Here I Am

2010 was probably the best year of my life.  I say this without exaggeration.

Throughout the last year, for various reasons, I’ve been contemplating the way we devise narratives with our lives.  We read our lives, so to speak, in the same way we read stories: we look for beginnings, middles, and ends; we look for progression and change and development.  These things are not there, in the objective sense — unless you subscribe to the notion of God as a master author/reader — but things we construct in our own contemplation.  We want our lives to be stories; we need stories to give form and order to our existence.  This is all stuff you’ll hear more on in the new year, when I begin serializing my final senior essay on literature.

I’ve often thought that my life, as a story, is not one worth telling.  This is why blogging as an autobiographical platform holds little appeal for me; the narrative of my life is of interest to pretty much me and, perhaps, those closest to me.  Not you, Stranger on the Internet.

But it has become increasingly obvious that if there is, so far, a time in my life worth writing about, it is the year 2010.  It was, as I said, the best year of my life.

I mean this in a qualified sense.  I don’t mean that nothing but good things happened to me this year; in fact quite a few unfortunate things happened.  But it was the best year of my life in that I end it feeling fulfilled, because many things happened, and many of them were exciting or interesting.  Most of all, they have made me more like me, if you follow.  I am more myself now than I have ever been.

Another way of putting it is that 2010 in the Life of Michael actually makes a pretty good story.

I began this year by moving to London for four months — an adventure in and of itself, a wonderful experience that I’m grateful for having.  Then I moved out on my own for the first time, temporarily.  I sold and published my first short story.  I completed an independent research project and I helped teach a summer literature course.  In the fall, I reunited with what I suddenly understood was an extensive and important network of friends.  For the first time, I recognized how much I like the people around me.  I also realized, quite abruptly, that the cold steel barrel of my senior year was pressed against my forehead.  In response, I applied to grad schools.  Yesterday morning, I was woken up by an earthquake.

Other things happened, things great and small, things you wouldn’t care about, but they happened and I am glad they did.  I made it through, somehow, alive.

I am inclined to say that 2010 was a turning point, that I can definitively say in the future that, after this year, things were different.  Things will be different.  I am a different person now than I was 12 months ago.

In the sense of Heraclitus, this is true every year.  But it’s never been so obviously true.

I can’t say with certainty — Heraclitus again, or maybe Hume! — that 2010 was a turning point, or even really as important in the long run as it seems.  But I know that right now, it was one of the most significant years of my life, maybe a defining chapter in the narrative of my life, and here I’d like to take a moment to publicly thank all of you who made it what it was, and made me what I am.  I can’t help but cast myself as the protagonist and you all as the supporting characters — the great but necessary lie of autobiography — but I hope that in your own stories, you’re ending the year as fulfilled as I am.  And if not, then I hope the next chapter’s better.

Here is the last theory quote I stumbled upon in my senior research.  It’s about the intertwining of life and narrative, and of life and fiction I’ve been discussing and will discuss in my senior paper.  It comes from the essay “Fictional Protocols” in the collection Six Walks in the Fictional Woods by one of my great heroes and influences, Umberto Eco. I leave you, and 2010, with it:

At any rate we will not stop reading fictional stories, because it is in them that we seek a formula to give meaning to our existence.  Throughout our lives, after all, we look for a story of our origins, to tell us why we were born and why we have lived.  Sometimes we look for a cosmic story, the story of the universe, or for our own personal story (which we tell our confessor or our analyst, or which we write in the pages of a diary).  Sometimes our personal story coincides with the story of the universe.

It happened to me, as the following piece of natural narrative will attest.

Several months ago I was invited to the Science Museum of La Coruña, in Galicia.  At the end of my visit the curator announced that he had a surprise for me and led me to the planetarium.  Planetariums are always suggestive places because when the lights are turned off, one has the impression of being in a desert beneath a starlit sky.  But that evening something special awaited me.

Suddenly the room was totally dark and I could hear a beautiful lullaby by de Falla.  Slowly (though slightly faster than in reality, since the presentation lasted fifteen minutes in all) the sky above me began to rotate.  It was the sky that had appeared over my birthplace, Alessandria, Italy, on the night of January 5-6, 1932.  Almost hyperrealistically, I experienced the first night of my life.

I experienced it for the first time, since I had not seen that first night.  Perhaps not even my mother saw it, exhausted as she was by giving birth; but perhaps my father saw it, after quietly stepping out onto the terrace, a little restless because of the (to him at least) wondrous event which he had witnessed and which he had jointly caused.

The planetarium used a mechanical device that can be found in a great many places.  Perhaps others have had a similar experience.  But you will forgive me if during those fifteen minutes I had the impression that I was the only man, since the dawn of time, who had ever had the privilege of being reunited with his own beginning.  I was so happy that I had the feeling — almost the desire — that I could, that I should, die at that very moment, and that any other moment would have been untimely.  I would cheerfully have died then, because I had lived through the most beautiful story I had read in my entire life.  Perhaps I had found the story that we all look for in the pages of books and on the screens of the movie theaters: it was the story in which the stars and I were protagonists.  It was fiction because the story had been reinvented by the curator; it was history because it recounted what had happened in the cosmos at a moment in the past; it was real life because I was real, and not the character of a novel.  I was, for a moment, the model reader of the Book of Books.

That was a fictional wood I wish I had never had to leave.

But since life is cruel, for you and for me, here I am.

