my understanding in some degree at least to other religious systems as well), I found that Lewis’s was an innervating and and energetic point of view, and one well worth encountering, even at points where it seemed dated.  After all, you have to look for the virtues in any book you read, while trying to explain to yourself the faults and shortcomings.  It’s a position you would want people to approach your own work(s) with, and you as well.  Happy exploring in the literary world!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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When is a cow not a cow, and a story not (much of) a story?–David Duchovny’s “Holy Cow!”

Maybe it’s just that it’s spring, all things are budding and blooming, and once again I’ve begun my hunt for the perfectly (or even imperfectly) uplifting book, possibly one with a message, or just one with a lot of fun to it.    I had wondered if David Duchovny’s book Holy Cow! would be it.  It wasn’t.  Perceive me as seriously underwhelmed, both in the uplifting-message and the amusement department.

Since there’s not much point in worrying about spoilers and such when a book has no suspense anyway (especially not of the literary kind), here’s what the book is basically “about”:

A cow named Elsie, a pig first named Jerry who then re-names himself “Shalom,” and a turkey named Tom, all of whom suddenly acquire the ability to read and operate technology, decide to leave the farm and go (respectively) to India, Israel, and Turkey, where they expect to elude their seeming fates as human food and be appreciated (or worshipped, in Elsie’s case) as the individuals they are.  Fair enough.  But the book’s jokes are hokey and fall flat, the twists and turns of the “plot” are unsurprising or at least unrewarding, and the “message” at the end, that we should all (humans as well as animals) appreciate that we are animals and work a better deal out between our higher and lower faculties, is not handled well, and comes out facile and silly.  The whole is clearly not an allegory, and even mentions George Orwell’s famous book Animal Farm, which is.  The later book mentions that an ordinary farm is not like Orwell’s allegorical one, which seems to initiate a departure point for Duchovny’s story, yet the point seems to be obvious:  this is a story with talking animals which is not an allegory.  So what?  It doesn’t make it as a fairy tale either, and is not one which I can imagine children taking an interest in (or adults finding enough satisfaction in to keep then reading, unless they had committed to do a post on the book, like yours truly).

The three animals travel together (and the improbabilities of this roving life are not overcome by any startling or marvelous events such as we are used to in fantasy fiction), and in each of the three target countries, they are disappointed of their goals to be individuals.  Their learning curves are very unstupendous, as they don’t change much in the choices they anticipate for themselves, Elsie (for example) returning to the farm, to the ordinary cow’s life, quite possibly.

So, what do I advise about this book?  Give it a miss, unless you are just a sort of person who’s curious about what celebrities think about in their spare time.  The “I-wrote-this-book” element comes in strongly at the end, when Duchovny presents himself as the “cow-writer” (by unamusing analogy with “ghost-writer”?).  Though I rarely pan a book wholeheartedly, this is one that I really do dislike, not for any big overwhelming thing it does wrong, but just because it’s boring and the choices are ones that are expected and dull.  But then, I guess that is a big overwhelming thing!  The author is listed in the credits as an actor, director, and writer.  I suppose it’s cranky to say he should stick to acting, where others provide him with words, and where a lot of us like him.  I’ve never seen anything he’s directed, and so can’t comment about that.  But if this a representation of his abilities as a writer, then he needs a writing class which focuses on topic (I didn’t really notice much wrong with his stylistics or grammar, but perhaps that’s because I was slogging through the book looking for content).  And now, I think I’ll take a dose of spring tonic to get over my bitchy mood, and look for a better book to read and review.

 

 

 

 

 

 

 

 

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Gathering material for a memoir: “A Cat’s-Eye View of These Mean Streets”

Dear Loyal Readers,

I believe that it has now been roughly two months since I regularly posted anything to this blog, and while that is outrageous, I had my reasons, namely that first, I was completing crochet projects for Christmas, and then that (regrettably but unavoidably) I picked up a nasty laryngitis-sore throat bug during the holidays themselves, and was busy trying not to be too miserable, so as not to ruin my own and others’ good time.  But by way of apology, I would like to offer you my first ever guest post, done by an aspiring author who is handicapped by the absence of opposable thumbs, and digits on her little mitts long enough to type with.  She is my new roommate, Lucie-Minou, and we not only share living space now, but also share the same last name; that is, if I can ever effect change of her opinion that she adopted me, whereas I think I adopted her.  For now, she will only consent to be called “Lucie-Minou,” which is a Frenchified name given her because when I heard her say “Miaow,” and not “Meow,” I knew that she would prefer it.  Since I am only her amanuensis for this post, however, let me cease typing my own greetings, and give you the direct words (as far as I can claim to understand by inference and occasional miaows and lots of purrs and pats with a paw) of the aspiring author who has been staring out windows to gain perspective, and gathering materials for a memoir of her life up to now.  I suspect that her efforts will also owe something to fiction, due to the number of times she’s knocked down the same books from the lower shelves until they lie by her food bowl, apparently for reading with her meals.  So far, her interests seem to lie with Jane Smiley’s Ordinary Love and Good Will, Barbara Howes’s edition of The Eye of the Heart:  Short Stories from Latin America, a pocket anthology of Robert Frost’s Poems (edited by Louis Untermeyer), e.e.cummings’s Erotic Poems, Loomis’s and Willard’s Medieval English Verse and Prose, and Gabriel Garcia Marquez’s Collected Novellas.   Here, then is Lucie-Minou:

“Bonjour, mes amis!  There, we’ve now settled the question of whether I know any French for real and true.  I have to say that I pride myself on being able to be a sort of universally acceptable speaker, and frankly Shadowoperator is being a bit pretentious in assuming that my miaows are perfect enough to suit the French, certainly at least the Parisians, who themselves are very particular about their language.  Furthermore, as we are learning by our reading of a book loaned us by a friend who also is allowed to share space with a cat (Patricia Barey’s and Therese Burson’s Julia’s Cats:  Julia Child’s Life in the Company of Cats), “Minou” is a masculine cat name, not usually used for a female cat.  Still, I find it acceptable because I am in some ways an old-fashioned girl, and don’t mind bearing my father’s or my erstwhile husband’s last name, whichever of them gave it me (philandering husbands are a sore subject with me, however, best left out of the memoirs).

But on to my working life.  Right now, I am putting together materials in my head for a memoir, called tentatively A Cat’s-Eye View of These Mean Streets, about my early life (which to this point remains shrouded in mystery, except that I have a birthdate of 7/2/14), and then my woeful sojourn on the streets of a small Vermont town, belly swollen with young after being put out by my faithless human friends for something which was not, after all, my fault.  I was, however, lucky soon to find other human friends, who though they couldn’t keep me were able to bring me to a shelter, where I introduced myself to Shadowoperator and her nephew Charles when they came in requesting a cat.  Well, I may be a bit shy, but after all, I too am a literary cat, though at that point one with few options other than to present myself, and if a cat was wanted, I felt I could certainly fit the bill.  To paraphrase Shakespeare, “If you stroke me, do I not purr?”  Unhappily (though I don’t mean to go into this extensively in my memoir, my perspective basically being a bowl-half-full one), I lost my kittens because they were stillborn.  I will touch on that lightly in my memoir, as it was a definitive moment in my life, but not a permanently damaging one.  I am quite happy right now to be where I am doing what I am doing, and I think my memoir, which will handle both past and present, with a hopeful note of future doings, will reflect that.  Basically, though not wanting to give too much away, I plan to filter my own early days and days on the street through the more comfortable perspective of my present-day life, spent safely inside a condo without access to the street, watching from a window high above the goings-on of other beings not so lucky.  There are moments, yes, when I approach the condo door and sniff at it, detecting unusual smells and sounds, and then I feel my curiosity rising.  But when Shadowoperator hears me miaow at her to open the door and very solemnly says that prohibitive and final word “No,” I am content to let her go out without me.  For now, anyway.

But you are probably wondering about the other portions of my day.  Well, first we have breakfast.  That’s an English word I know.  Then, I do some portion of my memoir, looking out at the street for inspiration.  Then, after Shadowoperator has something called “coffee,” and her own food, there’s sometimes play in the desk chair with a bird on a stick, or a session of stroking, or a brush (I prefer usually to have my fur done while I recline in the desk chair, since I’m allowed to finish the job by pulling my claws in the chair back when we’re done.  It’s really quite bizarre how humans react to the places I choose to pull my claws–some places “No!” and some places “Good kitty.”  They really are peculiar about it).  Then, I find one of my two favorite sleeping spots and curl up for a nap, a long nap, coming out only to eat a bit or use the facilities.  Periodically, Shadowoperator sticks her head in the room to inquire where I am, what’s the good kitty doing, do you want a brush? and other such things.  She baby-talks to me constantly, sings to me lyrics we’ve put to other old songs, and I put up with it, though I do put my ears back when she hits a wrong note, or when she chooses to tell me that it’s time to change my litter because I’m “such a little ‘tinky-poo!”  Really!  Some things are not meant to be subjects of funning.  Anyway, the day progresses, and sometimes I go to see what she is doing, and sometimes she comes to see what I am doing.  When it starts getting dark, she comes back into my main room hangout and closes the curtains and turns on the lights for me (she knows I can see in the dark, but it seems to comfort her to turn the lights on, so I let her do it.  Besides, humans can trip over one quite easily in a dark room, and I don’t like those misunderstandings we have when she’s trying to reassure me that she didn’t mean to run into me).  Then, we have supper, another human English word I know, and persisting in her determination to have me artificially multilingual, Shadowoperator warns me repeatedly to “use les dents.  Chew your food, don’t just swallow it!”  This comes from a problem I have because I had a tooth coming in for a while, and I gulped my food so as not to hurt the gum line, which sometimes resulted in an upchucking later.  But these things happen, and for the most part (which seemed to amaze my human friend no end) I always regurgitated on a flat, wipeable surface, for her convenience.

I know several other words, too.  There’s “treat,” and “play,” and “down,” and “brush,” and my play antagonist, the “comb,” and a few other bits and pieces I’ve picked up.  For example, when we’ve finished our nighttime play, there’s the sentence “Okay, time for bed.”  I hang around for a minute or two, just to see if this is negotiable, but it’s usually not.  I also feel that I know what “Come up on the bed” means, because when my friend says it, intending to brush me or stroke me or go to sleep with me at her feet, I do it, and then she says, “Goodnight, Lucie-Minou,” and sings a little night-time song that the two of us know.  And then we go to sleep.  Of course, I do get up at night and roam around, sometimes accidentally knocking something off.  When this wakes my friend up, she comes to see if I am hurt or have made any sort of difficult mess, but so far we’ve managed just fine together.  At this date, I am very pleased with my new life, though I sometimes despair of being understood completely, because my human friend only knows a few cat words, and the only one she says even half-way right is a more or less happy word, “prrrrrrtt!” and no one’s happy all the time.  No, I am philosophical:  this is far better than what I had before, and I do my best to remain content.  Even my curiosity about the main hall door remains somewhat in abeyance, because I was recently curious about one of the closets, and when she opened it to let me see what was inside, that dreaded monster which she calls “vacuum cleaner” was inside!  So, I suppose there is some reason for caution.  I hissed, she petted me, and we went on with our game in the smaller condo hall, but I couldn’t remain easy.  Still, that’s for another time.  So, now that you know some of the material I will be covering in my memoir, I hope that you will respect my fellow artists and artistes as well, and check to inquire whether your cat, dog, parakeet or whatever you may have is planning a similar venture.  Except for the turtles, of course.  With them, it’s a bit plodding; they tend to be the old school philologists, and spend a lot of time arguing about the meanings of different word roots and grammatical endings in the works of others, and their “creative” efforts (to be kind about the matter) are deep, rather boring, and sometimes inconclusive.  They too have their advocates, however, and I would be wrong to slight them.  We all have our work to do, after all.  At this stage, it would be fitting to end as I began, and say ‘Au revoir, mes amis,’ and I hope you have had such good luck for the New Year as to find a new friend like I have found in Shadowoperator and she has found in me.”

Well, there you have it:  my first guest post, by a treasured and devoted friend.  I hope and trust I have accurately transcribed her miaows and purrs and pats.  As the medieval monk told his scribe, “When you transcribe correctly, it is my work.  When you do it badly, it begins to be yours,” or words to that effect.  Lucie-Minou seems to feel her obligation to speak more directly, and not merely to appear as a subject as did another medieval monk’s cat “Pangur Ban,” or Christopher Smart’s cat “Geoffrey.”  I would like to wish her all good luck with her creative venture, and all of you reading some form of pet to help you with your happiness factor.  Yours most joyously, vociferously, and sincerely,

Shadowoperator

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Intemperance, Cruelty, Perversity–How Negative Traits Combine to Produce a Haunting Halloween Tale: Edgar Allan Poe’s “The Black Cat”

I was six years old.  I was spending a weekend with one of my role models, a twelve-year-old girl, a former neighbor who had moved to another town.  She was reading me a spooky story before light’s out one night.  The story was Edgar Allan Poe’s very chilling tale “The Black Cat.”  I don’t think I slept a wink that night, not only because the story itself was so haunting, but because she herself possessed a large cat, an affectionate creature to her, a distant and shy creature with me, though at this reach of time I can no longer remember if it was black or not.  Suffice it to say, every time I drowsed off and the cat settled in the huge king-size bed between the two of us, I felt I had to reach out and touch it, try to reassure it that I wasn’t going to hurt it, while also ascertaining that it didn’t mean to hurt me.  I have always loved cats, but that weekend was a severe test of my affection for the species.  How could it be otherwise, when a master wordsmith like Edgar Allan Poe had been working on my psyche?

