by Various
Excerpt from a letter by Poe – after having been dismissed from West Point – to his foster father. Feb. 21, 1831.
‘It will however be the last time I ever trouble any human being – I feel I am on a sick bed from which I shall never get up.’
Sigbjørn calculated with a pang that Poe must have written these words almost seven years to the day after Keats’s death, then, that far from never having got up from his sick bed, he had risen from it to change, thanks to Baudelaire, the whole course of European literature, yes, and not merely to trouble, but to frighten the wits out of several generations of human beings with such choice pieces as ‘King Pest’, ‘The Pit and the Pendulum’, and ‘A Descent into the Maelstrom’, not to speak of the effect produced by the compendious and prophetic Eureka.
My ear has been too shocking for any description – I am wearing away every day, even if my last sickness had not completed it.
Sigbjørn finished his grappa and ordered another. The sensation produced by reading these notes was really very curious. First, he was conscious of himself reading them here in this Roman bar, then of himself in the Valentine Museum in Richmond, Virginia, reading the letters through the glass case and copying fragments from these down, then of poor Poe sitting blackly somewhere writing them. Beyond this was the vision of Poe’s foster father likewise reading some of these letters, for all he knew unheedingly, yet solemnly putting them away for what turned out to be posterity, these letters which, whatever they might not be, were certainly – he thought again – intended to be private. But were they indeed? Even here at this extremity Poe must have felt that he was transcribing the story that was E. A. Poe, at this very moment of what he conceived to be his greatest need, his final – however consciously engineered – disgrace, felt a certain reluctance, perhaps, to send what he wrote, as if he were thinking: Damn it, I could use some of that, it may not be so hot, but it is at least too good to waste on my foster father. Some of Keats’s own published letters were not different. And yet it was almost bizarre how, among these glass cases, in these museums, to what extent one revolved about, was hemmed in by, this cinereous evidence of anguish. Where was Poe’s astrolabe, Keats’ tankard of claret, Shelley’s ‘Useful Knots for the Yachtsman’? It was true that Shelley himself might not have been aware of the aromatic gums, but even that beautiful and irrelevant circumstantiality that was the gift of the Misses Boykin seemed not without its suggestion of suffering, at least for George Washington.
Baltimore, April 12, 1833.
I am perishing – absolutely perishing for want of aid. And yet I am not idle – nor have I committed any offence against society which would render me deserving of so hard a fate. For God’s sake pity me and save me from destruction.
Ε.Α. POE
Oh, God, thought Sigbjørn. But Poe had held out another sixteen years. He had died in Baltimore at the age of forty. Sigbjørn himself was nine behind on that game so far, and – with luck – should win easily. Perhaps if Poe had held out a little longer – perhaps if Keats – he turned over the pages of his notebook rapidly, only to be confronted by the letter from Severn:
My dear Sir:
Keats has changed somewhat for the worse – at least his mind has much – very much – yet the blood has ceased to come … but the fatal prospect hangs… for his knowledge of internal anatomy…largely adds to his torture.
Suppliziato, strangolato, he thought… The lower is the true prison. And many others. Nor have I committed any offense against society. Not much you hadn’t, brother. Society might pay you the highest honors, even to putting your relics in the company of the waistcoat belonging to George Washington’s dentist, but in its heart it cried: – dirty stinking Degenerate Bobs was here from Boston, North End, Mass. Warp son of a bitch!… ‘On Saturday a gentleman came to cast his hand and foot…’ Had anybody done that, Sigbjørn wondered, tasting his new grappa, and suddenly cognizant of his diminishing Guggenheim, compared, that was, Keats and Poe? – But compare in what sense, Keats, with what, in what sense, with Poe? What was it he wanted to compare? Not the aesthetic of the two poets, nor the breakdown of Hyperion, in relation to Poe’s conception of the short poem, nor yet the philosophic ambition of the one, with the philosophic achievement of the other. Or could that more properly be discerned as negative capability, as opposed to negative achievement? Or did he merely wish to relate their melancholias? potations? hangovers? Their sheer guts – which commentators so obligingly forgot! – character, in a high sense of that word, the sense in which Conrad sometimes understood it, for were they not in their souls like hapless shipmasters, determined to drive their leaky commands full of valuable treasure at all costs, somehow, into port, and always against time, yet through all but interminable tempest, typhoons that so rarely abated? Or merely what seemed funereally analogous within the mutuality of their shrines? Or he could even speculate, starting with Baudelaire again, upon what the French movie director Epstein who had made La Chute de la Maison Usher in a way that would have delighted Poe himself, might have done with The Eve of St Agnes: And they are gone!… ‘For God’s sake pity me and save me from destruction!’
Ah ha, now he thought he had it: did not the preservation of such relics betoken – beyond the filing cabinet of the malicious foster father who wanted to catch one out – less an obscure revenge for the poet’s nonconformity, than for his magical monopoly, his possession of words? On the one hand he could write his translunar ‘Ulalume’, his enchanted ‘To a Nightingale’ (which might account for the Field Book of Western Birds), on the other was capable of saying, simply, ‘I am perishing… For God’s sake pity me…’ You see, after all, he’s just like folks… What’s this?… Conversely, there might appear almost a tragic condescension in remarks such as Flaubert’s often quoted ‘Ils sont dans le vrai’ perpetuated by Kafka – Kaf – and others, and addressed to child-bearing rosy-cheeked and jolly humanity at large. Condescension, nay, inverse self-approval, something downright unnecessary. And Flaub – Why should they be dans le vrai any more than the artist was dans le vrai? All people and poets are much the same but some poets are more the same than others, as George Orwell might have said. George Or – And yet, what modern poet would be caught dead (though they’d do their best to catch him all right) with his ‘For Christ’s sake send aid’, unrepossessed, unincinerated, to be put in a glass case? It was a truism to say that poets not only were, but looked like folks these days. Far from ostensible noncon formists, as the daily papers, the very writers themselves – more shame to them – took every opportunity triumphantly to point out, they dressed like, and as often as not were bank clerks, or, marvelous paradox, engaged in advertising. It was true. He, Sigbjørn, dressed like a bank clerk himself – how else should he have courage to go into a bank? It was questionable whether poets especially, in uttermost private, any longer allowed themselves to say things like ‘For God’s sake pity me!’ Yes, they had become more like folks even than folks. And the despair in the glass case, all private correspondence carefully destroyed, yet destined to become ten thousand times more public than ever, viewed through the great glass case of art, was now transmuted into hieroglyphics, masterly compressions, obscurities to be deciphered by experts – yes, and poets – like Sigbjørn Wilderness. Wil –
And many others. Probably there was a good idea somewhere, lurking among these arrant self-contradictions; pity could not keep him from using it, nor a certain sense of horror that he felt all over again that these mummified and naked cries of agony should lie thus exposed to human view in permanent incorruption, as if embalmed evermore in their separate eternal funeral parlors: separate, yet not separate, for was it not as if Poe’s cry from Baltimore, in a mysterious manner, in the manner that the octet of a sonnet, say, is answered by its sestet, had already been answered, seven years before, by Keats’s cry from Rome; so that according to the special reality of Sigbjørn’s notebook at least, Poe’s own death appeared like something extra-formal, almost extraprofessional, an a
fterthought. Yet inerrably it was part of the same poem, the same story. ‘And yet the fatal prospect hangs…’ ‘Severn, lift me up, for I am dying.’ ‘Lift them up, keep them away.’ Dr Swell’s Root Beer.
Good idea or not, there was no more room to implement his thoughts within this notebook (the notes on Poe and Richmond ran, through Fredericksburg, into his remarks upon Rome, the Mamertine Prison, and Keats’s house, and vice versa), so Sigbjørn brought out another one from his trousers pocket.
This was a bigger notebook altogether, its paper stiffer and stronger, showing it dated from before the war, and he had brought it from America at the last minute, fearing that such might be hard to come by abroad.
In those days he had almost given up taking notes: every new notebook bought represented an impulse, soon to be overlaid, to write afresh; as a consequence he had accumulated a number of notebooks like this one at home, yet which were almost empty, which he had never taken with him on his more recent travels since the war, else a given trip would have seemed to start off with a destructive stoop, from the past, in its soul: this one had looked an exception so he’d packed it.
Just the same, he saw, it was not innocent of writing: several pages at the beginning were covered with his handwriting, so shaky and hysterical of appearance, that Sigbjørn had to put on his spectacles to read it. Seattle, he made out. July? 1939. Seattle! Sigbjørn swallowed some grappa hastily. Lo, death hath reared himself a throne in a strange city lying alone far down within the dim west, where the good and the bad and the best and the rest, have gone to their eternal worst! The lower is the true Seattle… Sigbjørn felt he could be excused for not fully appreciating Seattle, its mountain graces, in those days. For these were not notes he had found but the draft of a letter, written in the notebook because it was that type of letter possible for him to write only in a bar. A bar? Well, one might have called it a bar. For in those days, in Seattle, in the state of Washington, they still did not sell hard liquor in bars – as, for that matter, to this day they did not, in Richmond, in the state of Virginia – which was half the gruesome and pointless point of his having been in the state of Washington, LIC-OFF-PREM, he thought. No, no, go not to Virginia Dare… Neither twist Pepso – tight-rooted! – for its poisonous bane. The letter dated – no question of his recognition of it, though whether he’d made another version and posted it he had forgotten – from absolutely the lowest ebb of those low tides of his life, a time marked by the baleful circumstance that the small legacy on which he then lived had been suddenly put in charge of a Los Angeles lawyer, to whom this letter indeed was written, his family, who considered him incompetent, having refused to have anything further to do with him, as, in effect, did the lawyer, who had sent him to a religious-minded family of Buchmanite tendencies in Seattle on the understanding he be entrusted with not more than 25c a day.
Dear Mr Van Bosch:
It is, psychologically, apart from anything else, of extreme urgency that I leave Seattle and come to Los Angeles to see you. I fear a complete mental collapse else. I have cooperated far beyond what I thought was the best of my ability here in the matter of liquor and I have also tried to work hard, so far, alas, without selling anything. I cannot say either that my ways have been as circumscribed exactly as I thought they would be by the Mackorkindales, who at least have seen my point of view on some matters, and if they pray for guidance on the very few occasions when they do see fit to exceed the stipulated 25c a day, they are at least sympathetic with my wishes to return. This may be because the elder Mackorkindale is literally and physically worn out following me through Seattle, or because you have failed to supply sufficient means for my board, but this is certainly as far as the sympathy goes. In short, they sympathize, but cannot honestly agree; nor will they advise you I should return. And in anything that applies to my writing – and this I find almost the hardest to bear – I am met with the opinion that I ‘should put all that behind me’. If they merely claimed to be abetting yourself or my parents in this it would be understandable, but this judgement is presented to me independently, somewhat blasphemously in my view – though without question they believe it – as coming directly from God, who stoops daily from on high to inform the Mackorkindales, if not in so many words, that as a serious writer I am lousy. Scenting some hidden truth about this, things being what they are, I would find it discouraging enough if it stopped there, and were not beyond that the hope held out, miraculously congruent also with that of my parents and yourself, that I could instead turn myself into a successful writer of advertisements. Since I cannot but feel, I repeat, and feel respectfully, that they are sincere in their beliefs, all I can say is that in this daily rapprochement with their Almighty in Seattle I hope some prayer that has slipped in by mistake to let the dreadful man for heaven’s sake return to Los Angeles may eventually be answered. For I find it impossible to describe my spiritual isolation in this place, nor the gloom into which I have sunk. I enjoyed of course the seaside – the Mackorkindales doubtless reported to you that the Group were having a small rally in Bellingham (I wish you could go to Bellingham one day) – but I have completely exhausted any therapeutic value in my stay. God knows I ought to know, I shall never recover in this place, isolated as I am from Primrose who, whatever you may say, I want with all my heart to make my wife. It was with the greatest of anguish that I discovered that her letters to me were being opened, finally, even having to hear lectures on her moral character by those who had read these letters, which I had thus been prevented from replying to, causing such pain to her as I cannot think of. This separation from her would be an unendurable agony, without anything else, but as things stand I can only say I would be better off in a prison, in the worst dungeon that could be imagined, than to be incarcerated in this damnable place with the highest suicide rate in the Union. Literally I am dying in this macabre hole and I appeal to you to send me, out of the money that is after all mine, enough that I may return. Surely I am not the only writer, there have been others in history whose ways have been misconstrued and who have failed… who have won through… success… publicans and sinners… I have no intention –
Sigbjørn broke off reading, and resisting an impulse to tear the letter out of the notebook, for that would loosen the pages, began meticulously to cross it out, line by line.
