Without Lifting A Finger

I realized that Joyce had gone as far as one could in the direction of knowing more, in control of one's material. He was always adding to it; you only have to look at his proofs to see that. I realised that my own way was impoverishment, in lack of knowledge and in taking away, subtracting rather than adding. When I first met Joyce, I didn't intend to be a writer. That only came later when I found out that I was no good at all at teaching. When I found I simply couldn't teach. But I do remember speaking about Joyce's heroic achievement. I had a great admiration for him. That's what it was: epic, heroic, what he achieved. I realized that I couldn't go down that same road. Samuel Beckett 

On the day of execution, I wanted to accompany my comrade onto his last field of battle; I could find not a single carriage, and hurried on foot to the Grenelle Plain. I arrived, drenched in sweat, a moment too late: Armand had been shot against the outer wall of Paris. His skull was shattered; a butcher’s dog was licking his blood and brains. I followed the cart which carried the bodies of Armand and his two companions, plebeian and noble, Quintal and Goyon, to the Vaugirard cemetery where I had buried Monsieur de Laharpe. I saw my cousin for the last time, without being able to recognise him: the bullets had disfigured him, he had no face left; I could not see the ravages of time there, nor even see death there within that shapeless, bleeding orb; he remained youthful in my mind as at the time of Libba and Thionville. He was shot on Good Friday: the Crucified One appears to me at the end of all my ills. When I walk along the ramparts of the Grenelle Plain, I stop to look at the bul...

Got a little windy last night.                 

I arrived in Paris before the news I had sent about myself: I had overtaken my existence. As insignificant as those letters are, I glance through them as one looks at poor sketches of places one has visited. These letters are dated from Modon, Athens, Zea, Smyrna, and Constantinople; from Jaffa, Jerusalem, Alexandria, Tunis, Granada, Madrid, and Burgos; these lines traced on all sorts of paper, in all sorts of ink, brought by all the winds, interest me. I not only delight in unrolling my firmans (passports etc): I touch their vellum with pleasure; I am revealed in elegant calligraphy and am dumbfounded by the pomp of their style. I was a very great person, then! We are such miserable devils, with our letters for three sous and our passports for forty, next to those lords of the turban!

Morning. Post-coffee and post-Chateaubriand (he just got back from his pilgrimage). Where did he come from? From a distance (he was up on the bridge, I was headed down to the concrete bank of the river), I heard him yell. He used the N. word so creatively (uncreatively): tag for both ass-kicker and ass-kicked. Then he used the somewhat redundant "white cracker." Am I really in Southern California? Anyway ... I kept quiet, visited the target venue, snapped a few pics, wondered about another guy (down on the bike path, heaping cart of uncollectibles), then circled back, past Wally's World and to the tire store. They fixed the nail wound for free. *         

    



Ligier Richier (c. 1500–1567) was a French sculptor active in Saint-Mihiel . Richier primarily worked in the churches of his native Saint-Mihiel and from 1530 he enjoyed the protection of Duke Antoine of Lorraine, for whom he did important work. Whilst Richier did sometimes work in wood, he preferred the pale, soft limestone with its fine grain, and few veins, extracted at Saint Mihiel and Sorcy and when working in this medium he experimented with refined polishing techniques, with which he was able to give the stone a marble-like appearance. [1] One of his finest works is the "Groupe de la Passion", consisting of 13 life-size figures made in the local stone of the Meuse region. It can be found in the Church of St. Étienne. [2] It is also known as the "Pâmoison de la Vierge" ( Swoon of the Virgin , the Virgin fainting, supported by St John). [3] Other works attributed to him are in the Church of St. Pierre, Bar-le-Duc , and in the Louvre . Possibly his bes...

.. What has happened with me is what happens with all who undertake a work on a grand scale: I have, first of all, set up a flag at both ends then, planting and replanting my scaffolding here and there, I have raised the stones and cement of intervening constructions; it takes several centuries to create a Gothic cathedral. If Heaven allows me to live, the monument will be completed throughout my life, the architect, ever the same, will only vary in his age. For the rest, it is painful to keep the intellectual self intact, imprisoned in a worn material envelope. Saint Augustine feeling his body weakening, said to God: ‘Be the tabernacle of my soul’; and he said to men: ‘When you find me in this book.. pray for me.'

