impressive incomprehensibility

During that memorable month I basked in the happiness of being for once in my life drifting with the tide of a great popular movement. Everybody was going to Europe -- I, too, was going to Europe. Everybody was going to the famous Paris Exposition -- I, too, was going to the Paris Exposition. The steamship lines were carrying Americans out of the various ports of the country at the rate of four or five thousand a week in the aggregate. If I met a dozen individuals during that month who were not going to Europe shortly, I have no distinct remembrance of it now. I walked about the city a good deal with a young Mr. Blucher, who was booked for the excursion. He was confiding, good-natured, unsophisticated, companionable; but he was not a man to set the river on fire. He had the most extraordinary notions about this European exodus and came at last to consider the whole nation as packing up for emigration to France. We stepped into a store on Broadway one day, where he bought a handkerchief, and when the man could not make change, Mr. B. said: "Never mind, I'll hand it to you in Paris."
"But I am not going to Paris."
"How is -- what did I understand you to say?"
"I said I am not going to Paris."
"Not going to Paris! Not g -- well, then, where in the nation are you going to?"
"Nowhere at all."
"Not anywhere whatsoever? -- not any place on earth but this?"

Ainsi va la vie

Alexis Gloaguen 1/10 Les veuves de verre, Ed Maurice Nadeau, 2010 from La Quinzaine littéraire on Vimeo.

questions

awarenesses

In order to make clear the antithesis between “acquaintance” and “description,” I shall first of all try to explain what I mean by “acquaintance.” I say that I am acquainted with an object when I have a direct cognitive relation to that object, i.e. when I am directly aware of the object itself. When I speak of a cognitive relation here, I do not mean the sort of relation which constitutes judgment, but the sort which constitutes presentation. In fact, I think the relation of subject and object which I call acquaintance is simply the converse of the relation of object and subject which constitutes presentation. That is, to say that S has acquaintance with O is essentially the same thing as to say that O is presented to S. But the associations and natural extensions of the word acquaintance are different from those of the word presentation. To begin with, as in most cognitive words, it is natural to say that I am acquainted with an object even at moments when it is not actually before my mind, provided it has been before my mind, and will be again whenever occasion arises. This is the same sense in which I am said to know that 2+2=4 even when I am thinking of something else. In the second place, the word acquaintance is designed to emphasise, more than the word presentation, the relational character of the fact with which we are concerned. There is, to my mind, a danger that, in speaking of presentation, we may so emphasis the object as to lose sight of the subject. The result of this is either to lead to the view that there is no subject, whence we arrive at materialism; or to lead to the view that what is presented is part of the subject, whence we arrive at idealism, and should arrive at solipsism but for the most desperate contortions. Now I wish to preserve the dualism of subject and object in my terminology, because this dualism seems to me a fundamental fact concerning cognition. Hence I prefer the word acquaintance because it emphasises the need of a subject which is acquainted.

The Evolution of Reading

fractious essays

‘A poem, I thought, is a physical object, as tactile as a statue. I began to consider poems in textual terms; there were shaggy surfaces, knobbly ones, mere veneers as sleek as glassine, but my favourites were those in which a complex and tensile music prevailed...’ Eric Ormsby, that gracious, intelligent and occasionally fractious poet, has produced another vigorous collection of essays to shake North American literary criticism from its lethargy. Opinionated and hilarious, Ormsby indulges his wide-ranging interests and discusses writers from Bob Dylan to S. D. Goitein, La Fontaine to Leo Tolstoy. Fine Incisions also draws connections between Ormsby’s literary criticism and his travel writing; as his essay ‘Shadow Language’ notes, the music of another language can seep pleasurably into a writer’s work