And now this was half done he began to be sorry. For now, damn it, he wouldn’t be able to use it. Even when he’d written it he must have thought it a bit too good for poor old Van Bosch, though one admitted that wasn’t saying much. Wherever or however he could have used it. And yet, what if they had found this letter – whoever ‘they’ were – and put it, glass-encased, in a museum among his relics? Not much – still, you never knew! – Well, they wouldn’t do it now. Anyhow, perhaps he would remember enough of it… ‘I am dying, absolutely perishing.’ ‘What have I done to them?’ ‘My dear Sir.’ ‘The worst dungeon.’ And many others: and dirty stinking Degenerate Bobs was here from Boston, North End, Mass. Warp son – !
Sigbjørn finished his fifth unregenerate grappa and suddenly gave a loud laugh, a laugh which, as if it had realized itself it should become something more respectable, turned immediately into a prolonged – though on the whole relatively pleasurable – fit of coughing…
* * *
SAMUEL BECKETT
* * *
PING
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races blurs signs no meaning light grey almost white. Legs joined like sewn heels together right angle. Traces alone unover given black light grey almost white on white. Light heat white walls shining white one yard by two. Bare white body fixed one yard ping fixed elsewhere. Traces blurs signs no meaning light grey almost white. White feet toes joined like sewn heels together right angle invisible. Eyes alone unover given blue light blue almost white. Murmur only just almost never one second perhaps not alone. Given rose only just bare white body fixed one yard white on white invisible. All white all known murmurs only just almost never always the same all known. Light heat hands hanging palms front white on white invisible. Bare white body fixed ping fixed elsewhere. Only the eyes only just light blue almost white fixed front. Ping murmur only just almost never one second perhaps a way out. Head haught eyes light blue almost white fixed front ping murmur ping silence. Eyes holes light blue almost white mouth white seam like sewn invisible. Ping murmur perhaps a nature one second almost never that much memory almost never. White walls each its trace grey blur signs no meaning light grey almost white. Light heat all known all white planes meeting invisible. Ping murmur only just almost never one second perhaps a meaning that much memory almost never. White feet toes joined like sewn heels together right angle ping elsewhere no sound. Hands hanging palms front legs joined like sewn. Head haught eyes holes light blue almost white fixed front silence within. Ping elsewhere always there but that known not. Eyes holes light blue alone unover given blue light blue almost white only colour fixed front. All white all known white planes shining white ping murmur only just almost never one second light time that much memory almost never. Bare white body fixed one yard ping fixed elsewhere white on white invisible heart breath no sound. Only the eyes given blue light blue almost white fixed front only colour alone unover. Planes meeting invisible one only shining white infinite but that known not. Nose ears while holes mouth white seam like sewn invisible. Ping murmurs only just almost never one second always the same all known. Given rose only just bare white body fixed one yard invisible all known without within. Ping perhaps a nature one second with image same time a little less blue and white in the wind. White ceiling shining white one square yard never seen ping perhaps a way out there one second ping silence. Traces alone unover given black grey blurs signs no meaning light grey almost white always the same. Ping perhaps not alone one second with image always the same same time a little less that much memory almost never ping silence. Given rose only just nails fallen white over. Long hair fallen white invisible over. White scars invisible same white as flesh torn of old given rose only just. Ping image only just almost never one second light time blue and white in the wind. Head haught nose ears white holes mouth white seam like sewn invisible over. Only the eyes given blue fixed front light blue almost white only colour alone unover. Light heat white planes shining white one only shining white infinite but that known not. Ping a nature only just almost never one second with image same time a little less blue and white in the wind. Traces blurs light grey eyes holes light blue almost white fixed front ping a meaning only just almost never ping silence. Bare white one yard fixed ping fixed elsewhere no sound legs joined like sewn heels together right angle hands hanging palms front. Head haught eyes holes light blue almost white fixed front silence within. Ping elsewhere always there but that known not. Ping perhaps not alone one second with image same time a little less dim eye black and white half closed long lashes imploring that much memory almost never. Afar flash of time all white all over all of old ping flash white walls shining white no trace eyes holes light blue almost white last colour ping white over. Ping fixed last elsewhere legs joined like sewn heels together right angle hands hanging palms front head haught eyes white invisible fixed front over. Given rose only just one yard invisible bare white all known without within over. White ceiling never seen ping of old only just almost never one second light time white floor never seen ping of old perhaps there. Ping of old only just perhaps a meaning a nature one second almost never blue and white in the wind that much memory henceforth never. White planes no trace shining white one only shining white infinite but that known not. Light heat all known all white heart breath no sound. Head haught eyes white fixed front old ping last murmur one second perhaps not alone eye unlustrous black and white half closed long lashes imploring ping silence ping over.
