The set was on Wednesday, a nor’easter brought 7 inches of snow on Thursday, but by Friday evening the power was hooked up:
PJ’s video of the set:
(It’s in Tenants Harbor, not Owl’s Head)
Today is Kate’s 50th birthday!
(see a Flickr album)
It’s worth wandering into the lexicographical weeds to record the history of the Ouvroir [which I gloss as ‘Workshop’] in Ouvroir de Littérature Potentielle, as summarized in the [just-arrived] OULIPO: A Primer of Potential Literature, Warren Motte’s anthology of translations of oulipist texts:
…an ouvroir—a word that has fallen into disuse—once denoted a shop and, as late as the 18th century, a light and mobile shop made of wood, in which the master cobblers of Paris displayed their wares and pursued their trade. The word could also denote that part of a textile factory where the looms are placed; or, in an arsenal, the place where a team of workers performs a given task; or a long room where the young women in a community work on projects appropriate to their sex; or a charitable institution for impoverished women and girls who found therein shelter, heat, light, and thankless, ill-paid work, the result of which these institutions sold at a discount, not without having skimmed off a tidy profit, thus depriving the isolated workers of their livelihood and leading them (as it was charged) into vice. Later, and for a short time only, ouvroir denoted a group of well-to-do women seeking to assuage their consciences in needlework for the poor and in the confection of sumptuous ecclesiastical garments. Curiously enough, it was this last notion, the “sewing circle,” that prevailed in the minds of the Oulipians: just like those diligent ladies, Oulipians embroidered with golden thread… (Noël Arnaud’s Foreword to Motte, pg xii)
The lexical playfulness of Oulipo is what attracts me most (despite the lamentable impenetrability to me of the French texts), and what connects me to offshoots (or Potential offshoots) like OuPhoPo (Photography) and OuMuPo (Music). As Raymond Queneau put it,
The word ‘potential’ concerns the very nature of literature, that is, fundamentally, it’s less a question of literature strictly speaking than of supplying forms for the good use one can make of literature. We call potential literature the search for new forms and structures which may be used by writers in any way they see fit. (Arnaud again, pg xiii)
This exemplifies the OuMuPo connection:
Probably one of the craziest improvisation that we ever recorded. It was the last track we played during a week long session. We threw all the rules into the wood stove and blew out the windows. Robert Kehler came up with the title. But in fact, we do believe that children SHOULD be exposed to this sort of music, and especially the ones that are studying in conservatories…
Elsewhere I’ve noted my personal entanglement with OuPhoPo, to which constructions like this advance my claim:
Two tasty bits from a Book of the Moment, Floating Worlds: the letters of Edward Gorey & Peter F. Neumeyer:
yesterday I happened to notice in the mirror that while I have long since grown used to my beard becoming very grey indeed, I was not prepared to discover that my eyebrows are becoming noticeably shaggy. I feel the tomb is just around the corner. And there are all these books I haven’t read yet, even if I am simultaneously reading at least twenty… (pg 128)
I tell myself not to remember the past, not to hope or fear for the future, and not to think in the present, a comprehensive program that will undoubtedly have very little success. (pg 130)
The book brims with such gems.
and here’s a quasi-relevant image to accompany the above:
For the last few days I’ve been transfixed by a skein of mysteries connected to a grave site in Père Lachaise:
The questions at issue have changed as I’ve excavated bits of fact and built new conjectures from successive discoveries, and I need to go beyond the summary I’ve been writing for the currently-under-development v2.0 of Remembered: a graveyard book v1.0. The actors in this particular drama are:
The dates of death of the first three are the armature of the unfolding saga: it seems that Edward and Clara Bancroft were touring Europe in 1865, when Edward died in Naples (of what we don’t know, but he was subsequently interred in Mount Auburn cemetery). Clara herself was a wealthy widow when she died in Paris in 1882, and her daughter Elizabeth inherited a bundle but died in Switzerland in 1883, but (according to the plaque on Clara’s monument) her last wishes were that her mother’s tomb include a statue depicting her strewing roses:
Son gendre et ses petits enfants pour accomplir les dernières volontés de sa fille la comtesse Tyszkiewicz ont élevé ce monument témoignage d’un vieux souvenir
Her son-in-law and grandchildren, to fulfill the last wishes of her daughter the countess Tyszkiewicz, have raised this monument in witness of an old memory
The very opulence of the statue is reason enough to inquire further, but it’s as difficult to know where to start as when to stop the inquiry. Among the questions that arise (and that Google isn’t quite helpful enough with): how did Clara Peabody (a daughter of a mildly distinguished New Hampshire family) and Edward Bancroft (a very young Boston “broker”, possibly of stocks but maybe of Civil War-era cotton) meet and come to marry? What made the considerable fortune that Clara Bancroft inherited on her husband’s death? How did their daughter come to meet and subsequently marry a very young Polish count? Of what did the Countess Tyszkiewicz die (possibly TB? or some after-effects of the birth of her daughter?) and where is she buried? What happened afterwards in the lives of the Count and his children? How did the Count’s estates fare in the catastrophes of 20th century Poland?