Grandmother Wilson’s Heirloom Curtains

A maternal aunt of mine, a very reasonable and down-to-earth woman, told me this story at a family function whose precise nature I now forget.  It might not be untrue to say that the extraordinary nature of the events my aunt related were enough to make any other details of the time, place, and situation indistinct.  For sake of shedding some light, however contrived, on a tale rife with obscured truths and unknown facts, we may hazard it was Christmas.

My aunt was reminiscing about the early years of marriage to my uncle and happened to remark to me, offhandedly, that she did not recall ever telling me the story of a unique pair of curtains that had come into her possession during that time.  I replied that indeed, I had heard no such story — and with the sullen impatience of a young man trapped in the grasp of an older relative, silently hoped she would not feel obliged to tell me since, quite naturally, I assumed a story about curtains was not likely to be exciting by any measure.

Amanda — my aunt — did not heed my wordless wishes and so, without a moment’s hesitation, calmly recounted the story of Grandmother Wilson’s heirloom curtains.

It was, as I have said, Amanda’s early years of marriage to my uncle, Donald.  Their daughter, my cousin Victoria, was three years old and growing quickly.  Donald’s advances in the law firm where he worked had allowed the couple to purchase the tidy suburban house where they still live today, and they were just finished moving in when Donald received word that his Grandmother Wilson, of the distaff side of his family, had passed away in Utah.

Donald left his wife and young child behind for a week to attend his grandmother’s funeral and, with the help of other family members, sort through the remainder of her belongings.  Upon returning he produced for Amanda a pair of large, heavy curtains, off-white in color and patterned in tightly wound forest-green arabesques.  It was a doubly fortuitous find: first, because the den of the new home featured a bay window of irregularly large size and Amanda could not find curtains to fit it properly, and second, because the wallpaper of said den was of a pattern and hue not at odds with Donald’s recent prize.

It should come as no shock to the reader, assuming you are acquainted with stories of this nature, that the curtains fit the bay window perfectly; furthermore, as Amanda describes them, they were of such singular, startling character that they brought to the den an unanticipated air of antiquity and taste.  Amanda remarked upon the change in the room, asking Donald if the curtains had indeed been hanging in his grandmother’s house and if they engendered a similar atmosphere there.

Donald admitted that the curtains had not been hanging in Grandmother Wilson’s house, but folded away in an attic or crawlspace gathering dust.  However, he had distinct memories of the curtains being in his grandmother’s own sitting room when he was a child, and as he recalled they were just as regal then, lording over the expansive room and seeming to make it somehow smaller and denser, like a parlor of a bygone era.  At some point in his childhood the curtains were taken down, though he could not say exactly when.  Upon rediscovering them in the attic, memories had stirred of Grandmother Wilson telling him many times in the humoring manner of the aged to the young that he, being her only grandson, would inherit everything she owned and, she hoped, one day have the curtains hanging in his home.

Amanda and Donald both understood this as meaning the curtains probably had a much richer history than either could suspect, and decided that they were probably heirlooms passed down from a prior generation.  In order to preserve the fabric, Grandmother Wilson had likely put the curtains away in the attic, protecting them from constant exposure to the sun.  Both my aunt and uncle agreed that the next course of action should be to find a way of treating the curtains chemically to ensure that they would survive for Victoria, and her children, and so on.

In the meantime, the curtains hung in the irregularly sized bay window of their tidy suburban house.

They had been there perhaps a week, Amanda told me, before one day young Victoria toddled into the kitchen and asked for apple juice.  Amanda and Victoria were alone in the house; Donald was at work and Amanda, at this time, was content to stay at home and take care of domestic matters, such as Victoria’s desire for juice.  As she was pouring her daughter’s cup, she inquired as to the child’s play activities so far that day.

Victoria described, in her usual precocious manner, of the imagination games she played in the backyard with a handful of neighboring children, whose mothers Amanda was in the process of befriending.  Amanda half-listened for most of the monologue, but her attention was grasped sharply by a bizarre mention Victoria made of “the man who lives in the vines.”

Amanda, thinking like a parent, assumed her daughter was speaking of some stranger who had approached her and the other children through the back garden, which featured a trellis of clematis.  “What do you mean, the man who lives in the vines?” she asked (I reproduce here their dialogue as I imagine it, a liberty I hope the reader will allow).  “Was there a man in the backyard?”

“No,” Victoria said curtly.  “Not the vines in the yard.  The vines in the other room.”

“The other room?” asked Amanda, handing the apple juice to the child.

Her daughter gestured flippantly toward the den.  “There.  The vines in there.”

Amanda was accustomed to Victoria’s sudden flights of imagination — it was, after all, the prerogative of children to interlace reality and fantasy — but something about this did not sit easily with her.  “What did he do?” my aunt asked.

“Nothing,” Victoria said.  “He just hangs in the vines.  He’s like a little monkey.”  And with that she spoke no more; having drunk her juice she ran outside to play.

Amanda was troubled by this exchange for no reason she could adequately describe.  An hour or two afterward, she ventured into the den to see what could stimulate Victoria’s imagination so; it was then she saw the heirloom curtains, and remembered their tightly curled arabesque pattern.  Could the child have meant those when she spoke of vines?

Suddenly it all seemed very clear, and my aunt laughed at herself for her small moment of unease.  Obviously the pattern on the curtain was not a pure arabesque — as was the pattern of the wallpaper of the den — but of that particular variation which, within its twists and curls of leaf and plant, almost seamlessly entwines distorted figures of animals, so that when looking at it one is surprised by the sudden appearance of, say, a wildly plumed exotic bird or, in this case, a leering monkey.  Such phantasmagoria had no doubt inspired her daughter’s imagination.

