The pleasure of the text, and the pleasure beyond the text – thoughts on a part-read Peter Stamm novel
The walk to the station, the sunlight aslant on the pavement, the thought slides back to the book in the bedroom, pen stuck between the pages as a fat marker. The morning, spent reading in bed. The new book reached for on the bedside cabinet, I’d read maybe half of the first paragraph of the first page, the day before. Now, after working a night shift last night: half an hour reading a new book, alone, in bed. What could be sweeter?
Then, two hours later, on the walk to the station, comes the thought. The book in my hand, and the book in my head. The pleasure of the text…
The pleasure of the text, as opposed to what? The after-effects of reading, its manifold, multi-faceted, confused and conflated gifts-that-keep-giving, to sink into cliche.
More and more I feel like I’m less concerned with whether a particular book is ‘good’, as with the question of what is reading? What is it for? What do we get out of it?
The book in question is All Days Are Night, by Peter Stamm, a new novel I had requested from the publisher (Granta, thank you) in the hope of reviewing it. I have another book by the author on my shelves, bought with my own money, unread. He is someone I’ve been wanting to read for a while (I remember a recommendation from a bookseller at Waterstone’s Piccadilly, his favourite author); the covers themselves recommend the contents, delicate and forceful, oblique, like that sunlight, mildly erotic, like the sunlight; I’m in the mood for some of that clarity I suppose I think I can best get from contemporary European translated fiction – something about being close to, but at a remove, filtered but not diluted.
I’m in bed, I pick up the book, and after two stabs, two starts at the opening paragraph, I am in – like in water. The book starts in water:
Half wake up then drift away, alternately surfacing and lapsing back into weightlessness. Gillian is lying in water with a blue luminescence. Within it her body looks yellowish, but wherever it breaks the surface, it disappears into darkness. The only light comes from the warm water lapping her belly and breasts. It feels oily, beading on her skin.
I’m the water, I don’t know where I am, but I feel comfortable. I feel – this is the most important thing, the thing I try to impress on students in creative writing classes – confidence in the author. It’s that last line – “oily, beading on her skin” – that has me, catches me. The person in charge of word choices is a person of good judgment. The persons… I flick to the title page and see the name of Michael Hofmann, very much one of the most lauded of contemporary translators into English.
From that point on, I give myself over to the reading. The novel reveals itself to be about a woman, Gillian, who is recovering in hospital from an accident. She is necessarily on drugs, for the pain. Her face is badly damaged, she will need reconstructive surgery. There was a car crash. Someone else is dead. But all of this comes in an ebbing, eddying, circling wash of words that don’t move forward, or hardly, but around, to and fro; that make the page a place of mutual play and exploration: Gillian, Stamm, Hofmann, myself. She is coming to a realisation of her situation, as are we, as did Stamm and Hofmann in their turn.
Gillian had always known she was in danger, that she would sometimes have to pay for everything. Now she had paid. When the doctor asked her what she could remember, she had slowly mover her head from side to side. She wasn’t shaking her head, she was looking for her memories on the white walls. But the things she saw there had nothing to do with her. Her job, her parents, Matthias – they were from another life.
Everything is still there, she said. Only I am gone.
I don’t think I’m exaggerating when I say that everything I’ve ever wanted from the reading, from the experience of reading is to be found in that passage. The negotiation of a situation, a ‘character’, a ‘future’ that is made between myself and an author (and a translator). Picture us at card table, the author, the translator and myself. The writers play with counters called words, letters, paragraphs. (There they are, stacked up on the baize by their elbows; see the confidence with which they toss them down, count them back.) I play with counters called ‘character’, ‘plot’, ‘images’, ‘themes’, ‘symbolism’. I am able to exchange my counters for theirs, and that way redouble the stakes. (There is no winner in this game, obviously. The analogy doesn’t allow for it.)
