What, still alive at twenty-two,
A clean, upstanding chap like you?
Sure, if your throat ’tis hard to slit,
Slit your girl’s, and swing for it.
Like enough, you won’t be glad,
When they come to hang you, lad:
But bacon’s not the only thing
That’s cured by hanging from a string.
So, when the spilt ink of the night
Spreads o’er the blotting-pad of light,
Lads whose job is still to do
Shall whet their knives, and think of you.
“The most merciful thing in the world,” said H.P. Lovecraft, “is the inability of the human mind to correlate all its contents.” Nowadays we can’t correlate all the contents of our hard-drives either. But occasionally bits come together. I’ve had two MP3s sitting on my hard-drive for months: “Drink or Die” by Erotic Support and “Hunter Gatherer” by Swords of Mars. I liked them both a lot, but until recently I didn’t realize that they were by two incarnations of the same Finnish band.
They don’t sound very much alike, after all. But now that I’ve correlated them, they’ve inspired some thoughts on music and mutilation. “Drink or Die” is a dense, fuzzy, leather-lunged rumble-rocker that, like a good Mötley Crüe song, your ears can snort like cocaine. But, unlike Mötley Crüe, the auditory rush lasts the whole song, not just the first half. “Hunter Gatherer” is much more sombre. Erotic Support were “Helsinki beercore”; Swords of Mars are darker, doomier and dirgier. They’ve also got a better name – “Erotic Support” seems to have lost something in translation. Finnish is a long way from English: it’s in a different and unrelated language family, the Finno-Ugric, not the Indo-European. So it lines up with Hungarian and Estonian, not English, German and French. But Erotic Support’s lyrics are good English and “Drink or Die” is a clever title. They’d have been a more interesting band if they’d sung entirely in Finnish, but also less successful, because less accessible to the rest of the world.
Es war einmal eine Königstochter, die ging hinaus in den Wald und setzte sich an einen kühlen Brunnen. Sie hatte eine goldene Kugel, die war ihr liebstes Spielwerk, die warf sie in die Höhe und fing sie wieder in der Luft und hatte ihre Lust daran. Einmal war die Kugel gar hoch geflogen, sie hatte die Hand schon ausgestreckt und die Finger gekrümmt, um sie wieder zufangen, da schlug sie neben vorbei auf die Erde, rollte und rollte und geradezu in das Wasser hinein.
Mieleni minun tekevi, aivoni ajattelevi
lähteäni laulamahan, saa’ani sanelemahan,
sukuvirttä suoltamahan, lajivirttä laulamahan.
Sanat suussani sulavat, puhe’et putoelevat,
kielelleni kerkiävät, hampahilleni hajoovat.
Veli kulta, veikkoseni, kaunis kasvinkumppalini!
Lähe nyt kanssa laulamahan, saa kera sanelemahan
yhtehen yhyttyämme, kahta’alta käytyämme!
Harvoin yhtehen yhymme, saamme toinen toisihimme
näillä raukoilla rajoilla, poloisilla Pohjan mailla.
All the same, being inaccessible sometimes helps a band’s appeal to the rest of the world: the mystique of black metal is much stronger in bands that use only Norwegian or one of the other Scandinavian languages. Erotic Support haven’t joined that rebellion against Coca-Colonization and tried to create an indigenous genre. They’re happy to reproduce more or less American music using the more or less American invention known as the electric guitar. But amplified music would have appeared in Europe even if North America had been colonized by the Chinese, so I wonder what rock would sound like if it had evolved in Europe instead. It wouldn’t be called rock, of course, but what other differences would it have? Would it be more sophisticated, for example? I think it would. The success of American exports depends in part on their strong and simple flavours. “Drink or Die” has those flavours: it’s about volume, rhythm and power. It’s full of a certain “drug-addled, crab-infested, tinnitus-nagged spirit” — the “urge to submerge in the raw bedrock viscerality of rock”, as some metaphor-mixing, über-emphasizing idiot once put it (I think it was me).