Satisfied, Amanda returned to her household duties, though she made a mental note to tie the curtains back further in the future because, as they currently hung, the room seemed rather gloomy.

I cannot say how much time passed before Victoria once again came to her mother in the kitchen, this time from watching cartoons in the den at what Amanda was slowly realizing to be an unreasonable volume.  “Mommy,” Victoria said, “the man in the vines is being too noisy!  I can’t hear the TV!”

“What do you mean?” asked Amanda.  Despite herself she was unhappy at the recurrence of this phenomenon.  “How is he being too noisy?”

“He just is,” Victoria said irritably.  “Make him stop, please?”

“What noise is he making, exactly?”  My aunt, I imagine, was beginning to feel a bit curious.

Victoria brightened instantly and, with a wide smile on her face, began to stomp around on the tile floor in her pajamas, hissing and spitting like a riled cat.  “Like that!” she said, and for her mother’s benefit, began to repeat the act.

Amanda put her hand on her daughter’s shoulder to still her.  “Show me where he is,” she said, “and I’ll make him stop.  He’ll listen to me.”  Amanda told me that when she said this last part, she was attacked by the grim but groundless suspicion that she was lying to her daughter.

Victoria led Amanda into the den and pointed at the bay window, where the heirloom curtains hung heavily, a whole three feet of space between them and yet still somehow occluding the majority of the outdoor sunshine.  Amanda, marshaling her courage, walked to the window and peered out.

It was a nice day; the window looked out on a green expanse of lawn and, a few yards away, the privacy fence of the neighboring house.  Between the backs of the curtains and the wall there was not so much as a cobweb.  She pulled her head out from the curtains and looked at her daughter.  “I’m not seeing him,” she said.

“He went away,” Victoria told her, already turning down the volume on TV.

“Well,” Amanda said, once again starting to feel a bit silly for being so off-put by her daughter’s imagination, “if he comes back, you tell him to shut up.  I’m sure he’s more scared of you than you are of him.”

Victoria didn’t respond to that, but instead returned to the couch, where she had left a coloring book, and went to work while the TV played on.  Amanda, feeling the room was much too dim, pulled the curtains back further and refastened their ties.  She studied the thick, antique fabric as she did so, tracing the loops and whorls of the vine-like arabesques for the bizarre animal shapes she knew were hidden there.

The reader may be unsurprised to learn she did not find a single one, not even an exotic bird, but at the time she assumed she simply wasn’t looking closely enough.

Again an interval of uncertain length passed, during which nothing notable occurred.  The young family was pleased with their new house, though my uncle Donald, a light sleeper, often complained that he was awakened in the night by a neighbor’s cat howling.  Other than that they were integrating well into the community, and so it happened that one weekend a few of the other young couples and their children from the neighborhood came to my aunt and uncle’s house for a barbecue.

The children had played outside in the late afternoon but as the light fell and mosquitoes worsened they, led by Victoria, ventured inside to take stock of her toys.  The adults, for their part, remained outside, smoking, drinking lightly alcoholic cocktails, and hoping someone would eat the rest of whatever food they brought so they would only have an empty dish to take home.

At some point Amanda became aware of the sound of Victoria shouting from inside the house; at first thinking the children were having a serious fight over some toy or another, she shot Donald a bemused look and slowly made her way toward the door.  Two things happened then.

First, she became aware of what exactly her daughter was shouting, something like, “Go away!  Shut up, go away!  I’m not scared of you!”  Second, Amanda heard another sound below that, a sound her daughter was not making and could not make, something like the chittering buzz of a cicada.

And then one more thing happened: the children, all of them, began to scream.

Amanda burst into the house, running into the kitchen table and bruising her hip, but she continued straight for the den.

As she entered she saw the children, some dozen of them, standing together in a cluster by the coffee table, all shrieking in utter terror and staring with wide eyes toward the bay window.  In the second it took her to turn her head, Amanda saw only the green arabesque curtains, thrust out into the room for a moment and now suddenly falling back in billowing waves to hang straight, as if a gust of wind had abruptly died way.

The other adults, upon hearing the children scream, had followed Amanda and now entered the room behind her, rushing to their still sobbing children.  My uncle Donald asked my aunt something to the effect of “What the hell just happened?” but Amanda had not looked away from the curtains.

They had fallen in such a way that they obscured the bay window almost entirely, save a sliver of night that leaked in from the outside.  But Amanda was quite certain that the curtains had been tied back earlier in the day, as they always were, and it was as she stepped toward the window to inspect the strips of cloth that served this purpose she saw, glaring at her from the splinter of darkness between the edges of the curtains, what was unmistakably an eye.

In her brief glimpse Amanda insists she could make out not only an eye, but a crescent of bare, greasy forehead (there was no hair), a fat cheek and dimple of nostril, and a section of a thin-lipped mouth overcrowded with jagged yellow teeth.  Because of its position only a foot or so above the window’s seat, the owner of that horrible face was either leaning into the house through the window itself or possessed of inhumanly grotesque proportions.

It was the disgust prompted by these notions and the self-preservation inspired by the malice radiating from that terrible face that caused Amanda to reach out and, with a fierce growl, rip the curtains from their rod.  Before they had even reached the carpet she began to stomp the fabric, hoping to feel the satisfying crunch of bone beneath her heel, to hear a squeal as something monstrous felt fear.

