Said in 1929--But Still Applicable to Some "Official Scientists" Today

 

This very unphilosophical irruption [of a scientist] into philosophy was, however, in one way enlightening. It threw a light backwards on the speaker's previous proclamation on things on which he has more right to speak. Even in those things he betrayed a curious simplicity common among such official scientists. The truth is that they become steadily less scientific and more official. They develop that thin disguise that is the daily wear of politicians. They perform before us the most artful tricks with the most artless transparency. It is like watching a child trying to hide something. They are perpetually trying to bluff us with big words and learned allusions; on the assumption that we have never learnt anything--even of their own funny little ways. Every leader-writer who thunders "Galileo" at us assumes that we know even less about Galileo than he does. Every preacher of popular science who throws a long word at us thinks we shall have to look it up in the dictionary and hopes we shall not study it seriously even in the encyclopaedia. Their use of science is rather like the use made of it by the heroes of certain adventure stories, in which the white men terrify the savages by predicting an eclipse or producing an electric shock. These are in a sense true demonstrations of science. They are in a sense right in saying that they are scientists. Where they are perhaps wrong is in supposing that we are savages.

–G. K. Chesterton, “The Mask of the Agnostic.” 

“I confess I do not believe in time

 “I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness―in a landscape selected at random―is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern―to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.”

― Vladimir Nabokov

🎼[POEM] “Do Not Love Half Lovers” by Khalil Gibran

 

---

[POEM] “Do Not Love Half Lovers” by Khalil Gibran

Do not love half lovers

Do not entertain half friends

Do not indulge in works of the half talented

Do not live half a life

and do not die a half death

If you choose silence, then be silent

When you speak, do so until you are finished

Do not silence yourself to say something

And do not speak to be silent

If you accept, then express it bluntly

Do not mask it

If you refuse then be clear about it

for an ambiguous refusal is but a weak acceptance

Do not accept half a solution

Do not believe half truths

Do not dream half a dream

Do not fantasize about half hopes

Half a drink will not quench your thirst

Half a meal will not satiate your hunger

Half the way will get you no where

Half an idea will bear you no results

Your other half is not the one you love

It is you in another time yet in the same space

It is you when you are not

Half a life is a life you didn't live,

A word you have not said

A smile you postponed

A love you have not had

A friendship you did not know

To reach and not arrive

Work and not work

Attend only to be absent

What makes you a stranger to them closest to you

and they strangers to you

The half is a mere moment of inability

but you are able for you are not half a being

You are a whole that exists to live a life not half a life

💗💗Why did you write Lolita ?

 💗Why did you write Lolita ?

« It was an interesting thing to do. Why did I write any of my books, after all ? For the sake of the pleasure, for the sake of the difficulty. I have no social purpose, no moral message ; I've no general ideas to exploit, I just like composing riddles with elegant solutions. » What was the genesis of Lolita ? « She was born a long time ago, it must have been in 1939, in Paris ; the first little throb of Lolita went through me in Paris in '39, or perhaps early in '40, at a time when I was laid up with a fierce attack of intercostal neuralgia which is a very painful complaint—rather like the fabulous stitch in Adam's side. As far as I can recall the first shiver of inspiration was somehow prompted in a rather mysterious way by a newspaper story, I think it was in Paris Soir, about an ape in the Paris Zoo, who after months of coaxing by scientists produced finally the first drawing ever charcoaled by an animal, and this sketch, reproduced in the paper, showed the bars of the poor creature's cage. » Did Humbert Humbert, the middle-aged seducer, have any original ? « No. He's a man I devised, a man with an obsession, and I think many of my characters have sudden obsessions, different kinds of obsessions ; but he never existed. He did exist after I had written the book. While I was writing the book, here and there in a newspaper I would read all sorts of accounts about elderly gentlemen who pursued little girls : a kind of interesting coincidence but that's about all. » Did Lolita herself have an original ? « No, Lolita didn't have any original. She was born in my own mind. She never existed. As a matter of fact, I don't know little girls very well. When I consider this subject, I don't think I know a single little girl. I've met them socially now and then, but Lolita is a figment of my imagination. » —

To Vladimir Nabokov on His 70th Birthday

 To Vladimir Nabokov on His 70th Birthday

That nymphet’s beauty lay less on her bones
Than in her name’s proclaimed two allophones,
A boned veracity slow to be found
In all the chanting of recorded sound.
Extrude an orange pip upon the track,
And it will be a pip played front or back,
But only in the kingdom of the shade
Can diaper run back and be repaid.
Such speculations salt my exile too,
One that I bear less stoically than you.
I look in sourly on my lemon trees
Spiked by the Qs and Xes of Maltese
And wonder: Is this home or where is home?
(Melita’s caves, Calypso’s honeycomb).
I see a cue or clue. Just opposite,
The grocer has a cat that loves to sit
Upon the scales. Respecting his repose,
One day he weighed him: just two rotolos.
In this palazzo wood decays and falls;
Buses knock stucco from the outer walls,
Slam shut the shutters. Coughing as they lurch
They yet enclose the silence of a church,
Rock in baroque: Teresan spados stab
The Sacred Heart upon the driver’s cab,
Whereupon, in circus colours, one can read
That verbum caro factum est. Indeed.
I think the word is all the flesh I need –
The taste, and not the vitamins of sense
Whatever sense may be. I like the fence
Of black and white that keeps those bullocks in –
Crossboard or chesswood. Eurish gift of Finn –
The crossmess parzel. If words are no more
Than pyoshki, preordained to look before,
Save for their taking chassé, they alone
And not the upper house, can claim a throne
(Exploded first the secular magazines
And puff of bishops). All aswarm with queens,
Potentially, that board. Well, there it is:
You help me counter the liquidities
With counters that are counties, countries. Best
To read it: Caro Verbum Facta Est.

