Starting Out

Photo by Wynn Bullock: Child on Forest Road (1958)

On the bright wall above the narrow crib, with its lateral meshes of white cord and the small icon at its head (lacquered saint’s brown face framed in foil, crimson underside plush somewhat eaten by moths or by Martin himself), hung a watercolor depicting a dense forest with a winding path disappearing into its depths. Now in one of the English books that his mother used to read to him (how slowly and mysteriously she would pronounce the words and how wide she would open her eyes when she reached the end of a page, covering it with her small, lightly freckled hand as she asked, “And what do you think happened next?”) there was a story about just such a picture with a path in the woods, right above the bed of a little boy, who, one fine night, just as he was, nightshirt and all, went from his bed into the picture, onto the path that disappeared into the woods. His mother, thought Martin anxiously, might notice the resemblance between the watercolor on the wall and the illustration in the book; she would then become alarmed and, according to his calculations, avert the nocturnal journey by removing the picture. Therefore every time he prayed in bed before going to sleep (first came a short prayer in English: “Gentle Jesus meek and mild, listen to a little child,” and then “Our Father” in the sibilant, and sibylline, Slavonic version), pattering rapidly and trying to get his knees up on the pillow – which his mother considered inadmissible on ascetic grounds – Martin prayed God that she would not notice that tempting path right over his head. When, as a youth, he recalled the past, he would wonder if one night he had not actually hopped from bed to picture, and if this had not been the beginning of the journey, full of joy and anguish, into which his whole life had turned. He seemed to remember the chilly touch of the ground, the green twilight of the forest, the bends of the trail (which the hump of a great root crossed here and there), the tree trunks flashing by as he ran past them barefoot, and the strange dark air, teeming with fabulous possibilities.

Vladimir Nabokov
Glory (1932)

Photo by Wynn Bullock: Child on Forest Road (1958)

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Gender: No Limits

Photo by Jan Saudek: Women et Men

If identity becomes the problem of sexual existence, and if people think that they have to “uncover” their “own identity,” and that their own identity has to become the law, the principle, the code of their existence; if the perennial question they ask is “Does this thing conform to my identity?” then, I think, they will turn back to a kind of ethics very close to the old heterosexual virility. If we are asked to relate to the question of identity, it must be an identity to our unique selves. But the relationships we have to have with ourselves are not ones of identity, rather, they must be relationships of differentiation, of creation, of innovation. To be the same is really boring. We must not exclude identity if people find their pleasure through this identity, but we must not think of this identity as an ethical universal rule.

Michel Foucault
Sex, Power and the Politics of Identity (1984)

Photo by Jan Saudek: Women et Men

Related: Eros: No Limits

On Philosophy

Painting by Mark Tansey: Recourse (2011)

Plato somewhere compares philosophy to a raft on which a shipwrecked sailor may perhaps reach home. Never was a simile more apt. Every man has his raft, which is generally large enough only for one. It is made up of things snatched from his cabin – a life preserver or two of psalm, proverb or fable; some planks held together by the oddest rope-ends of experience; and the whole shaky craft requires constant attention. How absurd, then, is it to think that any formal philosophy is possible – when the rag or old curtain that serves one man for a waistcoat is the next man’s prayer-mat! To try to make a raft for one’s neighbor, or try to get on to someone else’s raft, these seem to be the besetting sins of philosophy and religion.

The raft itself is an illusion. We do not either make or possess our raft. We are not able to seize it or explain it, cannot summon it at will. It comes and goes like a phantom.

John Jay Chapman
Quoted in Gore Vidal’s The Last Empire: Essays 1992-2000

Painting by Mark Tansey: Recourse (2011)

Related: Make Your Own Bible

Lost in Translation

Illustration by Saul Steinberg

“Shut up, shuddup,” the children around us are shouting, and it’s the first word in English that I understand from its dramatic context. My sister and I stand in the schoolyard clutching each other, while kids all around us are running about, pummeling each other and screaming like whirling dervishes. Both the boys and the girls look sharp and aggressive to me – the girls all have bright lipstick on, their hair sticks up and out like witches’ fury, and their skirts are held up and out by stiff, wiry crinolines. I can’t imagine wanting to talk their harsh-sounding language.