As I’ve said in Remembered, this is all the stuff of a story that might be written by Somerset Maugham or Saki, and just the sort of digression that I’m susceptible to. Along the way I’ve been enticed into exploring the worlds of 19th century Polish nobility, Civil War banking in Boston, naval architecture (the Count commissioned the construction of a moderately famous yacht), sugar beets (the Count was evidently deeply involved in their cultivation on his estates in the 1890s), lawsuits (the three Tyszkiewicz children attempting unsuccessfully to get at the principal of their grandmother’s trust fund, of which they were the beneficiaries), and the online versions of the Almanach de Gotha. Each of those raises more questions than it answers, and a passage I read just this morning seems especially trenchant:
Archeology is always an encounter between a fixed past and a shifting present; we bring to it our fantasies, prejudices, and predilections—this year different from last year, next year different again. (Charlotte Higgins, New Yorker blog, 3 June 2016)
The trouble, or perhaps it’s the wonder, or the joy, is that pretty much each photograph in Remembered inspires or demands similar searchings and findings. That being the case, the revision of Remembered is proceeding more slowly than I’d wish.
It’s been months since I last posted anything to oookblog, but they’ve been busy months: some Blurb books, a bout of shop work, the usual flurriment around the holiday season. And here it is almost mid-March, and we’re preparing for a fortnight in France (a few days in Paris on either end of a week in Brittany) and contemplating other travels in the summer. A lot of material that I might have posted here (charting day by day encounters with stuff that piqued interest and comment) has gone into writing on paper instead, but I remain committed to the notion that it’s BETTER to put the quotidian flux where others might enjoy it.
The grandest accomplishment of the last 3 months has been a book of photographs and narrative drawn from the family archives that have been my responsibility for the last 40 years or so:
And of course there’s photography to think about and work on. And the never-ending river of books to read.
This marvelous photograph is dated ’07, but I can’t remember just where I bought it:
The pose is quite “modern” for 1907, the furniture is pretty bizarre, and the lace snowflake is all but unprecedented in my experience. What tale can possibly be extracted from this material?
Well. The photographer (Levering) turns out to have been active in the Connecticut Valley in the early years of the 20th century, and was apparently headquartered in Northfield, MA. And sure enough, there’s a 1900 Census record for Madeleine V. Long, 11-year-old daughter of Russell B. Long, of Northfield MA (not The Kingfish Russell B. Long of LA). Now, Northfield is a pretty small place, the principal jewel of which was Northfield School, founded by Dwight L. Moody in 1879. Both of our children went to NMH, and Betsy’s grandmother (Elizabeth Parmenter, as she then was) was Organ Mistress at Northfield in the early years of the 20th century. So our Madeleine might very well have known Elizabeth Parmenter. Small world…
Wish I could discover more of the story of Madeleine, now that I know there is one. She turns up as a resident of Northfield in 1935, suggesting that she never married, and I fully expect to find that she has some connection to the school (alumna? teacher?), which is now across the river in Gill and fully merged with Mount Hermon (the Northfield campus was closed in 2005).
We don’t usually see our own profiles, especially when they are artfully obscured by beards. This one (part of the preparation for today’s adventure in dental technologies) disclosed that MY profile is eerily reminiscent of that of my father and my brother David… and the chin is just like that of brother John too.
Kate and Shannon are at the Family Home in Nova Scotia, where the weather can be a bit dramatic: