Category Archives: reading

Words in Time

Geoffrey Hughes’ Words in Time: A social history of the English vocabulary(1988) offers a different take on space-and-time and language, centered on the notion of semantic fields (“containing those words or meanings which cohere around a particular concept, topic, or thing”).

The book’s dedication says

To
all workers
at the alveary

It was the work of a moment to ask the online OED about ‘alveary’, and so to discover

	Origin: A borrowing from Latin. Etymon: Latin alveārium.
	Etymology: classical Latin alveārium... 
 	1.
	a. A repository, esp. of knowledge or information. Originally as the 
        name of a dictionary encompassing several languages. 1574—1983

 	b. A beehive. Also: the location where a beehive stands; an apiary. 
        Now rare. 1623—1918

	†2. A hollow in the external ear in which earwax collects; (also) the 
        external auditory canal. Obsolete.

The book itself begins with a quotation from Owen Barfield (who was, with C.S. Lewis and J.R.R. Tolkien, a member of the Inklings):

It has only just begun to dawn on us that in our own language alone, not to speak of its many companions, the past history of humanity is spread out in an imperishable map, just as the history of the mineral earth lies embedded in the layers of its outer crust. But there is this difference between the record of the rocks and the secrets which are hidden in language: whereas the former can only give us a knowledge of outward, dead things—such as forgotten seas and bodily shapes of prehistoric animals and primitive men—language has preserved for us the inner, living history of man’s soul. It reveals the evolution of consciousness.

Hughes is primarily concerned with words as “semantic legacy” (e.g., of the Middle Ages, of the Growth of Capitalism, Journalism, Advertising, Ideology and Propaganda), and he presents words identified as belonging to semantic fields schematically, as circles showing registers of terminology:


and, for example,



and in tabular and chronological form:



The last thirty-plus years is a long time in lexicographical evolution, and in 2020 Hughes’ approach seems rather fusty and even a bit pedestrian; the online version of the OED produces more detailed versions straight out of the box, with dates and quotations, and yields nicely built collocations of terms in the Thesaurus mode. It’s still a pleasure to sample the pages of Words in Time for the odd bits that delight word hounds, and for the discursive style of a bygone era:

For centuries purchase meant something far more rapacious and disorderly than the present transactional sense denotes. The old senses of purchase, dating in ME from c.1297, were derived from chase and revolved around the actions of hunting and taking by force, whether the object were prey, person, plunder, or pelf. (In Old French an enfant de porchas was not, as one might suppose, a child adopted or ‘purchased’ in slavery, but an illegitimate.) These meanings reflect an ancient, primitive time when de jure and de facto possession were often difficult to distinguish, more so than today. The original strong physical sense of purchase, we observe is still used in contexts of leverage in physics and engineering.

To appreciate that 30-plus years’ distance in register, compare with A “Let’s Circle Back” Guy.

Words in Time and Place

About 50 years ago (or maybe more) I realized that I saw anthropology through the lenses of Space and Time, that I was in fact a geographer manqué, but fortunately anthropology has usually been quite tolerant of interdisciplinarity, and my cartographic and diachronic foibles were indulged by graduate school professors. Once I escaped into the professorate myself, nobody questioned my creation of a course in Human Geography (which I taught for most of my 18 years at Acadia), and my side hustles into demography and ethnomusicology and linguistics puzzled but didn’t affright faculty colleagues. The escape (after 1990) into the world of libraries was even more liberating in extra-disciplinary senses. As one of my mentors in Reference Librarianship put it, “It All Counts!”, and I bloody counted it all for 13 years at Washington & Lee.

