Quick for faces

It is a sorrow to finish a long and very good novel!  Middlemarch, book 8, chapter 81:

Rosamond's eye was quick for faces; she saw that Mrs Casaubon's face looked pale and changed since yesterday, yet gentle, and like the firm softness of her hand.  But Dorothea had counted a little too much on her own strength: the clearness and intensity of her mental action this morning were the continuance of a nervous exaltation which made her frame as dangerously responsive as a bit of finest Venetian crystal; and in looking at Rosamond, she suddenly found her heart swelling, and was unable to speak - all her effort was required to keep back tears.  She succeeded in that, and the emotion only passed over her face like the spirit of a sob; but it added to Rosamond's impression that Mrs Casaubon's state of mind must be something quite different from what she had imagined.

The mass of mystery

Middlemarch, book 7, chapter 71:

But this vague conviction of indeterminable guilt, which was enough to keep up much head-shaking and biting innuendo even among substantial professional seniors, had for the general mind all the superior power of mystery over fact.  Everybody liked better to conjecture how the thing was, than simply to know it; for conjecture soon became more confident than knowledge, and had a more liberal allowance for the incompatible. Even the more definite scandal concerning Bulstrode's earlier life was, for some minds, melted into the mass of mystery, as so much lively metal to be poured out in dialogue, and to take such fantastic shapes as heaven pleased.

Fine comparisons

Middlemarch, book 6, chapter 59:

News is often dispersed as thoughtlessly and effectively as that pollen which the bees carry off (having no idea how powdery they are) when they are buzzing in search of their particular nectar.  This fine comparison has reference to Fred Vincy, who on that evening at Lowick Parsonage heard a lively discussion among the ladies on the news which their old servant had got from Tantripp concerning Mr Casaubon's strange mention of Mr Ladislaw in a codicil to his will made not long before his death.

Yokes

Middlemarch, book 5, chapter 48:

When Dorothea was out on the gravel walks, she lingered among the nearer clumps of trees, hesitating, as she had done once before, though from a different cause.  Then she had feared lest her effort at fellowship should be unwelcome; now she dreaded going to the spot where she foresaw that she must bind herself to a fellowship from which she shrank.  Neither law nor the world's opinion compelled her to this - only her husband's nature and her own compassion, only the ideal and not the real yoke of marriage.  She saw clearly enough the whole situation, yet she was fettered: she could not smite the stricken soul that entreated hers.

A folded paper

Middlemarch, book 4:

Who shall tell what may be the effect of writing?  If it happens to have been cut in stone, though it lie face downmost for ages on a forsaken beach, or 'rest quietly under the drums and tramplings of many conquests', it may end by letting us into the secret of usurpations and other scandals gossiped about long empires ago: - this world being apparently a huge whispering-gallery.  Such conditions are often minutely represented in our petty lifetime.  As the stone which has been kicked by generations of clowns may come by curious little links of effect under the eyes of a scholar, through whose labours it may at last fix the date of invasions and unlock religions, so a bit of ink and paper which has long been an innocent wrapping or stop-gap may at last be laid open under the one pair of eyes which have knowledge enough to turn it into the opening of a catastrophe.  To Uriel watching the progress of planetary history from the Sun, the one result would be just as much of a coincidence as the other.

Against public crying

Jenny Diski has a good rant that all Olympic competitors should read!

Elegant accomplishments

Middlemarch, book 3, chapter 27:

But Rosamond was not one of those helpless girls who betray themselves unawares, and whose behaviour is awkwardly driven by their impulses, instead of being steered by wary grace and propriety.  Do you imagine that her rapid forecast and rumination concerning house-furniture and society were ever discernible in her conversation, even with her mamma?  On the contrary, she would have expressed the prettiest surprise and disapprobation if she had heard that another young lady had been detected in that immodest prematureness - indeed, would probably have disbelieved in its possibility.  For Rosamond never showed any unbecoming knowledge, and was always that combination of correct sentiments, music, dancing, drawing, elegant note-writing, private album for extracted verse, and perfect blond loveliness, which made the irresistible woman for the doomed man of that date.  Think no unfair evil of her, pray: she had no wicked plots, nothing sordid or mercenary; in fact, she never thought of money except as something necessary which other people would always provide.  She was not in the habit of devising falsehoods, and if her statements were no direct clue to fact, why, they were not intended in that light - they were among her elegant accomplishments, intended to please.

