Some weeks ago, we discussed Simone Weil‘s comment that “distance is the soul of beauty.” At that time, Andrew Shields wrote to the Book Haven:

Back in the spring of 1988, several students and I (already graduated but still hanging around) spent several evenings at [author and translator] John Felstiner’s house, reading, translating, and discussing [Paul] Celan poems. The most memorable discussion was about “The Vintagers,” in which we discovered ourselves, as it were, as readers of the poem. Our experience of the poem (a “beautiful” experience) was connected to our distance from it, which we found characterized in the poem as the distance between those who make tears into wine and those who later drink it. That seemed like a figure of Celan the poet as wine-maker and ourselves as reader/drinkers.

I wrote to John, asking if we could republish his translation of “Die Winzer” – so many know little of the German-language poet’s work besides his “Todesfuge.” In his 1995 biography, Paul Celan: Poet, Survivor, Jew, John says the 1953 elegy “asks even more attentiveness than usual” in Celan’s oeuvre. The poem, he says, “ingrains autumn into itself: an elegy and at the same time a meditation on poetic process, impelled by rhythmic repetition.”

Here it is:

The Vintagers

They harvest the wine of their eyes,
they crush out all of the weeping, this also:
this willed by the night,
the night, which they’re leaning against, the wall,
thus forced by the stone,
the stone, over which their crook-stick speaks into
the silence of answers –
their crook-stick, which just once,
just once in fall,
when the year swells to death, swollen grapes,
which just once will speak right through muteness
down into the mineshaft of musings.

They harvest, they crush out the wine,
they press down on time like their eye,
they cellar the seepings, the weepings,
in a sun grave they make ready
with night-toughened hands:
so that a mouth might thirst for this, later –
a latemouth, like their own:
bent toward blindness and lamed –
a mouth to which the draught from the depth foams upward, meantime
heaven descends into waxen seas, and
far off, as a candle-end, glistens,
at last when the lip comes to moisten.

Scholars John and Mary Felstiner (Photo: L.A. Cicero)

According to John, who is studying “creative resistance” during the Holocaust: “Despite this ever present ‘they’ in Celan, critics who are sure that ‘Die Winzer’ concerns the poetic process itself identify those who ‘harvest the wine of their eyes’ as poets taking on our pain and transforming it. Perhaps, but this disregards the people who first found voice in ‘Todesfuge,’ whose wartime suffering sifted through European earth. It’s they, a buried people, who are leaning against night in ‘Die Winzer,’ against the shooting wall, and who speak ‘into/the silence of answers.’ To say that ‘they’ are poets is off by a generation.”

Noting that an earlier draft of the poem was called “Die Menschen” (roughly, “The Humans”), John writes (and these excerpts don’t nearly do justice to the Felstiner’s expert biography), “The change from ‘The Humans’ to ‘The Vintagers’ added a pastoral irony, since in German Romantic poetry the Winzer figures as a rejoicing worker. In Hölderlin, ‘The vintager’s brave joyous cry/Rings pure on sun-warmed vineyard slopes.’ Closer to Celan is Isaiah‘s prophecy: ‘upon thy harvest the battle shout is fallen. … And in the vineyards there shall be no singing … no treader shall tread out wine in the presses’ (16:9-10). Desolation threatens the harvest and the song alike. …

She said it first.

“And shortly before writing ‘The Vintagers,’ Celan had read Heidegger on Hölderlin’s 1801 elegy ‘Bread and Wine,’ in which Dionysus goes between humankind (die Menschen) and ‘they,’ the gods. Celan marked Heidegger’s phrase, ‘poet in a destitute time: singing on the trace of the departed gods.’

“The Vintagers” corresponds in a score of words to “Bread and Wine” and still refutes it. The later poet does not invoke gods or the mystery of water being turned into wine or wine into the blood of redemption. When, in Celan, ‘they cellar the seepings, the weepings,/in a sun grave they make ready/with night-toughened hands,’ we are to think not of Dionysus’s priests or Jesus’ disciples but of people forced to dig their own graves.”

Yayyy for Mary Skinner! Her film about Irena Sendler, In the Name of Their Mothers, is an “official selection” at this year’s United Nations Association Film Festival (UNAFF).

Sendler is the Polish Holocaust heroine who, with her team from the clandestine organization Żegota, saved about 2,500 children from the Warsaw Ghetto in World War II. The story has only surfaced in the post-1989 world, since Sendler’s reputation was suppressed by the Communist regime in Poland.