Words have always been a signal element in my cross-disciplinary forays, fiercely pursued and lovingly collected and then deployed to sometimes-bemused audiences. And so when I saw David Crystal’s Words in Time and Place: Exploring language through The Historical Thesaurus of the Oxford English Dictionary I immediately snaffled it up. That Thesaurus, a 2-volume behemoth published in 2009, tempted me mightily, but at $495 I hesitated… and now it’s mostly available on the used market for upwards of $600 if it can be found at all. Crystal’s little book is an irresistable aperitif:

My aim is to illustrate the way the HTOED is organized, to show the synergy between the thesaurus and its lexicographical parent, and to explore some of the linguistic and social insights that emerge from this interaction…

The alphabetical principle [of the dictionary] is an enormous convenience (once one has learned to spell), but it is a semantic irrelevance. Words which belong together are separated… We do not learn words in alphabetical order, either as children or adults. Rather, we learn them in a meaningful relation to each other as we develop our understanding of areas of experience…

Words and meanings change over time, so it is crucial to know what period we are dealing with before we are able to interpret someone’s lexical use…

…our ability to select an appropriate wordd depends on our awareness of such factors as where the word is used—by which sections of society, on which social occasions, in which part of the country or of the English-speaking world…

Crystal offers terminology from 15 semantic fields: words for dying, nose, being drunk, light meals, a privy, a fool, terms of endearment, oaths and exclamations, inns and hotels, a prostitute, money, calm and stormy weather, old person, sspacecraft… presented as chronological tables, timelines. Here’s a sample from the 20 pages of “words for being drunk”:




…..





I snagged a copy of the buckram-clad Compact Edition of the OED about 35 years ago (complete with rectangular magnifying glass) and bought the Supplement when it came out in 1987; in 1995 I had an opportunity to explore the online OED, and did a lot of searches that are a delight to explore again via the page I constructed to introduce the online version W&L colleagues.

And today I bit whatever bullets were available and got myself a subscription ($90/year, a bargain) to the current online version of the OED, which includes the Historical Thesaurus. I look forward to further lexicographical explorations…

And if you’ve gotten this far in today’s post, here’s a Reward:



I’ll take up dialect and other-Englishes word books in future postings.

Merton & Barber on Serendipity

Today’s “word book” is Robert K. Merton and Elinor Barber’s The Travels and Adventures of Serendipity: A study in sociological semantics and the sociology of science (2004), a true gem of a book and one of the few on my shelves that is concerned with a single word and its connections. (The F Word is another, and we’ll get there eventually).

I wish I could remember when I first encountered ‘serendipity’, but it’s been with me for a long time as a personal leitmotiv, as I’ve wandered from thing to thing, notion to notion, idea to idea over the years. There’s a succession of factoids that piles up as one explores serendipity: the term was coined by Horace Walpole, in a letter to his friend Horace Mann in 1754; it is derived from or references a folk/fairy story of Three Princes of Serendib, the narrative line of which follows their fortuitous discoveries/inferences. Serendipity has come to mean discovery of the unexpected while in search of something else.

Of course, there’s much more to the story, and Merton & Barber are superb guides. I’ll include here a few bits of detail to whet the reader’s interest.

The 1754 letter from Walpole to Mann is redolent of 18th century epistolary prose (you can almost hear the scratching of the quill pen), and of essence of Walpole’s whimsy:

…This discovery I made by a talisman, which Mr. Chute calls the sortes Walpolianae, by which I find everything I want, à point nommée [at the very moment], wherever I dip for it. This discovery, indeed, is almost of that kind which I call Serendipity, a very expressive word, which, as I have nothing better to tell you, I shall endeavor to explain to you; you will understand it better by the derivation than by the definition. I once read a silly fairy tale, called the three Princes of Serendip: as their highnesses travelled, they were always making discoveries, by accidents and sagacity, of things which they were not in quest of: for instance, one of them discovered that a mule blind of the right eye had traveled the same road lately, because the grass was eaten only on the left side, where it was worse than on the right—now do you understand Serendipity? One of the most remarkable instances of this accidental sagacity (for you must observe that no discovery of a thing you are looking for comes under this description) was of my lord Shaftsbury, who happening to dine at Lord Chancellor Clarendon’s, found out the marriage of the Duke of York and Mrs. Hyde, by the respect with which her mother treated her at table.

