you'll see what I say you'll see

Having, now, The Glass Canoe next to Little, Big in my mind I wonder about the different ways in which the two authors find a character or structure for the Unknown in their books, Crowley building a kind of horizontal (rather than hierarchical) maze in which a revelation in one story will lead you sideways to another story – not a clarity through the unknown but a passageway into another room of it. Mrs Underhill says "Wear this," as she sticks a magic leaf on Lilac's forehead but the enlargement is only in a certain direction, "and you'll see what I say you'll see." By implication, what I don't say you won't see, and who knows what size that is. The dream that seems to be taking Grandfather Trout into a memory of his original human self turns, instead, towards the story of (maybe) the Frog Prince, disenchanted, leaping from the water, "legs flailing and royal robes drenched," then to the Fish-Footman from the first Alice, a "bewigged fish in a high-collared coat, a huge letter under his arm" – till the trout wakes, in shock, back to his own edition of the tale. *

Irrevocable revelation in the Glass Canoe, however, is not only achievable, it is horribly forced on you, and you will be catapaulted into the misery of knowledge against your will when you point out the anthropomorphic mystery of the record player to your girlfriend and she easily shows you the knob that explains the technology.

The Meatman, who loved not knowing, is troubled by the new absence of his pet ignorance, and the information is not an addition to his mental landscape, it is a loss forever. He laments.

Binarily he shifts over into that knowledge as if through a door that shuts behind him. And there are other such doors in the book, but he avoids them: he won't look in the sealed barrel, and he won't draw the obvious conclusion when he sees his girlfriend in the window with several men. The knowledge is being offered so starkly; Crowley's people should envy him. But it would mean sadness if he took it (we know that from the record player episode), and sadness with no compensation that the reader is ever allowed to see. He is wiser than Victor Frankenstein; instinctively he has resisted (or shied away from, take your pick) temptation, he is aligned with those books and authors who have worried about the effect that technical knowingness, ie science, will have on the state of knowledge-less anticipation that is described with words like wonderment. Lord Dunsany wrote with a feather pen in the age of biros.

When I think that we, as a species, have only just become aware of the lymph vessels that run up into our brains, and that this discovery is not the end of anything (as the discovery of the lymph system itself was not the end of anything, and the mapping of it, falsely wholly, over a century ago, was not the end of mapping it or knowing it), I want to believe that, out of the two of them, Crowley's formulation of the Unknown as story beyond story is closer to what is …



*After I posted this I went over and read, for the first time, the post from June 4th at Wuthering Expectations, which also mentions the Alice Footman. Coincidence.

Alice never knows whether she is looking at a fish or a man: "she considered him to be a footman because he was in livery: otherwise, judging by his face only, she would have called him a fish." Carroll's illustrators are always sure that he is a fish-headed person but this is more than you can say for the author, who only ever refers to a resemblance in the face. And the way he has packed man into footman is very strange: if the person had been naked, without the livery, but still running up to a door with a letter under his arm, then what would Alice call him?

left of us twain

Twos, twos, twos, in that piece by Clark Ashton Smith, the two statues, the two environments, the sea and the desert, the winds coming from those two places, the city balanced between them with a tense steadiness, the two metal images opposing and complementing one another; you have extremely moving things, fire and sea, and extremely nonmoving things, metal and rock, the altar is characterised by two nouns, "fires and blood-stones," day itself is represented by a pair of effects, 1. the setting of the sun and, 2. the writhing fires of the sacrifice, the moon is distinguished by two adjectives "cold and marble," the same word will be written twice, "Stone was fallen from stone, atom parted from atom," and there are more pairs in the pestle-grinding movement of this sentence (each set of words between each pair of commas is another step on the route to the conclusion): "rust and verdigris, crawling from mouth to nostrils, from knees to throat, had left of us twain a little pile of red and green dust," some of these paired items related by their similarities (cold and marble) others magnetised by their differences (the sea and the desert).

The wholeness of the setting, the position of the city, the configuration of the statues, the day, the moon, all depends on the collaboration and antagonism of pairs: any pair has an obvious weakness, it needs both elements or else it dies. It is a false fixed point. This fictional reality is being imprinted on the reader very quickly with twos, it has been hypnotised into existence by twos, and the absence of twos exists in the background in the shape of a nihilist threat; the absence of twos is the absence of the story and of the reader of the story, who will have to become a reader of something else, or of nothing.

Equilibrium itself is being murdered in the statue's vision, equilibrium is unnatural and constructed and tenuous, nature comes in, nature makes it disintegrate, nature repaces it with nonhumanity and a natural indistinguished mash, or a collection of natural objects that the statues can't evaluate, though I suggest that they are emotionally throttled by the language around them which would rather describe a thing through the senses and say, "Green, writhing, sultry," than evaluate it and say, "Uncouth." They are debrained a bit, by language.

