Montaigne Thing II: A Personal, Random Barlett’s Bin


“It wasn’t the sun. It wasn’t the wind. I have no excuses. My play led to a loss [and] I’m taking full responsibility. Maybe I can learn something from this.” Brant Brown on a dropped fly ball in the Cubs outfield in September 1998. (Here’s Ron Santo’s version of the event.)

“Never ascribe to malice that which is adequately explained by incompetence. Napoleon Bonaparte

“The more you complain, the longer God lets you live.” Unknown

“Nothing bad ever happens to a writer. Everything is material.” A Message from the Profession of English Majors, Garrison Keillor

“The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark.” To the Lighthouse, Virginia Woolf

[In reference to the poetry of Anne Sexton:]
“How do I explain these poems? Not at all. I quit teaching in colleges because it seemed so criminal to explain works of art.” Kurt Vonnegut, Jr.

“The great question which I have not yet been able to answer, despite my 30 years of research into the feminine soul, is ‘What does a woman want?'” Sigmund Freud

“No, no, you’re not thinking; you’re just being logical.” Niels Bohr

For being reminded of those days when we did not know any better is all that is left to us when we do. Djuna Barnes

“She gave me everything a good woman can give a man. In return, she received from me all the heartache and misery a man can inflict upon a woman.” Diego Rivera

“A classic is a book that has never finished saying what it has to say.” Italo Calvino

The Montaigne Thing

Meg Hughes has completed her prelims at Purdue, and the thought of her accomplishment, her sharp mind, her deep reading, and her swift movement through things sent me back, sifting through some memories–as well as some ancient “WriteNow” and “WordPerfect” files on my old Macintosh.

Back when I was getting ready to begin my comprehensive exams at UIC, I remember running into John Huntington in the corridor. John looked on and commented, almost to himself as much to me, that when he took his exams, he felt he knew more then than he had ever known before . . . or since. There is some truth to that . . . at least so goes my testimony of the experience now as seen from his vantage (play to the tune of “The Circle of Life”).

But enough nostalgia! Kudos to Meg.

Late in the reading for my exams–it was the late 80’s, and we had a different, less apocalyptic George Bush as president (kinder? gentler?)–I began to cull quotations from my readings. I thought of a “joke”–one, alas, that I wound up never delivering. But the plan was this: at the end of the test period, as I submitted my exams, I was going to pull out and attach my “Montaigne Thing.” I even wrote up an introduction for context, which works adequately enough today, too. Without further ado then, here is, circa 1989, my Montaigne Thing, never submitted before this blog entry:

Please accept the following appendix. It’s become an appendix to my body, since, having found these quotations too indispensable to leave at home, I carry them in my wallet.

It’s called “The Montaigne Thing” in homage both to our President and to its inspiration, Montaigne, who used to adorn his study with quotations that particularly pleased him. In honoring both Montaigne and George Bush, we thus pay homage to those underlying principles of every one of our thoughts, the principles of permanence and change.

The reason, I think, that there is so much satire directed at George Bush when he says “the vision thing,” “the peace thing,” or some such expression, is not so much that he is an easy target, or a victim of the fishbowl environment of the presidency. Rather, at least in this case, it is that some profound Truth is captured in a surprising, almost ludicrous way. The Truth here is a major one, an epistemological one that I am sure you’ll see me discussing a number of times in these Exams. It’s that great Vygotskyan principle of “abbreviation,” or Burke’s theory of entitlement, whereby a single linguistic sign comes to encompass whole worlds of discourse. The substantive “thing” comes to represent whole processes–it is a noun that creates activities of thought.[1] It is a miracle, or what those of a more secular disposition have call “magic.”

 

 

From Permanence and Change of Kenneth Burke, p.272:

[Note: “troublesome antics”: being social, a cooperative agent in a competitive scene, a “propounder of new meanings,” of “education, propaganda, or suasion,”.etc.]

