“The upper classes of this country raped this country. You fucked people. You built a castle to rip people off. Not once in all these years have I come across a person inside a big Wall Street firm who was having a crisis of conscience. Nobody ever said, ‘This is wrong.'” — Steve Eisman (from The Big Short, by Michael Lewis)
“A society with deep, troubling economic problems had rigged itself to disguise those problems, and the chief beneficiaries of the deceit were its financial middlemen. How could this be?” — Michael Lewis, The Big Short
“There are actually people who do nothing but invest in European mid-cap health care debt. I don’t think the problem is specific to finance. I think that parochialism is common to modern intellectual life. There is no attempt to integrate.” — Charlie Ledley (from The Big Short, by Michael Lewis)
“Our lives, the big and magnificent lives we can just barely make out beneath the mere facts of our lifestyles, are always trying to occur. But save for a few rare occasions–falling in love, the birth of a child, the death of a parent, a revelatory moment in nature–they don’t occur; the big magnificence is withdrawn. Stories rub at the facts of our lives. They give us access–if only for a few hours, if only in bed at the end of the day–to what’s beneath.” — Jonathan Safran Foer (from his foreword to the Penguin Classics edition of Bruno Schulz’s The Street of Crocodiles and Other Stories (emphasis in the original))
“We live on the surface of our planet. Human life happens on a shell as thin, relative to the size of the earth, as an egg’s, or as thin as the paint on a wall. We have lifestyles on the surfaces of our lives: habits and culture, clothes, modes of transit, calendars, papers in wallets, ways of killing time, answers to the question ‘What do you do?’ We come home from long days of doing what we do and tuck ourselves under the thin sheets. We read stories printed on even thinner paper. Why, at the end of the day, do we read stories?” — Jonathan Safran Foer (from his foreword to the Penguin Classics edition of Bruno Schulz’s The Street of Crocodiles and Other Stories)
This week I’m posting another of those lower-case short-shorts I wrote in the mid-90s, “mama when she’s really pretty.” I was channeling a six-year-old girl when I wrote this. It was published in Chiron Review, a litmag run by Michael Hathaway for nearly thirty years before folding earlier this year.
You can’t get there from here, or from anywhere you’re atYou can’t get there from here, or from anywhere you’re at
“Colonial administrations may have been racist and exploitative, but they did at least work seriously at the business of understanding the people they were governing. They recruited people prepared to spend their entire careers in dangerous provinces of a single alien nation. They invested in teaching administrators and military officers the local language. They established effective departments of state, trained a local elite, and continued the countless academic studies of their subjects through institutes and museums, royal geographical societies, and royal botanical gardens. They balanced the local budget and generated fiscal revenue because if they didn’t their home government would rarely bail them out. If they failed to govern fairly, the population would mutiny.
“Postconflict experts have got the prestige without the effort or stigma of imperialism. Their implicit denial of the difference between cultures is the new mass brand of international intervention. Their policy fails but no one notices. There are no credible monitoring bodies and there is no one to take formal responsibility. Individual officers are never in any one place and rarely in any one organization long enough to be adequately assessed. The colonial enterprise could be judged by the security or revenue it delivered, but neocolonialists have no such performance criteria. In fact their very uselessness benefits them. By avoiding any serious action or judgment they, unlike their colonial predecessors, are able to escape accusations of racism, exploitation, and oppression.
“Perhaps it is because no one requires more than a charming illusion of action in the developing world. If the policy makers know little about the Afghans, the public knows even less, and few care about policy failure when the effects are felt only in Afghanistan.”
