Wolfwords

• მელიამ მგელს შესძახა: შე უმი ხორცის ჭამიაო!
•• Meliam mgels šesdzakha: še umi khartsis ch’amio!
••• The fox called to the wolf: “Thou eater of raw meat!”
•••• The pot called the kettle black.

Core War…

In terms of my core ambitions for 2022, I hope to continue the fight against such things as the reprehensible and repulsive phrase “in terms of”, the pretentious and throbbingly urgent adjective “core”, and the cheap trick of trailing dots… I know that I won’t win and that the Hive-Mind will continue to buzz deafeningly at core venues like The Guardian, The London Review of Books and The Shropshire Advertiser, but so what? In the core words of Samuel in terms of Johnson:

[I]t remains that we retard what we cannot repel, that we palliate what we cannot cure. Life may be lengthened by care, though death cannot be ultimately defeated: tongues, like governments, have a natural tendency to degeneration; we have long preserved our constitution, let us make some struggles for our language. — Samuel Johnson, Preface to a Dictionary of the English Language (1755)


Elsewhere Other-Accessible

Ex-term-in-ate! — core interrogation of why “in terms of” is so despicable, deplorable and downright disgusting…
Don’t Do Dot — core interrogation of why “…” is so despicable, deplorable and downright disgusting dot dot dot


Post-Performative Post-Scriptum

How should the first line of this incendiary intervention begin? I suggest: “In terms of my core ambitions for 2022…” → “Among my main ambitions…”

XXXI-Word

I enjoy doing crosswords occasionally, but I’m not very good at them. Even so, I’m still surprised at how hard I can find a kind of crossword where you look at three words and have to find another word that links them. Some of the answers can be very simple, but it sometimes takes me a long time to get them. Here’s an example with an attractively symmetric grids:

Across

1. Band, Farthing, Top
2. Jobs, Less, While
5. Bullet, Money, Surgeon
7. Back, Bank, Over
8. Half, Hiker, Up
9. Golden, Maple, Rosehip
11. Razor, Shooter, Tongue
13. Lunar, Solar, Total
14. Break, Buckets, Shirt
15. Angle, Away, Down

Down

1. Board, Roll, Sweet
2. Alec, Out, Phone
3. Night, Tower, Wrist
4. Cross, Loft, Serving
5. Dog, Oyster, Wolf
6. Cheese, Industry, Pie
9. Gum, Platform, Snow
10. Light, Test, Whale
11. Market, Power, Sonic
12. Ball, Stripper, Wet

Gleet the Beatles

The Guardian incisively interrogates issues around the Scouse Superstars:

Just in terms of pure sales they still dominate. In the first half of the year in the US – half a century on from Ed Sullivan, screaming fans, the olds just not getting it – they sold more albums than anyone else; the only group that came close over that period were BTS, a group who are regularly compared to the Beatles in terms of their planet-straddling massiveness. — The Guide #10: the enduring appeal of the Beatles, The Guardian, 26xi21


Elsewhere other-accessible

Ex-Term-In-Ate! — interrogating issues around why “in terms of” is so teratographically toxic…
All posts interrogating issues around “in terms of”…
All posts interrogating issues around the Guardian-reading community and its affiliates…

The Whisper of the Stars

• Le record de froid peut atteindre -77°C, alors que l’été le thermomètre peut monter jusqu’à 30°C. Les températures hivernales causent des phénomènes étonnants. Par exemple, ce que les Yakoutes appellent « le chuchotement des étoiles » : lorsqu’il gèle, l’homme entend en permanence le doux bruissement de sa respiration qui gèle dès qu’il expire.

• At its worst the cold can reach -77°C, while in summer the thermometer can climb to 30°C. Winter temperatures cause some astonishing phenomena. For example, there is what the Yakuts call “the whisper of the stars”: when it’s freezing, you constantly hear the soft rustle of your own breath, which is turning into ice-crystals even as you exhale.


Elsewhere other-engageable

Cry’ Me A Shiver — an interview with French avant-gardistes Cryogénie, les Rois du Froid and Kings of Cold…

Flaubert le Flaubard du Flaubeau

«Je ne suis rien qu’un lézard littéraire qui se chauffe toute la journée au grand soleil du beau» — Gustave Flaubert, Croisset, 17 octobre 1846

• “I am nothing but a literary lizard basking all day in the great sun of beauty.”

