Boris Pasternak

httpv://www.youtube.com/watch?v=nQZFhyKNUbA&feature=related

The conclusion of Pasternak’s translation of King Lear (with English subtitles).  Lear’s “howl” speech begins at the six minute mark.

Today is Boris Pasternak‘s birthday (1890-1960).

Frye cites Pasternak in The Modern Century to distinguish between an ideologically enforced “stupid realism” and a fully liberated “revolutionary realism”:

It seems clear that an officially approved realism cannot carry on the revolutionary tradition of Goya and Daumier.  It is not anti-Communism that makes us feel that the disapproved writers, Daniel and Babel and Pasternak, have most to say to us: on the contrary, it is precisely such writers who best convey the sense of Russians as fellow human beings, caught in the same dilemma that we are.  Revolutionary realism is a questioning, exploring, searching, disturbing force: it cannot go over to established authority and defend the fictions which may be essential to authority, but are never real. (CW 11, 33-4)

Elizabeth Bishop and Nova Scotia

Great Village school, circa 1910

From an article in The Telegraph:

Nova Scotia is where Bishop discovered her preoccupation with pattern, process and form. Even then she was weighing up aesthetics and arrangements: “The summer before school began was the summer of numbers, chiefly number eight … Four and five were hard enough but I think I was in love with eight.” When she got stuck on “g” she decided with characteristic independence of judgment that “My alphabet made a satisfying short song, and I didn’t want to spoil it.”

The plain and forthright music of her poems comes from another childhood influence: “My Nova Scotian grandmother was a great hymn singer. I grew up with those sounds, and, in fact, still have hundreds of them floating around in my head.”

The hard brightness of the light in Nova Scotia concentrates its colours. The iridescent firs, blazing red barns and luminous bare fields explain why Bishop writes so often of this landscape as if it were painted: “You know about the Bay of Fundy and its tides, I imagine, that go out for a hundred miles or so and then come in with a rise of 80 feet. The soil is all dark terracotta color, and the bay, when it’s in, on a bright day, is a real pink; then the fields are very pale lime greens and yellows and in back of them the fir trees start, dark blue-green. It is the richest, saddest, simplest landscape in the world … ”

You can visit the Elizabeth Bishop Society of Nova Scotia’s centenary blog here .

Palin, Frye and Blood Libel

httpv://www.youtube.com/watch?v=NPzsklL0hLE

Palin blames “pundints” [sic] for “manufacturing a blood libel” against her

Roy Peter Clark cites Frye on metaphor to make some sense of Palin’s claim to be the victim of “blood libel” after the Tuscon shootings.

A sample:

Frye provides a cautionary lesson about metaphorical language: that the differences between the compared elements are as important as the similarities. If I present myself as a “light to the world,” I am asking my audience to see my divine qualities and will not blame them for observing the dissimilarities.

To describe oneself as a victim of blood libel carries with it a certain responsibility for proportionality, that the seriousness of the metaphor must equate in some measure with the experience being described. While the football game between the Steelers and the Ravens has already been compared to a war – and the players to gladiators – we recognize that as traditional and hyperbolic. But I would not call a failed athletic performance an “abortion” or a blowout of one team by another as a “holocaust” or “a virtual Hiroshima.”

Amy Lowell

httpv://www.youtube.com/watch?v=ciZNzKa4kDU

Amy Lowell’s “Meeting-House Hill”

Today is Amy Lowell‘s birthday (1874-1925).

From The Well-Tempered Critic:

The free verse imagists of the 1920s issued manifestos saying that poetry should be objective, visual, concentrated, precise, hard, clear, and rendering particulars exactly.  As with a good deal of poetry written to a theory, the theory was a compensation for the practice: what imagism mainly produced was precisely the opposite, an associative hypnotic chant based on various devices of repetition. (CW 21, 364)

Frye on Elizabeth Bishop

Elizabeth Bishop’s childhood home in Great Village, Nova Scotia.  The parlour in which “First Death in Nova Scotia” is set is to the right.  The skylight is over Bishop’s tiny bedroom: it was there as late as 1998 and may still be there.