It was only about a half-minute later she calmed, her stomping on the curtains becoming less forceful, as she realized there was nothing below her feet save old cloth.  She saw, through the tears of fear and rage that had come to her eyes, that the bay window was shut tight.  With a deep, shuddering breath, she turned back into the room.

Her neighbors stood across from her, their arms clasped protectively around their children; Donald and Victoria were near the front.  They all stared at her with white, frightened faces — the children more so than their parents.  Amanda suddenly felt vulnerable, standing alone on the ruined curtains, and she kicked them away in distaste, dashing across the room to her daughter and husband.

This seemed to break a spell; the adults began to whisper to one another, to discuss their plans for leaving, and the children did their best to explain to their parents the situation: “It was crawling around in the curtains” — “It kept trying to get me to go to it”  — “It said my name!”

Amanda knelt, looking Victoria in the face.  “Are you okay, sweetie?” she asked.

“Mommy,” said Victoria earnestly, beginning to regain her composure, “I think you were wrong.  I don’t think he was scared of me.”

Though if you were to ask Victoria — Vicky, as she likes to be called — she would deny it.  She claims the entire incident never happened or, in the unlikely event it did, she certainly doesn’t remember it.  My uncle Donald, for his part, is largely a silent man and apparently has no opinion on the matter.  He at least does not discuss it.

My aunt Amanda, who in time overcame the disastrous evening of the barbecue and was accepted back into the fold of the neighborhood where she has now lived for most of her life, tells me she takes solace in the fact that, though the thing in the curtains was not scared of her daughter, it has very good reason now to be scared of her.

Later on — after they had been folded up on the barbecue grill, doused in lighter fluid, reduced to ashes, and scattered to the wind — Amanda made some calls to her husband’s family regarding a pair of heavy antique curtains once owned by Grandmother Wilson.  Many recalled them having been in the old woman’s sitting room at a point in the past, but other than that they knew nothing.  Finally, though, Amanda came into contact with a slightly senile great-aunt, sister to Grandmother Wilson, who knew not only the curtains, but the method in which they were acquired.

They were found one day many decades past at a flea market in Salt Lake City, an item of utmost quality for an unbelievably low price, and Grandmother Wilson, upon discovering them, immediately made the purchase.  She had explained gleefully to the great-aunt (who, as a shopping companion, was jealous at not having spotted the deal herself) her intent to preserve the curtains as best as possible and, in time, ensure their status as a family heirloom.  The great-aunt recalled that, after a few years of having them in her house, Grandmother Wilson had taken the curtains down, though she could not recollect why, and she insinuated that, since her sister’s passing, she would be glad to have them herself should they be found among her belongings.

Amanda assured her the curtains were likely lost for good.

The bay window of my aunt’s house is currently dressed with a set of cheap, plain blinds.  They are slightly too small, not reaching fully to the edges of the windowpane, and thus let in an excess of light.  My aunt is not displeased by this.

Occasionally, though, no more than once or twice every few years, she says she enters the den to find the plastic slats in disarray, as if someone of an ill temperament has hastily lifted them to peer outside.  The reader no doubt can guess my aunt’s grim but groundless suspicion: that from time to time, through means unknown and unthinkable, something very ill tempered returns to peer in.

THINGS TO BE HAPPENING

Yes, yes, it’s not Friday, but there will be a post then.  A special Christmas post!  If you’re a regular reader you can probably guess what I mean when I say a post will be special (it means there will be a story to read).  ANYWAY.

I recently got my final grade/feedback on what amounts to my final senior paper for my major, and it’s good.  However, since my college doesn’t do a traditional thesis, there isn’t really an application for this 30-page essay in terms of scholarship.  It’s basically an extended reflection and meditation on why I chose to study literature.  Starting in January I’ll be serializing the essay here on the blog — a lot of it is about me personally, which isn’t so much my blogging style, but there’s some theory and academia in there as well.

So IF you like the idea of ethics or the ethical study of literature, and also you think Harlan Ellison is a ridiculous human being, then tune in the first Friday in January for this super exciting foray into the fantastical life-affirming bullshit that is my chosen career.  I’m guessing 4-5 parts for this series, but we’ll see how it goes!

And remember, come back this Friday for a holiday gift!  (The Friday after will be mostly a year-in-review post, I am thinking, with probably my favorite quote I’ve pulled from all the theorists I’ve read in the past six months.  Less interesting, but still neat.)

Jonathan Safran Foer is a spambot

I get a lot of spam comments and sometimes they sound like Jonathan Safran Foer was writing them in the voice of a Ukrainian translator.  Observe:

Hello there! My title is john I am a 20 many years old pupil. I really like to read. I don’t have a good deal of time.  That is why I realized speed reading programs, I Believe that when you go through lots of books and megazines you’ve to learn the skill of speed reading. Just to be able to examine better and quicker. anyway, I hope you’ll continue to maintain this internet site.  this is really a great place and I am certain I’ll be back within the near long term once more.

And of course

How do you get over writers obstruct?

How do I, indeed, spambot.

Anyway, there’s more on this Harry Potter class issues thing, this time all the way over at the New Yorker.  It says basically the stuff I said re: Maria Bustillos’s article, but it doesn’t go on at length and also it’s on the website of a famous and widely read magazine so what the writers says actually has meaning or value or whatever.

