Posts tagged US
I can’t locate even a simple bio for poor Hal Garrott, author of the children’s fantasies Snythergen (1923) and Squiffer (1924), both illustrated by the somewhat better-known Dugald Stewart Walker. (See illustrations for Snythergen here.)
Never was there a jollier little fellow - although little is scarcely the word - than this Snythergen, and never were there adventures better calculated to delight a child than the tale of how he grew first so very round and later so very tall that he could not remain at home any longer, but was obliged to live in the forest and to become a tree. In the forest lived Squeaky, the pig, and Sancho, the goldfinch, and the three became the best of friends. (publisher’s copy, via)
A tale for young people which is every bit as charming as Mrs. Garrott’s story of the boy-tree, Snythergen. Squiffer is a squirrel whose desire to become a boy sends him upon strange adventures. The characters of the tale include a Bear, a Candy Princess, the wicked Red-Fairy-Hot (with his three quick changes) and ever so many other delightful persons. (publisher’s copy, via)
[update: In the Heather Bright directed me to a PDF article with a mention of Hal Garrott in a list of patrons of Kilmarnock Books in St. Paul (along with Fitzgerald). The article focuses on writer-no-one-reads Thomas Alexander Boyd.]
No one reads Reinhard Lettau (1929-96), a German-American writer, activist, and scholar who wrote: numerous short stories, a radio play, critical works, poetry, English translations (with Ferlinghetti) of love poems by Karl Marx; and, whenever permissible, avoided noting his middle name: Adolf.
Among the vast archipelago of short(-short) fiction—near the islands of Buzzati, Calvino, Thurber, Barthelme, and Hildesheimer—there is the seldom visited and often uncharted islet of Lettau’s short works. Chief thereof is found in his American debut Obstacles (1965), a volume that contains English translations of his first two books of stories: Schwierigkeiten beim Häuserbauen (Difficulties in Housebuilding, 1962) and Auftritt Manigs (Enter Manig, 1963).
The 21 of the three- to eight-page prose pieces that comprise Difficulties in Housebuilding are Lettau at his most charming and inventive. A favourite of mine is the epistolary “Potemkin's Carriage Passes Through”; here is an excerpt that reveals the essence of the book (my emphasis):
April 11, 1784
[…] Of course the roofers are really painters, and so are the glaziers who insert windows with deft brushes. The bricklayers are painters and so are the masons; the only people who work at their true trade here are the stagehands who put up the scaffoldings and lent a hand with our lodgings. But since then no one’s seen them do any work. I am told that they are lying around drinking behind the wooden wall that looks like a tavern from the road. One of them supposedly had the idea of throwing a stone through one of the not-so-well-painted windows in the village, the other day, and replacing it with real glass. If this practice spreads, I almost fear for the success of my mission.
April 12, 1784
The meaning of my last sentence in yesterday’s annotations can best be illustrated by the fact that more and more fake window fronts have, since then, been replaced by real ones. […] Sometimes I can’t help feeling that we are in reality building two villages: a false one and a real one, without actually wanting to build the real one, as though it were growing by itself out of the false one, as if by necessity.
All the stories in the American (Pantheon) edition are translated by the prolific Ursule Molinaro. The British (Calder & Boyars) edition of Obstacles (1966) supplants eight of Molinaro’s translations with new ones by Ellen Sutton and adds a Sutton translation of another Lettau story (“The Road”) to the end of the first book. However, in all eight cases, I prefer Molinaro’s translations for their economy and diction, and her in-sentence sequencing of events makes for better poetic and comedic effects.
[The 57 shorts, none longer than a page, are centered on the character Manig, who] is treated like a tracing powder that is thrown into turbulent water to expose hidden currents: Lettau uses Manig to isolate and depict behavioral patterns, only to cleverly undo them. Manig is portrayed predominately through pantomime, and some of his gesticulations are clownlike. […] Lettau disrupts reality by equating the thing with the word and the absolute with the relative, and by separating image from reality through leaps in logic and optical illusions.
