20th century

Lesson 1

Abstract : Post-impressionism and subjective reality

literary terms : criticize

Walter Sickert, Dawn Camden Town, 1909

James Joyce, Araby, 1914

Araby

NORTH RICHMOND STREET being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.

The former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communnicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister.

When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side.

Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.

Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.

One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: "O love! O love!" many times.

At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me was I going to Araby. I forgot whether I answered yes or no. It would be a splendid bazaar, she said she would love to go.

"And why can't you?" I asked.

While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.

"It's well for you," she said.

"If I go," I said, "I will bring you something."

What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.

On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:

"Yes, boy, I know."

As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart misgave me.

When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and. when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.

When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn't wait any longer, but it was after eight o'clock and she did not like to be out late as the night air was bad for her. When she had gone I began to walk up and down the room, clenching my fists. My aunt said:

"I'm afraid you may put off your bazaar for this night of Our Lord."

At nine o'clock I heard my uncle's latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go to the bazaar. He had forgotten.

"The people are in bed and after their first sleep now," he said.

I did not smile. My aunt said to him energetically:

"Can't you give him the money and let him go? You've kept him late enough as it is."

My uncle said he was very sorry he had forgotten. He said he believed in the old saying: "All work and no play makes Jack a dull boy." He asked me where I was going and, when I had told him a second time he asked me did I know The Arab's Farewell to his Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.

I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous house and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.

I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognised a silence like that which pervades a church after a service. I walked into the centre of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Cafe Chantant were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins.

Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea- sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.

"O, I never said such a thing!"

"O, but you did!"

"O, but I didn't!"

"Didn't she say that?"

"Yes. I heard her."

"0, there's a ... fib!"

Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:

"No, thank you."

The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.

I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.

Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.

Lesson 2

Abstract : Representation of reality

literary terms :intertextuality and echoes

Edith Wharton, The Age of Innocence, 1920

On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York.

Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the "new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music.

It was Madame Nilsson's first appearance that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience" had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brown coupe." To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold-and-gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-stableman's most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they want to get to it.

When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was "not the thing" to arrive early at the opera; and what was or was not "the thing" played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.

The second reason for his delay was a personal one. He had dawdled over his cigar because he was at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and exquisite in quality that, well, if he had timed his arrival in accord with the prima donna's stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: "He loves me-he loves me not-HE LOVES ME!-" and sprinkling the falling daisy petals with notes as clear as dew.

She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.

Lesson 3

Abstract : social realism

literary terms :blending and linking

John Steinbeck, The Grapes of Wrath, 1939

The tractors came over the roads and into the fields, great crawlers moving like insects, having the incredible strength of insects. They crawled over the ground, laying the track and rolling on it and picking it up. Diesel tractors, puttering while they stood idle; they thundered when they moved, and then settled down to a droning roar. Snub-nosed monsters, raising the dust and sticking their snouts into it, straight down the country, across the country, through fences, through dooryards, in and out of gullies in straight lines. They did not run on the ground, but on their own roadbeds. They ignored hills and gulches, water courses, fences, houses.

The man sitting in the iron seat did not look like a man; gloved, goggled, rubber dust mask over nose and mouth, he was a part of the monster, a robot in the seat. The thunder of the cylinders sounded through the country, became one with the air and the earth, so that earfh and air muttered in sympathetic vibration. The driver could not control it straight across country it went, cutting through a dozen farms and straight back. A twitch at the controls could swerve the cat', but the driver's hands could not twitch because the monster that built the tractor, the monster that sent the tractor out, had somehow got into the driver's hands, into his brain and muscle, had goggled him and muzzled him - goggled his mind, muzzled his speech, goggled his perception, muzzled his protest. He could not see the land as it was, he could not smell the land as it smelled; his feet did not stamp the clods or feel the warmth and power of the earth. He sat in an iron seat and stepped on iron pedals. He could not cheer or beat or curse or encourage the extension of his power, and because of this he could not cheer or whip or curse or encourage himself. He did not know or own or trust or beseech the land. If a seed dropped did not germinate, it was nothing. If the young thrusting plant withered in drought or drowned in a flood of rain, it was no more to the driver than to the tractor.