I am done with my classes, by the way, and we’ll probably get back to meatier entries sometime soon!

Initiate finals week in 3, 2, 1

So hey I go to college!  I used to be pretty secretive about where exactly but given recent links I’ve posted this semester it is not entirely a secret anymore.  So if you want to know what kind of school I go to, you should check out this blog.

Also, because I go to college, I am getting ready to start the first finals week of my senior year.  Oh gosh, guys!  Just think, this time last year I was all freaking out over going to London and basking in the glory of American Psycho… which reminds me, they are making an American Psycho musical.  Isn’t that a terrible idea!  Or maybe the best idea?  If all the songs are done in the style of 80s power ballads or other era-appropriate music is might actually be pretty amusing.

I case you couldn’t tell I don’t have any profound thoughts this week so I’m just collating some links.  Once things wind down I’ll maybe get back to thinking about dumb things to say about popular books or movies, and then we will be right on track!  In the meantime, watch this and think of me.

This blogging thing

Sometimes it seems like a bad idea to do this blog every Friday, especially on the Fridays when I have nothing important to say — not even literary criticism quotes! — and this Friday is one of them.  The year is winding down, I got a few final papers to write up, some drafts of some stories to do, and three more grad school applications to finish.

However, it is cold, and there is snow, so let’s enjoy the beginning of this wondrous season with a special performance by my new favorite musical artist, OtamaTone.

Black Friday Rants

Anyone particularly taken with last week’s writeup of the Harry Potter series may want to mosey on over to The Awl, where Maria Bustillos basically tells you the exact opposite of what I told you.  It’s good!  Go read it!  She and I agree on the fact that ‘chosenness’ in the series is basically a big old social construction (and it is) but while I see the seeds of a reformation in that construction, Bustillos doesn’t at all.  Let’s take a look at this in particular:

But if you have a young Harry Potter fan in your orbit, you might steer him or her toward Philip Pullman, whose Dark Materials trilogy is genuine in every way that Harry Potter is false; a fully realized work of fantasy to rival Tolkien in its wisdom, inventiveness and questioning. Because Pullman’s novels really do threaten the establishment view of religion and institutionalized coercion, because they are really subversive in the manner in which Harry Potter pretends to be, the Hollywood establishment chickened out completely and made a perfect hash of the first Pullman movie. Tom Stoppard, who’d adapted the original screenplay, was dumped by director Chris Weitz (of American Pie fame), who preferred to write his own. Hollywood is, unfortunately, an absolute tool of the corpocracy, and will never be equal to any story that presents a legitimate threat to conventionality or to materialist values.

Yes, very nice!  EXCEPT: the Dark Materials books actually become quite bad!

Like, I think the Potter novels are actually pretty mediocre, but they maintain the same pleasant mediocrity throughout for the most part.  I knew this even when I was a wee lad of 14.  The first HDM book knocked my socks off, so to speak, because it was startlingly adept in its worldbuilding and its magical malarkey (an aspect that has always been too slapdash in Harry Potter for my taste).  And yes, around the second book, The Subtle Knife, when the main characters declared war on God, I was pretty much like, whoa, dude!  I was all for it!

Except then the book descended into its own morass of half-assed magic, but now it was pretending to be quantum mechanics, and eventually the whole thing became kind of a soapbox for Pullman, including some bizarre line of bullshit about dying and becoming quantum dust and the Circle of Life moves us all.  I really didn’t like the Narnia books after the first two or three because it got to the point where I couldn’t even enjoy the story on account of Lewis pounding me on the head screaming MICHAEL LOOK MICHAEL CAN YOU SEE THAT THE LION IS JESUS MICHAEL ACCEPT THE LION INTO YOUR HEART.  Pullman, by the end, was doing the same thing, except what he was telling me to accept into my heart didn’t even make much sense — and when you make less sense than a lion who is Jesus fighting snake-worshiping Muslims, you got a problem.

Bustillos’s argument then goes into the same old “economic success = moral corruption” territory, which I gotta tell you is pretty tiresome!  Yeah, Pullman’s novels were neutered for the big screen, no qualms with that, but chalking it up to how it’s because HDM is just too hot for you to handle, you bourgeois jerk is the sort of ideological teeth-gnashing that makes everyone look bad.  Pullman’s novels weren’t as successful as the Potter novels, either, not by a long shot.  But rather than say it’s because Harry Potter supports some corrupt establishment, I’ll take the opposite tack: The Potter novels are more successful because they are nicer.

Seriously!  The Potter books do better because their stance is not one of “HEY I AM GOING TO KICK YOU IN THE FACE UNTIL YOU REALIZE HOW MUCH OF A GODDAMNED SLOVENLY HALFWIT YOU ARE.”  Pullman’s books fail, ironically, for the same reasons his reviled Narnia books fail: the didacticism, the partisanship!  The sense that, if you are not agreeing with the books, then you have no place in them!  You can’t go to Hogwarts — that’s certainly true — but the books don’t stop you from imagining that you could.  Bustillos would probably say this even more insidious and repellant than polemics, but that is maybe a point where she and I would just have to differ!

Anyway, the article is a very good read, and very apt in a lot of ways.  Also: Rowling’s overzealous love affair with her copyright, that’s another matter entirely.  Bustillos does give you an accurate blow-by-blow there.  JKR sure loves her money, and also hates her fans!  Then again, I would probably hate my fans if I had them, too, so who am I to judge!

