radfrac_archive: (dichotomy)
I admit I have difficulty telling whether Melville is being sarcastic.

(Sargasso, I almost typed. Are you sincere, sir, or are you being sargasso?)


Nor, considered aright, does it seem any argument in favour of the gradual extinction of the sperm-whale, for example, that in former years (the latter part of the last century, say) these Leviathans, in small pods, were encountered much oftener than at present .... because, as has been elsewhere noticed, these whales, influenced by some views to safety, now swim the seas in immense caravans, so that to a large degree the scattered solitaries, yokes, and pods, and schools of other days are now aggregated into vast by widely separated, unfrequent armies (472).


I wonder if this is true. It is an enormously tragic image -- yes, ha, whale, enormous, but then yes, again, enormous, ocean-spanning, a tragedy on a scale above the human and therefore difficult for us to imagine clearly. These pods, families, civilizations (because they are, if we admit it, civilizations, aren't they? Monuments or no monuments) huddling together in the sea for safety -- but there was no safety. And Melville's hubris is a different kind of hubris from the arrogance of kings -- the hubris of the small creature who thinks "I cannot possibly damage this enormous world." Utter confidence in your inability to do harm.

Melancholy reading, this novel, in itself and in retrospect. Not what I expected. The plot is almost irrelevant -- Ahab appears on maybe eight pages in each hundred? It's all about the attempt to calculate the incalculable whale.

{rf}
radfrac_archive: (dichotomy)
This morning I listened to CBC's Writers & Company -- an interview with British author Samantha Harvey, whose newest novel, Dear Thief, sprouted from Leonard Cohen's song "Famous Blue Raincoat." I went back and forth beween interest and annoyance that Harvey had changed the genders -- made the protagonist and the rival female, the beloved male. There's nothing objectively wrong with this; subjectively, it moves the story out of my zone of preoccupation into someone else's territory.

(Puts Jennifer Warnes' cover of FBR on)

FBR seems emblematic of that preoccupation in Cohen's earlier writing with not only the beloved but also the rival -- the admired, superior, even also beloved and desired rival (see Beautiful Losers). Maybe it's born in the family romance; wanting both to love the father and to defeat him. [ETA] In Cohen this love seems to be a kind of submission, a desire to be subsumed, to merge with the more powerful rival.

It doesn't seem to come in to Cohen's work lately, does it? There's a beloved but no rival -- and the love has a different quality -- more abstract, absolute -- less ego-driven. Rivalry implies ego, I guess. Maybe his rivals are all dead.

Anyway, the novel sounds interesting in its own right -- written in the form of a letter, deliberately ambiguous. I'd read it if I could finally get through Moby Dick. I'm bogged down in the whale's skeleton.

From there I thought about interviews and discrepancies and accidental self-revelations and short stories in the form of transcripts, and made some notes; however, it's now time to mark and prep.

Oh, and maybe shower. The world might thank me for that.

{rf}

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