Potboilers

Read two good cycling-related books today, quite different from one another.  The first is very strongly recommended - David Millar's Racing through the Dark.  In the first third or so I felt I saw a few suspect rhetorical gestures, but I had lost all doubt by the time I reached the main flow of the narrative - it is a mesmerizing book about the culture of professional cycling, the factors that tipped a young rider to dope or not to dope and the ideas about our own identities and selves (often misguided ideas) that are likely to affect decision-making in one's early twenties.  Anyway, a great read, and then I read Chris Cleave's Olympic cycling potpoiler Gold.  My English grandmother would have liked this book - it's second-rate, but in an agreeable way (it made me miss the best of Jilly Cooper), and it does something earnest in its attempt to make an argument about the kinds of life we choose to lead.

Miscellaneous other light reading: Karin Slaughter's Criminal: A Novel, which I thought was excellent (and admirably ambitious); a European crime novel called Lorraine Connection was illuminating but did not satisfy all my narrative desires fully; two serial-killer books by an author who displays the most frustrating combination of good-voice-and-character with absurd-notions-about-how-psychopaths-and-bureaux-of-investigation work.

Fine ends

I am fascinated by Eliot, but I do not love her novels like I do those of Austen and Dickens, and it is partly because her sentence-writing seems to me significantly inferior to theirs, even aside from the lovability factor.  Here's my pick from book 2 (chapter 20) - the moral insight is superior to the wording (Adam Bede is my favorite novel of hers, though I think I will reread Deronda this summer also):

The excessive feeling manifested would alone have been highly disturbing to Mr Casaubon, but there were other reasons why Dorothea's words were among the most cutting and irritating to him that she could have been impelled to use.  She was as blind to his inward troubles as he to hers; she had not yet learned those hidden conflicts in her husband which claim our pity.  She had not yet listened patiently to his heart-beats, but only felt that her own was beating violently.  In Mr Casaubon's ear, Dorothea's voice gave loud emphatic iteration to those muffled suggestions of consciousness which it was possible to explain as mere fancy, the illusion of exaggerated sensitiveness: always when such suggestions are unmistakably repeated from without, they are resisted as cruel and unjust.  We are angered even by the full acceptance of our humiliating confessions -- how much more by hearing in hard distinct syllables from the lips of a near observer, those confused murmurs which we try to call morbid, and strive against as if they were the oncoming of numbness!  And this cruel outward accuser was there in the shape of a wife -- nay, of a young bride, who, instead of observing his abundant pen scratches and amplitude of paper with the uncritical awe of an elegant-minded canary-bird, seemed to present herself as a spy watching everything with a malign power of inference.  Here, towards this particular point of the compass, Mr Casaubon had a sensitiveness to match Dorothea's, and an equal quickness to imagine more than the fact.  He had formerly observed with approbation her capacity for worshipping the right object; he now foresaw with sudden terror that this capacity might be replaced by presumption, this worship by the most exasperating of all criticism, -- that which sees vaguely a great many fine ends and has not the least notion what it costs to reach them.

 I might have to put this in the style book - something in these sentences makes me cringe, and yet the observation is extremely striking...

Vortices

Middlemarch, book 1, chapter 6:

Even with a microscope directed on a water-drop we find ourselves making interpretations which turn out to be rather coarse; for whereas under a weak lens you may seem to see a creature exhibiting an active voracity into which other smaller creatures actively play as if they were so many animated tax-pennies, a stronger lens reveals to you certain tiniest hairlets which make vortices for these victims while the swallower waits passively at his receipt of custom. In this way, metaphorically speaking, a strong lens applied to Mrs Cadwallader's matchmaking will show a play of minute causes producing what may be called thought and speech vortices to bring her the sort of food she needed.

Swim lit

From Leanne Shapton's Swimming Studies:

When I read in an obituary that Cy Twombly's father was a prominent swim coach, I start to see Twombly's paintings as thrashing laps, as polygraphs, as pulse rate.  I wonder if I'm drawn to his work because he might have had an athletic habit he metabolized then rejected.

Devoured Shapton's book this morning in a single sitting (well, actually two sittings, with a short walk from one location to another); it is odd, off-kilter, but in a way that's suited to its subject, loss and the relationship between past and present selves.  NB I made a conscious decision to buy it on Kindle, as I wanted to read it as soon as I could lay my hands on it and I knew I'd be out of the country on pub date, but this is one to buy in hard copy, as the watercolors (and appealing photographs of bathing suit collection!) do not show up well on the small gray screen of the Kindle.  I had a pang that I won't be able to put this book into Wendy's hands, as the Nepean Sportsplex makes several appearances, including in a watercolor!

I am somewhat off-kilter myself today, as the date for receiving editorial comments has been pushed back, and with it my final deadline; I was really hoping to be well and truly done with the wretched creature by the end of the day tomorrow, but it is no longer an option!  Unsettled without proper work tasks.  Haven't brought real other work with me, barring one or two minor things (i.e. reader's report on a journal article or two), as I am still waiting for second report on the style book and the other article I'm working on notionally this month needs a lot of library books that I didn't want to cart down here on spec.  Not really in situation for 'vacation,' though, either, with this hanging over me, and curiously slow internet connection today is further contributing to the feeling that I am on the verge of exploding.  Exercise and projected Middlemarch reread will have to tide me over....