It’s basic dictionary knowledge that ‘Serendip’ refers to Sri Lanka/Ceylon. But, says the etymologically curious, why Serendip/b? There’s a whole section of Merton & Barber that traces the history of dictionary definitions of ‘serendipity’ and includes this from the Century Dictionary and Cyclopedia (1909 supplement&mdashthe first dictionary definition of ‘serendipity’):

…the name of Serendib figures in Eastern romance. The name is from Ar. Serendib, Sarandib also Sarandip (LL: Serendivi, pl., as the name of the people), MGr. Skt. Sinhala-dvipa, the island of Ceylon… The Skt. Simhala is in Pali Sihalan, whence Silan, Old Tamil Ilan, whence the Malay Sailan, European Seilan, Zeilon, Ceylon… The happy faculty or luck, of finding by “accidental sagacity” interesting items of information or unexpected proofs of one’s theories; discovery of thing unsought: a factitious word humorously invented by Horace Walpole…

Clearly more than one wanted to know, and yet full of delicious nubbins. ‘Factitious’, say Merton & Barber “is well on its way to becoming a pejorative word, growing out of its meaning of ‘artificial’ and ‘unnatural’…” Elsewhere, Merton & Barber note that

In the early years of the twentieth century, a shop was opened in London to cater to those very bibliophiles who wanted “out-of-the-way books,” books by not-so-well-known authors at rather moderate prices. The first mention we have found of it comes, not surprisingly perhaps, in the form of a query in Notes and Queries… in 1903, one John Hebb writes: “A shop has recently opened at No. 118 Westbourne Grove, with the extraordinary name of ‘Serendipity Shop.” What is the meaning of ‘Serendipity’? I may add that the shop appears to be intended for the sale of rare books, pictures, and what Mrs. Malaprop (was it Mrs. Malaprop?) calls ‘articles of bigotry and virtue.’

Among the hares started by this nubbin is the pointer to Notes and Queries,

…a long-running quarterly scholarly journal that publishes short articles related to ‘English language and literature, lexicography, history, and scholarly antiquarianism’. Its emphasis is on ‘the factual rather than the speculative’. The journal has a long history, having been established in 1849 in London; it is now published by Oxford University Press. The journal was originally subtitled ‘a medium of inter-communication for literary men, artists, antiquaries, genealogists, etc’. It is now subtitled ‘For readers and writers, collectors and librarians’. Its motto was once ‘When found, make a note of’, the catchphrase of Capt. Cuttle, a character in Dickens’ Dombey and Son…

Wikisource has a portal to archive.org’s 1849-1922 holdings, to be explored on Rainy Days…

So many other facets of Merton & Barber draw one’s attention. Merton wrote On the Shoulders of Giants: A Shandean Postscript in 1965 (a thrice-marvelous analysis of the reach of that titular phrase ascribed to Isaac Newton but at least as old as Diego de Estella [Latin: Didacus Stella], a 16th-century Spanish Franciscan mystic and theologian), known as ‘OTSOG’ in some circles: “part parody, part history of ideas, and part sociology of science” as the back-cover blurb has it). In a footnote in that book he mentions The Travels and Adventures of Serendipity as “a carefully unpublished” manuscript. The Introduction tantalizes us thus:

Sometime in or before 1945, while looking for the definition of some now-forgotten word in volume 9 of The Oxford English Dictionary, Merton’s eye “happened upon the strange looking but euphonious word ‘serendipity.’ Just as Walpole wrote of his habit of playing a sortes Walpolianae, a random flip of the page led Merton to serendipity. It was, when Merton originally stumbled upon it, a strange beast pacing restlessly within the confines of a few learned vocabularies. Had he not chosen to spend a significant portion of his third-year graduate student stipend on the then twelve massive volumes of the OED, he might not have ever stumbled on the word. Had he heeded the call of whatever his pledged mission was that day—learning about sequestration or seraphim or sepulcher—this sociological tale of the wanderings of serendipity would have been stalled, ensnared in the maze of the dictionary, imprisoned from further adventures until some other wandering eye might find it and send it on its way.