He loved the land no more than the bank loved the land. He could admire the tractor - its machined surfaces, its surge of power, the roar of its detonating cylinders; but it was not his tractor. Behind the tractor rolled the shining disks, cutting the earth with blades - not plowing but surgery, pushing the cut earth to the right where the second row of disks cut it and pushed it to the left; slicing blades shining, polished by the cut earth. And pulled behind the disks, the han•ows combing-with iron teeth so that the little clods broke up and the ealth lay smooth. Behind the harrows, the long seeders twelve curved iron penes erected in the foundry, orgasms set by gears, raping methodically, raping without passion. The driver sat in his iron seat and he was proud of the straight lines he did not will, proud of the tractor he did not own or love, proud of the power he could not control. And when that crop grew, and was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past his fingertips. No man had touched the seed, or lusted for the growth. Men ate what they had not raised, had no connection with the bread. The land bore under iron, and under iron gradually died; for it was not loved or hated, it had no prayers or curses.

At noon the tractor driver stopped sometimes near a tenant house and opened his lunch: sandwiches wrapped in waxed paper, white bread, pickle, cheese, Spam, a piece of pie branded like an engine part. He ate without relish. And tenants not yet moved away came out to see him, looked curiously while the goggles were taken off, and the lubber dust mask, leaving white circles around the eyes and a large white circle around nose and mouth. The exhaust of the tractor puttered on, for fuel is so cheap it is more efficient to leave the engine running than to heat the Diesel nose for a new start. Curious children crowded close, ragged children who ate their fried dough as they watched. They watched hungrily the unwrapping of the sandwiches, and their hunger-sharpened noses smelled the pickle, cheese, and Spam, They didn't speak to the driver. They watched his hand as it carried food to his mouth. They did not watch him chewing; their eyes followed the hand that held the sandwich.

Lesson 4

Abstract : cross-references

Landscape with the Fall of Icarus, Pieter Bruegel the Elder,1560

Musee des Beaux Arts 1938

W. H. Auden

About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

Lesson 5

Abstract : Native American voice

literary terms :use

Scott Momaday, House Made of Dawn, 1968

Then he saw the eagles across the distance, two of them, riding low in the depths and rising diagonally towards him. He did not know what they were at first, and he stood watching them, their far, silent flight erratic and wild in the bright morning. They rose and swung across the skyline, veering close at last, and he knelt down behind the rock, dumb with pleasure and excitement, holding on to them with his eyes.

They were golden eagles, a male and a female, in their mating flight. They were cavorting, spinning and spiralling on the cold, clear columns of air, and they were beautiful. They swooped and hovered, leaning on the air, and swung close together, feinting and screaming with delight. The female was full-grown, and the span of her broad wings was greater than any man's height. There was a fine flourish to her motion: she was deceptively, incredibly fast, and her pivots and wheels were wide and full-blown. But her great weight was streamlined, perfectly controlled. She carried a rattlesnake; it hung shining from her feet, limp and curving out in the trail of her flight. Suddenly her wings and rail fanned, catching full on the wind, and for an instant she was still, widespread and spectral in the blue, while her mate flared past and away, turning round in the distance to look for her. Then she began to beat upward at an angle from the rim until she was small in the sky, and she let go of the snake. It fell, slowly, writhing and rolling, floating out like a bit of silver thread against the wide backdrop of the land. She held still above, buoyed up on the cold current, her crop and hackles gleaming like copper in the sun. The male swerved and sailed. He was younger than she and a little more than half as large. He was quicker, tighter in his moves. He let the carrion drift by; then suddenly he gathered himself and stooped, sliding down in a blur of motion to the strike. He hit the snake in the head, with not the slightest deflection of his course or speed, cracking its long body like a whip. Then he rolled and swung upward in a great pendulum arc, riding out his momentum. At the top of his glide he let go of the snake in turn, but the female did not go for it. Instead she soared out over the plain, nearly out of sight, like a mote receding into the haze of the far mountain. The male followed, and he watched them go, straining to see, saw them veer once, dip and disappear.

Now there was the business of the society. It was getting on towards the end of November, and the eagle hunters were getting ready to set forth to the mountains. He brooded for a time, full of a strange longing; then one day he went to old Patiestewa and told him of what he had seen. "I think you had better let me go," he said. The old chief closed his eyes and thought about it for a long time. Then he answered: "Yes, I had better let you go."