From 6 to 8 p.m. on Tuesday, October 23, Skinner will host a special “behind the scenes” event at the Mid-Peninsula Media Center, 900 San Antonio Road, Palo Alto, with a photo exhibit of many never-before-seen images from the film. Humble Moi will be “in conversation” with Mary. (I’ve interviewed her before here and here and here and here.) More about the UNAFF event here. The film will begin at 9:15 p.m. at the nearby Oshman Jewish Community Center – directions here.

Here’s what philanthropist Tad Taube wrote about Sendler in the April 26, 2011, Los Angeles Jewish Journal:

“Sendler was a dedicated social worker before the war, and her wartime activities on behalf of the Jews were a logical extension of her early commitment to do what she felt was just. … Denounced to the Gestapo, arrested and tortured, Sendler was able to escape, only to be hunted down as a “dangerous communist” by extreme-right elements in the Polish underground.

“Safety eluded her even after the war, when she was arrested by the communist authorities for having been active in the general Polish underground rather than the communist one. Again imprisoned and tortured — she suffered a miscarriage — Sendler was eventually freed from prison but became a ‘nonperson’ in the eyes of the communist state. Yad Vashem remembered her, awarding her a listing in 1965, but she was otherwise surrounded by official silence, even after the communist government fell. …

“Midrash teaches that the children of Abraham, fleeing Egypt, were joined by other slaves, who wanted their freedom no less desperately. Even then, we were not alone. And throughout the ages, thanks to those whose love of freedom and their fellow human beings was more powerful than the shackles of prejudice and fear, we never really were. Nor shall we ever be.”

Trailer for the film below. See you there!

Alberto Giacometti’s “Palace at 4 a.m.” (Photo: Antonio Villar Liñán)

Earlier this week, I announced “Another Look,” Stanford’s book club for the best books you’ve never read. But I didn’t have a chance to give my pitch for William Maxwell‘s masterpiece, So Long, See You Tomorrow. Let me make amends now.

I read the book on the strength of Tobias Wolff‘s powerful recommendation several months ago. The graceful, elegant, and melancholic writing is infused with the Midwestern attitudes and turns of phrase still extant in my own Michigan childhood. As I read, I wondered where those phrases, metaphors, and mindsets have gone since. Maxwell’s excavation of memory has become more urgent with the passage of time. “I didn’t want the things that I loved, and remembered, to go down to oblivion. The only way to avoid that is to write about them,” he said in an interview.

Toby called the book “a beautifully written, complex, haunting story of a boy’s attempt to find warmth and companionship following the death of his mother in the Spanish Influenza epidemic — which killed more people than the Great War it so quickly followed. It is a work of consummate literary artistry, and a cry from the heart that, once heard, cannot be forgotten.”

When I read the book, I hadn’t yet seen the work Maxwell uses as a metaphor for his childhood, Alberto Giacometti’s “Palace at 4 a.m.,” in New York’s Museum of Modern Art. Google found it for me, and when assembling materials for the Another Look website, I thought I would do new readers the favor of including an image of it.

I prefer some of Giocometti’s other work, which is reminiscent of the work of his mentor, the French sculptor Antoine Bourdelle. My own father was a sculptor; Bourdelle and Sir Jacob Epstein were perhaps his favorite masters of the medium, and hence became my own. But for Maxwell, Giacometti’s “Palace at 4 a.m.” had a special poignance.

Here’s his ekphrastic turn in So Long, See You Tomorrow. I liked the last line so much, I used it in our bookmark for the event – you can pick up one of the bookmarks at the Stanford Bookstore, or at the Stanford Libraries – or drop me a line and I’ll save one for you.

From Maxwell:

“When, wandering around through the Museum of Modern Art, I come upon the piece of sculpture by Alberto Giacometti with the title ‘Palace at 4 a.m.,’ I always stand back and look at it – partly because it reminds me of my father’s new house in its unfinished state and partly because it is so beautiful. It is about thirty inches high and sufficiently well known that I probably don’t need to describe it. But anyway, it is made of wood, and there are no solid walls, only thin uprights and horizontal beams. There is the suggestion of a classic pediment and of a tower. Flying around in a room at the top of the palace there is a queer-looking creature with the head of a monkey wrench. A bird? a cross between a male ballet dancer and a pterodactyl? Below it, in a kind of freestanding closet, the backbone of some animal. To the left, backed by three off-white parallelograms, what could be an imposing female figure or one of the more important pieces of a chess set. And, in about the position a basketball ring would occupy, a vertical, hollowed-out spatulate shape with a ball in front of it. …

“I seem to remember that I went to the new house one winter day and saw snow descending through the attic to the upstairs bedrooms. It could also be that I never did any such thing, for I am fairly certain that in a snapshot album I have lost track of there was a picture of the house taken in the circumstances I have just described, and it is possible that I am remembering that rather than an actual experience. What we, or at any rate what I, refer to confidently as memory – meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion – is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.”