As Merton himself notes in the Preface, the book was written in the 1950s, but first appeared in print only in 2002, in Italian. The Princeton University Press version in English appeared in 2004, with a magnificent Afterword by Merton (“Autobiographic reflections on The Travels and Adventures of Serendipity”). Merton died in 2003, and Barber in 1999.

Collateral Language

I awoke thinking of a mode of language and rhetoric that is ubiquitous in political discourse and especially in parlous times. The words that came to me were: self-serving, mollification, deception, bamboozlement, Buncombe. Which of my word books address this realm?

Word books live in temporal and spatial contexts. The two-word phrases of Grenville Kleiser’s Fifteen Thousand Useful Phrases echo the world of the book’s publication in 1917, and part of their charm and bite is that they are slightly outside of the current vernacular, but not so far removed that we can’t grasp their messages and apply them to our 21st century concerns and sensibilities.

In November 2003 I did a consultation gig on the GIS program at St. Lawrence University in uppermost New York—flew to Ottawa (the nearest airport), drove a rental car to Canton NY, spent a couple of days talking with faculty and staff, wrote a report. While in Canton I (of course) wandered into the college bookstore and found the just-published Collateral Language: A User’s Guide to America’s New War (edited by John Collins and Ross Glover), which presents short essays (“written to expose the tyranny of political rhetoric used to justify ‘America’s New War’.”) on 14 concepts that were especially of interest in those early years of the War in Iraq, after the shocks of September 11, 2001:

Anthrax, Blowback, Civilization versus Barbarism, Cowardice, Evil, Freedom, Fundamentalism, Jihad, Justice, Targets, Terrorism, Unity, Vital Interests, The War on _____

Most of those will resonate with anybody who was watching and listening in the early years of the 21st century. Collateral Language can be read as a gauge of the Emperor’s Raiment of that time, and of the modes of speech and rhetoric deployed in mass media.

U.S. officials, like their counterparts in decades past, attempted to generate public support for their actions by appealing to ideas as powerful as they are abstract: freedom, civilization, terrorism, evil. This language needs interrogation wherever it is found… Language, like terrorism,targets civilians and generates fear in order to effect political change… a specific type of fearfulness emerges, both intentionally and unintentionally… The use of specific kinds of language for political purposes exists within a long historical lineage of human development, and in order to understand any political system, we must understand the meaning created by that system. Rather than blindly accepting the meaning, usage, and truth of political leaders and news stories, we have an obligation, as citizens of a democratic state, to question, critique, and understand the language given to us by those who claim to represent our interests… (from the Introduction)

Manufacturing Consent … What You Hear Is What You See …

From Ross Glover’s “The War on _____”:

Fill in the blank. Regardless of what word you insert, the American public understands. U.S. presidents learned this lesson well over the past 40 [now almost 60…] years. “The War on _____” plays on our competitive heartstrings like a football cheer. “Yes,” we seem to respond, “fight the good fight, O fearless President, fight the war for us, fight the war for the good of humanity, but most importantly just fight.”

Poverty, Drugs, Terrorism, the “Chinese Virus”…

What Goes Around Comes Around.

Idea du jour

I have a LOT of “word books”: dictionaries, glossaries, usage manuals, specialized lexicons, etymologies, slang, commentaries on how she is spoke… This seems to be the moment to consider that trove, that tranche of my home library, and to put it to work.

This thought arose as I was exploring my mountain of Kindle texts and happened upon

Grenville Kleiser
Fifteen Thousand Useful Phrases: A Practical Handbook of Pertinent Expressions, Striking Similes, Literary, Commercial, Conversational, and Oratorical Terms, for the Embellishment of Speech and Literature, and The Improvement of the Vocabulary of Those Persons Who Read, Write, and Speak English

which can be downloaded via Project Gutenberg and, in another form, via LibriVox (e.g., https://ia800208.us.archive.org/11/items/15000_useful_phrases_librivox/useful_phrases_003_kleiser_64kb.mp3 )

and there’s even a 10 hour YouTube video of a Dramatic Reading: https://youtu.be/luTcjXsFbNI