Erotic Support are “beercore”, remember. Beer marks the brain with hangovers, just as tattoos mark the skin with ink. And just as loud music marks the ears with tinnitus. There are various kinds of self-mutilation in rock and that self-mutilation can have unhealthy motives. It can be an expression of boredom, angst, anomie and self-hatred. Unsurprisingly, Finland has the nineteenth highest suicide rate in the world. Beer, tattoos and tinnitus are part of the louder, dirtier and loutier end of rock: unlike Radiohead or Coldplay, Erotic Support sound like a band with tattoos who are used to hangovers. “Drink or Die” is a joke about exactly that. But what if rock had evolved in a wine-drinking culture? Would it be less of a sado-masochistic ritual, more a refined rite? Maybe not: the god of wine is Dionysos and he was Ho Bromios, the Thunderer. His brother Pan induces panic with loud noises. But black metal looks towards northern paganism: it’s music for pine forests, cold seas and beer-drinkers, not olive groves, warm seas and oenopotes.
Erotic Support don’t create soundscapes for Finland the way black metal creates soundscapes for Norway, but they do create beer-drinkers’ music, so they do express Finnishness to that extent. Swords of Mars, being darker, doomier and dirgier, are moving nearer an indigenous Finnish rock, or an indigenous Scandinavian rock, at least. This may be related to the fact that genes express themselves more strongly as an individual ages: for example, the correlation between the intelligence of parents and their children is strongest when the children are adults. Erotic Support create faster, more aggressive music than Swords of Mars, so it isn’t surprising that they’re the younger version of the same band. In biology, the genotype creates the phenotype: DNA codes for bodies and behaviour. Music is part of what Richard Dawkins calls the “extended phenotype”, like the nest of a bird or the termite-fishing-rods of a chimpanzee. A bird’s wings are created directly by its genes; a bird’s nest is created indirectly by its genes, viâ the brain. So a bird’s wings are part of the phenotype and a bird’s nest part of the extended phenotype.
Both are under the influence of the genes and both are expressions of biology. Music (like bird-song) is an expression of biology too, as is the difference between the music of Erotic Support and Swords of Mars. As brains age, the behaviour they create changes. Swords of Mars are older and not attracted to reckless self-mutilation as Erotic Support were: it’s not music to precede hangovers and induce tinnitus any more. Sword of Mars aren’t trying to tattoo your ears but to educate your mind.
Poetry and Putridity: Interrogating Issues of Narrativistic Necrocentricity in A.E. Housman and Clark Ashton Smith
Thanatic fanatic. Say it. Savour it, if you’re that way inclined. I certainly am: I am obsessed with words. The sound of them, the shape of them, their history, meaning and flavours. If I were a Guardianista, I’d say I was “passionate about” words. But it’s partly because I’m obsessed with words that I’m not a Guardianista. The Guardian and its readers use them badly. I like people who use them well: A.E. Housman and Clark Ashton Smith, for example. AEH (1859-1936) was an English classicist, CAS (1893-1961) a Californian jack-of-all-trades. But they were both masters of the English language.
They were also thanatic fanatics: obsessed with death. But in different ways. You could say that Housman was more death-as-dying, Smith more death-as-decaying. Not that Smith didn’t deal in dying too: he wrote powerfully and disturbingly about our departure from life, not just about what happens to us beyond it. But Housman didn’t dabble in decomposition and decay. In A Shropshire Lad (1896), the death is fresh, not foetid: necks break, throats are slit, athletes die young, men muse on drowning, fiancées arrive at church in coffins, not coaches. Sometimes the effect, and affect, are ludicrous. Sometimes they’re not. Sometimes it’s hard to decide:
On moonlit heath and lonesome bank
The sheep beside me graze;
And yon the gallows used to clank
Fast by the four cross ways.
A careless shepherd once would keep
The flocks by moonlight there,*
And high amongst the glimmering sheep
The dead man stood on air.
They hang us now in Shrewsbury jail:
The whistles blow forlorn,
And trains all night groan on the rail
To men that die at morn.
There sleeps in Shrewsbury jail to-night,
Or wakes, as may betide,
A better lad, if things went right,
Than most that sleep outside.
And naked to the hangman’s noose
The morning clocks will ring
A neck God made for other use
Than strangling in a string.