Lettau’s other works in English translation:
- Enemies (1973), Agnes Rook’s translation of Fiende (1963). A six story collection that is best saved for completists, because the set of three new stories ridiculing war are outdone by the two similar war stories in Obstacles: “A Campaign” and “A Pause Between Battles”. The three shorter, supplemental stories, one of which is Rook’s version of “The Road”, are also redundant.
- Breakfast in Miami (1982), Lettau’s and Julie Prandi’s translation of his radio play Frühstücksgespräche im Miami (1977). Caricatures of deposed dictators meet in Miami and say their piece. Yet another only for the completist, but, on the strength of Obstacles, I remain optimistic about his still untranslated later works, which can be found—with promising cover art—in Alle Geschichten (Complete Stories, 1998).
For more about his life and writings:
- BookRags.com has most of the DLB’s article on Lettau.
- The obituary from the University of California, San Diego (UCSD), where Lettau taught Writing and German Literature from 1968-90.
(Images: the cover art is by Günter Grass; here’s an online gallery of Grass’ graphic work, 1972-2007.)
Vincent James O’Sullivan (1868-1940) was an American-born writer of macabre stories and Decadent poetry. Oscar Wilde, after having read O’Sullivan’s poems, commented: “In what a midnight his soul seems to walk! and what maladies he draws from the moon!”, and such a remark aptly characterizes most of O’Sullivan’s oeuvre.
It was in Montague Summers' The Supernatural Omnibus (1931) that I first noticed O’Sullivan’s artistry. His stories—even in a collection that includes such figures as J. Sheridan Le Fanu, Bram Stoker, Vernon Lee, and, one of Crowley’s cronies, William Seabrook—immediately stood out for their delivery, if not their content. O’Sullivan’s prose is vivid, flowing, and capable of deathly sudden twists. His most widely anthologized story, "When I Was Dead", was described by Robert Aickman as a “spasm of guilt”, “sudden and shattering”; Aickman included it in The Fourth Fontana Book of Great Ghost Stories (1967), a long-running series he edited. However, that story is quite mild in comparison to some of O’Sullivan’s others. A few of my favourites are "Hugo Raven’s Hand", "My Enemy and Myself", "The Bars of the Pit", and the novella-length "Verschoyle’s House".
For more about Vincent O’Sullivan, see:
- Jessica Amanda Salmonson’s essay, "A Fallen Master of the Macabre"; it is from the introduction to Master of Fallen Years: The Complete Supernatural Stories of Vincent O’Sullivan (London: The Ghost Story Press, 1995). (Note: the book is very hard to come by, only 400 were printed, has a creepy cover, and it contains his rarest story, “The Monkey & Basil Holderness”, which I am desperate to read.)
- "Vincent O’Sullivan: Unstrung Second Fiddle", an essay that compares him to other Decadent poets, and discusses in detail his story collection A Dissertation Upon Second Fiddles, which is said to read like an English Léon Bloy.
- Archive.org has the story collection Human Affairs, and the Decadent “prosetry” of The Green Window. Unfortunately, their scan of Sentiment, his second of two novels, is the edition without the stories, and they don’t have his first novel, my favourite, The Good Girl. (I hope to add some of his other works to Archive.org.)
- Horror Masters is a good resource for stories of the supernatural, of Vincent’s, it has: "Will", "The Business of Madame Jahn", "The Interval", "Master of Fallen Years", "When I Was Dead", and "The Burned House".
(Image: the frontispiece was done by the talented Aubrey Beardsley; the drawing does not look to be his most inspired work (see Stanley Weintraub's Beardsley for why =]), but do take a look at this collection.)
It’s refreshing to find a writer embracing the fact that nobody reads him:
My books are better thought about than read. They’re insanely dull and unreadable; I mean, do you really want to sit down and read a year’s worth of weather reports or a transcription of the 1010 WINS traffic reports “on the ones” (every ten minutes) over the course of a twenty-four-hour period? I don’t.
I love the end too: “The rest of culture has moved so far beyond such simplistic notions of originality, yet here we are in literature, still fifty years behind the rest of the world. It’s so tiresome.”
image: Adrian Piper, Untitled 1968 work via
New book by Goldsmith: Uncreative Writing: Managing Language in the Digital Age
No one reads Rudolph Wurlitzer (b. 1937, Texas), that is, if Barthelme and Pynchon—advocates of Wurlitzer’s Nog—don’t count, and if I don’t include the small cult following that the book has had since its debut in 1969. Still, by my esoteric calculations, Wurlitzer could use some more exposure, especially for his later works, e.g., Flats and Quake.
Fans of Beckett, Denis Johnson, and Bukowski—just to name a few kindred spirits—should definitely give Wurlitzer a read.
For more about Rudy, see:
- "Wurlitzer’s Wiles", Gary Indiana's survey of Wurlitzer's books
- Jeremy Hatch’s short, and perceptive, essay on Nog at the Quarterly Conversation
- The official Rudolph Wurlitzer website
- The IMDB listing of Wurlitzer’s filmography
(Image: the 1970 Pocket Books edition; I couldn’t find any artist credit in the paperback—contacted the publisher, still waiting for a reply)
Architectural dreamwork, end-times seascapes so barren they seem cut from the pages of the Bible, coolly-rendered Rube Goldberg apparati, and the crushing sadness that results when you tie your emotional fortunes to a person whose tongue is so fat in his mouth he can barely speak, mark this little masterpiece of a novel. Cast as a soliloquy in the form of a ship’s log, a grief report from someone who has no good insurance she will ever be heard, the novel moves fluidly between its major forms: love song, a treatise on gardening at sea, an argument against the company of others, and a dark science expo for exquisite inventions like a hybrid lichen that makes things invisible. Published by Alfred A. Knopf under the editorial guidance of Gordon Lish, the fiction world’s singular Quixote—a champion of innovative styles and formal ambition—there may have been no better year  in which to tuck such an odd, exquisite book. Instead of rushing for relevance and breaking the news, Crawford was taking the oldest news of all—it is strange and alone here, even when we are surrounded by people, and there is a great degree of pain to be felt—and reporting it as nautical confessional. The result, now thirty-six years later, seems to prove that interior news, the news of what it feels like to want too much from another person, will not readily smother under archival dust.
No one reads Marguerite Young, though my god! we all should. From her obituary in the New York Times:
Afterward she became a legend: the woman with the pageboy haircut who looked like W. H. Auden, wrote like James Joyce, strode through the Village in her signature serapes, had breakfast at Bigelow’s with Richard Wright, got drunk at the White Horse Tavern with Dylan Thomas, palled around with Truman Capote and Carson McCullers, kept a vast collection of dolls in her Bleecker Street apartment and regaled intimates with tales of her romantic conquests
No one reads Thomas Beer, including me, though I’m using him to highlight Robert Nedelkoff’s list on Neglected Books. Nedelkoff writes:
In the 1950s, during his first lectures at the University of Virginia, Faulkner mentioned that in the days when he read the Saturday Evening Post at his Oxford postmaster’s job instead of delivering the magazine, he had admired Thomas Beer’s (1889-1940) stories and had learned something of characterization and plot from them. He asked if any of the students had read Beer; there was silence. He asked if any had heard of him. One student had heard of Beer’s biography of Stephen Crane and of his bestseller of ’26, The Mauve Decade. Others who’ve admired Beer’s work include Lewis Mumford, historian Frank Friedel and Carl Van Vechten (with whom Beer had some aspects of style and sensibility in common). The Fair Rewards is a portrait in novel form of the American theater from 1890 to 1920, and well illustrates Beer’s gift for delineating pre-World War I America in a somewhat melancholy, elliptical fashion. Long out of print.
[READER SUBMISSION…sorry I lost track of his name!]
I have been researching and writing about William March for around 4 years now, but no one else even knows he exists (outside of the Bad Seed film mostly). His WWI anti-war novel “Company K” was hailed as one of the finest war novels ever written (by Graham Greene, nonetheless), but he has faded into obscurity. I authored his wikipedia page, as there was none to be found when I went searching…I find it quite depressing that someone who was heralded as “the unrecognized genius of our time” would simply cease to be relevant.
William March’s wikipedia page: http://en.wikipedia.org/wiki/William_March