In these troublesome antics, we may even find it wise on occasion to adopt incongruous perspectives for the dwarfing of our impatience. We in cities rightly grow shrewd at appraising man-made institutions–but beyond these tiny concentration points of rhetoric and traffic, there lies the eternally unsovable Enigma, the preposterous fact that both existence and nothingness are equally unthinkable. Our speculations may run the whole qualitative gamut, from play, through reverence, even to an occasional shiver of cold metaphysical dread–for always the Eternal Enigma is there, right on the edges of our metropolitan bickerings, stretching outward to interstellar infinity and inward to the depths of the mind. And in this staggering disproportion between man and no-man, there is no place for purely human boasts of grandeur, or for forgetting that men build their cultures by huddling together, nervously loquacious, at the edge of an abyss.


From Attitudes Toward History, p41:

The progress of humane enlightment can go no further than in picturing people not as vicious, but as mistaken. When you add that people are necessarily mistaken, that all people are exposed to situations in which they must act as fools, that every insight contains its own special kind of blindness, you complete the comic circle, returning again to the lesson of humility that underlies great tragedy.

 

From Rhetoric of Motives, p. 265

So we must keep trying anything and everything, improvising, borrowing from others, developing from others, dialectically using one text as comment upon another, schematizing; using the incentive to new wanderings, returning from these excursions to schematize again, being oversubtle were the straining seems to promise some further glimpse, and making amends by reduction to very simple anecdotes.

 

From the Topics of Aristotle, 164b

For it is the skilled propounder and objector who is, speaking generally, a dialectician. To formulate a proposition is to form a number of things into one–for the conclusion to which the argument leads must be taken generally, as a single thing–whereas to formulate an objection is to make one thing into many; for the objector either distinguishes or demolishes, partly granting, partly denying the statements proposed.

 

From Montaigne’s “Of Coaches,” p. 685:

It is very easy to demonstrate that great authors, when they write about causes, adduce not only those they think are true but also those they do not believe in, provided they have some originality and beauty. They speak truly and usefully enough if they speak ingeniously. We cannot make sure of the master cause; we pile up several of them, to see if by chance it will be found among them.

For one cause will not do

We must state many, one of which is true.                                                                                                                                                                Lucretius

 

From Montaigne’s “Of the Resemblance of Children to Fathers,” p. 574:

This bundle of so many disparate pieces is being composed in this manner: I set my hand to it only when pressed by too unnerving an idleness, and nowhere but home. Thus it has built itself up with diverse interruption and intervals, as occasions sometimes detain me elsewhere for several months. Moreover, I do not correct my first imaginings by my second–well, yes, perhaps a word or so, but only to vary and not to delete. I want to represent the course of my humors, and I want people to see each part at its birth. It would give me pleasure to have begun earlier, and to be able to trace the course of my mutations. A valet who served me by writing at my dictation thought he had made a rich booty by stealing from me several pieces chosen to his taste. It consoles me that he will gain no more by it than I have lost.

 

St. Augustine, On Christian Doctrine, p.675:

In the first place, then, I wish by this preamble to put a stop to the expectations of readers who may think that I am about to lay down rules of rhetoric such as I have learnt, and taught too, in the secular schools, and to warn them that they need not look for any such from me. Not that I think such rules of no use, but that whatever use they have is to be learnt elsewhere; and if any good man should happen to have leisure for learning them, he is not to ask me to teach them either in this work or any other.

 

From A Grammar of Motives, p. 440:

All told, dialectic is concerned with different levels of grounding. It may be arrested after but a brief excursion, hardly more than a half-formulated enumeration of the most obvious factors in a situation. But whatever the range of the enterprise, the procedure is in general thus: Encountering some division, we retreat to a level of terms that allow for some kind of merger (as “near” and “far” are merged in the concept of “distance”); then we “return” to the division, now seeing it as pervaded by the spirit of the “One” we had found in our retreat.

 

From Erasmus’ De Copia, p. 89:

For there are those who hold a great many things in their minds, as though stored up in the earth, although in speaking and writing they are wonderfully destitute and bare.