And sharp the link of life will snap,
And dead on air will stand
Heels that held up as straight a chap
As treads upon the land.
So here I’ll watch the night and wait
To see the morning shine,
When he will hear the stroke of eight
And not the stroke of nine;
And wish my friend as sound a sleep
As lads’ I did not know,
That shepherded the moonlit sheep
A hundred years ago.
*Hanging in chains was called keeping sheep by moonlight.
That poem mingles beauty and bathos as it contemplates death. Other poems have more or less of one or the other, but for Housman death is metaphor and metaphysics, not morbidity and mephitis. He uses it as a symbol of loss and despair and those are his real concerns. There is no literal death here:
’Tis time, I think, by Wenlock town
The golden broom should blow;
The hawthorn sprinkled up and down
Should charge the land with snow.
Spring will not wait the loiterer’s time
Who keeps so long away;
So others wear the broom and climb
The hedgerows heaped with may.
Oh tarnish late on Wenlock Edge,
Gold that I never see;
Lie long, high snowdrifts in the hedge
That will not shower on me.
That is an example of multum in parvo: “much in little”. Using simple words and simple metre, Housman creates great beauty and can conjure overwhelming emotion. He was one of the greatest classicists in history, an expert in the rich and complex literature of the ancient world, a profound scholar of Latin and Greek. But his poetry is remarkable for its lack of classical vocabulary. There is no Latin or Greek in the poem above and only two words of French. Clark Ashton Smith was quite different:
“Look well,” said the necromancer, “on the empire that was yours, but shall be yours no longer.” Then, with arms outstretched toward the sunset, he called aloud the twelve names that were perdition to utter, and after them the tremendous invocation: Gna padambis devompra thungis furidor avoragomon.
Instantly, it seemed that great ebon clouds of thunder beetled against the sun. Lining the horizon, the clouds took the form of colossal monsters with heads and members somewhat resembling those of stallions. Rearing terribly, they trod down the sun like an extinguished ember; and racing as if in some hippodrome of Titans, they rose higher and vaster, coming towards Ummaos. Deep, calamitous rumblings preceded them, and the earth shook visibly, till Zotulla saw that these were not immaterial clouds, but actual living forms that had come forth to tread the world in macrocosmic vastness. Throwing their shadows for many leagues before them, the coursers charged as if devil-ridden into Xylac, and their feet descended like falling mountain crags upon far oases and towns of the outer wastes.
Like a many-turreted storm they came, and it seemed that the world shrank gulfward, tilting beneath the weight. Still as a man enchanted into marble, Zotulla stood and beheld the ruining that was wrought on his empire. And closer drew the gigantic stallions, racing with inconceivable speed, and louder was the thundering of their footfalls, that now began to blot the green fields and fruited orchards lying for many miles to the west of Ummaos. And the shadow of the stallions climbed like an evil gloom of eclipse, till it covered Ummaos; and looking up, the emperor saw their eyes halfway between earth and zenith, like baleful suns that glare down from soaring cumuli.
“The Dark Eidolon” (1935).
