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Posted by Dain, Saturday, October 20, 2007 11:08 AM (Eastern) ![]() ![]() I've neglected my reading over the summer, no doubt because I was sick of it after so much intensity at school (to what purpose, I wonder?). It has been pleasant exploring the wilds of words on my own, without the need for the extended self-importance that is nine-tenths literary criticism (I will never understand why one needs to go through reams of secondary "research" just to voice an opinion). I chose, for my first reading, Virginia Woolf's To The Lighthouse. For those of you who have not made much study of English literature, perhaps a little history lesson is in order, but I'll keep it brief. Woolf belongs to a movement loosely termed Modernism, and it is a particularly self-conscious idiom, even compared to, oh, every other typically introspective artistic movement. So concerned are they with breaking normative literary models that I sometimes wonder... Well, let me explain it in terms of To The Lighthouse. I was drawn to Woolf because she writes amidst many men (Joyce, Eliot, Pound, Stevens, Frost, Yeats, Auden being the more famous), and I found her personal life compelling. She was quite depressive, to put it mildly. It was my first time reading her, and I felt I ought to see what the fuss was about. In the history of the development of the consciousness, Woolf deserves recognition for a subtle, radiant representation that flows from one character to the next, but beyond the remarkable stylistics, honestly, I was bored out of my mind. I thought, maybe, that I was missing something, so I assiduously looked up Sparknotes and nope... I wasn't. It's a boring book. It's got a lot for the academics, but as a story, it just made me shrug. So I turned to a Victorian novel, Tess of the D'Urbervilles, without a doubt a plot-driven novel. Though it is three times the length of To The Lighthouse, it took me only two nights to read, while the other really dragged on for ages. Like the Modernists, I am prejudiced against Victorian novels, I find the sentiment otiose, the only exceptions being Great Expectations, Alice in Wonderland, and Thomas Hardy, who is a little more Modernist anyway. I adored The Mayor of Casterbridge, but I had not read his most famous work. I raced through most of the novel, which is in part Gothic romance (an innocent girl taken advantage of, the first "phase" leads up to Tess' rape) and in part the kind of courtship novel that you'd expect from, say, Jane Austen (Tess the milkmaid and Angel the clergyman's son). And then it bogged down for me, because I have no patience with people who suffer on account of their conscience when it is not their fault, though my reaction had much to do with my being a modern reader, and clearly Hardy intends this novel as a criticism of social norms. In spite of the rapes and murders and typically simplistic Victorian morality that might make this novel more sensational than To The Lighthouse, I find Tess of the D'Urbervilles, on the whole, more true to life, and certainly, more provocative. SUMMARY To the Lighthouse: Eh, overrated. And I don't care if much of it has to do with Modernist theories of art, it's still no excuse for being a bore. Tess of the D'Urbervilles: A little too sentimental in its close, but I recommend it. What shall I read next? Rilke, I think. P.S. I just noticed... there's a quote by Woolf on the cover of Tess of the D'Urbervilles. Labels: culture notes |
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April 13, 2008 1:57 AM,
I have found some of the writing of Woolf very stimulating and useful in my own writing. Here are two passages i wrote to illustrate my point: these passages come from my memoirs.-Ron Price, Tasmania
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It seems to me that, in some respects, I am completely unable to write anything about much that is quintessential in life, nor will I ever be able. For, as Baha’u’llah writes, “myriads of mystic tongues find utterances in one speech and how many are the mysteries concealed in a single melody but, alas, there is no ear to hear nor heart to understand.”
The garment of words can only contain so much. There is much knowledge that can not be put into words like the content of many of the arts and sciences. Mysticism itself finds its origins in this notion. No sensible man will venture to express some of his deepest thoughts in words, especially in a form which is unchangeable. So much that is said and thought here is as potentially changeable as the wind which blows and the clouds which change their patterns in the sky from minute to minute and hour to hour. A self that goes on changing is a self that goes on living, as Virginia Woolf once said.
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In analysing my own poetry, I wrote(drawing on Woolf...)To read Price’s poetry, his notebooks, his autobiographical narrative, his essays and his letters is to shift constantly from his imaginative and intellectual life to the here and the now, a specific time and place in the microcosm or the macrocosm. He has a wonderful capacity, gift if you like, to not see dust, as Virginia Woolf puts it, to be quite removed from the day-to-day trivia of life, as his wife might have put it-and often did. The rare joys of reality are juxtaposed with the endless elements of that trivia, the endlessly prosaic. Perhaps the reason he was a poet, at least in the 1990s, was that he could not stop. For him, writing poetry was a form of self-knowing, a form of risk-taking where he exposed himself. This process, though, helped him to define himself as a writer, as it did dear Virginia until she took her life in 1941. -Ron Price with thanks to Marlene Kadar, editor, Essays on Life Writing: From Genre to Critical Practice, University of Toronto Press, Toronto, 1992.
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