The next day the Bahkyush eagle watchers started out on foot he among them, northward through the canyon and into the high timber beyond. They were gone for days, holding up here and there at the holy places where they must pray and make their offerings. Early in the morning they came out of the trees on the edge of the Valle Grande. The land fell and reached away in the early light as far as the eye could see, the hills folding together and the gray grass rolling in the plain, and they began the descent. At midmorning they came to the lower meadows in the basin. It was clear and cold, and the air was thin and sharp like a shard of glass. They needed bait, and they circled out and apart, forming a ring. When the circle was formed, they converged slowly towards the center, clapping and calling out in a high, flat voice that carried only a little way. And as they closed, rabbits began to jump up from the grass and bound. They got away at first, many of them, while the men were still a distance apart, but gradually the ring grew small and the rabbits crept to the center and hid away in the brush. Now and then one of them tried to break away, and the nearest man threw his stick after it. These weapons were small curved clubs, and they were thrown with deadly accuracy by the eagle hunters, so that when the ring was of a certain size and the men only a few feet apart, very few of the animals got away.

He bent close to the ground, his arm cocked and shaking with tension. A great jackrabbit buck bounded from the grass, straight past him. It struck the ground beyond and sprang again, nearly thirty feet through the air. He spun round and hurled the stick. It struck the jackrabbit a glancing blow just as it bounded again, and it slumped in the air and fell heavily to the ground.

The clapping and calling had stopped. He could feel his heart beating and the sweat growing cold on his skin. There was something like remorse or disappointment now that the rabbits were still and strewn about on the ground. He picked one of the dead animals from the brush--it was warm and soft, its eyes shining like porcelain, full of the dull lustre of death--then the great buck, which was not dead but only stunned and frozen with fear. He felt the warm living weight of it in his hands; it was brittle with life, taut with hard, sinewy strength.

When he had bound the bait together and placed it in the sack, he gathered bunches of tall grass and cut a number of evergreen boughs from a thicket in the plain; these he tied in a bundle and carried in a sling on his back. He went to the river and washed his head in order to purify himself. When all was ready he waved to the others and started off alone to the cliffs. When he came to the first plateau he rested and looked across the valley. The sun was high, and all around there was a pale, dry, uniformity of light, a winter glare on the clouds and peaks. He could see a crow circling low in the distance. Higher on the land, where a great slab of white rock protruded from the mountain, he saw the eagle-hunt house; he headed for it. The house was a small tower of stone, built round a pit, hollow and open at the top. Near it was a shrine, a stone shelf in which there was a slight depression. There he placed a prayer offering. He got into the house, and with boughs he made a latticework of beams across the top and covered it with grass. When it was finished there was a small opening at the center. Through it he raised the rabbits and laid them down on the boughs. He could see here and there through the screen, but his line of vision was vertical, or nearly so, and his quarry would come from the sun. He began to sing, now and then calling out, low in his throat.

The eagles soared southward, high above the Valle Grande. They were almost too high to be seen. From their vantage point the land below reached away on either side to the long, crooked tributaries of the range; down the great open corridor to the south were the wooded slopes and the canyon, the desert and the far end of the earth bending on the sky. They caught sight of the rabbits and were deflected. They veered and banked, lowering themselves into the crater, gathering speed. By the time he knew of their presence, they were low and coming fast on either side of the pit, swooping with blinding speed. The male caught hold of the air and fell off, touching upon the face of the cliff in order to flush the rabbits, while the female hurtled in to take her prey on the run. Nothing happened; the rabbits did not move. She overshot the trap and screamed. She was enraged and she hurled herself around in the air. She swung back with a great clamor of her wings and fell with fury on the bait. He saw her the instant she struck. Her foot flashed out and one of her talons laid the jackrabbit open the length of its body. It stiffened and jerked, and her other foot took hold of its skull and crushed it. In that split second when the center of her weight touched down upon the trap he reached for her. His hands closed upon her legs and he drew her down with all of his strength. For one instant only did she recoil, splashing her great wings down upon the beams and boughs--and she very nearly broke from his grasp; but then she was down in the darkness of the well, hooded, and she was still.

At dusk he met with the other hunters in the plain. San Juanito, too, had got an eagle, but it was an aged male and poor by comparison. They gathered round the old eagle and spoke to it, bidding it return with their good will and sorrow to the eagles of the crags. They fixed a prayer plume to its leg and let it go. He watched it back away and crouch on the ground, glaring, full of fear and suspicion. Then it took leave of the ground and beat upward, clattering through the still shadows of the valley. It gathered speed, driving higher and higher until it reached the shafts of reddish-gold final light that lay like bars across the crater. The light caught it up and set a dark blaze upon it. It levelled off and sailed. Then it was gone from sight, but he looked after it for a time. He could see it still in the mind's eye and hear in his memory the awful whisper of its flight on the wind. He felt the great weight of the bird which he held in the sack. The dusk was fading quickly into night, and the others could not see that his eyes were filled with tears.

That night, while the others ate by the fire, he stole away to look at the great bird. He drew the sack open; the bird shivered, he thought, and drew itself up. Bound and helpless, his eagle seemed drab and shapeless in the moonlight, too large and ungainly for flight. The sight of it filled him with shame and disgust. He took hold of its throat in the darkness and cut off its breath.

Lesson 6

Abstract : African American voice

literary terms :reflect

Tony Morrison, Beloved, 1987

Sethe closes her eyes and presses her lips together. She is thinking: No. This little place by a window is what I want. And rest. There's nothing to rub now and no reason to. Nothing left to bathe, assuming he even knows how. Will he do it in sections? First her face, then her hands, her thighs, her feet, her back? Ending with her exhausted breasts? And if he bathes her in sections, will the parts hold? She opens her eyes, knowing the danger of looking at him. She looks at him. The peachstone skin, the crease between his ready, waiting eyes and sees it-the thing in him, the blessedness, that has made him the kind of man who can walk in a house and make the women cry. Because with him, in his presence, they could. Cry and tell him things they only told each other: that time didn't stay put; that she called, but Howard and Buglar walked on down the railroad track and couldn't hear her; that Amy was scared to stay with her because her feet were ugly and her back looked so bad; that her ma'am had hurt her feelings and she couldn't find her hat anywhere and "Paul D?"
"What, baby?"
"She left me."
"Aw, girl. Don't cry."
"She was my best thing."
Paul D sits down in the rocking chair and examines the quilt patched in carnival colors. His hands are limp between his knees. There are too many things to feel about this woman. His head hurts. Suddenly he remembers Sixo trying to describe what he felt about the Thirty-Mile Woman. "She is a friend of my mind. She gather me, man. The pieces I am, she gather them and give them back to me in all the right order. It's good, you know, when you got a woman who is a friend of your mind."
He is staring at the quilt but he is thinking about her wrought-iron back; the delicious mouth still puffy at the corner from Ella's fist. The mean black eyes. The wet dress steaming before the fire. Her tenderness about his neck jewelry-its three wands, like attentive baby rattlers, curving two feet into the air. How she never mentioned or looked at it, so he did not have to feel the shame of being collared like a beast. Only this woman Sethe could have left him his manhood like that. He wants to put his story next to hers.
"Sethe," he says, "me and you, we got more yesterday than anybody. We need some kind of tomorrow."
He leans over and takes her hand. With the other he touches her face. "You your best thing, Sethe. You are." His holding fingers are holding hers.
"Me? Me?"
THERE IS a loneliness that can be rocked. Arms crossed, knees drawn up; holding, holding on, this motion, unlike a ship's, smooths and contains the rocker. It's an inside kind-wrapped tight like skin. Then there is a loneliness that roams. No rocking can hold it down. It is alive, on its own. A dry and spreading thing that makes the sound of one's own feet going seem to come from a far-off place.
Everybody knew what she was called, but nobody anywhere knew her name. Disremembered and unaccounted for, she cannot be lost because no one is looking for her, and even if they were, how can they call her if they don't know her name? Although she has claim, she is not claimed. In the place where long grass opens, the girl who waited to be loved and cry shame erupts into her separate parts, to make it easy for the chewing laughter to swallow her all away.
It was not a story to pass on.
They forgot her like a bad dream. After they made up their tales, shaped and decorated them, those that saw her that day on the porch quickly and deliberately forgot her. It took longer for those who had spoken to her, lived with her, fallen in love with her, to forget, until they realized they couldn't remember or repeat a single thing she said, and began to believe that, other than what they themselves were thinking, she hadn't said anything at all. So, in the end, they forgot her too. Remembering seemed unwise. They never knew where or why she crouched, or whose was the underwater face she needed like that. Where the memory of the smile under her chin might have been and was not, a latch latched and lichen attached its apple-green bloom to the metal. What made her think her fingernails could open locks the rain rained on?
It was not a story to pass on.
So they forgot her. Like an unpleasant dream during a troubling sleep. Occasionally, however, the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to the sleeper. Sometimes the photograph of a close friend or relative-looked at too long-shifts, and something more familiar than the dear face itself moves there. They can touch it if they like, but don't, because they know things will never be the same if they do.
This is not a story to pass on.
Down by the stream in back of 124 her footprints come and go, come and go. They are so familiar. Should a child, an adult place his feet in them, they will fit. Take them out and they disappear again as though nobody ever walked there.
By and by all trace is gone, and what is forgotten is not only the footprints but the water too and what it is down there. The rest is weather. Not the breath of the disremembered and unaccounted for, but wind in the eaves, or spring ice thawing too quickly. Just weather. Certainly no clamor for a kiss.