Smith’s logomania could not be satisfied beyond the bounds of English, in Latin, Greek and French: he stepped outside history altogether and created his own languages to weave word-spells with. If you didn’t know CAS or AEH or their writing, who would seem more like the world-famous classicist? Based on what I have quoted so far, it would perhaps be Smith. But that is part of what is astonishing about his writing: he wasn’t merely a Beethoven of prose, creating gigantic melodies with rich and rolling words, he was a poorly educated Beethoven. Here is another contrast with his fellow thanatic fanatic. Housman was not poorly educated and was given a chance Smith never had: to attend and adorn one of the world’s greatest universities. The chance was dropped. Housman attended, but he didn’t adorn:
After showing himself, as an undergraduate [at Oxford], to be a brilliant – even arrogantly brilliant – student of Latin and Greek, apparently set for a lifetime of scholarship, he produced a performance in his final examination that astonished all who knew him. He handed in a series of blank, or nearly blank, papers and was failed outright. Retrieving the situation as best he could, he completed the requirements for a pass degree, got through the Civil Service examination, and secured a post at the Patent Office. (The Collected Poems of A.E. Housman, Wordsworth, 2005, Michael Irwin’s Introduction, pg. 8)
Housman would end his life, laden with honours, as a Professor of Latin at Cambridge, but that isn’t surprising. The fiasco at Oxford certainly was. Why did it happen? A nervous breakdown or failure to work, perhaps, because of his unrequited love for a fellow student: Moses Jackson, who was healthy, heterosexual, and had no time for classical scholarship. In later life, travelling to cities like Paris and Venice, Housman would indulge much more than his gastronomic and aesthetic appetites. But he seems to have believed that sex without love is like food without flavour. And he never ceased loving Jackson. When he completed volume one of his magnum opus, a definitive edition of the Roman poet Manilius (fl. 1st century A.D.), he dedicated it to Jackson in Latin, dubbing him harum litterarum contemptor, “a scorner of these writings”. That was in 1903, when Jackson was married and living in India. Jackson would later move to Canada, where he died of anaemia in 1923. His death was anticipated by this cri du cœur from Housman:
The half-moon westers low, my love,
And the wind brings up the rain;
And wide apart lie we, my love,
And seas between the twain.
I know not if it rains, my love,
In the land where you do lie;
And oh, so sound you sleep, my love,
You know no more than I.
But cri du cœur is not the mot juste: it is a very simple poem with only a single foreign word. That is, if “apart” can be called foreign, after centuries on the tongues and lips of English-speakers. Almost everything else has been there millennia and that is part of Housman’s word-magic. His poems are really about depth, not distance. One of the most famous says, in the same simple vocabulary, that far away is close at hand:
On Wenlock Edge the wood’s in trouble;
His forest fleece the Wrekin heaves;
The gale, it plies the saplings double,
And thick on Severn snow the leaves.
’Twould blow like this through holt and hanger
When Uricon the city stood:
’Tis the old wind in the old anger,
But then it threshed another wood.
Then, ’twas before my time, the Roman
At yonder heaving hill would stare:
The blood that warms an English yeoman,
The thoughts that hurt him, they were there.
There, like the wind through woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then ’twas the Roman, now ’tis I.
The gale, it plies the saplings double,
It blows so hard, ’twill soon be gone:
To-day the Roman and his trouble
Are ashes under Uricon.
Death for Housman, as it was for Swinburne, is “a sleep”: when the body is ashes, the brain is troubled no more. Death does not necessarily sleep in Clark Ashton Smith:
Muntbauut, maspratha butu, [Mumbavut, lewd and evil spirit,]
Varvas runu, vha rancutu. [Wheresoever thou roamest, hear me.]
Incubus, my cousin, come,
Drawn from out the night you haunt,
From the hollow mist and murk
Where discarnate larvae lurk,
By the word of masterdom.
Hell will keep its covenant,
You shall have the long-lost thing
That you howl and hunger for.
Borne on sable, sightless wing,
Leave the void that you abhor,
Enter in this new-made grave,
You that would a body have:
Clothed with the dead man’s flesh,
Rising through the riven earth
In a jubilant rebirth,
Wend your ancient ways afresh,
By the mantra laid on you
Do the deed I bid you do.
Vora votha Thasaidona [By (or through) Thasaidon’s power]
Sorgha nagrakronitlhona. [Arise from the death-time-dominion.]
(After a pause)
Vachat pantari vora nagraban [The spell (or mantra) is finished by the necromancer.]
Kalguth: Za, mozadrim: vachama vongh razan. [Yes, master: the vongh (corpse animated by a demon) will do the rest. (These words are from Umlengha, an ancient language of Zothique, used by scholars and wizards.)]
(The turf heaves and divides, and the incubus-driven Lich of Galeor rises from the grave. The grime of interment is on its face, hands, and clothing. It shambles forward and presses close to the outer circle, in a menacing attitude. Natanasna raises the staff, and Kalguth the arthame, used to control rebellious sprits. The Lich shrinks back.)
The Lich (in a thick, unhuman voice): You have summoned me,
And I must minister
To your desire.