Further to Michael’s earlier post: Frye does have this reference to Bishop in one of his sets of autobiographical notes:

Elizabeth Bishop and the left hand drive—roads hardly wide enough to have two sides. The red, blue and yellow roads, the last a dirt track through the bush. Still, variety of makes of cars, words like Willys-Knight can still throw me into a nostalgic trance. (CW 25, 30)

The “left-hand drive” reference is explained in one of Frye’s reminiscences in the talk he gave at Moncton’s Centennial Celebration a few months before his death:

I was at a dinner at Harvard University seated beside a poet named Elizabeth Bishop, who was a New Englander with a summer cottage in Nova Scotia. She spent half her time in Nova Scotia, so much so that one or two Americans suggested Canadians really ought to make her Canada’s national poet. I think it was a bit of a problem for her too to decide whether she was Canadian or American, and she finally solved the problem by going to live in Brazil. However, she came back to Harvard. She was a very shy person and was very chagrined at being put beside me, because she was frightened by strangers of all kinds. She said, ‘I haven’t read any of your books.” I said, “Well, I haven’t read them either. I’ve only proofread them.” Then she stared at me a while longer, and she said, “When was it that New Brunswick changed over from a left hand to a right hand drive.” “Well,” I said loudly and confidently, “September 1920.” I realized afterward that I had almost certainly got the date wrong. But what I do remember was the fact happening and my mother’s comment that they were going to have trouble with the horses, especially the milk team horses. In any case, whether I got the date right or not, it must have been around that time that the province discovered that there was a difference between the left hand and the right hand on the road.

So far as I remember in 1919 or 1920, there were no paved roads in the province, and the roads were really paths through the woods. They were not exactly blazed trails, but you followed the road by tracing the colored bands that were painted around the telephone poles. The Red Band Road went down the St. John Valley through St. John to Moncton and from there to Sackville and Cape Tormentine. The Blue Band Road started here at the corner of Main and Botsford and went up the east coast around Tracadie to Campbellton. And the Yellow Band Road started at St. Andrews and went northeasterly through Fredericton and Newcastle to Bathurst. Later on, when I acquired a bicycle, I found myself tracing other of these paths through the woods, exploring what were at the time practically nothing but trails––the McLaughlin Road, roads in Albert County––and going out to the gorge and other outlying parts of Moncton. It was a solitary exercise, but it was by no means lonely, because each road was an adventure, and it had the feeling of a kind of Hansel and Gretel exploration about it. Naturally, as a city grows, more and more of its residential areas turn into commercial areas––things like Trans Canada Highways and airports and so on make the old paths through the woods totally obsolete. (CW 25, 48-9)

(Photo via The Elizabeth Bishop Society of Nova Scotia)

Elizabeth Bishop

httpv://www.youtube.com/watch?v=QnR1x64WOjQ

Elizabeth Bishop reading “The Fish”

Today is Elizabeth Bishop‘s birthday (1911-1979).

I am lucky enough to have been in her childhood home in Great Village, Nova Scotia, and her mountainside villa in Ouro Preto, Brazil.  In both instances, her bedroom was the smallest room in the house.

Frye never wrote about Bishop. (See Bob Denham’s correction in the post above.)  But he did meet her at Harvard in 1975, when she was writer-in-residence and he was the Charles Eliot Norton lecturer (those lectures later became The Secular Scripture).  According to John Ayre, they were seated together at dinner one night and “swapped tales” of their Maritime upbringing, she in Nova Scotia and he in New Brunswick. (Northrop Frye: A Biography, 347)

After the jump, “First Death in Nova Scotia.”

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Charles Dickens

httpv://www.youtube.com/watch?v=eXyo68s-f1E

The opening sequence of David Lean’s film adaptation of Great Expectations

Today is Charles Dickens‘s birthday (1812-1870).

Frye’s plangent account of the creative absurdity of literature in “Dickens and the Comedy of Humours” — this is an extraordinary paragraph, even for him:

I used the word “absurd” earlier about Dickens’s melodramatic plots, suggesting that they were creatively and not incompetently absurd.  In our day the word “absurd” usually refers to the absence of purpose or meaning in life and experience, the so-called metaphysical absurd.  But for literary criticism the formulating of the theory of the absurd should not be left entirely to disillusioned theologians.  In literature it is design, the forming and shaping power, that is absurd.  Real life does not start nor stop; it never ties up loose ends; it never manifests meaning or purpose except by blind accident; it is never comic or tragic, ironic or romantic, or anything else that has shape.  Whatever gives form and pattern to fiction, whatever technical skill keeps us turning the pages to get to the end, is absurd, and contradicts our sense of reality.  The great Victorian realists subordinate their story-telling skill to their representative skill.  Theirs is a dignified, leisurely vehicle that gives us time to look at the scenery.  They have formed our stock responses to fiction, so that even when travelling at the much higher speed of drama, romance, or epic we still keep trying to focus our eyes on the incidental and transient.  Most of us feel that there is something else in Dickens, something elemental, yet unconnected with either realistic clarity or philosophical profundity.  What it is connected with is a kind of story that fully gratifies the hope expressed, according to Lewis Carroll, by the original Alice, that “there will be some nonsense in it.”  The silliest character in Nicholas Nickleby is the hero’s mother, a romancer who keeps dreaming of impossible happy endings for her children.  But the story itself follows her specifications and not those of the sensible people.  The obstructing humours in Dickens are absurd because they have overdesigned their lives.  But the kind of design that they parody is produced by another kind of energy, and one which insists, absurdly and irresistibly, that what is must never take precedence over what ought to be.  (CW 17, 307-8)

Gay Civil Rights Hero Living in Poverty

Frank Kameny, gay rights pioneer

Frank Kameny started his career as a Harvard-trained astronomer working for the American government, but was fired for being gay in 1957. He has been fighting back for the last 54 years.

He is responsible for many important advances in gay and lesbian rights. These include the first gay civil rights case, the first public protests for gay and lesbian civil rights, the repeal of sodomy laws in the District of Columbia, the declassification of homosexuality as a mental illness by the American Psychiatric Association, and the first congressional campaign by an openly gay person. He continues his activism to this day.

Frank is also a veteran of the Second World War.

He has worked hard. As Frye writes, “There can be nothing effortless for the powerful imagination bursting its way out of a fallen world.”

His home has been designated a historical landmark, his early protest signs are now in the Smithsonian collection, and his contribution to civil rights history has been recognized by President Obama. But, at 85, having no income beyond a meagre Social Security check, Frank is now unable to pay his bills without help.

You can find out more about Frank here.

You can help him pay his bills by making a donation this month to Helping our Brothers and Sisters, a Washington D.C. micro-charity.

If the advances in civil rights that Frank has made possible have helped you or anyone you love, please give something back.

How Many Groundhog Days?

httpv://www.youtube.com/watch?v=eZbtAFq7dP8

One Groundhog Day after another

Frye in The Double Vision:

There are two kinds of repetition: one is inorganic, a matter of merely doing the same thing over and over; the other is habit or practice repetition that leads to the acquiring of a skill, like practicing a sport or musical instrument.  Inorganic repetition is precisely what the word “superstition” means: binding oneself to a continuing process that is mere compulsiveness, often accompanied by a vague fear that something will happen if we stop. (CW 4, 208)

For those of you who need to know how many groundhog days Phil Connors must endure before developing a liberating “habit or practice repetition,” here is the breakdown.  The number, whatever you think it might be, is pretty staggering — and it is very ingeniously calculated.