One of the great 20th-century British novelists, Anthony Burgess (1917-1993) was also a prolific poet. His interest both in poetry as an art form and in the psychology of poets is expressed in several works of fiction, for example, the quartet of Enderby novels, and ABBA ABBA. Both contain poems by their protagonists. Burgess’s last novel, Byrne, is in fact composed in ottava rima.

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Burgess’s Collected Poems, edited by Jonathan Mann, is a hefty volume, displaying both strengths and limitations. Burgess is at his best in the role of 20th-century “Augustan” poet: the 18-plus pages of An Essay on Censorship bear comparison, in their power of logical argument and mastery of the rhyming couplet, with the verse essays of Alexander Pope. This week’s poem, written to celebrate Vladimir Nabokov’s 70th birthday, is rather shorter, but shares some of its characteristics.

Censorship is more obliquely addressed, but it’s of the element underlying Burgess’s sense of connection to Nabokov. Burgess’s dystopian novel A Clockwork Orange and Nabokov’s Lolita had both been subject to its tyranny. The opening lines of the Birthday poem reflect, however, a more significant artistic relationship between the novelists, the shared preoccupation with mining the richest resources of their language. Lolita, the so-called “nymphet”, owes her “boned veracity”, Burgess punningly declares, to her creator’s sensuous virtuosity with words. The allophones savoured in line two (and in Nabokov’s own text) are the first two phonemes of “Lo-Li-Ta”.

In his the second volume of his autobiography, You’ve Had Your Time, Burgess explains that the Birthday poem’s sourness of tone was partly the result of a recent negative review by Geoffrey Grigson. The bigger discontent for Burgess, though, was his “exile” on Malta, a country in thrall to the narrow Catholicism that, as a lapsed Catholic, he particularly detested. Censorship flourished and curtailed his access to literary material there. The island where Calypso detained Odysseus for seven years, Ogygia, has been identified as Gozo in the Maltese archipelago, hence the reference in line 14, “(Melita’s caves, Calypso’s honeycomb)”. The poem dryly notes that the image of the Sacred Heart in the bus-driver’s cab, bears the quotation announcing “in circus colours”, “That verbum caro factum est…” (“The Word was made flesh”). Burgess adds the sarcastic “Indeed” to make his point.

The Birthday poem is a strange, dry, bracing cocktail, partly grumpy personal letter, partly a display by Burgess of the qualities he most admires in Nabokov. He emphasises symmetry and pattern, for example: see the reference to the diaper (nothing to do with babies’ nappies) in line eight. This repeated patterning is significant for Burgess, the poet-novelist, and has a more existential, Nabokovian connection – to the re-routing of time and the recovery of the past through memory. It’s further fleshed out in the poem by images of a local farmer’s black and white fence and the chess-board.

Creating chess problems one of Nabokov’s passions. Burgess seems tempted at times to make up word-problems in a counter-cadenza. He honours James Joyce in passing. “The crossmess parzel” is from Finnegans Wake, “a cross between a crossword puzzle and a Christmas parcel”. While the Latin quotation from St John’s gospel in line 26 declares that “the word was made flesh” and the poem’s ultimate tribute to Nabokov is that the word has become flesh (through the power of his literary art), there is a counterpoint of abstraction in some of the wordplay, the effect of which is to de-incarnate language. It’s another complex flavour Burgess adds to the celebration cocktail. Nabokov liked the poem, Burgess reported.

I leave you with a question, reflecting I hope the mischievous spirit of two great writers, and not only my own inability to solve maths problems. Was the grocer’s cat overweight at 2 rotolos? You might find a clue here.

Vladimir Nabokov, 1899-1977 was born in St Petersburg, Russia on 22April. Burgess’s poem was published in a special Nabokov issue of Triquarterly.

Some additional notes:

“The kingdom of the shade” – see Nabokov’s novel, Pale Fire. There may also be a reference to the scene in the 19th-century Russian ballet, La Bayadère (The Temple Dancer) in which lovers are reunited after death in a starlit Himalayan Nirvana.

For more on the Maltese language.

Melite – Malta

Chassé – a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a “step-together-step” pattern.

Pyoshki (Russian, plural of pyoshka ) – pawns.

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Topics

• Poetry
• Carol Rumens's poem of the week

• Vladimir Nabokov
• Anthony Burgess
• features

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