Winters loved Airedales.

Patrick Kurp‘s blog Anecdotal Evidence is always a treat, but it is particularly excellent today, as it celebrates the birthday of two poets: the late Yvor Winters and very current Les Murray, who identifies himself as “a very high-performing Asperger’s.”

How can we avoid sentimentality? According to Murray, “I think it’s probably in not telling lies. There’s always something false about the sentimental. When it’s feeling without lies, it’s terribly scary, but it’s not sentimental.”

Winters defined a poem as “a statement in words about a human experience,” and later in the same text added, “special pains are taken with the expression of feeling.”

He wrote elsewhere: “The basis of evil is in emotion; Good rests in the power of rational selection in action, as a preliminary to which the emotion in any situation must be as far as possible eliminated, and, in so far as it cannot be eliminated, understood.”

These are two very different poets, but one thing they had in common was their love of dogs. “Here’s a test for both poets,” says Patrick. “If any subject invites sappy sentimentality, wallows in whimsy, it’s dogs. Their extreme poetic admirers want to be admired for their love of canines. To address the subject in poetry without falsity or self-admiration means swimming against the warm fuzzy tide.”

See how both poets fare in Patrick’s essay, with two poems on the death of their dogs. Well worth the read. It’s here.

Meanwhile, happy birthday, Les Murray and Yvor Winters, wherever you are in time and space.

"I didn't want the things that I loved, and remembered, to go down to oblivion. The only way to avoid that is to write about them." (Photo: Brookie Maxwell)

Finally, the news is out! For several months, I’ve been working with author Tobias Wolff to develop a new idea for a book club, “Another Look.” First book we’re going to feature on November 12 at Stanford: William Maxwell’s So Long, See You Tomorrow. Here’s the announcement:

Book clubs have proliferated across the United States, though most stick to middle-of-the-road bestsellers. Once in a while, however, you run across an off-the-beaten-track book you may not know about, praised by a leading literary figure. Where do you go to talk about this unfamiliar, top-notch fare?

Look no further. Stanford is allowing readers to get an insider’s look at literature via a seasonal book club, “Another Look,” which will be offered by one of the top-ranked English and creative writing departments in the nation.

“Another Look” is the brainchild of award-winning writer Tobias Wolff, a Stanford professor of English, who will kick off the event with William Maxwell‘s 144-page novel So Long, See You Tomorrow.

Interested readers are invited to a discussion of the book at 7:30 p.m. Monday, Nov. 12, in the Levinthal Room of the Stanford Humanities Center. The event is free. Wolff will talk about the book with Bay Area novelist, journalist and editor Vendela Vida and Stanford Assistant Professor Vaughn Rasberry, to be followed by an audience discussion.

For Wolff, “Another Look” started in a conversation with colleagues: “We had occasionally held lunchtime discussions of a story or novel or poem for interested students and members of the department, and these had proved popular. Well, why not open our arms a little farther and invite the university community to participate; or, better yet, open our arms out wide to the community at large?”

Said Wolff, “Each of the faculty members are choosing books that really matter to them, and that they feel have not earned the readership they deserve.”

The books will be on the short side as well. “We recognize that the Bay Area is a busy place – and we recognize that people have limited resources of time. We don’t want to suggest books of discouraging length,” said Wolff.

So Long, See You Tomorrow was originally published in two parts in The New Yorker in 1979. The book, set in rural Illinois, describes the effects of a murder on the friendship of two boys – one of whom, in old age, narrates the story. Wolff called it “a beautifully written, complex, haunting story of a boy’s attempt to find warmth and companionship following the death of his mother in the Spanish Influenza epidemic – which killed more people than the Great War it so quickly followed.”

He called it “a cry from the heart that, once heard, cannot be forgotten.”

“It’s been a project of mine since 1980 to make people read that book. Whenever I sit down with people to talk about books I love, I always make sure that I mention that one. I give it to people as a gift,” he said. “This is my attempt to give this novel to the whole Bay Area as a gift.”

Wolff hopes to encourage a rich community discussion of the book on Nov. 12. “The conversation will be much richer if people have read and thought about the book first,” he said.

“The book club offers a wonderful opportunity for the writers and scholars of the English Department and the Creative Writing Program to introduce these neglected classics to a broader audience,” said Gavin Jones, chair of the English Department. “I’m excited at this opportunity to continue our literary conversations beyond the classroom.”

For the second event in February, poet Kenneth Fields will present Janet Lewis‘ 1941 The Wife of Martin Guerre, a 109-page novel. The name might ring a bell with some Bay Area readers: Poet Janet Lewis was also the wife of Stanford’s eminent poet-critic Yvor Winters.

On Lewis’ death in 1998, the New York Times wrote: “There are many who will assure you that when the literary history of the second millennium is written … in the category of dazzling American short fiction her Wife of Martin Guerre will be regarded as the 20th century’s Billy Budd and Janet Lewis will be ranked with Herman Melville.”

Although the Nov. 12 event is free, seating is limited. Reservations on the website anotherlook.stanford.edu. The website includes Wolff’s introductory remarks, as well as Cynthia Haven’s [dat's me – ED] retrospective on Maxwell’s life, with interviews of his colleagues and daughter.

Some time ago, the Book Haven wrote about California poet Jane Hirshfield‘s appearance at Kepler’s (we’ve also written about her here). Jane and I came together over Czesław Miłosz a dozen years ago, when I interviewed her about her friendship with the Nobel poet for California Magazine. Two books and many articles later, after I have crossed the world tracing Miłosz’s journeys and speaking about him during Rok Miłosza, it was pleasing to find Jane’s elegant post about him on the Library of America blog “Reader’s Almanac” this week, as she remembers “Czesław Miłosz, (California) Poet.” (We’re also grateful to Jane and LOA for the mention of An Invisible Rope, in which Jane was one my contributors, and also for the hat tip to the Book Haven.)

Here’s an excerpt from Jane’s piece:

In late 2002, at ninety-one and returned to Poland from his long self-exile (ten years in Paris, then forty as professor and poet in Berkeley), Miłosz wrote this small poem in his notebook:

I pray to my bedside god.
For He must have billions of ears.
And one ear He keeps always open to me.
(tr: Anthony Miłosz)

Reading this in English eight years after the poet’s death, I was struck by its curious “bedside.” A translator’s note explains: the original adjective means “near-at-hand,” “handy.” The Polish words for a first aid kit, a home-library reference book, and hand luggage all use some form of podręczny. This would, then, be not the distant and fearsome God of Judgment, but the rescuing one who knows every sparrow that falls, and the poem points toward a fully-felt fulcrum of balance: its god is local and large, intimate and immense, able to carry in a small, household form something vast, life-saving, and essential. Even the typography holds dual vision: the “g” of “god,” is lower-case; the pronoun is “He.”

All those years ago, when I first spoke to her on the phone, she told me how she had initially befriended the Polish poet. At a large outdoor gathering, the hostess approached Jane and suggested she introduce herself to Czesław Miłosz and his wife Carol. Everyone was intimidated by him, and so these gatherings could often be lonely affairs. Jane described it in An Invisible Rope: “I was, I believe, the youngest and the last of Czesław’s American poet-friends. I met him only after he had already turned seventy-five, when we were both invited to a group picnic on Angel Island, in the middle of San Francisco Bay. Not long after, he invited me to dinner after translating one of my poems into Polish. He showed me how largely it is possible for a person to live, even in old age, rapacious for knowledge, experience, and –though it is not a term he would use – the understanding of wisdom. His investigation of good and evil was not conceptual but personal and pressing.”

And so her journey began – just as it began for me a dozen years ago, when I inadvertently became the last person in the U.S. to interview Miłosz (without warning, he returned to Kraków forever a few months after my California Magazine profile). Jane does her best to describe the impression, and does it much more eloquently than I can in this midnight blog post:

“Perhaps I am trying to sketch here a premise too complicated for such a brief form as this virtual Library bookshelf. But Miłosz, a poet of almost incalculable range, continually reminds us also that poems, and poets, live in the small, in the local and comic recognition, in the living and perishing real. We do not, cannot, live in general; even exile takes place in a place, a deck overlooking a Bay, on which a poet with extravagant eyebrows turns the pages of a New Yorker for its cartoons. We breathe the air that is near to us, scented with redwoods and lemons, or with the exhaust of refineries, power plants, airplanes, wars. If a poet in exile continues writing, he or she will be sustained by that air and that place, and will become of it.”

Then she cites the poem that I know is her favorite … or at least one of her favorites (can there ever really be a favorite?) She also reads and discusses the same poem, “Winter,” in the video below:

"Don't speak"

As may be gathered from yesterday’s post, I’d never heard of Mo Yan before yesterday’s award. While everyone today is laughing about the Onion satires that suggest that the Nobel peace prize has been awarded to the European Union (thank heavens it wasn’t the economics prize, as a friend noted), I’m still puzzling on Mo Yan, whose pen name is translated as “don’t speak.”

Here’s what Ted Gioia, whose weekly “Year of Magical Reading” spotlights the magical realism genre (it’s here), said this about him on my Facebook page: “Not a very inspired choice. If the Nobel judges wanted to turn to Asia, Murakami was the obvious candidate - and his work is more skilled, creative and influential than Mo Yan’s.

Ted, expert on magic

“He is presented as a brave critic of Chinese repression, but his works are actually quite cautious and seem self-censored to me. He aims for parody and humor, and is sometimes amusing, but I can’t see him as a Nobel laureate – unless the judges were determined to pick a Chinese author this year.”

Why not Bei Dao then … oh that’s right. They won’t do poetry two years in a row. Poetry must be kept in its place, after all.

David Ulin, my former editor at the Los Angeles Times Book Review has a piece in the L.A. Times today, spelling out what Ted had summarized:

Mo is what some critics deride as an officially sanctioned artist, a vice chairman of the China Writers’ Assn., celebrated by the establishment. Although he has been called “one of the most famous, oft-banned and widely pirated of all Chinese writers,” he recently was one of “100 writers and artists” who participated in a tribute to Mao Tse-tung. In 2009, he refused to sit on a panel at the Frankfurt Book Fair with dissident writers Dai Qing and Bei Ling, and he has avoided making any public statements about Liu [Xiaobo].

At the same time, his work has often hit on touchy subjects, such as the role of women in Chinese society and the Communist Party’s one-child rule. His 11th novel, Frog, published in 2009 and not yet available in the United States [we published an excerpt here – B.H.], involves a midwife confronted by the forced sterilizations and late-term abortions demanded by the party’s policy.

I'll skip the party, thx!

Mo’s detractors are forceful. “For him to win this award, it’s not a victory for literature; it is a victory for the Communist Party,” raged Yu Jui, a writer and democracy activist, in a blog post.

David of L.A.T.

The article launches into something of a defense of new Nobelist, quoting his words in 2009: “A writer should express criticism and indignation at the dark side of society and the ugliness of human nature,” he said then, “but we should not use one uniform expression. Some may want to shout on the street, but we should tolerate those who hide in their rooms and use literature to voice their opinions.”

Meanwhile, John Freeman‘s interview with the Chinese author at the London Book Fair this week is included in Granta, which seems to be the go-to place for Mo Yan this month. The Q&A is here.

Am I the only one wondering today when they’re going to let their other recent Nobel writer (though a peace, not lit, prizewinner) – Liu Xiaobo – out of prison? He still has the distinction of being the second person ever to be denied the right to have a representative pick up his prize for him.

He doesn't look scared, anyway.

By now, everyone knows that China’s Mo Yan is the surprise winner of the Nobel Prize for Literature. “Surprise,” because he made not even a ripple on Ladbroke’s long betting list, or in any conversations I’ve heard. Not so much a surprise, however, given that the Swedes were bound to atone for giving last year’s award to their worthy countryman Tomas Tranströmer, by giving it this year to an African or Asian, or anyone far, far away from Stockholm. But wasn’t the poet Bei Dao a perennial nominee? The Nobel judges seem disinclined to give to poets two years in a row as well. At any rate, Mo Yan was “overjoyed and scared” at the news.

Most of us are strangers to his writing, I suspect. So here is Ted Gioia‘s review of the author’s Republic of Wine a few years back.

And for his stories, here’s an excerpt from Frogs:

I have to admit that, though I did not make it public, I was personally opposed to my Aunty’s marriage plans. My father, my brothers and their wives shared my feelings. It simply wasn’t a good match in our view. Ever since we were small we’d looked forward to seeing Aunty find a husband. Her relationship with Wang Xiaoti had brought immense glory to the family, only to end ingloriously. Yang Lin was next, and while not nearly the ideal match that Wang would have provided, he was, after all, an official, which made him a passable candidate for marriage. Hell, she could have married Qin He, who was obsessed with her, and be better off than with Hao Dashou . . . we were by then assuming she’d wind up an old maid, and had made appropriate plans. We’d even discussed who would be her caregiver when she reached old age. But then, with no prior indication, she’d married Hao Dashou. Little Lion and I were living in Beijing then, and when we heard the news, we could hardly believe our ears. Once the preposterous reality set in, we were overcome by sadness.

Read the rest at Granta here.

Denise Gigante, at home with a friend (Photo: L.A. Cicero)

Last year, we interviewed Denise Gigante about her acclaimed new book, The Keats Brothers – the Q&A is here. The formidable author is now tackling a new subject, with the help of a Guggenheim fellowship. Read more:

What is a book? A source of wisdom, a cultural artifact, a sacred relic, a text that can be rearranged into pdf, ebooks and pasted into a cloud. But in an earlier era, books were more than that: they were bosom friends.

Denise Gigante, a Stanford English professor, traces the power of the book in the 19th century and then looks forward to the future of the written word. Her research for her forthcoming book with Harvard University Press, The Book Madness: A Story of Book Collectors in America, which earned her a John Simon Guggenheim Foundation fellowship, also recalls the half-forgotten English essayist and “tastemaker” Charles Lamb, a cultural icon as popular in the 19^th century as Charles Dickens.

Gigante tells a tale of how movements can flip into their own opposite: how transatlantic book-collecting and literary idolatry morphed into a fuzzy, off-the-page future. Passionate devotion to particular books has yielded to a universally available, disembodied text.

An "association copy" from the Fliegelman collection: John Quincy Adams' 1703 edition of Pliny the Younger’s "Epistolae et Panegyricus" (photo: L.A. Cicero).

If the past is anything to go by, her new book is likely to make literary waves. Last year’s The Keats Brothers: The Life of John and George, was named a New York Times Notable Book for 2011 and an Editor’s Choice in The New York Times Book Review.

Gavin Jones, the chair of the Stanford English Department, said, “Denise is the rare scholar with the power to tell a story that’s also the biography of an age and an intellectual culture.”

Gigante’s research recalls an era when “bibliomaniacs had a relationship with books – they saw them as companions, friends, mentors, real presences in the world. A character from Tom Jones could be as real to them as anyone they might meet.”

Gigante’s newest intellectual adventure began with the Jay Fliegelman Collection of “association copies” now in the Stanford Libraries. The collection is important not just for the books that it holds, but for the signatures, notes and dedications to and from the era’s leading cultural figures contained in them. English Professor Emeritus Albert Gelpi, describing the Fliegelman Collection, noted how “the books speak to each other.”

Gigante found inspiration in the collection. The idea of “association copies” was central to the 19th-century world of letters. When a book had the pencil marks of an admired literary friend or had been owned by a long-dead colleague, it deepened the conversation between book and reader.

American collections put together by private collectors abounded in such souvenirs of the literary life – anything associated with authors was hoarded and venerated. It was the age, Gigante said, of “bibliomania.”

In a residual way, the idea of association continues to this day. Think of all the people who line up at the local bookstore for an author signing. “This is a legacy of the association copy, a commoditized version,” said Gigante. “One can now purchase an autograph connecting the reader to the writer in a sentimental economy.”

Last year's triumph

Amateur book collecting – “amateur” is based on the French word for “lover” – was a very self-conscious way of styling oneself as a person of culture. For bibliomaniacs, taste was “a lived experience,” said Gigante, “an art of living.”

In the 19^th century, such tastemakers were “usually people who had to work a day job, or fit their literary life into a workaday world.”

From the beginning, the movement was not about wealthy collectors. Charles Lamb, the son of domestic servants who wrote so lovingly about books, left school to work as a clerk. His fellow essayists and bibliomaniacs, Leigh Hunt and William Hazlitt, spent their lives fleeing from creditors. Even John Keats, Gigante’s former subject, was the son of a hostler who took care of horses at an inn.

“There was a big difference between collectors with money who could buy anything that caught their eye, and people who had to make choices, to exercise judgment, in choosing one book over another.”

Book-loving morphed into a kind of bourgeois consumerism, where people stacked shelves with books for display (though old books retained their status as idols). Book buying, selling and collecting became hallmarks of the age. Bookstores became the center of social and cultural life. Libraries became shrines where cultural heritage was preserved.

Portrait of Charles Lamb by William Hazlitt

Like just about everything else in America, the great libraries born in this era were not created top-down, as were their European counterparts, but rather bottom-up. While the French royalty housed great collections in palatial structures and the British university libraries descended from the 16th century dissolution of the monasteries, American libraries were formed as “expressions of personality, character and individual genius rather than wealth,” said Gigante.

Compare these libraries to, say, Mr. Darcy’s library in Pride and Prejudice. The books Elizabeth Bennet admired at Pemberley were collected over generations as a mark of a family’s cultural prestige – a collection of literary “Golden Oldies.”

But the marketplace eventually came to the fore. Thus, the 1848 sale of Charles Lamb’s old books, 14 years after his death, was a high-profile event. Sixty of Lamb’s dog-eared association copies, his “midnight darlings,” were displayed by a bookseller in the Astor House in Manhattan as a “seven-day wonder.” The English world of letters lamented the national loss of the iconic collection.

After the books were scattered at auction, a few were swallowed into John Jacob Astor’s collection, which formed the basis for the New York Public Library, and a few went to Charles Eliot Norton at Harvard. The private libraries of other collectors started the great collections at Yale, Princeton, Brown and other universities.

Something essential had fallen by the wayside in the rush for big collections. The death of “gentle-hearted Charles” marked the end of the romantic quality of book collecting. “The gentility of the belletristic tradition amid the prosaic reality of middle-class life had been a model for many Americans,” according to Gigante.

We’ve turned the page onto a future without pages. The medium is a computer screen. “The center of association shifts from the self to the commodity that is the computer,” Gigante said. “The agency of connection is likewise transferred from the internal space of reflection to larger corporations.”

What’s missing is a tastemaker’s wise words in real time and the presence of a bosom buddy on your bookshelf. Does it matter? Gigante thinks so: “In the end, we will always be tactile creatures,” she said.

"Above all, love language." (Photo: Dylan Vaughan)

Diana Senechal discovered the Book Haven, and we discovered her own blog “on education and other things.” One of those other things was Tomas Venclova, the subject of a recent post on this site. She wrote about her first encounter with the Lithuanian poet’s verse:

It was in 1988 that I first encountered Tomas Venclova’s poetry. I was a senior at Yale; he was directing my independent project on Russian poetry translation. Knowing that he was a poet, I wanted to read his work (but didn’t want to tell him this). So one day I made a furtive trip into the library stacks. I opened up a volume of his poetry and read the lines,

Sustok, sustok. Suyra sakinys.
Stogų riba sutampa su aušra.
Byloja sniegas, pritaria ugnis.

What did these words mean? At the time, it didn’t matter. I was drawn into the sounds, or what I thought were the sounds. “Sustok, sustok. Suyra sakinys.”

(Later, I learned that they meant, roughly, “Stop, stop. The sentence disintegrates. The border of rooftops coincides with the dawn. The snow proclaims, the fire repeats.”)

Tomas later invited her to translate his poems – an honor, certainly. But she has some mixed feelings about the poems she eventually translated for Winter Dialogue. She writes:

Inspired and inspiring.

“The strength and weakness of my translations was that I tried to preserve the sound, rhythm, and form of the original—or, rather, to recast the poem in comparable sound, rhythm, and form. When it worked, it worked splendidly (for instance, in “Tu, Felix Austria,” “Pestel Street,” and “Autumn in Copenhagen”). When it didn’t, it came across as stilted. I don’t regret taking this approach. I do wish, in retrospect, that I had trained my ear to hear the translations in themselves. I always heard the originals behind the translations.”

As a teacher, she worries about the lack of quietness in our world, the lack of silence within us. Natalie Gerber made similar observations about her own university students in upstate New York – I quoted her a bit here. Diana Senechal’s proposed solution? The reading, writing and memorization of poetry. Joseph Brodsky would certainly have endorsed her suggestion – we had to memorize hundreds of lines.

I was so enthusiastic about her recollections that I immediately downloaded MP3 version of Venclova’s album “Winter Dialogue: Chants from the Holy Land, and shall go to bed listening to the Lithuanian language. After all, Czesław Miłosz said it just might be the language of heaven.