The pleasure of the game is intense. I am in the text. Someone else has prepared it for me, yet I am actively exploring it, inhabiting it, swimming in it, making it inhabited, making it bodied.
And yet, walking down the street, two hours later, I know that, however reluctantly I had put down the book to get up and start the day, however much I am holding out the promise of returning to it later in the day (and, let’s be blunt: I could have read another 20 or 30 pages in the time it’s taken to thrash out these confused thoughts), despite all this, the pleasure of the book is already dissipating, dispersing in the air that carries the sunlight, that allows it through. I don’t care about Gillian. There is another man in her life, an artist she maybe had some kind of flirtation with before the car crash, and he may re-emerge, or the book may be about her coming back to her self after the trauma, but the fact is I don’t care. It’s the words I care about, it’s them I want to get back to, not the character, the situation, the plot.
There are other books that act very differently indeed. The moment when the man (can’t remember his name) sees the dog being swept along in the river in Iris Murdoch’s Nuns and Soldiers, and that opening death-bed scene; what’s going to happen to Lena in the next volume of Elena Ferrante’s Neapolitan novels; the dying dog in The Days of Abandonment (though there are other scenes in that book, read twice, that I’d forgotten); the antics of Gulley Jimson in The Horse’s Mouth; the scene in the nightclub toilet in Your Face Tomorrow; the snow hut in The Magic Mountain; Yossarian in Catch-22, all of Something Happened – all of these are called forth in a way I don’t think All Days Are Night will be.
These are books, scenes, moments, characters, that have embedded themselves in my long-term consciousness (what people sometimes call ‘memory’) in a way that Gillian, probably, simply won’t. Those books gave pleasure in a way that was either different to, or supplementary to, the pleasure of Stamm’s playful page. It’s possible that the reason they stuck is because of the pleasure of the reading ripened, alchemized, reconfigured itself as something else – metastasised, or whatever the benign or benevolent form of metastasis is.
A thing of beauty is a joy for ever, said Keats, but there is joy in the beauty of the moment, lived, that cannot escape its moment to bring joy to another, future time. Reading does both. Or rather, reading does one, and we make of reading the other. It’s that mutation, that alteration, that movement from the present to the future, from the page to the memory, that is impossible to know. That’s why we read, that what it’s for, and I don’t know what it is!
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Reblogged this on joanfisker and commented:
“I play with counters called `character´, `plot´, `images´, `themes´, `symbolism´”.
Peter Stamm, I really loved his book “Agnes”. I don’t know if there is an english version of it though, if there is I can only recommend it. :)
Great article ! :)
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Nice article :)
Great read… I always find myself picking up my next book wondering if it is going to transport me into the text. Some books have you not only visualising but feeling every word, some draw you in very deep :)
Thinking about the reading experience itself and not just the content is an interesting topic, so I enjoyed this post. Whether an impression of a story or character is fleeting or impermeable often relies on the reader’s state of mind rather than the author’s skills. There are stories and characters which I will never forget, because I read them at a time when my mind was fluid and open. Others, which are likely more deserving of memory, have been completely forgotten because I was distracted or tired or not in the mood for whatever was on offer.
How well you expressed yourself! Great.
Reblogged this on luv96discovery and commented:
There are sometimes where the characters in a book just don’t touch you like the way an author plays with words. Good post rebloged
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With books, it is like with beers. When you start reading/drinking, you enjoy it more and with certain time you spend with a book/beer you just stop to enjoy it in the same manner. You have touched a very important point here. It made me think about my own process or reading. Since I read on a Kindle, I often even forget the author’s name. This makes my reading more blind. I also focus myself on facts, rather than on the flow or rhythm of the words. But this dilemma is probably resolved unconsciously, because there are many books I simply stop reading at some point. One of the recent ones was a compilation of Lacan’s lectures, which were so incomprehensible to the point that I could not follow his narrative. I only discovered later that his lectures were poorly translated in the 70s, so it put extra pressure on the reader.
