Sunday, July 28, 2013
it was raw from trying
If humour is the detection of gaps -- as in tickling: the body writhing as if it is anticipating harm but then a harmless kitty-paw of fingertips, and no hurt, no blood, but an attack nonetheless, this warfare with no blood or cuts -- if humour is the sensation of an incredible lacuna -- if poignancy is likewise the detection of gaps between the desirable and the actual -- then see that the poignancy of the untouchable cows and the humour of the imperfectable hat are living in the same family of conjunctions.
Not peace in these cows, but the stage setting of peace, as established in past writings on the subject, the atmosphere summoned up by the cows and horses in Dorothy Wordworth's Recollections of a Tour Made in Scotland for example, so that her sentence about the horses and cattle in the Scottish fields is visible now in its old or new role as the precursor and part cause of Samuel Beckett's cows "chewing in enormous fields, lying and standing, in the evening silence" her work reinforcing the notion that the role of cows in books is to give the audience a sense that this landscape is well-charactered and able to be encompassed by the imagination or the human heart, like the suburban garden in Blue Velvet by David Lynch before the man with the hose has his fatal attack which is followed by shots of the ants in the grass grappling like centurions, acts of miniature warfare that would have been going on, too, among the deep white roots of the paddocks where Dorothy Wordsworth saw her cattle abstracted in their serenity.
Who are the only two friends in Molloy? The mouth and the anus, which are the same sphincter: "a thin red mouth that looked as if it was raw from trying to shit its tongue."