Elsewhere, author Hiromi Goto has a great essay up on the Amazon blog about the relationship between fantasy and horror.  Go give it a read, but here’s the key bit:

Our senses tell us our world is “real”, the tangible is our proof. We believe in it more than we believe in words. So, to make the fictional world (created through words!) come alive, I take care to detail the visceral experiences of the character’s body and her world. Once I begin doing that, the fantastic can easily slip into the horrific. I think my narratives of the fantastic can veer readily into the horrific, because of my desire to depict an image or scene “realistically”. I pull the viewer in, close, instead of casting the scene from a more distant and softer view. A romantic veneer can be stripped away by bringing something into sharper focus. The Swedish film, Let The Right One In, is my favourite vampire story. Humane, monstrous, realistic and heart-breaking, it stripped away all the glamour from the image of Hollywood vampires, and approached the trope with a realistic lens.

I’ve touched on thoughts similar to this before.  Fantasy and horror are the recreations of some fictional realm with different operant natural laws.  Goto’s note on realism is, of course, the key difference.  I’ll elaborate.  Horror — at least as the genre has traditionally existed — is more realistic than fantasy.  Horror generally works best as such because it is in some way connected to our world.

Consider elves as envisioned in Tolkien: they are unnatural if we hold humans to be a natural standard.  Elves are immortal, incomprehensibly wise, and under some circumstances capable of great corruption and cruelty.  But in Middle-Earth there is nothing strange per se with elves, because Middle-Earth is an environment where elves are largely acknowledged and understood to exist, even though we as readers know they do not, just as we know Middle-Earth does not exist.  The world of Arthur Machen’s “The White People,” however, is different, in that the world is ostensibly ours.  Two gentlemen in what appears to be more or less our London at the beginning of our 20th century discuss the nature of sin and evil, and together peruse the pages of a young girl’s journal.  The elves we meet therein are decidedly different — though they are also not human, and perhaps long-lived, and privy to certain arcane knowledge, and yes, even capable of very mean things.

In this way of thinking, Machen’s White People are indistinguishable from Tolkien’s elves.  The horror of the former comes into play when we are led to believe that the White People exist not in Middle-Earth, where such things can exist, but in our world, where we have been led to believe they do or should not.  This is also why I personally feel more at home working in horror: it’s more powerful.  In Middle-Earth, elves are simply elves; in our world, where there are no elves, the appearance of one means something has gone gravely awry.

Hagrid Shrugged: On Class and Economics in Harry Potter

Hello, anyone visiting from the EC Word.  If you want more of an introduction to this blog, go here.  If you like to live dangerously, continue reading.

It has long been obvious to me that the Harry Potter series may be profitably read as an extended meditation on economic class and class mobility.  What is intriguing about this reading of the texts is that doing so provides not a single clear answer as to the nature of class dynamics and economics, likely because the themes are inadvertent on Rowling’s part.  But, by my way of thinking, that only makes them more honest.  So if you like, come along with me, and we shall together explore the myriad ways in which Harry Potter describes both the dream and the nightmare of the disintegration of economic class.

Michael What Are You Talking About This Is a Story of Magic and Wonder How Does Class Come into It

Well it’s quite simple, really.  A cursory glance at the Potter books should be enough to make the theme of class obvious.  The first antagonists of the series are the Dursleys, who are characterized almost entirely by their bourgeois excess.  The family’s insistence on propriety and material wealth is a characteristic of the materialistic upper-middle class; they are concerned only with doing what is right or what is expected, in the interest of appearing normal.  The final result of such an life, Rowling’s texts suggest, is Dudley, who is spoiled and cruel.

But the Dursleys are only comic-grotesque versions of the true villains of the series, Voldemort and his Death Eaters.  The Death Eaters are, by and large, degenerate aristocrats; this is also mostly true of the Slytherins, who remain quite malevolent even as exceptions like Snape and Malfoy garner our sympathy.  The Death Eaters are concerned with maintaining an oligarchic blood-purity over the wizarding world, a grim mirror of the Dursley’s own insistence on keeping up appearances.  But while the Dursleys only yield oafish Dudley, Voldemort’s designs yield death and destruction.

Stop Being Stupid, Michael

Let us take a moment to consider Voldemort himself.  His anxieties as a villain are fueled in large part by his own feelings of inadequacy brought about by his class history; he is a descendant of the once-powerful Gaunt wizarding family, whose insistence on purity brought about their total decadence and degeneration.  The desire of Voldemort’s mother Merope for the muggle Tom Riddle, Sr — an aristocrat, with all the material and economic comfort and security therewith associated — brought her to charm Riddle by way of a love potion.  The false union engendered Tom Riddle, Jr — that is, Voldemort — and the death of Merope in childbirth.

With the loss of the love potion, Riddle the Elder abandoned his son to an orphanage, leaving young Tom with only the barest notions of what he could have been.  As Voldemort-to-be grew older, his entrance into the wizarding world allowed him to search into his family history and discover what had been denied him: not only the Gaunt legacy, lost before his time, but the muggle Riddle legacy as well.  The rage resulting from his comfortless and loveless life led to a strongly classist/racist stance.  (And here we see the close ties historical notions of class such as aristocracy have with bloodline in the UK, as opposed to the more fluid conception in the US.)  If Riddle could not have the legacies lost, he would take them by force, by murder and by magic.  Thus the creation of the pure-blooded, aristocratic Death Eaters and the implicit delusion that Voldemort himself is not only one of them, but their lord.