Though in some ways Poe seems to be ascribing supernatural effects to people or animals, quite often eerie results are the products of overtaxed and strained imaginations, results brought on by the combination of character flaws and chance circumstances.  Yet the deeper his characters sink into the “bog” of their own making, the more they struggle with inadequate aids to help them, the wrong tools, in fact; the more they struggle, the faster they sink into the morass, as one might expect.

In the case of “The Black Cat,” the narrator starts out as an excessively affectionate man to animals and a good companion to his wife, but as he records from the jail cell where he is being kept awaiting execution, it was “through the instrumentality of the Fiend Intemperance” that he began to be cruel where before he had been kind, both to his many animal pets and to his wife.  A modern psychologist might look for a deeper cause, such as some basic personality flaw that produced a tendency to rely on such crutches as alcohol, but to the people of Poe’s time, alcohol was a chancy friend, and a labile personality with a tendency toward addiction was not the chosen explanation:  instead, there was something devilish and mysterious about the way alcohol could simultaneously aid or hinder.

The link between his “Intemperance” and a secondary quality is cruelty, and what his drunkenness is linked to is another quality which he calls “Perverseness,” or perversity.  He says of this quality:  “Of this spirit philosophy takes no account.  Yet I am not more sure that my soul lives, than I am that perverseness is one of the primary impulses of the human heart–one of the indivisible primary faculties, or sentiments, which gives direction to the character of Man.  Who has not, a hundred times, found himself committing a vile or stupid action, for no other reason than because he knows he should not?”  In the grips of this sentiment, the speaker has already committed one act against the cat, and proceeds to commit a second, more final one.  But this brings him no relief.  Instead, he becomes even more hateful to his wife, and more obsessed with the second cat he encounters, which is very like the first, except for a white blaze upon its chest, which he later realizes with premonitory horror resembles the gallows.

Though this is a very well-known tale, I’m not going to spoil it for you by revealing the outcome, except to say that while there is a horrible ending, the actual supernatural effects are all in the speaker’s mind, as he feels that he has been haunted and driven and diabolized into what he has done.  In actual fact, the horror derives from the way in which he is slowly but relentlessly pulled down by a combination of chance events (ones he regards as uncanny) and his own personality traits under the influence of alcohol, which have the force of Fate.  It is in fact a sort of fated ghastly fear of death which impels him to betray himself to others who are trying to find out what he has done, a kind of self-fulfilling prophetic knowledge of what is going to happen to him that draws him forward into ruin and punishes him for what he has done.

What exactly has he done?  Ah, if you have never read the story, then you’ll have to read it to find out–and if you have, Halloween night after the Damnéd Dinner* is the perfect opportunity to chill the blood of your favorite group of guests as you read them the story aloud.  I predict that everyone will be both “grossed out” and appropriately horrified.

*The Damnéd Dinner is a Halloween festivity in which each participant prepares one food which feels to the touch like something repellent or vile.  The other diners are asked to close their eyes, on their honor not to peek, and then they are served and asked to put their hands in their individual served dishes of the food as the server tells them a dreadful (made-up) story about what they are to eat.  They have to eat some of it with their hands or simple implements, and of course after all have eaten it and gotten a relieved chuckle (one hopes) about what it actually is, they are allowed to open their eyes and verify their impressions.  Individual after individual takes a turn as server, until everyone has told a Halloween story and (again, one hopes) everyone has had a full repast.  Some popular items are peeled grapes or mozzarella balls (which feel like eyeballs if you’re told that’s what they are), strings of long pasta in sauce (brains, of course), or chopped-up jello, which has passed as more than one item in my experience.

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A Halloween Floral Tribute from H. G. Wells–“The Flowering of the Strange Orchid”

The impetus toward discovery is a key feature of human nature, and it has spawned many a great invention and many a new and innovative usage of older inventions.  Without those first tentative steps from the depths of the cave and into a new world of perhaps questionable provenance, where would humankind be now?  Still in what is somewhat inaccurately known as the Stone Age.  Nevertheless, as one would say of a secondary computer program, “concurrently running” is the conservative and opposite function of drawing back and using fear of difference as a guide to behavior, and each of these two impulses has its place in guiding human behavior; each is appropriate and necessary for human survival in a world which at times is placid and forgiving, at times inimical and hostile.  As you will see, one without the other can be downright dangerous and spooky, in this Halloween celebration of one of the lesser-known tales of H. G. Wells, “The Flowering of the Strange Orchid.”

T he principle of discovery and the delight one may take in it are articulated in the first paragraph of the story, written at a time when some parts of the globe were still largely foreign and shrouded in mystery:  “The buying of orchids always has in it a certain speculative flavour.  You have before you the brown shrivelled lump of tissue, and for the rest you must trust your judgment, or the auctioneer, or your good-luck, as your taste may incline.  The plant may be moribund or dead, or it may just be a respectable purchase, fair value for your money, or perhaps–for the thing has happened again and again–there slowly unfolds before the delighted eyes of the happy purchaser, day after day, some new variety, some novel richness, a strange twist of the labellum, or some subtler coloration or unexpeccted mimicry.  Pride, beauty, and profit blossom together on one delicate green spike, and, as it may be, even immortality.  For the new miracle of Nature may stand in need of a new specific name, and what so convenient as that of its discoverer?  ‘Johnsmithia’!  There have been worse names.”  This is the elevated perspective of Winter-Wedderburn, a “shy, lonely, rather ineffectual man, provided with just enough income to keep off the spur of necessity, and not enough nervous energy to make him seek any exacting employment.”  This is his hobby, his main enthusiasm, his love.

Speaking on the other side of the question is his housekeeper, who is also a distant female cousin.  Every time he enthuses about orchids or discoverers of orchids who have risked life and limb in jungles and swamps to search for the strange blooms, she promptly puts him down.  And every time he longs for something new and different to happen in his life, she applies the breaks of reason, and assures him that such thoughts are perilous, controversial, and undesirable.  He doesn’t listen, however, but keeps wishing for an eventful life, totally opposed to the efforts he actually puts forth to get one:  “‘Nothing ever does happen to me,’ he remarked presently, beginning to think aloud.  ‘I wonder why?  Things enough happen to other people.  There is Harvey.  Only the other week–on Monday he picked up sixpence, on Wednesday his chicks all had the staggers, on Friday his cousin came home from Australia, and on Saturday he broke his ankle.  What a whirl of excitement!–compared to me.'”  His housekeeper, feeling perhaps that he is heading for disaster (as in fact he is, by wishing for a life which is basically opposed in action, even if whimsically, to his own), responds:  “‘I think I would rather be without so much excitement….It can’t be good for you.'”

He continues, without hearing her caution, to mull over the even more adventurous life, recently ended, of an orchid collector:  “‘That orchid-collector was only thirty-six–twenty years younger than myself–when he died.  And he had been married twice and divorced once; he had had malarial fever four times, and once he broke his thigh.  He killed a Malay once, and once he was wounded by a poisoned dart.  And in the end he was killed by jungle leeches.  It must have been all very troublesome, but then it must have been very interesting, you know–except, perhaps, the leeches.”  The housekeeper, however, also sticks to her convervational guns:  “‘I am sure it was not good for him….'”  He prepares to go to another orchid sale, she, once again protectively, makes sure he has his umbrella, and he heads straight for the adventure he has been longing to have.  As this story among many shows, the old adage “Be careful what you ask the gods for, for you shall surely receive it,” is spot on the money.

He comes back with a selection of orchids of various kinds, some of which are recognizable and one of which is not identified.  He is very excited by it (it is described as “a shrivelled rhizome),” but his housekeeper in immediate answer takes what seems like an unreasonable dislike to it.  “‘I don’t like the look of it….It’s such an ugly shape….I don’t like those things that stick out….It looks…like a spider shamming dead.'”

He addresses her concern by answering with something which is not, in fact, any further recommendation to her, but to him and his perspective:  “‘They found poor Batten lying dead, or dying, in a mangrove swamp–I forget which…with one of these very orchids crushed up under his body.  He had been unwell for some days with some kind of native fever, and I suppose he fainted.  These mangrove swamps are very unwholesome.  Every drop of blood, they say, was taken out of him by the jungle-leeches.  It may be that very plant that cost him his life to obtain.’  ‘I think none the better of it for that’ [says the housekeeper].'” Remarks this ludicrous little Walter Mitty-ish hero, “‘Men must work though women may weep,'” thus partaking in the glory of one of his own supposed role models.  But he is in for more than he bargained for.

As the orchid grows and develops, Wedderburn becomes more and more protective of it, adjusting everything in his small hothouse to suit it.  The housekeeper maintains her prejudice, however, and the aerial rootlets, reaching forth like so many fingers, do not increase her confidence in it.  She refuses to go to the orchid-house until the day when Wedderburn is extremely late for tea, given his usual punctual habits.  This is the same day when he first notices the “new odour in the air, a rich, intensely sweet scent,” and sees to his delighted surprise that the orchid has blossomed.  “…[B]ehold, the trailing green spikes bore now three great splashes of blossom,, from which this overpowering sweetness proceeded.  He stopped before them in an ecstasy of admiration….The flowers were white, with streaks of golden orange upon the petals; the heavy labellum was coiled into an intricate projection, and a wonderful bluish purple mingled there with the gold.  He could see at once that the genus was altogether a new one.  And the insufferable scent!  How hot the place was!  The blossoms swam before his eyes….He would see if the temperature was right.  He made a step towards the thermometer.  Suddenly everything appeared unsteady.  The bricks on the floor were dancing up and down.  Then the white blossoms, the green leaves behind them,  the whole greenhouse, seemed to sweep sideways, and then in a curve upward.”

