The Art of Tetman Callis

“Before vice and shortcoming, admitted in the weariness of maturity, common enough and boring to make an extended showing of, there are, or are supposed to be, silken, unconscious, nature-painted times, like the pastoral of Sicilian shepherd lovers, or lions you can chase away with stones and golden snakes who scatter from their knots into the fissures of Eryx. Early scenes of life, I mean; for each separate person too, everyone beginning with Eden and passing through trammels, pains, distortions, and death into the darkness out of which, it is hinted, we may hope to enter permanently into the beginning again. There is horror of grayness, of the death-forerunning pinch, of scandalous mouth or of fear-eyes, and by whatever is caused by no recollection of happiness and no expectation of it either. But when there is no shepherd-Sicily, no free-hand nature-painting, but deep city vexation instead, and you are forced early into deep city aims, not sent in your ephod before Eli to start service in the temple, nor set on a horse by your weeping sisters to go and study Greek in Bogotá, but land in a poolroom—what can that lead to of the highest? And what happiness or misery-antidote can it offer instead of pipes or sheep or musical, milk-drinking innocence, or even merely nature walks with a pasty instructor in goggles, or fiddle lessons? Friends, human pals, men and brethren, there is no brief, digest, or shorthand way to say where it leads. Crusoe, alone with nature, under heaven, had a busy, complicated time of it with the unhuman itself, and I am in a crowd that yields results with much more difficulty and reluctance and am part of it myself.” – Saul Bellow, The Adventures of Augie March