Threes are not impossible in this story, "rain, and wind, and sun ," and there are ones, "blue fire" but two two two is the rhythm.

Setting up and pulling down are the two forces in the story, they are the whole story, everyone in the city living offstage somewhere, "the people thereof," these anonymous bodies coming on to make sacrifices when the reader isn't looking, having no other existence. There is no history except the existence of the images, we never hear of anyone building the city but the position between two environments seems deliberate, carefully placed as if it's going to be there forever (as people seem to themselves eternal, as the present situation seems eternal, a person becoming a situation) though it will not last; the shivering steady thing will be dissolved helplessly, and destroyed and will never come back; the god won't save it, the violence of the sacrifices is going to do nothing, the irresistible and magnetic compress of fate coming in to destroy the temple, the images are helpless, they are victims, and not kind, but they are like royalty that does not share its feelings, O the reliance of the language on those evasive sense-words, and the nature of that one evaluative word, "uncouth," the snobbery of it, the language a language of one above.

Put this in the category of fantasy stories that agonise over the destruction of monarchic social structures and the onrush of the mob, ie, democracy, a category less popular now than it used to be, not that it was ever madly popular or huge as far as I can tell.

Smith in his stories sucks up inspiration from the undemocratic thrilling and horrified pride that venerates kings, emperors, tombs of nobles, and the destruction of them, the extremes, deserts, mountains, the darkest ether, the dying sun, sadism -- and phrasemaking, the royalty of writing in the democracy of writing: "merchantry of necrophores" is his name for the mass of worms under a graveyard in The Mortuary, this flourish of a phrase set up on its throne with nostrils flaring, eyebrows fluming, supported or not by the populace -- his faith is a faith in the thrusting power of words like "king" "empress" and "tomb," this faith in a card house that could blow down at any moment if a reader comes along who doesn't care about royalty or dust. "Morbid snob," the reader says. They read Dunsany instead, who liked to sit on a hat. His witches grew cabbages. "At least Dunsany has a sense of humour."

the horror of the fixed

The air conditioning for this building is powered by a machine in the room next to this room, and when it starts up, and for as long as it runs, I can hear a long mushy detonation of rushing air, always the same speed and constancy and flatness, on and on and on.

Outside, the wind hisses through the cactus spines, and (listening to one and thinking of the other) I believe that the air conditioning machine is more aggressive than the wind, which sometimes meanders and sometimes takes a deep breath and blows and then dies again; the machine shoves the air constantly, it doesn't let it rest, but in spite of this pushing and force it doesn't sound energetic; it seems monotonous, dutiful, and bored. It needs Macbeth's porter, coming in to change the mood (which is his role, and he has been waiting for his chance since the witches), "But this place is too cold for hell," says the porter, "I'll devil-porter it no further," and at this point "Mind knocks," writes Harold Bloom in Shakespeare: the Invention of the Human, "and breaks into the play, with the first and only comedy allowed in this drama. Shakespeare employs his company's leading clown (probably Robert Armin) to introduce a healing touch of nature."

A "touch of nature," with its variations and changes and its sense of three-dimensional space (the birds making their noises outside provide you with an aural map, one noise high, one noise low, one noise close, one far away, as if they're marking out the corners of a geometric shape with thousands of sides; the name of this geometric shape is probably Robert Armin) is the thing that gets smothered out of the atmosphere by this machine.

Its appearance doesn't change, no matter whether it's on or off. In the desert the stiff spines of the cactus vibrate a little as the air passes through, and the dangling leaves of the mesquite tree stream up from vertical to horizontal. But there is no sign that the machine is making the noise. "Oh," I think, "The noise might as well not be part of the machine," and then I start to believe that I would find this situation inspirational if I became a composer of musique concrète, if I could be Francisco López, who samples the noises of cities and makes albums out of the samples. In 2001 he released Buildings [New York], in 2008 he released TDDM, "based on sound materials recorded in factories in Asia," and recently he masterminded a series of projects named Sound Matter Cities. I've been listening to his Untitled #244, which is a single track, almost an hour long, put together from the sampled sounds of the Paraná and Paraguay rivers. "The air conditioner is an ingredient," I would think, if you turned me into Francisco López.

Untitled #244 has been left as one long track, not broken up, because envelopment and immersion are important, says Francisco López, the album envelops and immerses; he wants his music to fill the ear and head as fully and envelopingly as Dunsany's Elfland in the King of Elfland's Daughter fills the valley where the parliament of Erl sits, wishing for more magic in the world, and this air conditioning machine is like Elfland too in its monotonous endurance. "[N]othing stirs or fades or dies, nothing seeks its happiness in movement or change or a new thing" in Elfland, and this changeless mood is created by a sound, by elvish "incantation and song."

I would be more interested in this machine's blank white noise if I could think of it as an incantation preparing to create an Elfland, or as a partner to Gormenghast's timelessness, or even as the weird suspended atmosphere that William Hope Hodgson writes about, although he has to make the world end first, either supernaturally, or by removing the reader to another planet.

If I were Hodgson I could find a story in this air conditioning machine. The noise would begin, time would be distorted, my dog Pepper would turn into a heap of dust, "there came a faint and distant, whirring buzz … [it] reminded me, in a queer, gigantic way, of the noise that a clock makes, when the catch is released, and it is allowed to run down," the sun would rise and set at an insane speed, a hundred lightning flashes would flood downwards, "the world-noise was drowned in the roar of the wind," I would totter to a window, the sky would change, an enormous stream of luminous spheres would pass me at an unvarying rate, then a jade sun, then two suns, then no sun, then a terrifying Arena, then a Beast-God, then an Eyeless-Thing, and finally I would realise that the house had gone green. "All at once, there came a bewildering, screaming noise, that deafened me," and I am sitting in my chair again, the room has been restored, but the dog is still dead.

(This happens in The House on the Borderland, chapters XV to XXIII, right after the attack by the Swine-Things.)

Or if I were Dickens I would be vivified by the monotony, I would be roused and provoked, and Chesterton would state after I had died (stating because Chesterton liked to state), that I couldn't abide boredom, and I couldn't create it when I wrote. "The one thing [Dickens] did not describe in any of the abuses he denounced was the soul-destroying potency of routine. He made out the bad school, the bad parochial system, the bad debtor's prison as very much jollier and more exciting than they may really have been."

I read this and wish that I could be like Dickens, who did not abide boredom but rang a stranger's doorbell and lay down in the doorway, or else raced away to France. Why do I sit here bored? I wonder. Why can't I rush away to France? I spend too much time wishing that I had the good qualities of famous people, M tells me when I let him know that I want to be Hayao Miyazaki. If I became Dickens then the machine would excite me, I would write a book with it as the villain and have the rest of the people in this building picking up their pitchforks to exterminate that whooshing devil.

Chesterton writes:

As long as low Yorkshire schools were entirely colourless and dreary, they continued quietly tolerated by the public and quietly intolerable to the victims. So long as Squeers was dull as well as cruel he was permitted; the moment he became amusing as well as cruel he was destroyed. [ie, in real life the schools were closed] As long as Bumble was merely inhuman he was allowed. When he became human, humanity wiped him right out. For in order to do these great acts of justice we must always realise not only the humanity of the oppressed, but even the humanity of the oppressor.

I would realise the humanity of my oppressor, I would give it the energy that Dickens gives even to a building of Furnished Apartments in Calais, a "dead sort of house with a dead wall over the way and a dead gateway at the side, where a pendant bell-handle produced two dead tinkles, and a knocker produced a dead, flat, surface-tapping, that seemed not to have depth enough in it to penetrate even the cracked door. However, the door jarred open on a dead sort of spring; and he closed it behind him as he entered a dull yard, soon brought to a close by another dead wall, where an attempt had been made to train some creeping shrubs, which were dead; and to make a little fountain in a grotto, which was dry; and to decorate that with a little statue, which was gone."

This house, which is a list of the same word, or similar words, is not like Mr Pickwick's bright street, which is a list of different words, and dissimilar words.

'The principal productions of these towns,' says Mr. Pickwick, 'appear to be soldiers, sailors, Jews, chalk, shrimps, officers, and dockyard men. The commodities chiefly exposed for sale in the public streets are marine stores, hard-bake, apples, flat-fish, and oysters.'

Pickwick, states Chesterton, is light itself, it is vitality, it is primeval. "It is the splendid, shapeless substance of which all his stars were ultimately made. You might split up Pickwick into innumerable novels as you could split up that primeval light into innumerable solar systems." Chesterton is thrilled by Dickens as Annie Dillard was thrilled by creeks, "an active mystery, fresh every minute." She wrote: "Theirs is the mystery of the continuous creation and all that providence implies: the uncertainty of vision, the horror of the fixed, the dissolution of the present, the intricacy of beauty, the pressure of fecundity, the elusiveness of the free, and the flawed nature of perfection."

Meanwhile this machine churns on in the next room, unvarying, perfect, and outside a ground squirrel crossing the road tosses up a plume of dust, and I see that the fecundity of the natural dusty road, its numberless mass of dots and specks, has given the ground squirrel a chance to make its mark in a way that an impenetrable and constant surface would not: the dust spreads and hangs, the surface of the earth is impressed with footprints, and another ground squirrel on the other side of the road, startled, manifests its personality by deciding to vanish down a burrow with a cheep.