Maximal Mensual Metrics

Like all minimally decent and politically aware people, I am keyly — and corely — committed to anti-racism on a maximal basis by any means necessary. Monkey-funker.

This is also why I am a corely — and keyly — committed member of the Guardian-reading community. If I am ever tempted to relent a micrometre in terms of the maximality of the metrics of my core commitment to anti-racism, the Guardian is there to remind me of what anti-racism is corely committed to achieving…

It’s been a turbulent year for race in Britain. So what next? — At the end of Black History Month, we ask prominent Black British figures to assess where the UK stands in terms of equality and cohesion, The Guardian, 30×21

Verbol

Green on green on green
The light befalls me clean,
Beneath the birds.

And how I can capture
This mute green rapture
In blinded words? (7viii21)


Post-Performative Post-Scriptum

This poem is an attempt to describe the impossibility of describing the green light I saw falling through the leaf-layers of a chestnut-tree a few days ago. I wanted a title that compressed the most important images in the poem — trees and greenness — and I remembered a clever portmanteau I’d seen in a Spanish translation of Lord of the Rings. In the translation, the Ent Treebeard, a walking-and-talking tree, was called Barbol, which is a blend of the Spanish words barba, “beard”, and arbol, “tree”. I’ve tried to blend Spanish verde, “green”, and arbol. The resulting portmanteau contained more than I planned: it’s also got ver, Spanish for “to see”, and vēr, Latin for “spring, youth”. And it’s almost “verbal”, but with the “a” replaced by an “o”, representing the sun and its indescribable light. And come to think of it, there’s an important chestnut-tree in Lord of the Rings:

A little way beyond the battle-field they made their camp under a spreading tree: it looked like a chestnut, and yet it still bore many broad brown leaves of a former year, like dry hands with long splayed fingers; they rattled mournfully in the night-breeze. — The Two Towers, ch. 11

That’s when Aragorn, Legolas and Gimli are camping on the edge of Fangorn, the ancient forest where Treebeard dwells. The broadness of chestnut-leaves is why the light that falls through them is greened and cleaned in a special way.

Scribal Waugh Fare

Because I thought I’d accidentally deleted it, for years I’ve been thinking fondly about a little essay I’d once written comparing errors by scribes in the ancient world with typos in printed copies of Evelyn Waugh’s books. Then I dug up an old CD with back-up copies of various files on it. And it turned out, first, that I hadn’t deleted the little essay and, second, that it wasn’t as good as I remembered it. Here it is anyway, following the essay that originally accompanied it.


The Purloined Letter

The writer and musician Alexander Waugh was once looking through a bound collection of Alastair Graham’s letters to his grandfather Evelyn Waugh.[1] Graham had been Evelyn’s first great love at Oxford, but the letters were not at all diverting and Waugh petit fils had reached a point of tedium at which any interruption was welcome when an interruption fortunately arrived: the collection fell apart revealing that the following words had been concealed along its spine:

RIEN N’EST VRAI QUE LE BEAU.

The words, which mean “Nothing is true but beauty”, were probably taken from the French romantic Alfred de Musset (1810-57),[2] and they are interesting not only for the light they shed on Waugh’s æsthetic attitudes in his youth but also for the way in which they were uncovered: the collection fell apart because a letter had been forcibly removed from it.

Why this should have been done is probably now an unanswerable question, but not beyond all conjecture. Graham was a central model for Sebastian Flyte in Brideshead Revisited (1945), and “Nothing is true but beauty” might be taken as the principle that guides Charles Ryder early in the novel. This is why he falls in love with Sebastian, who is “entrancing, with that epicene beauty which in extreme youth sings aloud for love and withers at the first cold wind.”[3] But the entrancing, epicene Sebastian hints at another famous French saying when he concludes one of his letters to Charles like this: “Love, or what you will. S.”[4]

The valediction may conflate the two great rules of the occultist Aleister Crowley (1875-1947), which appear in Waugh’s short-story “Out of Depth” (1930) when Dr Kakophilos,[5] a black magician based on Crowley, confronts the story’s lapsed Catholic protagonist, Rip Van Winkle:

“Do what thou wilt shall be the whole of the law,” said Dr Kakophilos, in a thin Cockney voice.

“Eh?”

“There is no need to reply. If you wish to, it is correct to say, ‘Love is the Law, Love under will.’”

“I see.”