Lesson 7

Abstract : Britishness

literary terms :contain/include

Richard Hamilton, The Citizen, 1981/ The Subject, 1988-90/ The State, 1994

Kasuo Ishiguro, The Remains of the Day, 1989

There was a light frost covering the ground and much of the foliage, but it was a mild day for that time of the year. I crossed the grass quickly, placed my person behind the bush, and before long heard Mr Cardinal's footsteps approaching. Unfortunately, I misjudged slightly the timing of my emergence. I had intended to emerge while Mr Cardinal was still a reasonable distance away, so that he would see me in good time and suppose I was on my way to the summerhouse, or perhaps to the gardener's lodge. I could then have pretended to notice him for the first time and have engaged him in conversation in an impromptu manner. As it happened, I emerged a little late and I fear I rather startled the young gentleman, who immediately pulled his attaché case away from me and clutched it to his chest with both arms.

'I'm very sorry, sir.'

'My goodness, Stevens. You gave me a shock. I thought things were hotting up a bit there.'

'I'm very sorry, sir. But as it happens, I have something to convey to you.'

'My goodness, yes, you gave me quite a fright.'

'If I may come straight to the point, sir. You will notice the geese not far from us.'

'Geese?' He looked around a little bewildered. 'Oh yes. That's what they are.'

'And likewise the flowers and shrubs. This is not, in fact, the best time of year to see them in their full glory, but you will appreciate, sir, that with the arrival of spring, we will see a change - a very special sort of change - in these surroundings.'

'Yes, I'm sure the grounds are not at their best just now. But to be perfectly frank, Stevens, I wasn't paying much attention to the glories of nature. It's all rather worrying. That M. Dupont's arrived in the foulest mood imaginable. Last thing we wanted really.'

The remains of the Day, Trailer

Hanif Kureshi, The Buddha of Suburbia, 1990

My name is Karim Amir, and I am an Englishman born and bred, almost. I am often considered to be a funny kind of Englishman, a new breed as it were, having emerged from two old histories. But I don't care - Englishman I am (though not proud of it), from the South London Suburbs, and going somewhere. Perhaps it is the odd mixture of continents and blood, of here and there, of belonging or not, thta makes me restless and easily bored. Or perhaps it was being brought up in the suburbs that did it. Anyway, why search the inner room when it's enough to say that I was looking for trouble, any kind of movement, action and sexual interest I could find because things were so gloomy, so slow and heavy, in our family, I don't know why. Quite frankly, it was all getting me down and I was ready for anything.

Then one day, evrything changed. In the morning things were one way and by bedtime another. I was seventeen

Andrea Levy, Small Island, 2007

[Queenie, the white narrator-protagonist, from near Mansfield in Nottinghamshire telling about her girlhood]

They used to follow me round the playground, these miners' children, wanting to know if I had brought one of my mum's [a farmer and butcher's wife] pies in for dinner. ... When I saw my soft brother Harry sharing his pie with Wilfred in his dead-dad's-boots I hit him round the head and told him not to do it again. And Harry whimpered, "But he were hungry, Queenie, he were hungry." ... "What's the point of the lass being at school when there's work to be done around here?" It was three weeks after Father had said that to Mother that I left Bolsbrook Elementary School to work on our farm as a skivvy - the outside-inside-three-bags-full girl. I was fourteen with a large bust that my brother Billy always yelled, "Crikey", at when I had a bath. I knew how to read and write, add, subtract and divide but, in all honesty, not much of anything else. ... "Watch out for them miners, Queenie," Father warned me every morning. Miners came to the farm gates, bought half a dozen eggs then hatched them. They didn't pay the extra for a proper sitting of fertile eggs. ... ... And he [Queenie's father] whacked me hard around the head the day I tossed an apple core on to the fire. "There's stock out there wants feeding," he shouted, as he flicked the smouldering core back on to the hearth. And I swear I heard an angel singing a celestial note as I looked up at him and told him, "I don't bloody well care." It was not long after I'd shouted at my dumbstruck father that Aunt Dorothy came to visit. Mother's posh sister from London, who pronounced her aitches with a panting breath even when there were no aitches to be pronounced. She had come, she told me, with a whisper and wink, to take me away and better me.