Category: Passages/Excerpts

Passages: From The Evening of the Holiday, by Shirley Hazzard

“He was pleased to be in these beautiful places, which he had known all his adult life, with someone who gave them a new sense of being enjoyed.” (p. 62)

“When the storm began, they were all glad of the interruption. There was quite a lively conversation about storms in general. Darkness, in this long, large room lined with furniture and dim paintings, drew them closer together.” (p. 81)

“It was as if she had taken leave of her senses – or come into their full possession at the expense of her reason; as if she had no capacity to consider her actions in light of their consequences, as if she thought it could go on forever, this disregard for the eventual course of her life, and his.” (p. 110)

“‘What a lovely dress,’ he suddenly said to her. Her beauty had seemed to him so remarkable as they sat at table that he could not keep from making at least this indirect reference to it. She was wearing a simple dress of a splendid color, the sort of dress that might turn up in one of his memories.” (p. 112)

“Since his nostalgia for her was inevitable, he preferred to embark on it as soon as possible – even in her presence.” (p. 114)

He was like someone who, at the close of a beautiful day, constantly shifts his chair to enjoy the last of the light.

She said: ‘Don’t be anxious to find a reason.’

He had forgotten what they were saying. She saw that, and added: ‘To come to the end of this.’ (p. 115)

What I’m Working On

My current book project is a little hard to explain, but I’ll try:

  1. I translated a seventeenth-century Chinese text, a detailed account of a tedious political imbroglio, into English.
  2. I extracted an intriguing subplot concerning a despicable family, resulting in a snappy 6000-word text.
  3. I transplanted the setting to contemporary Baltimore. My impulse was threefold:
    • Chinese settings seem to discourage would-be readers, and Baltimore may prove more accessible;
    • Chinese names are especially off-putting to would-be readers, so  rendering Zhang Qi as Tinus Juckman, Gu Xiangtai as Morgan Schwartzenberg, and Chen Luqian as Ruckleshaus Schumacher will hopefully yield more memorable characters;
    • Transplanting Chinese institutions such as eunuchs and public floggings to Baltimore produces a keen jarring effect.
  4. For fuller length and depth (and for the challenge) I am now employing an Oulipo method called larding, which means inserting one new sentence between every two sentences of a given text. The baseline translated/edited/transplanted 6000-word text has, as of this posting, been subjected to almost two full rounds of larding and currently stands at 22,000 words. I plan to lard it a total of three times.

I call it Meet Me at the RASCAL. Here is a choice sentence: “Tinka Klein and an oud player named Ashurbanipal, both naked and dreadlocked to the pubes, leapt back and forth between the modules of Goldie’s Italian leather sofa, trying to avoid collateral damage.”

Excerpt from Southern Rain: The Alluring Bodhisattva

The next scene foreshadows the meeting of the hero and heroine. The image is by Satomi Kamei.

Watching Nanjing fume from the sky or from the ground, neither Peng bird nor human would have noticed the elderly nun on a donkey cart making her way through the smog from Cock-Crow Temple on the north side of town to outside Treasure Gate, the southernmost portal of the city wall. Though missiles whizzed by her, she maintained her dignity, as did her cart driver, who seemed to have absorbed a bit of her gravitas. The nun was called One-Eyed Jingang, for partially blinding herself while studying the Diamond (Jingang) Sutra, and she was Cock-Crow Temple’s abbess. While unaccompanied women raised eyebrows if they ventured abroad on most days, the Spring Festival provided One-Eyed Jingang not only with the cover of smoke but also with an excuse to be out, for clergy were often called upon to offer prayers for the New Year. In fact, One-Eyed Jingang was expected at another place of worship, a monastery named the Temple at the Edge of Heaven, where a prayer meeting was planned for that morning. Before the chanting began, however, she wished to consult with the abbot on a matter of some delicacy.

Arriving at the Temple, One-Eyed Jingang alighted from the cart, paid its driver a little extra for the New Year, walked through the main gate, and ascended the stairway to the Mahayana Pavilion, where the abbot, whose dharma name was Baichi Shi’ai, or “Idiot in the Service of Love,” greeted her with ebullient good cheer. Fearless of gossip, he invited the nun into his office.

“Wisdom to you,” he saluted her, offering some tea. “Big Sister is a bit early. Have you come to help me choose today’s reading?”