— Rory Stewart, The Places in Between, pp. 247-248
“A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents—he then combines such events as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction.” — Edgar Allan Poe (quoted in The Cambridge History of English and American Literature, Vol. XVI, Book II, Ch. 14)
“Patriotism is a curious passion. It does not seem possible to love one’s own country except by hating some other country.” — Archibald MacMechan (from The Cambridge History of English and American Literature, Vol. XVI, Book II, Ch. 10)
“I do believe in simplicity. When the mathematician would solve a difficult problem, he first frees the equation from all encumbrances, and reduces it to its simplest terms. So simplify the problem of life, distinguish the necessary and the real.” — Henry David Thoreau
“As an explanation of the mystery of existence the transcendental philosophy makes little appeal to our own hard-headed and scientific generation; but no one, assuredly, with any measure of spiritual and poetic perception can give himself sincerely and unreservedly to one of the literary masterpieces of the transcendental school, to one of the greater essays of Emerson for example, the Self-Reliance, Compensation, Spiritual Laws, or The Over-Soul, without a consciousness, as he puts down the volume, of having passed for the time into a higher sphere of being, without a deepened conviction of the triviality, the relative unreality, of material concerns, without a sense of spaciousness, of clarity, of nobility, of power, a feeling that that much abused word ‘eternal’ has suddenly put on a very real and concrete meaning. Against such an actual experience no mere argument can avail. Nor does the emotion thus evoked end in vague mystical exaltation. It leaves, rather, whether the reader profit by it or not, a distinct sense of its bearing on the daily conduct of life.” — from The Cambridge History of English and American Literature, Vol. XV, Book II, Ch. 8
“We like to pretend that our experiments define the truth for us. But that’s often not the case. Just because an idea is true doesn’t mean it can be proved. And just because an idea can be proved doesn’t mean it’s true. When the experiments are done, we still have to choose what to believe.” — Jonah Lehrer, “The Truth Wears Off”
“The ability to listen is, perhaps, the definition of love.” — John Lahr, “Kid of Comedy”
“It can be felt as love when you want to fuck someone and can’t.” — E. L. Doctorow, “Assimilation”
“After the Revolution the novel-reading habit grew, fostered by American publishers and cried out against by many moralists whose cries appeared in magazines side by side with moral tales. Nearly every grade of sophistication applied itself to the problem. It was contested that novels were lies; that they served no virtuous purpose; that they melted rigorous minds; that they crowded out better books; that they painted adventure too romantic and love too vehement, and so unfitted readers for solid reality; that, dealing with European manners, they tended to confuse and dissatisfy republican youth. In the face of such censure, native novelists appeared late and apologetically, armed for the most part with the triple plea that the tale was true, the tendency heavenward, and the scene devoutly American.” — from The Cambridge History of English and American Literature, Vol. XV, Book II, Ch. 6
This week I’m posting another of the very short pieces I wrote sans capitalization in the mid-90s, “the german for it, the french.” It was first published in Quarter After Eight in early 1997. As with everything I write, it is a true story. That’s why I write fiction.
“There was a great person named Kusa, born to Brahma. He was a great ascetic of indefatigable vows, conversant with righteousness and worshipping good men. That eminent one married a princess of Vidarbha who was born in a noble descent and suitable to him. He begot four virtuous sons comparable to himself named Kusamba, Kusanabha, Adhurta Rajas and Vasu. Highly lustrous king Kusa, possessor of great perseverance, eager to be righteous, always truthful in speech, with a desire to carry out the duties of the warrior race, addressed his sons saying: ‘O! My sons. Be engaged in the task of governance by following righteousness. You will acquire immense merit’.” — Valmiki Ramayana, Balakanda Sarga 32
“Duty, as well as inclination, urges the Lay Preacher to sermonize, while others slumber. To read numerous volumes in the morning, and to observe various characters at noon, will leave but little time, except the night, to digest the one or speculate upon the other. The night, therefore, is often dedicated to composition, and while the light of the pale planets discovers at his desk the Preacher, more wan than they, he may be heard repeating emphatically with Dr. Young, ‘Darkness has much Divinity for me.’ He is then alone, he is then at peace. No companions near, but the silent volumes on his shelf, no noise abroad, but the click of the village clock, or the bark of the village dog. The Deacon has then smoked his sixth, and last pipe, and asks not a question more, concerning Josephus, or the Church. Stillness aids study, and the sermon proceeds.” — Joseph Dennie, The Lay Preacher (1796)
“Why do classical economists believe that free trade is good for everyone? Why does the amount of gold kept in the treasury not make much difference to a country’s wealth? Why don’t better machines for making pins eliminate jobs for good, instead of making more jobs of another kind? Why, for that matter, does it not matter whether we’re productive in farming or manufacturing so long as we’re productive? What does productivity even mean?” — Adam Gopnik, “Market Man”
“To better imagine zoo life, you might picture yourself living with your brother (if you are male) or sister (if you are female) in a department store’s window display that looks like a luxuriously furnished home. Satin drapes shroud the French doors, white woolen upholstery encases the armchairs and the sofa, and a thick silk Oriental carpet covers the parquet floor. But the doors lead nowhere, the books on the shelves are fake, the TV doesn’t work, the radio has no innards, and the only magazine, a copy of House Beautiful on the coffee table, is dated 1980. Anyway, you have read it so often you now know it by heart. Long ago you and your sibling have resolved all your differences. You have little to say to one another and you no longer think of escape. You have forgotten your freedom and have accepted your fate. The building is your prison, and both of you realize that you will never leave it alive. To forget the boredom and the crowds of people going freely wherever they please, who gather each day outside the glass window, oohing and aahing at the luxury that surrounds you, you and your sibling lie down behind the sofa, where you escape into dreams. You don’t wake up if you can help it, not even when people in the crowd notice your feet poking out beyond the sofa and bang on the glass to rouse you. You dream of the night, which you spend with three or four other prisoners shackled to the chairs in the employees’ lounge. At least you and your fellows can talk all night without wild-looking faces staring at you.” — Elizabeth Marshall Thomas, The Tribe of Tiger
“Of all the criticisms that have been passed upon the Declaration of Independence, the least to the point is that it is not original. The material was at hand, the argument had been elaborated, the conclusions had been drawn. For originality there was as little opportunity as there was need. What was required now was a concise summing up of the whole matter, full enough to give a clear impression of completeness, vigorous and bold enough to serve as a national manifesto, and polished, dignified, and incisive enough to catch the ear, to linger in the memory, and to bear endless repetition.” — from The Cambridge History of English and American Literature, Vol. XV, Ch. 8
“King Dasaratha addressing his dearest wives said ‘I intend to perform a sacrifice in order to obtain sons. Therefore you also commence religious discipline.’ After listening to these excessively charming words, their lotus-like countenances endowed with brightness were resplendent like lotuses uncovered by ice.” — Valmiki Ramayana, Balakanda Sarga 8
There was a time when I was writing everything in lower case. Abandoning caps changed the way the words flowed together in a piece. Every once in a while I still write a lower-case piece, but it’s mostly something I did in the mid-90s.
Another thing I did in the mid-90s and still sometimes do is write very short pieces. Abandoning caps works better in shorter pieces, since total lower case is not just a little hard on the eyes, it’s also a little more challenging to the mind. Have to be careful with all that.
But going deep campo for lower case wasn’t the principal reason I wrote short pieces. I had it in mind to see how short I could get a story to go and still have a full and symmetrical piece. It seemed about 350 words was the bottom limit. Pieces also seemed to develop their own internal necessity of length, with around 450 words and 675 words being approximate “natural” lengths for my work.
My first published piece of fiction was in all lower case, and this week it’s the story I’m posting: “eleanor in uncertain way, pulling.” It was published in NuCity in July of 1995. (NuCity later became The Weekly Alibi and continued to publish my stuff from time to time.)
“No history of the American Revolution, or of the political literature to which it gave birth, would be complete without consideration of the loyalists. That independence was in fact the work of a minority, and that the methods by which the loyal majority was overawed and, in part, expelled were as high-handed and cruel as they were active and vigorous, must be freely conceded. Weighty as was the colonial argument, force and violence were freely employed to give effect to it.” — from The Cambridge History of English and American Literature, Vol. XV, Ch. 8
“A few years ago, a group of economists looked at more than a hundred Fortune 500 firms, trying to figure out what predicted how much money the C.E.O. made. Compensation, it turned out, was only weakly related to the size and profitability of the company. What really mattered was how much money the members of the compensation committee of the board of directors made in their jobs. Pay is not determined vertically, in other words, according to the characteristics of the organization an executive works for; it is determined horizontally, according to the characteristics of the executive’s peers. They decide, among themselves, what the right amount is. This is not a market.” — Malcolm Gladwell, “Talent Grab”
Kindling was different then, but pickles were the sameKindling was different then, but pickles were the same
“Advertisements of merchandise in all the colonies throw a good deal of light on the customs of the time, and, incidentally, also on the popular taste in reading. We find that Peter Turner has ‘Superfine Scarlet Cloth, Hat Linings, Tatlers, Spectators, and Barclay’s Apology’; that Peter Harry imports ‘Head Flowers in Boxes, Laces and Edgings, Psalm-books, Play-books, the Guardians in 2 vol., Women’s Short Cloaks, Men’s Scarlet Great Coats’ and other apparel. The ship Samuel, from London, brings over ‘sundry goods, particularly a very choice collection of printed Books, Pictures, Maps and Pickles, to be Sold very reasonable by Robert Pringle.'” — from The Cambridge History of English and American Literature, Vol. XV, Ch. 7
“An old-time classification of the human faculties will serve to explain the development of American thought in the eighteenth century, a development which led to the overthrow of high Calvinism. As there were three divisions of the human mind—intellect, sensibility, and will, so were there three divisions among the enemies of orthodoxy. Those who followed the intellect were the rationalists, or deists. Those who followed sensibility were the “hot” men, or enthusiasts. Those who followed the will were the ethical reformers, who emphasized the conscious cultivation of morality rather than a divinely wrought change in man’s nature.” — from The Cambridge History of English and American Literature, Vol. XV, Ch. 5
“All theory is against the freedom of the will, all experience for it.” — Dr. Samuel Johnson
“Art is a sort of experimental station in which one tries out living.” — John Cage (from “Searching for Silence,” by Alex Ross)
“The God who gave us life, gave us liberty at the same time; the hand of force may destroy, but cannot disjoint them.” — Thomas Jefferson, 1774