The famous French saying underlying Crowley’s first law is Rabelais’s Fay Ce Que Vouldras, or “Do What Thou Wilt”, which was written over the entrance to the Abbey of Thélème in Rabelais’s novel Gargantua (1532).[6] It is not an invitation to unbridled hedonism in either Rabelais or Crowley,[7] but it might nevertheless be read as justifying the “silk shirts and liqueurs and cigars and […] naughtiness high in the catalogue of grave sins”[8] of Ryder’s first term at Oxford.

Some of this gravely sinful naughtiness was Waugh’s in reality as well as Ryder’s in fiction, and if Ryder’s naughtiness included dabbling in the occult, perhaps Waugh’s did too. If he was initiated at the country house of his lost novel The Temple at Thatch,[9] perhaps this explains why so many references to the occult are attached to the Flyte family who own the country house at Brideshead. They range from Lady Marchmain’s alleged sanguinivorous “witchcraft” in Book One[10] through Julia’s “magic ring” and “fawning monster” in Book Two[11] to the “wand” Julia wields against Charles on a night of “full and high” moon in Book Three.[12] But one of the references was cut from the revised edition of the novel published in 1960. In the older edition (which is still issued in the United States), Anthony Blanche, who has “practised black art” at Crowley’s Abbey of Thelema “in Cefalù”,[13] says of the Flytes that they are “a subject for the poet — for the poet of the future who is also a psycho-analyst — and perhaps a diabolist too.”[14]

Poet, psycho-analyst, and diabolist are all gone in the revised edition, but Blanche’s insistent warnings against the Flytes’ charm are left untouched: “I warned you expressly and in great detail of the Flyte family. Charm is the great English blight.”[15] Someone as interested in etymology as Waugh almost certainly knew that “charm” was once a supernatural term: it meant a spell cast to control or influence and came from the Latin carmen, meaning “song”. Such echoes of ancient meaning are also apparent in, for example, the names Cordelia and Julia. Cordelia is the exemplar of unselfish Christian love in Brideshead, and her name probably comes from the Latin cor, meaning “heart”; Julia is the exemplar of ultimately sterile beauty and sexual attractiveness, and her name comes from the Julius family of ancient Rome, who were said to be descended from Venus, the goddess of beauty and sex.

The name “Marchmain”, on the other hand, seems much harder to analyze, although it echoes mortmain, literally meaning “dead hand”,[16] and may hint at the impending loss of Brideshead by the Flytes, none of whom has any true heirs. However, its first syllable is also an anagram of “charm” — m-ar-ch <-> ch-ar-m — and “Charmmain” is very like the French charmant, or “charming”. So the Flytes are charming, and perhaps Waugh is hinting that the originals on whom he based them were charming in more senses than one. If so, perhaps that explains why a letter from the original Sebastian is missing from a collection of letters that occultly proclaimed “Nothing is true but beauty”.

However, the phrase also sheds light on Brideshead Revisited itself. Charles Ryder discovered first Sebastian’s beauty and then Julia’s and thought he had discovered truth too. In the end he, like Waugh, concluded that he was wrong. The “beaten-copper lamp” Ryder finds burning anew in the untouched art nouveau Catholic chapel of an otherwise ruined Brideshead is of “deplorable design”, but its pure light, “shining in darkness, uncomprehended”,[17] is beautiful because it is the light of truth.

2. Scribal Waugh Fare

The avant-garde self-publicist Will Self once described the Book of Revelation as “an insemination of older, more primal verities into an as yet fresh dough of syncretism”.[18] One can see what he means, but Evelyn Waugh’s pastiche of Revelation in Decline and Fall (1928) is still much funnier. The novel’s protagonist Paul Pennyfeather is in prison talking with a religious maniac, who describes a vision he has had:

No words can describe the splendour of it. It was all crimson and wet like blood. I saw the whole prison as if it were carved of ruby… And then as I watched all the ruby became soft and wet, like a great sponge soaked in wine, and it was dripping and melting into a great lake of scarlet. […] I sometimes dream of a great red tunnel like the throat of a beast and men running down it […] and the breath of the beast is like the blast of a furnace. D’you ever feel like that?”

I’m afraid not,” said Paul. “Have they given you an interesting library book?”