Read the other night: Sheila Heti's intriguing and often comically Socratic How Should a Person Be?; it is a sort of companion piece to The Chairs Are Where The People Go, which I think I found more intensely engaging.  Both volumes are recommended on the grounds that they are not really like anything else and they will stick with you.

Bonus links: Roland Barthes on Cy Twombly; my top five book recommendations for the swim-obsessed.

Red light, green light

Just read what is probably my favorite novel of the year.  It is incredibly good, and not yet published in the US unfortunately (it is going to be hard for me to put it evangelically into people's hands): Alan Warner's The Deadman's Pedal.  Aside from the fact that it includes all sorts of elements I particularly like, the prose is unbeatably perfect, and with a very different set of political and cultural alignments than Alan Hollinghurst, whose books I love but who is coming at things from a point of view that is frequently off-putting to me. 

In a curious way I was much reminded of Alan Garner, whose name is only different by one letter, the Garner of Red Shift rather than Weirdstone.  Geology, place, history, above all language and the particular vocabularies associated with various forms of expert knowledge; I can't think of another book whose idiom quite so precisely and magically as this one captures a whole world with all of its dimensions.  Stuart Kelly's review at the Guardian fortunately saves me the trouble of trying to write a better description here!

Not sure if the feel will translate in a short excerpt, but here are a few sentences I especially liked (they are unusual in the context of the novel as a whole, there is almost an aphoristic quality to the final sentence - not Warner's usual habit - which is why it stood out, though it is quite distinct from the Flaubert-Hollinghurst-St. Aubyn lineage of satirical summing-up):

The bike struggled with their combined weights on the hairpin corner at the top of the King's Way and he had to turn the handlebar gear down to second with the bright headlight of an impatient car behind them before he indicated left and pulled in.

This lay-by, so insignificant in their previous lives, had now become their place of meeting.  The need was less furtive and romantic than that the engine on the new bike struggled to take them both up the longer and steeper hill within the Brae Estate -- as Simon had discovered on his birthday.  Almost all Simon's comments on any future Nikki and he would share involved reference to a more powerful, anticipated motorbike.

Piece of ----

"Apes with Apps": an amazing story by Ken Schweller at the IEEE site.

Locked-in syndrome

A very different approach to the production of quota.

Dream novels

I spent the morning gnashing my teeth over the fifty-millionth edit of the first two-thirds of my novel (I'm waiting on editorial comments for a final iteration due Friday, but wanted to do what I could on my own first): it was clear I was only doing minor verbal tweaking, and that really it's done, but I couldn't not go through it again before getting to the last third. 

(It was not time wasted, as I did notice a couple things more clearly than I have before that may help me write a new final page to supersede the current one, which still isn't working.) 

This afternoon's work session was more satisfactory: I did a lot of new writing last week in that final third, and I felt as I went through both that the new stuff had largely fixed remaining narrative problems and that my interest was more thoroughly and therefore much more happily engaged here by the need to do substantive clean-up and streamlining. 

All in all, a useful day's work that also primed me to be perfectly appreciative of the last few paragraphs of Michael Chabon's NYRB on what reading Finnegan's Wake over the course of a year taught him about novel-writing.  Here is a bit I especially liked:

The Wake’s failure to render up a true account of the experience of dreaming, of the unconscious passage of a human consciousness across an ordinary night, was only a figure for a greater failure, a more fundamental impossibility. All the while that I was reading Joyce’s night book, I was busy at my day job: my Wake year was also my last spent at work on a novel whose composition had occupied me, on and off, from conception to completion, since the late 1990s.

As I groped my way toward the point at which Joyce’s hoop snake sinks its fangs into its own tail, the book that I was writing came ever nearer to its final state, and inevitably, habitually, as I came down the home stretch I began to look back, to compare the book at hand, four-hundred-plus pages of English prose sentences, in Times 12, double-spaced, to the book as I had first glimpsed it: that lovely apparition, hovering and beautiful as a vision of the New Jerusalem, wordless, perfect. Set alongside my original vision—that dream novel—the book I’d managed to carry across the span of years and drafts was at best, as always, a mere approximation, an unruly neighborhood into which had crowded the ganse mishpoche of nouns, verbs, pronouns, and adjectives. The idea for a book, the beckoning fair prospect of it, is the dream; the writing of it is the breakfast-table recitation, groping, approximation, and ultimately, always, a failure. It was not like that at all.