We’ve been brought to this school by Mr. Rosenberg, who, two days after our arrival from Poland, tells us he’ll take us to classes that are provided by the government to teach English to newcomers. This morning, in the rinky-dink wooden barracks where the classes are held, we’ve acquired new names. All it takes is a brief conference between Mr. Rosenberg and the teacher, a kindly looking woman who tries to give reassuring glances, but who has seen too many people come and go to get sentimental about a name. Mine – “Ewa” is easy to change into its near equivalent in English, “Eva.” My sister’s name – “Alina” – poses more of a problem but after a moment’s thought, Mr. Rosenberg and the teacher decide that “Elaine” is close enough. My sister and I hang our heads wordlessly under this careless baptism. The teacher then introduces us to the class, mispronouncing our last name – “Wydra” – in a way we’ve never heard before. We make our way to a bench at the back of the room; nothing much has happened, except a small, seismic mental shift. The twist in our names takes them a tiny distance from us – but it’s a gap into which the infinite hobgoblin of abstraction enters. Our Polish names didn’t refer to us; they were as surely us as our eyes or hands. These new appellations, which we ourselves can’t yet pronounce, are not us. They are identification tags, disembodied signs pointing to objects that happen to be my sister and myself. We walk to our seats, into a roomful of unknown faces, with names that make us strangers to ourselves.

When the school day is over, the teacher hands us a file card on which she has written, “I’m a newcomer. I’m lost. I live at 1785 Granville Street. Will you kindly show me how to get there? Thank you.” We wander the streets for several hours, zigzagging back and forth through seemingly identical suburban avenues, showing this deaf-mute sign to the few people we see, until we eventually recognize the Rosenbergs’ house. We’re greeted by our quietly hysterical mother and Mrs. Rosenberg, who, in a ritual she has probably learned from television, puts out two glasses of milk on her red, Formica counter. The milk, homogenized, and too cold from the fridge, bears little resemblance to the liquid we used to drink called by the same name.

Every day I learn new words, new expressions. I pick them up from school exercises, from conversations, from the books I take out of Vancouver’s well-lit, cheerful public library. There are some turns of phrase to which I develop strange allergies. “You’re welcome,” for example, strikes me as a gaucherie, and I can hardly bring myself to say it – I suppose because it implies that there’s something to be thanked for, which in Polish would be impolite. The very places where language is at its most conventional, where it should be most taken for granted, are the places where I feel the prick of artifice.

Then there are words to which I take as equally irrational liking: for their sound, or just because I’m pleased to have deduced their meaning. Mainly they’re words I learn from books, like “enigmatic” or “insolent” – words that have only a literary value, that exist only as signs on the page.

But mostly, the problem is that the signifier has become severed from the signified. The words I learn now don’t stand for things in the same unquestioned way they did in my native tongue. “River” in Polish was a vital sound, energized with the essence of riverhood, of my rivers, of my being immersed in rivers. “River” in English is cold – a word without an aura. It has no accumulated associations for me, and it does not give off the radiating haze of connotation. It does not evoke.

The process, alas, works in reverse as well. When I see a river now, it is not shaped, assimilated by the word that accommodated it to the psyche – a word that makes a body of water a river rather than an uncontained element. The river before me remains a thing absolutely other, absolutely unbending to the grasp of my mind.

When my friend Penny tells me that she’s curious, or happy, or disappointed, I try laboriously to translate not from English to Polish but from the word back to its source, to the feeling from which it springs. Already, in that moment of strain, spontaneity of response is lost. And anyway, the translation doesn’t work. I don’t know how Penny feels when she talks about envy. The word hangs in a Platonic stratosphere, a vague prototype of all envy, so large, so all-encompassing that it might crush me – as might disappointment or happiness.

I am becoming a living avatar of structuralist wisdom; I cannot help knowing that words are just themselves. But it’s a terrible knowledge, without any of the consolations that wisdom usually brings. It does not mean that I’m free to play with words at my wont; anyway, words in their naked state are surely among the least satisfactory play objects. No, the radical disjointing between word and thing is a desiccating alchemy, draining the world not only of significance but of its colors, striations, nuances – its very existence. It is the loss of a living connection.

The worst losses come at night. As I lie down in a strange bed in a strange house – my mother is a sort of housekeeper here to the aging Jewish man who has taken us in in return for her services – I wait for that spontaneous flow of inner language which used to be my nighttime talk with myself, my way of informing the ego where the id had been. Nothing comes. Polish, in a short time, has atrophied, shriveled from sheer uselessness. Its words don’t apply to my new experiences; they’re not coeval with any of the objects, or faces, or the very air I breathe in the daytime. In English, words have not penetrated to those layers of my psyche from which a private conversation could proceed. This interval before sleep used to be the time when my mind became both receptive and alert – when images and words rose up to consciousness, reiterating what had happened during the day, adding the day’s experiences to those already stored there, spinning out the thread of my personal story.

Now, this picture-and-word show is gone; the thread has been snapped. I have no interior language, and without it, interior images – those images through which we assimilate the external world, through which we take it in, love it, make it our own – become blurred too. My mother and I met a Canadian family who live down the block today. They were working in their garden and engaged us in a conversation of the “Nice weather we’re having, isn’t it?” variety, which culminated in their inviting us into their house. They sat stiffly on their couch, smiled in the long pauses between the conversation, and seemed at a loss for what to ask. Now my mind gropes for some description of them, but nothing fits. They’re a different species from anyone I’ve met in Poland, and Polish words slip off of them without sticking. English words don’t hook on to anything. I try, deliberately, to come up with a few. Are these people pleasant or dull? Kindly or silly? The words float in an uncertain space. They come up from a part of my brain in which labels may be manufactured but which has no connection to my instincts, quick reactions, knowledge. Even the simplest adjectives sow confusion in my mind; English kindliness has a whole system of morality behind it, a system that makes “kindness” an entirely positive virtue. Polish kindness has the tiniest element of irony. Besides, I’m beginning to feel the tug of prohibition, in English, against uncharitable words. In Polish, you can call someone an idiot without particularly harsh feelings and with the zest of a strong judgment. Yes, in Polish these people might tend toward “silly” and “dull” – but I force myself toward “kindly” and “pleasant.” The cultural unconscious is beginning to exercise its subliminal influence.

The verbal blur covers these people’s faces, their gestures with a sort of fog. I can’t translate them into my mind’s eye. The small event, instead of being added to the mosaic of consciousness and memory, falls through some black hole, and I fall with it. What has happened to me in this new world? I don’t know. I don’t see what I’ve seen, don’t comprehend what’s in front of me. I’m not filled with language anymore, and I have only a memory of fullness to anguish me with the knowledge that, in this dark and empty state, I don’t really exist.

Eva Hoffman
Lost in Translation: A Life in a New Language (1989)

Illustration by Saul Steinberg

What’s to Forgive?

Photo by Karl Bloss­feldt: Monks­hood, from Urfor­men der Kunst (1928)

In going back over one’s past one remembers all too much foolishness. Yet how can I forgive anyone else if I don’t forgive myself? And how can I believe that now, as I have become and matured, I am no longer a fool? If “judge not that you be not judged” means anything, it means that we must look at human affairs, including our own, as we look at nature:

In the scene of spring there is nothing inferior,
nothing superior;
Flowering branches grow naturally, some short, some long.

Our deeds, our feelings, our thoughts, and our sensations just happen of themselves, as the rain falls and the water flows along the valley. I am neither a passive and helpless witness to whom they happen, nor an active doer and thinker who causes and controls them. “I” is simply the idea of myself, a thought among thoughts. Taken seriously it gives the illusion of being something apart from nature, a subject reviewing objects. But if the subject is an illusion, the objects are no longer mere objects. Inside the skull and the skin as well as outside, there is simply the stream flowing along of itself. The bones flow too, and their inner texture has the same patterns as moving liquid. In nature there are neither masters nor slaves.

Alan Watts
In My Own Way (1972)

Photo by Karl Bloss­feldt: Monks­hood, from Urfor­men der Kunst [Art Forms in Nature] (1928)

Throw Down Your Dictionaries

Painting by Mark Tansey: Discarding the Frame (1980s)

The horrible lot of an ordinary, normal man whose life is determined by dictionaries of easily understandable words and acts. The acts draw him on, like a fragile vessel rigged out with words and gestures. If the fragile vessel runs aground on the submerged rock of inapprehensibility, it is wrecked, and the sailor drowns. At life’s slightest jolt, ordinary people are deprived of reason. No, madmen know no such dangers. Their brains are more subtle. The ingenuous brain finds impenetrable that which such brains penetrate. There is nothing for it but to be wrecked, and – it is wrecked.

Andrei Bely
Petersburg (1910-13)

Painting by Mark Tansey: Discarding the Frame (1980s)