 

From Erasmus’ De Copia, p. 87:

Therefore, whoever has resolved to read through every type of writer (for he who wishes to be considered learned must do that thoroughly once in his life) will first collect as many topics as possible. He will take them partly from classes of vices and virtues, partly from those things that are especially important in human affairs, and that are accustomed to come up most often in persuasion; and it will be best to arrange these according to the principle of affinity and opposition. For those that are related to one another automatically suggest what should follow, and the same thing is true of opposites.

 

Judith Rice Henderson, “Erasmus on the Art of Letter-Writing,” in Renaissance Eloquence, p.349:

[On the disease of schematization–or, a highpoint of Medieval thought:]

Now they were laboring so diligently to imitate Cicero that, like Nosoponus, they must lock themselves in an inner room, sealed from all disturbances, on nights proclaimed auspicious by astrology, eat only ten small currants and three coriander seeds coated with sugar to avoid distracting the brain, shun marriage and family and turn down public office, all to produce a letter of six periods asking a friend to return a book.

 

 

And what claim to dialectic would I have did I not let the Enemy speak?

 

From John Locke’s Essay, pp. 248-249:

To conclude this Consideration of the Imperfection, and Abuse of Language; the ends of Language in our Discourse with others, being chiefly these three: First, To make known one Man’s Thoughts or Ideas to another. Secondly, To do it with as much ease and quickness, as is possible; and Thirdly, Thereby to convey the Knowledge of Things. Language is either abused, or deficient, when it fails in any of these Three.

 

[W.S. Howell, 18th C, pp. 442-443: on DeQuincey’s absurdity, the castrophe of topical argument]

 

Back to the good guys:

Vico, p. 73

For when you instruct your prince, you do not teach him to approach the art of criticism directly, but inculcate him with many examples over a long period, before he is taught the art of forming judgements about them. [direction by way of indirection; danger of developing the critical faculty before eloquence]

 


[1]Note how we have a grammatical term for a verb acting as a noun, the “gerund,” but none for a noun acting as a verb. Perhaps creating such a term would help clarify the covert, but often momentous, power of naming.

 

 

We bloggers all pay homage to Winston Weathers

From page 44 of An Alternate Style: Options in Composition:

I, for example, try to capture each day some of the moods/events/thoughts/insights that I have experienced—and though some of my “material” may benefit from a Grammar A articulation, a good deal of it would be robbed of its vitality and immediacy if I did not write it down in Grammar B. Much of my journal writing is creative—not “arty,” not the creative of “creative writing class”—but the creative of immediate unhampered recollection, expression, outpouring—and that creative confrontation of the days of my life more freely comes into existence through Grammar B verbalization than through Grammar A verbalization. That’s what my psyche tells me at least. And I am willing to go along with it.

It Starts with a Poem



Untitled Document

A few colleagues have been exchanging poems via our English and Foreign Languages
listserv. The poems have dealt with some less-than-positive learning experiences
the poets had suffered in grade school: bad methods, bad teachers, all producing
bad effects on learning….

The original poem was an unexpected gift from out of the blue—but from
a poet who has led us to expect such generous spontaneity. As usual, a wonderful
read. It was the camaraderie of the poetic response, however, that stimulated
me to plunge—somehow—into this dialogue. What fun….

Continue reading It Starts with a Poem

Difficulty, Toleranance, Love, Survival: Fathers and Sons In, Out, and At War



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"Murderer": A fitting final utterance to Art
Spiegelman’s novel, Maus.

All the brutality one expects in a poignant presentation of the Holocaust and
Nazi evil is present in this book, this "remarkable work" that Jules
Feiffer describes as "awesome in its conception and execution . . .
at one and the same time a novel, a documentary, a memoir, and a comic book."
As author/mouse protagonist Spiegelman departs from his father at the end of
Book I (subtitled "My Father Bleeds History")—briefcase in one
hand, cigarette in another, head down—he utters this depressing final
statement, "murderer." But he is not talking of the Nazis. His father
is the murderer, for Spiegelman has just learned that his father long ago, distracted
by grief and confusion over his wife’s suicide, destroyed the journals she had
kept of the war and Holocaust—journals she had intended to be a legacy
to her son.

