Una selva oscura

This morning I paid the princely sum of $10 for this new book:

I was halfway to the bookshop counter, wallet at the ready, very possibly with Casey's recent lovely post about Dante in the back of my mind and thinking $10 was a really good deal for one of the great classics of literature, even if I did have to read it in unsatisfactory translation (for I've never seen a translation of the opening three lines that seemed to me exactly right, and I don't even speak or read Italian, but I know what I like), when I idly opened it at random to check the print size and found to my great joy that what I was about to pay a pittance for was a parallel text, with Dante's exquisite, lucid, singing Italian -- late-medieval vernacular Italian and therefore linguistically at two removes from me, and yet somehow available to instinctive reading -- opposite the translation.

Five years of excellent teaching and intermittent hard slog at Adelaide Girls' High back in the mists of time has left me with the ability to nut out a little bit of German and quite a lot of French if it is put in front of me, but such Italian as has sunk in, ie almost none (though I still remember the Italian for the first phrase I ever consciously learned: Posso provarlo? 'May I try this on?') has done so by accident and through some sort of process of osmosis.

But it strikes me, not for the first time, that this verse is so beautiful one could teach oneself Italian simply by studying a page of this book a day. A dark wood, in which one has lost one's way: can you think of a better metaphor for middle age?

...Françoise sat down beside me with a volume of Dante and construed a few lines of the 'Inferno' to begin showing me how the language worked. 'Per mi si va tra la perduta gente' - 'Through me you go among the lost people'. A line that crushed the heart, but in the middle you could say 'tra la'. It was music.

– Clive James, Falling Towards England

The opening lines likewise crush the heart -- 'In the middle of this life we live, I realised that I was in a dark wood, and the path was lost.' Or words to that effect. Also words to crush the heart, but look at the paper (or whatever it is) that they were written on.

Cross-posted at Read, Think, Write

Shining your shoes for the Fat Lady

This isn't the first time I've had cause to consider the uses of literature in thinking about how to live one's life and manage one's nasty moments. But when I saw this morning that J.D. Salinger had died, I gave a bit of thought to what I might have learned from him, and this bit from near the end of Franny and Zooey is what came to mind. All my adult life I've been spared the tortures of stage fright, and having read this at sixteen is one of the reasons why.

The voice at the other end came through again. 'I remember about the fifth time I ever went on "Wise Child". I subbed for Walt a few times when he was in a cast -- remember when he was in that cast? -- anyway, I started bitching one night before the broadcast. Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again ...

This terribly clear, clear picture of the Fat Lady formed in my mind. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and -- I don't know. Anyway, it seemed goddamned clear why Seymour wanted me to shine my shoes when I went on the air. It made sense.'

Franny was standing. She had taken her hand away from her face to hold the phone with two hands. 'He told me, too,' she said into the phone. 'He told me to be funny for the Fat Lady, once ... I didn't ever picture her on the porch, but with very -- you know -- very thick legs, very veiny. I had her in an awful wicker chair. She had cancer too, though, and she had the radio going full-blast all day! Mine did, too!'

'Yes ... But I'll tell you a terrible secret -- Are you listening to me? There isn't anyone out there who isn't Seymour's Fat Lady.'

Home Maintenance for Women and the Pillars of Modernism

Tonight in Week 2 of my WEA class, I did something I've never done before in my life: I used a power drill. Unfortunately I've been too long acquainted with the works of Freud not to be a little giggly about it. As T.S. Eliot once said, 'After such knowledge, what forgiveness?'