For the rest, in marrying Charlotte Ives, my role in the world would have altered: buried in a county of England, I would have become a hunting gentleman: not a single line would have issued from my pen; I would even have forgotten my own language, since I could write English, and the thoughts in my head were starting to shape themselves in English. Would my country have lost much by my disappearance? If I were to set aside what has been my consolation, I would say I might have already reckoned on many peaceful days, instead of the troubled days that have been my lot. The Empire, the Restoration, divisions, the disputes within France, what would I have had to do with all that? I would not have had to counteract faults, and combat errors, each morning. Is it certain that I have a true talent, and a talent worth the painful sacrifices of my life? Will I outlast my tomb? When I pass beyond, will there be, given the transformations which will occur, in a world altered and preoccupied wit...

Concealed beneath my marble cloak, I lapsed from these lofty thoughts into my naïve impressions of place and time. My anxiety mixed with pleasure, was similar to that which I experienced in winter in my tower at Combourg, when I listened to the wind: a sigh and a shade are of like nature.    Gradually, I accustomed myself to the darkness, and made out the statues placed on the tombs. I gazed at the corbelled vaulting of the English Saint-Denis, from which one would have said past events and vanished years hung in a Gothic light: the whole edifice was like a monolithic temple of petrified centuries.    I counted ten hours, eleven by the clock; the hammer which rose and fell, on the bronze, was the only ‘living’ thing beside me in the place. Outside, a vehicle passing by, the cry of a watchman, that was all: those distant sounds of earth reached me in a world within a world. The Thames fog, and the smoke from the chimneys, infiltrated the basilica, and spread seconda...

Better than floating Xmas trees? Nine dredgers dredging. Eight palms w/wind wreckage on a carpet of green. The blue ribbon fence.         

                              

My sisters took it into their heads to make me marry Mademoiselle de Lavigne, who had become very attached to Lucile. The affair was conducted without my knowing. I had scarcely seen Mademoiselle de Lavigne two or three times; I recognised her far off on Le Sillon, by her pink pelisse, white dress and her fair wind-blown hair, while I was on the beach, abandoning myself to the caresses of my old mistress, the sea. I felt I lacked every qualification for being a husband. All my illusions were alive, nothing in me was exhausted; the very energy of my being had redoubled on my travels. I was tormented by my Muse.





Very little time today. A "quicky" around a park and back. *             

                    

The small tribes of the Orinoco no longer exist; of their dialect there only remain a dozen or so words uttered in the tree-tops by parakeets that have been freed, like Agrippina’s thrush that chirped Greek words from the balustrades of the Roman palaces. Such will be, sooner or later, the fate of our modern tongues, the ruins of Greek and Latin. What raven, freed from a cage, belonging to the last Franco-Gallic priest, will croak, to a foreign people, our successors, from the heights of some ruined bell-tower: ‘Hear the accents of a voice once known to you: you will bring an end to all such speech.’  Live on so, Bossuet, that in the end your masterpiece may outlast, in a bird’s memory, your language and your remembrance among men!

In what concerns the dead, it is easy to find signs of the savage’s attachment to sacred relics. Civilised nations, in order to preserve their country’s memories, have the mnemonics of writing and the arts; they have cities, palaces, spires, columns, obelisks; they have the marks of the plough on once-cultivated fields; their names are cut in bronze and marble, their actions recorded in their histories. Nothing of that appertains to the peoples of the wilderness: their names are not written on the trees; their huts, built in a few hours, vanish in a moment; the sticks with which they labour barely scratch the earth, and cannot even raise a furrow. Their traditional songs die with the last memory that retains them, vanishing with the last voice that repeats them. The tribes of the New World have only one monument: their graves. Take the bones of their fathers from these savages, and you take from them their history, their laws and even their gods; you remove from those men, for future...

I stayed for twelve days with my doctors, the Indians of Niagara. I saw tribes there who had come from Detroit or from the country to the centre and east of Lake Erie. I enquired about their customs; for a few small gifts I obtained re-enactments of their ancient rites, since the rites themselves scarcely exist now. Nevertheless, at the beginning of the American War of Independence, the savages still ate their prisoners, or rather the dead ones: an English captain, ladling some soup from an Indian woman’s cooking pot with a ladle, retrieved a hand.