Lady Almina’s Secret,” said the lion of the Lord’s elect. “Pretty soft stuff, old-fashioned too. But I keep reading the Bible. There’s a lot of killing in that.”[19]

However, the Book of Revelation isn’t always as crazy as it seems:

4:2 And immediately I was in the spirit: and, behold, a throne was set in heaven, and one sat on the throne. 3 And he that sat was to look upon like a jasper and a sardine stone: and […] a rainbow round about the throne, in sight like unto an emerald.

Rainbows that look like emeralds are crazy but priests surrounding an emerald throne are not, and the traditional image may be nothing more than a mistake by a scribe taking dictation: Greek hiereis, “priests”, was pronounced much like Greek iris, “rainbow”.[20].

When scribes were copying texts by eye rather than ear, they made other kinds of mistake, as in Romans 6:5, where two ninth-century codexes[21] have , hama, “together” against a more general , alla, “but”: two lambdas, , are easily mistaken for a mu, M. And perhaps, in the words of Peter Simple, it is a triumph of the rich human past over the tinpot scientific present[22] that more than a thousand years later, despite all advances in the manufacture of books, one can find the same kind of mistake in the Penguin edition of Waugh’s Brideshead Revisited (1945):

We went across the hall to the small drawing-room where luncheon parties used to assemble, and sat on either side of the fireplace. Julia seemed to reflect some of the crimson and gold of the walls and lose some of her warmness.[23]

If the earth is struck by an asteroid and the few copies of Brideshead that survive are in the Penguin edition, the scholars of some future resurrected civilization should be able to reconstruct the “wanness” of the manuscript (even without the assistance of an earlier line that runs “in the gloom of that room she looked like a ghost”).

Those are what are technically known as errors of permutation; elsewhere in Waugh one can match the New Testament’s errors of omission. In 1 Thessalonians 2:7, for example, the egenêthemen êpioi or “we were mild” of later manuscripts seems to be a haplography for the egenêthemen nêpioi or “we were children” of earlier ones.[24] Many centuries later, in the Penguin edition of Helena (1950), we can find this:

Carpicius looked at him without the least awe. Two forms of pride were here irreconcilably opposed; two pigs stood face to face.[25]

Those scholars of our putative post-apocalyptic future should be able to reconstruct the original “prigs”.

NOTES

1. The collection is called Litteræ Wellensis.

2. De Musset continued “rien n’est vrai sans beauté”, “[and] nothing is true without beauty”, but the original phrase seems to have been used first by the classicist Nicolas Boileau (1636-1711), who continued “le vrai seul est aimable”, “[and] truth alone is lovable”.

3. Op. cit., Book I, “Et In Arcadia Ego”, ch. 1, pg. 33 of the 1984 Penguin paperback.

4. Op. cit., Book I, “Et In Arcadia Ego”, ch. 3, pg. 71 of the 1984 Penguin paperback.

5. Greek for “Lover of Evil”.

6. Book I, ch. LVII. Thélème is from the Greek thelema, meaning “will”.

7. Rabelais amplified it thus: parce que gens liberes, bien nez, bien instruictz, conversans en compaignies honnestes, ont par nature un instinct et aguillon, qui tousjours les poulse à faictz vertueux et retire de vice, lequel ilz nommoient honneur: “because free people, well-born, well-taught, living in honest company, have by nature a sharp instinct and spur, which prompts them always towards virtue and away from vice, and which they name honor.”

8. Op. cit., Book I, “Et In Arcadia Ego”, ch. 2, pg. 46 of the 1984 Penguin paperback.

9. See ‘Adam and Evelyn: “The Balance”, The Temple at Thatch, and 666 at http://www.lhup.edu/~jwilson3/Newsletter_33.2.htm.

10. Ch. 1, pg. 56 of the 1984 Penguin paperback.

11. Ch. 2, pg. 56 of the 1984 Penguin paperback.

12. Ch. 3, pg. 277 of the 1984 Penguin paperback.

13. Book I, “Et In Arcadia Ego”, ch. 2, pg. 47 of the 1984 Penguin paperback.

14. Book I, “Et In Arcadia Ego”, ch. 2

15. Book III, “A Twitch Upon The Thread”, ch. 2, pg. 260 of the 1984 Penguin paperback.

16. Referring to land held under impersonal or institutional control by the Church.

17. “In fragments and whispers we get news of other saints in the prison camps of Eastern and South-eastern Europe, of cruelty and degradation more savage than anything in Tudor England, of the same, pure light shining in darkness, uncomprehended”. Introduction to Edmund Campion (1935): the reference is to John v,1: And the light shineth in darkness: and the darkness did not comprehend it. (Authorized Version and Douay).