The tipping point for me was glancing at a page of Kleiser’s phrases and seeing that just about every one I looked at was somehow relevant to the Moment we find ourselves in:

abandoned hope
abated pride
abbreviated visit
abhorred thraldom
abiding romance
abject submission
abjured ambition
able strategist
abnormal talents
abominably perverse
abounding happiness
abridged statement
abrogated law
abrupt transition
absolutely irrevocable
absorbed reverie
abstemious diet
…and so on

And so I found myself thinking about Boccaccio’s Decameron which, if you didn’t already know, consists of “…100 tales told by a group of seven young women and three young men sheltering in a secluded villa just outside Florence to escape the Black Death, which was afflicting the city…” in the 14th century.

…and bethought myself that there might be a Decamoron which collects dumb-ass commentary and jokes about the present straits; and a Decamiron for ironic commentary on the same; and perhaps others (Decamuron might be the tales of mice… etc.)

Anyway, I’m thinking to begin a Project to blog a dictionary-a-day (or maybe not quite so often), with a scanned page showing a particularly wonderful something from that volume, and providing some context for what each dictionary/word book is actually good for.

Solnit

ANYTHING Rebecca Solnit writes is worth attention, worth reading. I’ve just finished listening to this one:

Recollections of My Nonexistence: A Memoir

Amazon blurb:

An electric portrait of the artist as a young woman that asks how a writer finds her voice in a society that prefers women to be silent

In Recollections of My Nonexistence, Rebecca Solnit describes her formation as a writer and as a feminist in 1980s San Francisco, in an atmosphere of gender violence on the street and throughout society and the exclusion of women from cultural arenas. She tells of being poor, hopeful, and adrift in the city that became her great teacher, and of the small apartment that, when she was nineteen, became the home in which she transformed herself. She explores the forces that liberated her as a person and as a writer–books themselves; the gay community that presented a new model of what else gender, family, and joy could mean; and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West.

Beyond being a memoir, Solnit’s book is also a passionate argument: that women are not just impacted by personal experience, but by membership in a society where violence against women pervades. Looking back, she describes how she came to recognize that her own experiences of harassment and menace were inseparable from the systemic problem of who has a voice, or rather who is heard and respected and who is silenced–and how she was galvanized to use her own voice for change.

For my money, as IMPORTANT a book as Maria Popova’s Figuring (which enlightened January and February for me), but for different reasons. Solnit’s seems to me like essential reading for men, for its clarity and forceful argument about how women have been and still are treated, seen (and not-seen), interpreted, condescended to and so on, a litany of patrifoolishness that is immediately recognizable and that one hopes one has never engaged in (but rather thinks one might have, witlessly…); for women, the messages are quite different and I’m hesitant to try to characterize them except to say that female readers will be punching the air and saying YESSSS! on pretty much every page. Solnit bloody NAILS it, but not via vituperation or anger or man-excluding rhetoric.

Some uncomfortable home truths

I read a lot of ‘long form’ journalism, mostly in the several periodicals I subscribe to and via RSS feeds that tempt me with links to articles, but I never gave much thought to where the texts come from, or under what conditions they are produced. I suppose I thought that writers (“journalists”) wrote them, editors acquired them and put them into publications, and readers like me read them and pointed other like-minded people to them, and so over time those texts became bricks in structures of what people thought and knew… which is a rather lovely but quite naïve/Pollyannish cartoon of a more complex reality.

James Pogue’s They made a movie out of it: the decline of nonfiction in the IP era, in the Jan-Feb 2020 issue of The Baffler, is an arresting corrective to the simplistic naïveté sketched above, and brings me abruptly into some of the grim realities of 2020.

It all has to do with “the rights” that attach to purchase of an item of Intellectual Property. Here’s what I didn’t know:

We are now in the mature stage of a book-to-film boom that is quietly transforming how Americans read and tell stories… Almost all written works that achieve prominence today (and many more that don’t) will be optioned… The emergence of streaming services from Amazon, Netflix, Apple, Disney, and even Walmart has driven a demand for writing on a bulk commodity scale at a time when the business of publishing—especially but not only in the world of magazines—has largely abdicated its responsibility for paying writers an amount that would secure a decent life.