In this way Harry is in fact the best possible foil to Voldemort.  Born into a historically affluent wizarding family — but, notably, not pure-blooded, as Lily Potter was muggle-born — Harry is robbed of his own legacy by Voldemort’s murder of James and Lily.  Like Voldemort, Harry is raised in relative squalor and misery, pressed below his class by the gross Dursleys.  This is, I suspect, what saves Harry; though the Dursleys’ treatment could just as easily breed in Harry a desire to perpetuate their cruelty, Harry instead learns to live a stoic and simple life in the cupboard under the stairs.  In the first book, upon discovering the hoard left for him by his parents in Gringotts, Harry does not rush to claim his inheritance and lord it over everyone, as Voldemort would, for his exposure to the excesses of the Dursleys — and especially his bully Dudley — has already made him conscious of material comfort’s negative influence.

Harry struggles throughout the series with his own ties to Voldemort, for his own capacity for evil; the Sorting Hat even wants to place him in Slytherin.  Given his pedigree, he could easily fit in — but instead he opts for Gryffindor, the more inclusive House, after his instinctively negative reaction to the mode of snobbery exhibited by Malfoy & Co.  Harry instead makes friends with Hermione — middle class, indeed, but from a muggle family — and with the Ron — whose family, though pure-blooded, is not degenerate, quite poor, and portrayed fondly by the novels.  In fact, the most negative portrayal of a Weasley is Percy, who aspires toward a bureaucratic role that requires him to act somewhat above his station; by contrast (to both Percy and the Slytherin families) the Weasleys are generally respectful of if not outright interested in muggles.

Michael You Are Dumb and This Is Dumb I Am Only Reading the Bold Headings

This brings me to the point that the wizards themselves are a separate class from muggles, though the difference is not established in normal economic terms but through a cipher: magic.  Magic is its own economic signifier, in that it allows even a family as poor as the Weasleys to live in relative comfort; it is a resource to which muggles have no access.  Until we are told in book seven that we cannot summon food, gold, or resurrect the dead, it might seem that magic is key to some sort of post-scarcity utopia.  This, however, is not the case; magic does have limits, and these limits cause some people to desire to surpass or control them, just as Voldemort desires to rewrite his own class history.

Consider the origin of the Deathly Hallows, in book 7.  The tale concerns three brothers who, in their quest for unlimited magical power, murder each other in bizarre and tragic ways.  Rowling knows her English lit; this story is very obviously lifted from Chaucer’s Pardoner’s Tale, in which three drunkards set off to conquer death but instead find a pile of gold beneath a tree by the side of the road.  Each, in his haste to claim the gold for himself, kills the other two.  The moral of the story is Radix malorum est cupiditas – the root of evil is the love of money, to give a clumsy translation that sidesteps the truism.  Rowling simply replaces money with magic, and we’re off to the races.

So magic is another economic and class signifier.  For Voldemort, et al, a lack of a magical bloodline is an abomination, a cause for purgation.  For the Dursleys (and historically, other muggles), the opposite is true: magic is an abomination, and the solution is an old-fashioned burning at the stake, or at least ostracism.  This is when the progressivism of Harry Potter as a series really shines, as the most positive characters are always those inclined to learn more about the muggle world and be more accepting of muggle-born wizards and witches.

This desire to break down class distinctions is most readily exemplified by the marital statuses of the main characters by the end of the series.  Ginny, a pureblood, marries Harry, who has a pedigree but is not pure-blooded; Ron marries Hermione, a muggle-born.  Contrast that with Malfoy, who remains aloof and aristocratic; likewise, the main trio of the books is still recognizably middle class, but not nearly as bourgeois as the Dursleys.  The intensity of the classism of the prior books — and of the prior generations of wizards — has been scaled back.

Oh My God Will You Just SHUT UP

But it may serve our purposes just to take a look at those prior

NO NO NO NO STOP IT

take a look at those prior gener

MICHAEL I SWEAR, YOU ADENOIDAL PEDANT, IF YOU DON’T SHUT UP

TAKE A LOOK AT THE PRIOR GENERATIONS OF WIZARDS AND CONSIDER ROWLING’S SURPRISING CAVEAT FOR THIS PROGRESSIVE TURN TO THE SERIES, WHICH SEEMS VERY SIMILAR IN TENOR TO AYN RAND

wait what ayn rand

Yes.

Seriously, are you taking this there.

Yes.

Well I Am Still Unhappy But Now Sort of Grossly Fascinated, Continue

As I was saying, the arc of the Harry Potter series throws class divisions into a distinctly negative light, and the plot is broadly about how the pursuit of either becoming a member of a different (higher) class or the sequestering of those of a perceived lower class leads to ruin.  The slow degeneration of these class distinctions is an overall positive development.

But it has consequences.

Hagrid Shrugged?