18. From Self’s introduction, pg. xii, to Revelation, Authorized Version, published in a single book by Canongate, Edinburgh, 1998.

19. Part three, chapter iii.

20. Compare the initial vowels of the English derivates “hierarchy” and “iris”.

21. Augiensis and Boernerianus: see http://www.earlham.edu/~seidti/iam/permutation.html

22. The Stretchford Chronicles: 25 Years of Peter Simple, The Daily Telegraph, Purnell & Sons, Briston, 1980, “1962: Glory”, pg. 60.

23. Op. cit., Book II, “Brideshead Deserted”, ch. 3, pg. 200 of the 1984 Penguin paperback.

24. Haplography is writing once what should be written twice: an original  (egenêthemen nêpioi), meaning “we were children”, may have lost a nu, N, and became  (egenêthemen êpioi), “we were mild”. Alternatively, it may have gained a nu in an error known as dittography, or writing twice what should be written once.

25. Op. cit., ch. 8, “Constantine’s Great Treat”, pp. 107-8 of the 1963 Penguin paperback.

Guat Da Fack?!

From Intellectual Impostures (1998) by Alan Sokal and Jean Bricmont:

To conclude, let us quote a brief excerpt from the book Chaosmosis, written by Guattari alone. This passage contains the most brilliant melange of scientific, pseudo-scientific, and philosophical jargon that we have ever encountered; only a genius could have written it.

We can clearly see that there is no bi-univocal correspondence between linear signifying links or archi-writing, depending on the author, and this multireferential, multidimensional machinic catalysis. The symmetry of scale, the transversality, the pathic non-discursive character of their expansion: all these dimensions remove us from the logic of the excluded middle and reinforce us in our dismissal of the ontological binarism we criticised previously. A machinic assemblage, through its diverse components, extracts its consistency by crossing ontological thresholds, non-linear thresholds of irreversibility, ontological and phylogenetic thresholds, creative thresholds of heterogenesis and autopoiesis. The notion of scale needs to be expanded to consider fractal symmetries in ontological terms.

What fractal machines traverse are substantial scales. They traverse them in engendering them. But, and this should be noted, the existential ordinates that they “invent” were always already there. How can this paradox be sustained? It’s because everything becomes possible (including the recessive smoothing of time, evoked by Rene Thom) the moment one allows the assemblage to escape from energetico-spatiotemporal coordinates. And, here again, we need to rediscover a manner of being of Being — before, after, here and everywhere else — without being, however, identical to itself; a processual, polyphonic Being singularisable by infinitely complexifiable textures, according to the infinite speeds which animate its virtual compositions.

The ontological relativity advocated here is inseparable from an enunciative relativity. Knowledge of a Universe (in an astrophysical or axiological sense) is only possible through the mediation of autopoietic machines. A zone of self-belonging needs to exist somewhere for the coming into cognitive existence of any being or any modality of being. Outside of this machine/Universe coupling, beings only have the pure status of a virtual entity. And it is the same for their enunciative coordinates. The biosphere and mecanosphere, coupled on this planet, focus a point of view of space, time and energy. They trace an angle of the constitution of our galaxy. Outside of this particularised point of view, the rest of the Universe exists (in the sense that we understand existence here-below) only through the virtual existence of other autopoietic machines at the heart of other bio-mecanospheres scattered throughout the cosmos. The relativity of points of view of space, time and energy do not, for all that, absorb the real into the dream. The category of Time dissolves into cosmological reflections on the Big Bang even as the category of irreversibility is affirmed. Residual objectivity is what resists scanning by the infinite variation of points of view constitutable upon it. Imagine an autopoietic entity whose particles are constructed from galaxies. Or, conversely, a cognitivity constituted on the scale of quarks. A different panorama, another ontological consistency. The mecanosphere draws out and actualises configurations which exist amongst an infinity of others in fields of virtuality. Existential machines are at the same level as being in its intrinsic multiplicity. They are not mediated by transcendent signifiers and subsumed by a univocal ontological foundation. They are to themselves their own material of semiotic expression. Existence, as a process of deterritorialisation, is a specific inter-machinic operation which superimposes itself on the promotion of singularised existential intensities. And, I repeat, there is no generalised syntax for these deterritorialisations. Existence is not dialectical, not representable. It is hardly livable! (Félix Guattari 1995, pp. 50-52)