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The beautiful unruliness of literature is what makes it so much fun to wander through: you read Jane Austen and you say, oh, that is IT. And then you turn around and read Sterne, and you say, Man, that is IT. And then you wander across a century or so, and you run into Kafka, or Calvino, or Cortazar, and you say, well that is IT. And then you stroll through what Updike called the grottos of Ulysses, and after that you consort with Baldwin or Welty or Spencer, or Morrison, or Bellow or Fitzgerald and then back to W. Shakespeare, Esq; the champ, and all the time you feel the excitement of being in the presence of IT. And when you yourself spend the good time writing, you are not different in kind than any of these people, you are part of that miracle of human invention. So get to work. Get on with IT, no matter how difficult IT is. Every single gesture, every single stumble, every single uninspired-feeling hour, is worth IT." Richard Bausch ↗
Sooner or later in life everyone discovers that perfect happiness is unrealizable, but there are few who pause to consider the antithesis: that perfect unhappiness is equally unattainable. The obstacles preventing the realization of both these extreme states are of the same nature: they derive from our human condition which is opposed to everything infinite. ↗
How do you end a story that’s not yours? Add another sentence where there is a pause? Infiltrate the story with a comma when really there should have been a period? Punctuate with an exclamation point where a period would have sufficed? What if you kill something breathing and breathe life into something the author wanted to eliminate? How do you get inside the mind of a person who isn’t there? Fill the shoes of someone who will never again fill his own? ↗
Auschwitz?! That is a name I had heard before. There is not much time for thinking. It had been raining here not so long ago. The asphalt of the wet, wide platform reflects the light of the high lighting-poles. The row of armed SS men competes in howling with their dogs they hold on leashes ↗
But no. That was analogy rather than homology. What in the humanities they would call a heroic simile, if he understood the term, or a metaphor, or some other kind of literary analogy. And analogies were mostly meaningless — a matter of phenotype rather than genotype (to use another analogy). Most, of poetry and literature, really all the humanities, not to mention the social sciences, were phenotypic as far as Sax could tell. They added up to a huge compendium of meaningless analogies, which did not help to explain things, but only distorted perception of them. A kind of continuous conceptual drunkenness, one might say. Sax himself much preferred exactitude and explanatory power, and why not? If it was 200 Kelvin outside why not say so, rather than talk about witches’ tits and the like, hauling the whole great baggage of the ignorant past along to obscure every encounter with sensory reality? It was absurd. ↗