“No, Big Brother,” the abbess returned, as she sat down on a stool. “I’m sure you’ve already found something appropriate. As it turns out, I’ve come to discuss something…inappropriate.”

She placed on Baichi Shi’ai’s desk the bulging sack she’d been carrying, which the abbot had assumed to be filled with boxed or string-bound folios of sutras. She untied the twine at its neck, just as somebody in the neighborhood set off another string of firecrackers like a drumroll.

The sack fell away, revealing a statuette of the Guanyin Bodhisattva, sculpted from rosewood. The carving stood about a foot tall, but its subject did not stand, nor did she sit cross-legged in stolid meditation. Rather, she lolled in a sultry position with one leg arched upward at a right angle, her arm draped over her knee. Although she was Guanyin, the Goddess of Compassion, she posed in the style of Tara, Mother of Liberation; but whatever compassion or liberation she offered her worshippers, it was of a primal, physical sort. Her sexuality was total, not of parts. It sprang not from flaring hips or curvaceous breasts but from her unworldly air of assurance and utter lack of inhibition. Against all convention, this Guanyin held her eyes open, inviting her faithful to advance and be saved. A mandorla of fire radiated from her body, a manifestation of the power of her love.

Baichi Shi’ai knew better than to resist the goddess’s charms. Instead, he gave rein to his native enthusiasm. “Oooh! Hail, Guanyin Bodhisattva!” he crowed.

“Yes, she does rather demand devotion,” observed One-Eyed Jingang. “I’m surprised you haven’t fallen to your knees.”

“Whose hands crafted such a powerful image?” asked the abbot. “Or was it a bolt of lightning striking a grateful tree that did the work?”

“Actually, it was created by one of my novices, a brilliant girl. Always reading, trying her hand at something new. I noticed her chiseling away at a hunk of wood from that old column we had replaced and decided to give her a bit of rosewood to see what she could do with better material. This is the result.”

Baichi Shi’ai nodded, still absorbed in Guanyin’s smoldering expression. “Where will you display it?” he asked, after a while.

“Display it?” the abbess exclaimed. “Good brother! It’s hard enough to protect the reputation of my convent without having something like that on a pedestal. Why give the next scandalmonger a chance to start yapping about the ‘lewd nuns of Cock-Crow Temple’?”

Baichi Shi’ai rounded his mouth. “Oh? You think this Guanyin is lewd?”

“No, I do not, but a lewd man would, and I’m tired of hearing lewd men talk nonsense about decent nuns.” One-Eyed Jingang cleared her throat. “So I was hoping that you, Teacher, would take this Guanyin off my hands.”

“And keep her here?” the abbot giggled. “My monks would explode! Even if I hid her away, they would sniff her out like tom cats.”

“You have that little faith in your brothers?”

“I have that much faith in my brothers.”

One-Eyed Jingang slumped. “Yes, I suppose we face the same difficulty. Since our calling is to free people from desire, it’s bad policy to introduce an object of desire into either of our sanctuaries. So what should we do with it?”

Baichi Shi’ai grinned. “You talk as though she were a problem to be gotten rid of, but Guanyin Bodhisattva cannot be a problem. Yes, neither of our temples is the proper place for her, but remember: Guanyin embodies compassion for the world.” He raised both his arms, in an encompassing gesture. “Let’s put her out into the world, then, where her compassion can do its work. If some starry-eyed lad falls in love with her, so much the better. Everyone in the world needs to be receptive to compassion, after all.”

One-Eyed Jingang thought for a bit and then nodded. “Yes, Brother, you are right. We should allow this Guanyin to play her part. I will consign her to the marketplace, to await the first receptive soul that comes along.”

She put the Guanyin back in its sack and tied it closed.

“So what will be today’s reading?” she asked, but her host didn’t answer, and both devotees of dharma continued to stare at the enshrouded idol for a long time.

Excerpt from Southern Rain: Chinese New Year’s Day

An earlier posting describes my first Chinese New Year’s celebration in Taiwan, in which I saw the streets of Taipei transformed into a veritable shooting gallery of bottle rockets. That memorable experience was one of the many inspirations for my novel, Southern Rain, which opens with this pyrotechnic description of the first day of the year. The time corresponds to February 1644 on the Western calendar. 

It is the seventeenth year of the Chongzhen Emperor’s reign, the first day of the first month – Spring Festival – and smoke is rising over Nanjing, as its people celebrate the New Year by lighting things on fire.

