Agnon’s Days of Awe is not fiction, though it is a pastiche of different kinds of narrative in the manner of the Talmud. What is it, then? Despite having read Agnon’s Days of Awe around Rosh Hashanah every year for the past five years, it’s hard for me to say. It’s like a machzor, the prayerbook for the High Holy Days, if a prayer book were an anthology of…fiction.
I’ve begun re-reading the work of David Jones, the Anglo-Welsh poet and artist and champion of the sacred and the crafted (what he called the extra-utile). Jones was a proponent of sacramental poetics, among the few really able to behold art as efficacious sign—the symbol that is also what it symbolizes, or a window upon that other world that art allows to show forth.
I’ve been thinking about joy in writing. I believe I know by now what it feels like for the writer to be working joyfully. Can you detect it in someone else’s writing? I think so, and I think I know the first time I saw it on the page, and knew that that was what I saw.
Maybe one of the most Catholic things about Kirstin Valdez Quade’s novel The Five Wounds is the overall feeling you may have watching these characters stumbling through their lives that obtaining happiness is not the point of those lives. Loving is the point. And loving means self-sacrifice. One thing that is incredibly hard to sacrifice is the idol.
In some ways, Christian literature has for two millennia been seeking and finding new ways to tell the Gospel Story. You can see it in the Arthur Story and other fantasy fiction. Even a great modernist poet like David Jones has little else for material than the Mass, or the sacrifice it is understood to recreate.
I am describing Gene Wolfe’s magnum opus, the epic ‘science-fantasy’ known altogether as the Solar Cycle, for the series which comprise it are called The Book of the New Sun (with its sequel The Urth of the New Sun), The Book of the Long Sun, and The Book of the Short Sun. Of these, I have read only the first four novels (the top two volumes of my pile), the Book of the New Sun.
Tarjei Vesaas’s final book fascinates me more than the others because of its form. It is a series of images—as I have just used the term, these moments of consciousness-in-place that become character-defining—a kaleidoscope of them (that word means a sequence of beautiful images)…but do they add up to a story? If so, what or whose story?
What I’ve realized since my son’s birthday is that Rachel Carson’s Under the Sea Wind did for me something like what I hope the books I bought for my sons will do for them someday: or it is the adult version of it, the fantasy that is like yet unlike that of the child. How does Carson accomplish this transfiguration of the natural world?
Stories do not end. The teller of the tale falls silent. If the telling is done well, we feel we’ve truly seen into the world where fiction occurs, and when the teller of the tale falls silent we sense that the story goes on, just as it extends back further than we perceive before the teller began the tale.
My mother read mysteries by American authors, but I have never been interested in mysteries set elsewhere than in England. The best of all such mysteries, in my opinion, and perhaps the one that best justifies my feeling for the genre, is the one that I have just re-read, Sayers’s finest work, The Nine Tailors.
Entry for the twenty-eighth Day in the eleventh Month of the Year that Disease and Mania overspread the World
I have become friends with a White Pine. Go up the Hill from my house, through the Neighborhood, and as you descend again toward the valley that holds the Highway you come to a triangle of undeveloped land. A path runs through this Little Woods, opening onto the underpass, and there, on the other side of the Highway, you can climb again into the Larger Woods that grow on the hills over the River and fill its bottomlands.