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During the next few years I wrote a series of Martian pensées, Shakespearean "asides," wandering thoughts, long night visions, predawn half-dreams. The French, like St. John Perce, practice this to perfection. It is the half-poem, half-prose paragraph that runs as little as one hundred words or as long as a full page on any subject, summoned by weather, time, architectural facade, fine wine, good victuals, a view of the sea, quick sunsets, or a long sunrise. From these elements one upchucks rare hairballs or a maundering Hamlet-like soliloquy. ↗
The conclusion of Dowell's narrative offers not a resolution, so much as a plangent confirmation of complexities. While Ford would certainly have agreed with Dowell that it is a novelist's business to make a reader 'see things clearly', his interest in clarity had little to do with simplicity. There is no 'getting to the bottom of things', no triumphant answers to the epistemological muddle offered in this beautiful, bleak story - only a finer appreciation of that confusion. We may remove the scales from our eyes, Ford suggests, but only the better to appreciate the glass through which we see darkly. ↗
The 21st chapter gives the novel the quality of genuine fiction, an art founded on the principle that human beings change. ----- "A Clockwork Orange Resucked" intro to first full American version 1986 ↗
It is good to look to the past to gain appreciation for the present and perspective for the future. It is good to look upon the virtues of those who have gone before, to gain strength for whatever lies ahead. It is good to reflect upon thw work of those who labored so hard and gained so little in this worls, but out of whose dreams and early plans, so well nurtured, has come a great harvest of which we are the beneficiaries. Their tremendous example can become a compelling motivation for us all. Gordon B. Hinckley ↗