Still more insidious:

…the book-to-film complex is bolstered by two imperatives that now govern our nonfiction almost without exception: foreground story as an ultimate good, ahead of deep personal insight, literary style, investigative reporting, or almost any other consideration that goes into the shaping of written work; and do not question too closely the aristocracy of tech and capital that looms over us, the same people who subsidize the system that produces America’s writing.

We live in a time when our writing finds its audience not through the publishers and journalistic outlets that commission writing, but through a handful of unregulated monopolies that siphon off most of the revenue this work produces and that are almost entirely in control of its delivery to its eventual readers…

…clicks and shares—today’s true determinants of the value of a piece of writing…

Hollywood has begun to morph into a business designed to develop content that fits easily into delivery systems designed by Amazon, Netflix, Apple, and Google, and that it was their entry into the market for IP that kicked off the book-to-film buying frenzy. They run the market, and from my desk, it looks like it is the same people who wrecked American writing—by colonizing the ad dollars, by seizing control of how books get delivered, by deliberately designing highly addictive devices and streaming services that pulled our attention away from writing and toward phones and forgettable, mass-produced Netflix shows—whose tastes and desire for palatable content I now get told my writing ought to be serving.

All this makes me more cynical about how “it” all works, but probably won’t diminish my use of Netflix and Amazon as (re)sources in the gratification of desires and the feeding of my appetites for textual and visual material.

Perhaps what ‘all this’ should do is encourage me to make more conscious and systematic use of what I read and see, via blog-form rediffusion and other forms of reflective writing. I’m experimenting with a reading log (essentially a daybook to keep track of texts I spend more than cursory time upon) and looking back through the last year of RSS feed stuff noted via Zotero (but mostly just marked as notable and not generally followed up).

Roger Caillois

I never know where my reading will take me next. Today I was investigating the intersection of Pareidolia, Apophenia, and Mimesis (looking for a better handle on creatures seen in rocks and wood and ice) and stumbled upon the work of Roger Caillois (1913-1978), a sometime Surrealist, sociologist, philosopher and collector of rocks. The term “lithic scrying” appears in several descriptions of his activities.

In his classic work of lithic scrying, The Writing of Stones, Roger Caillois suggests that the pareidoliac’s interpretation of a stone’s pattern depends upon her own personal internalized database of stored images, a database defined by the cultural stock of mediated imagery forged and embellished by personal memory, emotion and psychical topography. For Caillois, “the vision the eye records is always impoverished and uncertain. Imagination fills it with the treasures of memory and knowledge.”

–Paul Prudence (https://www.transphormetic.com/Essays-in-Print)



Caillois’ The Writing of Stones (1985) is out of print and costs a LOT. Part of his collection of rock specimens was exhibited at the 2013 Venice Biennale, and they are bewitching:

Caillois was also drawn to the ways in which stones seemed to provoke an imaginative response in humans which in some way made them difficult to conform to strict systems of classification. Caillois’ writings on stone are nourished by the lyrical tendencies of natural histories which reflect the wonder and confusion of classical and early modern scholars in the face of the hallucinatory pictographic forms of stones and their convergence of the brutal, energetic laws of nature with the play of chance. Throughout Stones, Caillois reveals his love of these kinds of paradoxes, defining stones as a ubiquitous and yet utterly marvelous phenomena. He explores how, through history, stones have fascinated human minds with their host of ambiguities, seeming at once animate and inanimate, organic and inorganic, mineral and vegetal, useful and useless, the stuff of poetic reverie and cultural symbolism as well as raw material, the access to which marks the technological advance of human civilization. Stones for Caillois are both an ancient source of human ingenuity and unchained imagination, both finalized by accident during some inhumanly distant epoch and forged according to certain inflexible laws of nature.

–Donna Roberts, An Introduction to Caillois’ Stones & Other Texts
(https://sensatejournal.com/an-introduction-to-caillois-stones-other-texts/)

Caillois himself, from The Writing of Stones:

Stones possess a kind of gravitas, something ultimate and unchanging, something that will never perish or else has already done so. They attract through intrinsic, infallible, immediate beauty, answerable or no one, necessarily perfect yet excluding the idea of perfection in order to exclude approximation, error, and excess. This spontaneous beauty thus precedes and goes beyond the actual notion of beauty, of which it is at once the promise and the foundation

Just as men have always sought after precious stones, so they have always prized curious ones, those that catch the attention through some anomaly of form, some suggestive oddity of color or pattern. Stones possess a kind of gravitas, something ultimate and unchanging, something that will never perish or else has already done so. They act through an intrinsic, infallible, immediate beauty, answerable to no one, necessarily perfect yet excluding the idea of perfection in order to exclude approximation, error, and excess. This spontaneous beauty thus precedes and goes beyond the actual notion of beauty, of which it is at once the promise and the foundation.

The vision the eye records is always impoverished and uncertain. Imagination fills it out with the treasures of memory and knowledge with all that is put at its disposal by experience, culture and history, not to mention what the imagination itself may, if necessary, invent or dream. So the imagination is never at a loss when it comes to making something rich and compelling out of a subject that might almost seem an absence of all life and significance. »

A stone represents obvious achievement yet one arrived at without invention, skill or industry, or anything else that would make it a work in the human sense of the word, much less a work of art. The work comes later, as does art, but the far-off roots and hidden models of both lie in the obscure yet irresistible suggestions in nature. These are subtle and ambiguous signals, reminding us, through all sorts of filters and obstacles, that there must be a pre-existing general beauty vaster than that perceived by human intuition, a beauty in which man delights and which, in his turn, he is proud to create. Stones – as well as roots, shells and wings and every other cipher and construction in nature – help to give us an idea of the proportions and laws of that general beauty about which we can only conjecture.

And Caillois in an article in Diogenes, Vol. 52, Issue 3:

I speak of stones that have always lain out in the open or sleep in their lair and the dark night of the seam. They hold no interest for the archaeologist, artist or diamond-cutter. No one made palaces, statues, jewels from them; or dams, ramparts, tombs. They are neither useful nor famous. They do not sparkle in any ring, any diadem. They do not publicize lists of victories, laws of Empire, carved in ineffable characters. Neither boundaries nor memorials, yet exposed to the elements, but without honour or veneration, they are witnesses only to themselves.

Architecture, sculpture, intaglio, mosaic, jewellery have made nothing of them. They belong to the planet’s beginnings, have sometimes come from another star. So they bear upon themselves the distortion of space like the stigmata of their terrible descent. They come from a time before humans; and when humans came, they did not leave on them the mark of their art or their industry. They did not work them, intending them for some trivial, luxury or historic use. They perpetuate only their own memory.

They are not carved in the effigy of anyone, man, beast or fable. The only tools they have known are those that were used to uncover them; the hammer to reveal their latent geometry, the grindstone to display their grain or awaken their dull colours. They have remained what they were, sometimes fresher, more legible, but always in their truth: themselves and nothing else.

I speak of stones that nothing has ever changed except the violence of tectonic crushing and the slow erosion that began with time, with them. I speak of gems before cutting, of nuggets before smelting, of the hard frost of crystals before the stone-cutter gets to work.

I speak of stones: algebra, vertigo and order; of stones, anthems and staggered rows, of stones, darts and corollas, dream’s margin, ferment and image; of this stone curtain of hair opaque and straight like the locks of a drowned woman, but which does not flow down any temple where in a blue canal a sap becomes more visible and more vulnerable; of these stones uncrumpled paper, incombustible and sprinkled with uncertain sparks; or the most watertight vase where there dances and finds its level again behind the only absolute walls a liquid before water, to preserve which a series of miracles was needed.

I speak of stones older than life that remain after it on cooling planets, when it was fortunate enough to unfold there. I speak of the stones that do not even have to await death…

Pullman, Purcell, Grandville

As is often the case, Chance is favoring the mind as it Prepares for a week-long project-centered workshop on InDesign (which I’ve used to construct most of my Blurb books, though clumsily). The first episode, a couple of days ago, was this fortuitous quotation that jumped off the page/screen of Philip Pullman’s just-published The Book of Dust: The Secret Commonwealth:

You won’t understand anything about the imagination until you realize that it’s not about making things up, it’s about perception.