Half the city’s population are setting off firecrackers, to the delight of the other half. In groups of young and old, they hang clusters of the paper-wrapped cylinders like bunches of red bananas from the eaves of temples and taverns. With the touch of an incense stick, the fuse commences to hiss and everybody scatters. If someone chances to round the corner unawares, on his way to visit relatives, he comes abreast of the little bombs the moment they begin to explode and finds himself engulfed in a thundering maelstrom. His chest thumps like a kettle drum hammered by madmen. He flails his arms about his head and staggers away as the crescendo continues, a blur of incandescence hanging in the air near which he passed, casting billows of smoke heavenward. Then, as the last charge on the string gives up its ghost and the echo rolls over the city and disappears into the hills, the celebrants clap and jump for joy, and even the rattled pedestrian grins and waves, signifying no hard feelings. He too is enjoying himself.

In addition to the hanging clusters, some firecrackers can be thrown, and some are miniature rockets. Explosives of these sorts transform Nanjing’s streets and alleys into gauntlets of spark-trailing missiles, air bursts, and ground bursts. Young boys in particular are fond of launching pocket rockets from their hands, to watch them ricochet off buildings and passersby. Their favorite targets are peddlers on donkey carts, because they pretend nothing is happening. They go right on hawking their snacks – “Steamed buns! Dumplings!” – while projectiles bounce off their bellies or lodge in the folds of their robes, sending sparks cascading from their torsos. The pinnacle of fun is to toss a cherry-bomb into the street, timed to explode when a cart passes over it. There it lies, its fuse sizzling, while, say, the noodle-man approaches, crooning “Thick noodles! Thin noodles! Sesame paste! Black bean paste!” and just as his cart reaches it, Bang! off it goes in a cloud of sulfur. Both man and beast jolt from the concussion but emerge unfazed, the peddler resuming his hawking, the donkey his hauling, showing no sign of distress. Onlookers beam and the young pyrotechnicians make ready the next barrage.

Not all that is set alight that day contains gunpowder. Nanjing’s denizens also burn joss paper – play money – as offerings to the gods or to their deceased ancestors. Clan after clan of them, Chens, Wangs, and Zhangs, gather in their kitchens or courtyards to burn wad after wad of the heavenly currency, which takes to the air in particulate form. The offering of joss paper is less likely than fireworks to involve the occasional victim, unless it takes place on the ground floor of a storied building and some poor soul is caught upstairs. In such a case, the unfortunate one, as soon as he realizes he is suffocating, makes a desperate dash to the nearest window and thrusts his head outside. Gasping for oxygen, not even this man complains but rejoices in the good cheer and bonhomie of festival time.

Thus does Nanjing exude mirth and merriment, acrid, dark, and thick. Smoke rises over Cock-Crow Temple, a nunnery on a hill. Smoke curls about the Drum Tower, whose beating of the time that day is drowned out in the din. Smoke mushrooms over Three Mountain Street, Nanjing’s always-bustling bazaar. Smoke hangs above the Qinhuai River, its famous pleasure quarter. Every tiled roof, every bridge and pagoda, every curvy street and winding canal is enveloped in haze. To the gigantic Peng bird of legend, soaring far above town on this New Year’s Day, Nanjing might appear as an exquisite incense censer made to resemble a fairyland. To Nanjing’s human residents, the column of smoke dwarfing their city is yet another of its many superlatives; Nanjing wears it like a plumed crown. The vast metropolis, ringed by a wall of eighteen gates, is the pearl of the Yangtze River valley and original capital of the Current Dynasty. It is opulent and lively and crammed with attractions, the subject of rhapsodies by songsters and poets who call it a paradise. If Nanjing’s celebrated “kingly air” is now tinged with ash, its people breathe it in even more deeply and feel all the more regal for it. They are as proud and prosperous as any people have dared to be. In a consuming exuberance, they revel and roister, until their city is choking with smoke.

From the Black Creek River to the Grand Canal

The episode with the Mississippi egrets described in my last posting was incorporated into my novel, Southern Rain, now available via Kindle and at selected bookshops in Taiwan, Hong Kong, and Singapore; it is also available for pre-order, in advance of the general release of the print version in January.

The appearance of the Mississippi egrets, transposed into Chinese cranes, foreshadows the meeting of the hero, Ouyang Nanyu, and the heroine, Ouyang Daosheng.