When the housekeeper finally reaches the hothouse, an eerie sight greets her:  “He was lying, face upward, at the foot of the strange orchid.  The tentacle-like aërial rootlets…were crowded together, a tangle of grey ropes, and stretched tight with their ends closely applied to his chin and neck and hands….She did not understand.  Then she saw from under one of the exultant tentacles upon his cheek there trickled a little thread of blood.”  At first, she approaches and tries to tear the tentacles off, but the scent of the orchid begins to overpower her as well, so she masters her main force and drags both man and orchid with a crash into the open air.  There she is able to tear away the rootlets, where she can see that he is “white and bleeding from a dozen circular patches.”  She calls the odd-job man, and Annie, the housemaid, and sends for Doctor Haddon.  Wedderburn’s life is saved, and the others go to the orchid house later and see that the odd orchid is in a stage of decay, though when the doctor steps too near, one of the aerial roots still stirs upward briefly.

The next day, the adventure is over, but even though the housekeeper’s warnings have been supported and verified by events, Wedderburn is unrepentant.  “Wedderburn himself was bright and garrulous…in the glory of his strange adventure.” So, the next time you wish your life were more eventful, or envy even slightly the busy, bold, bustling life of your favorite hero or heroine, reflect that there is a reason why such people exist and a reason why you exist as you do, not in the forefront, but safely in the rearguard, or the main body.  For, such people’s stories are meant to inspire you, perhaps, to continue forth with your own adventure, while reassuring you that great things are possible.  And also odd and eerie–Happy Halloween!

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Is a happening a mere coincidence (correlative), or the will of God (causative)?–Kingsley Amis’s “The Alteration”

Back in the days when I was teaching English Literature to undergraduates, we listened to the entire “Carmina Burana” as a partial entry into the mindset of the Medieval and Renaissance worlds.  I still recall a tangential discussion that developed from this, in which I explained that in those days, it was usual for boys to sing and play the parts of women exclusively.  And of course, their voices at a certain point would begin to lower and deepen, and then (in many cases) their singing careers were over, unless they chose to sing baritone, tenor, or bass parts (no more soprano for them!).  And then I delivered the news which of course shocked many of my less well-informed students, that many a young man was altered (had his testicles removed) before his voice changed, in order to preserve his soprano voice for the rest of his life.  But one of my students, a lover of music, was even better informed than I:  he told us that he had heard that the last legal alteration done was performed in 1906.

In Kingsley Amis’s fascinating fantasy-satire The Alteration, the world of 1976 is transformed into a landscape in which the Catholic Church (which did alterations regularly to enable singers to perform church music and some secular music for the glory of God) has never left off ruling England through the Pope, and in which Protestants in some European countries are still called Schismatics (as are those Protestants in New England and what there is of America attached to it, very different from our actual America of today).  It is still an Age of Faith, and science and electricity, though practiced in New England, are forbidden and frowned upon in Europe and England.  There are, of course, fantasy/science fiction novels of the time, but they too are forbidden, and deal with such things as the electricity that Europeans cannot have.  Elizabeth Tudor was never taken from her Catholic beliefs, Jean-Paul Sartre is a Jesuit priest, American sailing captains are people such as Edgar Allan Poe and the ships are gas airships, though the Wright Brothers are becoming well-known in America.

In the midst of this bewildering world of difference, we meet young Hubert Anvil, a chorister whose heavenly voice is the rumor of all of England and much of Europe once he sings in front of two castrati sent by the Pope from Rome.  The decision is made by the Church and its officials to alter him, and he tries to make himself obedient to the course set for him, though not even all of the preceptors he knows from religious guidance are free of misgivings.  But when he finds out and begins to truly understand that not only will he be unable to have sex with a woman, but will even be unable to find time to compose his own music, one of his most beloved activities, if he is a renowned singer, then he determines to run away.  His young friends Decuman, Mark, and Thomas help him flee, and his older friend the American Ambassador van der Haag makes preparations to smuggle him away.  At the last moment, however, something quite unexpected happens, and those who have previously prepared to help him escape are left wondering at the turns life sometimes takes:  is a happening a mere coincidence, or “concurrence,” as they call it, a correlative event, near in time only and not in meaning, or is it the will of God (causative)?  Perhaps you too will be left wondering about how humans interpret events, but even more you will perhaps have a sly, but somewhat nervous smile, at Kingsley Amis’s clever twist (“twist” being the “operative” word, to make a couple of bad puns you may not understand until you nearly finish the book).  That’s the closest I’m going to get to a spoiler, and even if you are a good guesser, you should still allow yourself to enjoy this book for all of its many satirical points; the culprits may be different in this imagined world from the culprits we know of in our actual world (the Catholic Church is not, after all, a huge bugabear), but there are always those in power who abuse their positions.  While this is not a feel-good book, it’s full of plottings and whimsy enough to keep you reading all the way through.  I hope you enjoy it as much as I did.

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“Tomas Takes Charge” and Cinnamon Sticks–A Childhood Memory

Back in the day, when I was in primary school (known otherwise as “grade school”) and was doing lots and lots of reading, I got a book as a gift.  Though I had received many books as gifts, other than “baby books” they were mostly soft cover; this one was my first “collector-grown-up book,” as I thought of it, because it was hard cover and yet still had illustrations to please my youthful taste.  The short novel is called Tomás Takes Charge.  It is by Charlene Joy Talbot, with illustrations by Reisie Lonette.  My twelve-year-old nephew gave me a new copy of the same book for Christmas last year, and though I have to say it has certain drawbacks to my adult taste, I still remember it being one of my first childhood exposures to those growing up in a different culture.  First of all, I came from a small town, and this book is set in the area of Washington Market in NYC.  As well, it is about a young Puerto Rican boy, Tomás Lorca, and his sister Fernanda.  To my adult perceptions, there is something not quite right in the almost stereotypical portrait of their favorite neighbors, Mr. and Mrs. Malloy, and also in the fact that all of the people who help them out the most are Anglos.  But to a child, these matters are different, and I didn’t have as keen a view of such things then as I hope to have developed since.  Another part of this bookish memory is of course chewing on cinnamon toothpicks while reading the book, over and over, to such an extent that my tongue often burned and the places where I had marked my page with a cinnamon toothpick reeked of the spice to the extent that it is an indivisible part of the original memory.

The toothpicks were the province of the grade school girls, who, back in the days when grocery stores and pharmacies still sold one-ounce bottles of clear (top-strength) cinnamon oil, would make “cinnamon sticks,” so called because the boxes of toothpicks were soaked in a strong cinnamon oil-water mixture until they absorbed all the moisture, then dried and exchanged for favors and treats from other children at school.  I made my own like most other girls, but I always kept the strongest and most pungent for my private “stash.”  But enough of that:  suffice it to say that cinnamon sticks, so made, were my version of the madeleines made famous in Remembrance of Things Past by Marcel Proust.

In Tomás Takes Charge, Tomás and his slightly older sister, who suffers from agoraphobia, are left alone in their apartment when their father, their only living relative, is suddenly and unpredictably absent.  Mr. and Mrs. Malloy attempt to make sure that the two youngsters go to their “godmother’s,” a concocted story which Tomás produces in his fear of being sent to Welfare, but Tomás’s ingenuity is too much for the older couple.  He finds a way of housing himself and his sister in an abandoned top-floor apartment a few streets away.  The rest of the novel is largely taken up with showing the many and various ways that Tomás employs to feed them and keep them clothed and happy, even to the extent of finding an old discarded portrait of George Washington and a map of the United States to hang on the walls.  Though his sister is abnormally afraid to go outside, she coaxes a mother cat and kitten into their hideaway to help keep away rats, and she does the cooking and cleaning, leaving Tomás to play the conventional “man’s” role.  Tomás accidentally trespasses on an artist’s loft apartment, where he meets Barbara Ransome, who by his very luck happens to be a children’s book illustrator in need of a model.  This gives Tomás even more money to contribute to his little household, and all in all things seem set to prosper.  Nevertheless, the summer is drawing to a close, and Tomás and Fernanda are uncomfortably aware that they have no heat in their hiding spot; and then Tomás takes a tumble on the fire escape while crossing the roofs, and sprains his ankle, concerning the illustrator because she is expecting him to come the next day for work and he doesn’t show up.

Luck plays a large part in the children’s fortunes, but as it is a children’s story, this is perhaps appropriate.  On the same day that Barbara Ransome goes out looking for her little male model, having previously believed his tale of living with an aunt, she meets up with the Malloys.  When they compare stories, they feel sure (of course) that Tomás and Fernanda are hiding in an abandoned building somewhere in the area.  They go out to look; at the same time, Fernanda remembers what her brother has told her about Barbara Ransome’s skylight apartment and starts a smoking fire in the grate in theirs, hoping that Barbara will see it and come to their rescue.  Luckily, of course, Barbara’s brother is a psychiatrist, and as a doctor he goes with the firemen who are summoned (because others not connected with the story have seen the smoke as well).  There is just the matter of “setting the record straight” about Welfare, which happens when Tomás speaks with a representative and finds him nothing like the monster he had feared (this too seems like an apologia for the system, given all the abuses in children’s services which have been exposed in recent years, but this book is full of best-case scenarios, so one has to accept it for what it is).  The ending is the best it could be, under the circumstances:  they find out that the reason the children’s father has not returned is that he was killed in a car accident.  That is, he didn’t just desert them.  The Malloys knock down a shared wall between their apartment and the next adjoining empty room in order to make more space, and adopt the waifs.  And that is the basic story line.  I haven’t hesitated to give the full story without a “spoiler alert” because it is a children’s book, one a parent might have an interest in for a child, though as I have remarked, being written in 1966, and carefully slanted toward praising the system while also carefully attempting not to insult immigrant industry, ingenuity, and pride, the book would perhaps need a stream of ad libbing by an adult reader to bring it up to date (and children do get impatient with extraneous material, as I recall from trying to read The Secret Garden to a child a few years back, all the while giving a brief explanation of the British empire and class system).  Whatever may be the case now, when I was in grade school in the 1960’s, the book was progressive for its time and given its intended audience, though not as progressive as most adult liberal literature of the same time span.  And it is part of childhood memory for me, as I set sail upon the waters of fiction to a better understanding of others with different ways than mine.

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Having a Good Nattering, Chin-Wag, or Gossip with a Book–Maeve Binchy’s “Circle of Friends”

I can remember the first time I was curious enough to mention Maeve Binchy’s Circle of Friends to another friend who reads, one whose tastes are perhaps a little less specialized than mine.  She said, “You probably wouldn’t like her; it’s not really literary fiction.”  I persisted, and she said “Well, it’s more like popular fiction, kind of gossipy and low-key.  No big symbols or literary stuff to interpret, it’s mostly just about people’s lives in a small town in Ireland, and how they change when exposed to social currents from Dublin.”  So, I thought, well, I’ll see the movie, which got some acclaim, and in which Minnie Driver starred, I wasn’t sure in what role; that seemed like a good way to approach the thing.

But something came up, and I missed the local showings of the movie, and by the time everything was over, I had gone on to something else.  This made me all the more curious when a copy of the book fell into my hands from a free book shelf (don’t ever believe that it really happens that way–it didn’t “fall into” my hands, I regularly prune certain free book shelves with effort and abandon to get books I think I might like to read).

True enough, when I read the book blurb, it didn’t seem like my kind of book; for one thing, it was about a hometowny little friendship between two girls who go on to university together, and it sounded fairly humdrum.  No Pulitzer or Nobel there.  Then I started to read.  I found other reasons not to get too excited about the book; for one thing, it seemed to have a number of places in which the dialogue that should logically have been in the mouth of one character came from another character, or there was a typo, or one character’s name seemed to be given for another character’s.  This was a minor distraction, however, once I got involved in the story.

What I found was that the author was a penetrating judge of character, and though most of her creations were young and just starting out in life, she had a knack also for writing about the older people in the book and their conflicts and disappointments.  Though the young university students and their cohorts are spoken of as the “circle of friends” once or twice in the book and are the central focus, by the end of the book the whole cast has become one whose lives have importance to the reader.  It’s as if we are having a gossip about them all with the village maven.  Every character, no matter how minor, has a fate or an ending, or a new beginning, and though there are no major surprises in the way they turn out, yet everything develops satisfactorily and in line with one’s sense of poetic justice.  This treatment, though it is decidedly not literary in the sense of showing just how arbitrary life can actually be, and how ironies can multiply and interact, is still the source of a satisfactory read.  After all, there are also instances in real life when people do get what’s coming to them, whether for good or for ill, and those can also be written about:  not everything is some huge black catastrophic event or supplies a constantly pointed little fictional essay that baits the reader and leads him or her to expect what isn’t delivered and to be disappointed as a source of entertainment.

Which is to say, when all is said and done, that Maeve Binchy delivers no more and no less than the blurbs have contracted for:  she is a reliable and percipient author who, though perhaps a bit lingeringly romantic or sentimental, never puts the romance or the sentiment in the position of having to carry the entire load of the plot effects.  Circle of Friends, though not a book I would necessarily find it important to reread in order to get anything I didn’t get the first time, might become a soothing anodyne that I would read again because it reassures me about humanity in the main.  I seem to remember that I read of Binchy’s death some time back, and I can now see why her devoted readers created such a stir about her potential absence: she has a kindly, open, wise, and perceptive mode of writing that while not pretending to be full of literary tricks and technical achievements is nevertheless full of human warmth and good humor.  Now I suppose all that remains is sometime to watch the movie and see if the movie magnates have managed to capture the work of her great heart on film.

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