You make an excellent point, I had never thought of it in terms of reading and drinking. I truly is all about the experience and the time of the experience. You can put it in terms of theme parks too, it’s magical until you go everyday and then the magic is too lost.
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The covers and the reviews can flaunt or reveal tantalising vignettes of the content But it is the caress of the words, rather, of their juxtaposition, that spurs you on to savour the content
slightly off topic but i find the older i get the less patience i have to persevere when reading a book that does not interest me. life is too short!
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This is such a great post about reading and understanding what it si about a book we enjoy. I haven’t figured out why, exactly, which makes me very excited that you are in the process of exploring this and helping others to realize what makes for readable, memorable material. A writer has such a huge responsibility for conveying emotions, showing rather than telling, and utilizing words to describe a person, event or place. Well done on this article. I’ll definitely be sharing this one!
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Excellent article with much food for thought.
I agree about that stunning passage:
Everything is still there, she said. Only I am gone.
For me, the joy of reading is twofold. The first joy comes when I read a really great string of sentences that so perfectly convey an idea I can;t imagine it being said any other way. I think of Flannery O’Connor saying of O.E. Parker “He could account for her one way or another; it was himself he could not understand” and I still get chills (I also love how she describes Sarah Ruth as “plain,plain. Brilliant.).
Sometimes various passages from novels drift up from the mists of my mind to greet me. Maybe also I get the added bonus of remembering where and who i was when I first read them. I sometimes think of the characters as people I knew, the situations as life experiences I never had. Sometimes I will go back and read a novel again to see how differently I feel about it. I have recently done that with Conrad and it’s delightful how good he really is.
The hardest part, as a writer, is to have the patience to be a reader and to allow myself to take an unprofessional view of the prose as I read it. There are so many things to read out there that I am not as patient as I ought to be. If I’m not enchanted, I will often move on. As far as writers I have been meaning to read, the list is ridiculously long. My shelves are packed with Michel Tournier, Kenzaburō Ōe, Roberto Bolano as well as potboilers, research books and other stuff.
And don;t get me started on audiobooks. I love them, but they count as reading as watching a movie with subtitles does. I think they may even engage similar parts of the brain.
Thanks for the comment, J. And yes that O’Connor line is brilliant – in fact it seems to work along in somewhat the same way as the Stamm: a tension held between presence and absence, between something there and something not. Perhaps they’re so powerful because they’re only playing out for the characters what is happening for us on the page – the story is ‘there’ though it’s not…
i am reading glamorama
by bret easton ellis
You have most definitely stoked my curiosity. I think I’ll look into this book. Cheers
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Nice! I just wrote a blog about how some books where a life chancing experience for me. Words can be so powerful! https://pinni888.wordpress.com/2015/01/30/the-power-of-words-with-special-thanks-to-the-dalai-neal-and-eckhart/
this is awesome! kudos on the whole ‘freshly pressed’ thing.
i love the imagery, how you write, very visual.
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I miss those days when I was still on reading books, long novels. Your article help me get motivated! And yours was a great impression! Thanks Jonathan!
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When I saw your post (it is amazing!) I felt like being back in Germany in my school. Peter Stamm was one of our authors we had to read and discuss in class. Even talked to him personally – and he is amazing. His book – all of them – are very good. Agnes and this one were my favorites. Didn’t even know there was an English translation.
It was a pleasure to read your article and it is so true!
Thanks for the comment Elena – good to know he’s as great in person as on the page. I have Seven Years on my shelf so will probably turn to that one next, but will keep my eye out for Agnes.
“pen stuck between the pages as a fat marker,” this pretty much sums up my reading style.
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This is so poignantly and eloquently expressed. I thoroughly enjoyed it, and can relate entirely. It was as though you were in my head, and captured all of the emotions that reading brings up to the surface.
Such a great post!
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Everyone can relate to this beautifully written experience. He has put into words exactly what it feels like to be swept away by reading.
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