Just beyond a tributary called Witch Mountain Spring, Nanyu noticed two white cranes flying upstream and then perching on the embankment. When the boat drew close to them, they took off again, swooping on ahead, before coming to a new resting place at the side of the Canal. Nanyu reckoned that the cranes moved ten times this way over the course of an hour—leading and waiting, leading and waiting—as though luring him ever onward. They didn’t seem to be feeding, and if they were migrating north, Nanyu wondered why they didn’t just get on with it, without waiting for him to catch up. If they wanted to stay on the Canal but were afraid of the boat, then why didn’t they fly to the side, to allow it to pass? For the rest of the day, Nanyu was sometimes invited to share food, sometimes asked for help maneuvering through a lock, and then, he would forget about the cranes; but whenever his activities were finished, he’d look up and there they would be, still scouting out the route.

Nanyu continued to see them after he closed his eyes that night, but in the morning, they were gone.

Image

Passages: From I Served the King of England, by Bohumil Hrabal

After I bought cans of food, salami, and a huge round loaf of bread in the store, I would stop off at the pub, and the pubkeeper and villagers would come and sit down at my table and ask how I liked it here in the mountains, in all this solitude. I was enthusiastic and told them stories of things that no one had ever seen before but were actually there, and I told the stories as if I were only passing through by car, or had come for two or three days, I talked as though I were on vacation, like a nature lover, like a city person who babbles romantic drivel whenever he comes to the country about how beautiful the woods are and the mountain peaks in the mist, and how it is all so perfect that he would like to settle here for good. And I talked in a jumbled way about how beauty had another side to it, about how this beautiful countryside, like a round loaf of bread, was all related to whether you could love even what was unpleasant and abandoned, whether you could love the landscape during all those hours and days and weeks when it rained, when it got dark early, when you sat by the stove and thought it was ten at night while it was really only half past six, when you started talking to yourself, speaking to the horse, the dog, the cat, and the goat, but best of all to yourself, silently at first — as though showing a movie, letting images from the past flicker through your memory — and then out loud, as I had done, asking yourself questions, inquiring of yourself, interrogating yourself, wanting to know the most secret things about yourself, accusing yourself as if you were a public prosecutor and then defending yourself, and so arriving, in this back-and-forth way, at the meaning of your life. Not the meaning of what used to be or what happened a long time ago, but discovering the kind of road you’d opened up and had yet to open up, and whether there was still time to attain the serenity that would secure you against the desire to escape from your own solitude, from the most important questions that you should ask yourself.

Passages: From Love in a Bottle, by Antal Szerb

“Do you love me?” I asked doubtfully, and stupidly.

She burst out laughing — with the same unfathomable drunken laughter that had so charmed me earlier. It did not charm me now. Back on the veranda, that earlier laugh had somehow soared into the summer sky, an endearing cry for help addressed to some far-off Dionysus. But now she was laughing at me, and into me, the way any woman might laugh at any man held in an embrace of perhaps half an hour. It was a common, rather vulgar, laugh, an utterly godless laugh, one that could have been heard a thousand times at that moment in any of the parks of Paris and the banlieue — and how was I any different from the thousand other poor wretches who at that precise moment were preparing for the stereotypical games of love?

— from the short story “A Garden Party in St. Cloud”

Questions for St. Augustine

The key passage:

To your grace and to your mercy I ascribe it that you have dissolved my sins as if they were ice. To your grace I ascribe also whatsoever evils I have not done…. Who is the man who will reflect on his weakness, and yet dare to credit his chastity and innocence to his own powers, so that he loves you the less, as if he had little need for that mercy by which you forgive sins to those who turn to you. There may be someone who has been called by you, and has heeded your voice, and has shunned those deeds which he now hears me recalling and confessing of myself. Let him not laugh to scorn a sick man who has been healed by that same physician who gave him such aid that he did not fall ill, or rather that he had only a lesser ill. Let him therefore love you just as much, nay even more. For he sees that I have been rescued from such depths of sinful disease by him who, as he also sees, has preserved him from the same maladies.

— Confessions, II/7/15

*****

They kept me far from you, those fair things which, if they were not in you, would not exist at all.

— X/27/38

So that which is of God both keeps us from and calls us to him?

*****

Joys that I should bewail contend with sorrows at which I should rejoice, but on which side victory may rest I do not know…. You are the physician; I am a sick man. You are merciful; I am in need of mercy.

— X/28/39

God is the Composer, and his symphony contains both dissonance and consonance, the former to resolve into the latter?