Think for a moment about the Hogwarts Harry’s parents — and Lupin, and Sirius, and Peter Pettigrew, and so on — would have known.  A time of magic and adventure, as you might expect, but what sort of adventure?  Well, for one thing, pretty goddamn awesome adventure.  Consider the things the earlier generation did:

  1. Illegally taught themselves to be animagi
  2. Created the fucking Marauder’s Map, if you can believe it
  3. Snape wrote his own completely badass dismemberment and mutilation spells IN THE MARGINS OF HIS TEXTBOOK
  4. Fought a long, brutal and bloody war only matched in the past by Wizard World War II (in which Dumbledore single-handedly defeated Wizard-Hitler)

Now think about what Harry and his friends do:

  1. Fight a war that basically lasted for a year and had one major battle
  2. Rely on systems put in place by their parents, Dumbledore, and a house elf to win said war
  3. Sneak out of their dorms a lot
  4. Brew polyjuice potion about 75,000 times

The point to be taken from this is that there is indeed a definite decline in the way the generations of the wizarding world played out, from Dumbledore to the parent generation to the generation of our protagonists.  The closest any of the ‘modern’ characters come to the old ingenuity are Fred and George, whose tricks and gags echo the Marauder’s Map in tone and Snape’s mutilation spells in technical accomplishment.  But alas, the duo are forever crippled when Fred dies in the Battle of Hogwarts.

Ayn Rand would say this is a terrible thing.  The movers and shakers of the past — the ingenius giants — have given away to relatively insignificant moochers who rely on the accomplishments of those who came before to get anything done.  Consider how much Harry does is orchestrated by Dumbledore; consider how his final triumph against Voldemort comes from his mother’s overpowering love.  What does Harry actually do?

Nothing.  He’s quite boring, actually, and not a very good student.  It’s a miracle he manages to become an Auror at all.  He’s very middle-of-the-road, honestly, and even the things that make him exceptional — his wealth, the privilege he has to just do whatever the fuck he wants so long as he saves the world — are things that at times sit uneasily with him.

This is not a bad thing, though, for what makes Harry important is not who he is per se, but rather the relationships he cultivates with others.  Without Hermione and Ron, or even Neville and Luna or Lupin and Tonks and Mad-Eye or whoever, we’d be hard pressed to give a doxy’s ass about Harry.  His relationships, the communities the characters form, the ways in which they live and act in concert, are the true lifeblood of the series.  The community of Hogwarts lives and breathes; it is what we’re interested in, and Harry is simply our gateway.

That amazing individual talent, that startling innovation, that egoistic single-mindedness that characterized the earlier wizarding generations didn’t only give us Dumbledore and the Marauder’s Map — it gave us Voldemort, and the sick philosophy he peddled.

In Harry Potter’s universe, it is better to be unexceptional but loved and loving than it is to be exceptional and terrifying.  This is achieved through equity — material, economic, and social.  At the end of the series, though the wizarding world is still separated from the muggle world, though there is an air of snobbishness still clinging to Malfoy, we seem to be heading toward a new, more just, classless society.

This Was Such a Goddamn Waste of Time

well that’s what four years at a liberal arts college gets you

As knowledge of electricity advanced

Today will be a double-update day.

A shout-out to anyone who is visiting my blog based on the mention of it today in my campus newspaper.  You should know that I am incredibly boring, and so is my blog.  If you know me personally or have had any classes with me you could have guessed this.  AND ALSO: My hosting service is currently doing some server migration, so if you’re getting lag here that’s why.  Would you actually care?  Probably not.

Anyway, if you’re looking for something in the way of intellectual stimulation aside from the mess on Harry Potter I’m posting today, I suppose I could point out what are probably the biggest draws to this place in terms of traffic.  Basically it’s essays: the first is a serial write-up on Bret Easton Ellis’s novel American Psycho I did last fall, and the second is a Marxist reading of Junji Ito’s Uzumaki.  A certain crackpot Japanese politician/writer has recently called Uzumaki the Das Kapital of horror manga” so it shows you that I’m really not reaching wildly with that.

I also write fiction — poetry and short stories are collected with an umbrella label.  Also, if you want to learn about what it was like during my study abroad in London, you can check that out here.

Now for real blogging business.  On the subject of writing: I gave my first public reading at an event on campus just this last Wednesday.  In a paragraph I’m gonna try to describe some experiences from that.  Are you ready?  I am so ready.

Guys I gave a reading of a story I wrote and I did this in public in front of a lot of people some of whom I knew and most of whom I did not but I didn’t screw anything up and I think people like the story and a lot of people randomly passing by actually have like stopped me and told me they were there and they liked it and that is a really nice feeling and also I had the pleasure of reading with other awesome people who don’t have blogs but if they did this is the spot where I would link them.

Well that’s that!

Now for something completely different, from the Norton Anthology of Literature, Volume C: The Restoration and the Eighteenth Century, 8th ed:

By the late 1740s, as knowledge of electricity advanced, public experiments offered fashionable British crowds the opportunity to electrocute themselves.

Philip Larkin on His Relationships with Women, and Also Certain Disney Films

This poem was composed based on a writing exercise devised by my friend Anna, who suggested everyone in our workshop write a piece based on a Text from Last Night in the voice of a favored writer.

Beyond the doe-eyed fauna that with the princess dance
There lies a land of fragile make that pivots on Romance.
The turn of season, the gust of wind, the rise and fall of sun–
None of this would happen, were not the prince to come.

A talking teapot told me once a tale as old as time,
Backed up by clocks and candlesticks that sang along in rhyme.
I was urged to kiss the girl by a Caribbean crustacean–
I hesitate to call him ‘crab’ for that other connotation.

Some will claim philandering shall be the death of men,
The rest attest that lack of love is what will do us in.
I find myself most sympathetic to the second clique,
And sympathetic to myself I find each Disney flick.

This all explains my text last night, about my recent fling:
When I smeared my cum across her brow, and quoted The Lion King.