Thus we end on a mighty ambivalence: the son exploding/apologizing, the father
exploding/apologizing, the father shaken at the son’s disrespect, the son pleading
for information, the son, mollified and leaving in peace but uttering alone,
again, and finally, the word, ". . . murderer."

Of all the powerful dimensions of this work—its compelling stories, its historical
sweep, its psychological layers—and of course all the issues of media, text,
poetics, and rhetoric—it is the father-son relationship that I connect to foremost
of all. Art’s relationship with his father is taut with mixed feelings: of annoyance,
respect, understanding, awe, contempt, despair, pride, grief, and more. In this
sense, the book is probably resonant to every child who had a father, or rather
every child who had a father who was present as the child grew into adulthood.
But there is something about the quality, or perhaps the actual content, of
the relationship—both aspects, the positive and negative—that reminds me of
my relationship with my father.

My father could be a difficult man, but reading a book like Maus makes
me look to the Depression, World War II, and all the other stresses of the twentieth
century as causes of that difficulty. And I should be honest: some of the difficulty
stems from my personality, with its inward ways, much like Spiegelman’s. For
I need but look at my brothers, Joe in particular, who has written most lovingly
and accurately of our father’s uniqueness. Take
a look at his touching and fun memoir here
. But there is something in Spiegelman’s
portrayal of his father that rings an eerie bell. The frugality, the directness,
the aggressive care of both men are striking. Nothing of hesitation or shyness
in either of these men. And yet at the same time, the shocking tenderness from
time to time. Can these qualities be attributed, somehow, to the effects of
living through the twenties, thirties, and forties and surviving despite it
all?

Or is it just a matter of being in a family and taking what comes with the
territory? Maus raises questions of family dynamics of incredible and
deep resonance. Spiegelman interweaves tales of marital discord, parental scolding,
and typical family squabbles with episodes of unspeakable heroism, courage,
and good and bad fortune. Through it all there is one given: survival. On the
one hand there is an incredible closeness in this family (all families) that
allows the most extreme circumstances just to be. It all hangs out there—in
"dissolution," I’d call it: an agreement to look beyond the unresolved
matters in a way that is completely natural in families, as it is nowhere else.
On the other hand, there is the opposite of closeness and tolerance and acceptance,
for here are people so different, so uninvolved . . . just so very
different. Part of the magic of Maus is its portrayal of two "aliens"
sharing a space and entering into one another’s world. The father brings Art
into his past—not only the war, but also his youth and life, including
his early romances, his struggles to establish himself, his rhythms of life.
And the son attempts to bring the father into the writer’s/artist’s world he
inhabits. That’s something I never attempted with my father, and I’m not sure
I could, so I envy Spiegelman that expression and honesty.

The depictions of the family ambivalences are not all as poignant and disturbing
as the heart-wrenching final word of Volume 1. Some of the narration is borderline
humorous. There is the episode when Art, at the conclusion of one interview
session can’t find his coat. We soon find that the father—who is a renowned
miser, (a stereotypical Jewish miser, Art fears)—has thrown out Art’s
coat. For the father has (1) bought himself a new coat, (2) decided that Art’s
coat was shabby, and (3) decided to give Art his old coat. Art is incredulous:
"Oh great, a Naugahyde windbreaker!" And here is a case where Spiegelman’s
artistic talent comes to the fore: for the depiction of Art/mouse in the puffy
jacket conveys the archetypal embarrassment every child has suffered at the
hands of parents who find ingenious ways to exert control and inflict humiliation.The
expression on Art’s face as he walks home, slouched in the puffy jacket (it
should be noted he is thirty years old at the time), is priceless, as is his
comment: "I just can’t believe it. . . ."

In the context of such disbelief and anger and frustration, Spiegelman tells
his father’s story. Compassion, awe, and tender love are thrown into the telling
in a way worthy of the complexity of family life and the suffering of a terrible
World War. In all, Maus is a "survivor’s tale" that takes
us into unexpected dimensions of just what survival is. In its seamless interweaving
of tales—further complicated by our own connections to them—we are
often, like Art himself, left incredulous, but we are grateful for the experience,
the honesty of it, the reality of it—all in a comic book about a family
of mice that escaped the exterminator.