Natanasna: Heed closely these instructions:
By alleys palled and posterns long disused,
Well-hidden from the moon and from men’s eyes,
You shall find ingress to the palace. There,
Through stairways only known to mummied kings
And halls forgotten save by ghosts, you must
Seek out the chamber of the queen Somelis,
And woo her lover-wise till that be done
Which incubi and lovers burn to do.
That is from Smith’s The Dead Will Cuckold You (1951), “A Drama in Six Scenes”. It is also a drama with a sex-scene, by implication, at least. The re-animated corpse follows its instructions, seeks out the palace and enters the “chamber of the queen Somelis”, who addresses it thus as her husband, King Smaragd, beats on the locked door:
Poor Galeor, the grave has left you cold:
I’ll warm you in my bed and in my arms
For those short moments ere the falling sword
Shatter the fragile bolts of mystery
And open what’s beyond. (Op. cit., Scene IV)
I read the play daunted by its erudition, delighted by its epeolatry, and disturbed by its emetic extremity. Some of Smith’s work is about something other than death. This play is about nothing but death. Compare it with Smith’s short-story “The Isle of Torturers” (1933), which contains both poetry and putridity. It’s part richness, part retching. There is poetry like this:
Creaming with a winy foam, full of strange murmurous voices and vague tales of exotic things, the halcyon sea was about the voyagers now beneath the high-lifting summer sun. But the sea’s enchanted voices and its long languorous, immeasurable cradling could not soothe the sorrow of Fulbra; and in his heart a despair abided, black as the gem that was set in the red ring of Vemdeez.
Howbeit, he held the great helm of the ebon barge, and steered as straightly as he could by the sun toward Cyntrom. The amber sail was taut with the favoring wind; and the barge sped onward all that day, cleaving the amaranth waters with its dark prow that reared in the carven form of an ebony goddess. And when the night came with familiar austral stars, Fulbra was able to correct such errors as he had made in reckoning the course.
“The Isle of Torturers” (1933).
There is also putridity like this:
Anon the drowned and dripping corpses went away; and Fulbra was stripped by the Torturers and was laid supine on the palace floor, with iron rings that bound him closely to the flags at knee and wrist, at elbow and ankle. Then they brought in the disinterred body of a woman, nearly eaten, in which a myriad maggots swarmed on the uncovered bones and tatters of dark corruption; and this body they placed on the right hand of Fulbra. And also they fetched the carrion of a black goat that was newly touched with beginning decay; and they laid it down beside him on the left hand. Then, across Fulbra, from right to left, the hungry maggots crawled in a long and undulant wave…
In The Dead Will Cuckold You, the poetry never escapes the putridity. After reading it, you will understand why L. Sprague de Camp remarked this of Smith: “Nobody since Poe has so loved a well-rotted corpse” (Literary Swordsmen and Sorcerers: the Makers of Heroic Fantasy, Arkham House 1976, pg. 206). Nor has anyone since Poe so loved an ingenious torture: in Scene V of the play, King Smaragd threatens his guards with a “douche” of “boiling camel-stale”. There’s humour in Smith’s morbidity, but I think that he dwelt too long on unhealthy themes. It shows both in his stories and in his popularity: the Weird Tales Big Three, H.P. Lovecraft (1890-1937), Robert E. Howard (1906-36), and Clark Ashton Smith, are rather like the three stars in the belt of Orion. Lovecraft and Howard are bright Alnilam and Mintaka, Smith is dimmer Alnitak. His luxuriant lexicon explains part of this, but his necrocentric narratives must repel people too.
Housman wrote about death more delicately and distantly. His work doesn’t so much narrativize the necrotic as thematicize the thanatic. It talks about dying, not decaying, and it doesn’t relish the repellent as Smith’s work often did. This helps explain why Housman is a bigger name in English literature than Smith, though I don’t think he was a greater writer. Housman is a minor poet with a major name. I think he deserves it for the beauty and simplicity of his verse. He’s a word-magician who can conjure tears. Smith is a word-magician who can conjure titans. He did more with English and deserves some of Housman’s fame. With his poetry, he might have won it; with his putridity, he lost his chance.