(Much of my attention in recent years has been pinioned by the polyvalence of Imagination in my photographic life).

And then I stopped in at Hello Hello Books, as I frequently do, to eyeball the Photography shelf for anything new, and found Rosamond Purcell’s Bookworm, a beautifully designed book of her collages, constructions, and photographs of books “inevitably invaded by forces of nature and decay.” The whole issue of design is one I hope to attend to in the InDesign workshop, and Purcell’s book is a magnificent example.

And yesterday’s email brought me a pointer from my co-conspirator Daniel to an essay on Grandville, whose work I’ve loved since discovering it long ago via a Dover book. The author (Patricia Mainardi) goes into some detail on a late and little-known book that Grandville inspired and illustrated, but which was never translated or republished after its first edition in 1844: Un autre monde. The subtitle seems absolutely on the money as a characterization of what I hope for my photographic work:

Transformations, Visions, Incarnations, Ascensions, Locomotions, Explorations, Peregrinations, Excursions, Vacations, Caprices, Cosmogonies, Reveries, Whimsies, Phantasmagorias, Apotheoses, Zoomorphoses, Lithomorphoses, Metamorphoses, Metempsychoses, and Other Things

This illustration from the book seems an ideal accompaniment to what I wrote two years ago in Reflection on my own Body of Work at the end of the Andy Ilachinski workshop:


The I is
playful, wry,
in search of
paradoxes, epiphanies, essences,
curiosities, ambiguities, amusements,
the occluded, the improvisatory,
stories.

Erdrich ftw

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This morning’s online version of the New Yorker brought a short story by Louise Erdrich, The Stone, and the text of an interview of Erdrich by Deborah Treisman, from which this segment is harvested:

Sometimes I notice an odd, local type of stone and pick up a shard or a pebble… I’ve learned to put most of these stones back after looking. But stones ground me, quite literally, when I am in a new place. And they are mysterious and yet friendly inhabitants of my house. Every time I’ve moved, I’ve left behind a small pile of foreign stones in the garden. Have these stones used me to get from one place to the next? So I have a lot of stones around, I must admit, but this story isn’t based on a particular one among them. In the Ojibwe language, nouns are animate or inanimate; the word for stone, asin, is animate. One might think that stones have no actual power—after all, we throw them, build with them, pile them, crush them, slice them. But who is to say that the stones aren’t using us to assert themselves? To transform themselves? One day, the things we made out of stones may be all that’s left of our species. Of our complex history of chipping away at and arranging stones, what will be recorded or known?

The story itself is quite marvelous, and includes this resonant passage:

A stone is, in its own way, a living thing, not a biological being but one with a history far beyond our capacity to understand or even imagine. Basalt is a volcanic rock composed of augite and sometimes plagioclase and magnetite, which says nothing. The wave-worn piece of basalt that the woman [protagonist of the story] had slept with for more than a decade was thrown from a rift in the earth 1.1 billion years ago, which still says nothing. Before she broke it and dumped it at the bottom of a drawer, the stone had been broken time and again. It had been rolled smooth by water and the action of sand. Because of its strange shape, it had been picked up by several human beings in the course of the past ten thousand years. It had been buried with one until a tree had devoured the bones and pulled the stone back out of the ground. It had been kept by a woman who revered it as a household spirit and filled its eyes with sweetgrass. It had been shoved off a dock, lifted back up with a shovel, deposited in a heap. It had surfaced in a girl’s left hand. A stone is a thought that the earth develops over inhuman time. It is a living thing to some cultures and a dead thing to others. This one had been called nimishoomis, or “my grandfather,” and other names, too. The woman had not named the stone. She had thought that naming the stone would be an insult to its ineffable gravity.

My dealings with ineffable gravity are hereby declared entirely legitimate.