In large letters, his muse inspires him to despair. Wishing is futile, sing her lyrics, because even under high tension his brain will accomplish little. His city is New York, the year is the year of The Waste Land, and the choir giving voice to its libretto of events is named The Lonesome Million.
But the fine print will deliver doubled Peter to hearty laughter and constant protection against all the troubles of the world. All he’ll need in advance of that is whiteness, 75¢ a month, and facility with the etiquette of the word thus.
Once, at a moment in history when ships’ bridges were so new to language that they literally and non-metaphorically were bridges, light broke through clouds above a bridge and people were saved. For that we have the testimony of a picture with words.
From left to right, the fine-print captions under the image read Lockwoods, Pensylvania [sic], Life Boat, St. Andrew, Victoria, and Day & Haghe, Lithrs. to the Queen. Then, larger, comes this confident explication.
The barely legible words at the end appear to be “The Publishers,” perhaps originally in a different color.
But it’s the caption’s other words that are the hard ones to read. The reason is that their key verb, “rescuing,” belongs to a genre that is now extinct: the genre of religious adoration of the present time. In the moment of that genre, the Transcendentalist painter and poet Christopher Pearse Cranch (1813-1892) could write a text called “The Spirit of the Age” which ended:
The mute machine is moved by a law
That knows no accident or flaw,
And the iron thrills to a different chime
Than that which rang in the dead old time.
For Heaven is taking the matter in hand,
And baffling the tricks of the tyrant band.
[. . .]
And some who from their windows mark
The unwonted lights that flood the dark,
Little by little, in slow surprise,
Lift into space their sleepy eyes;
Little by little are made aware
That a spirit of power is passing there,–
That a spirit is passing, strong and free,–
The soul of the nineteenth century.
But because one of your first emotional reactions to the lithograph probably included a distancing term like “museum piece,” you have a historiographic problem with seeing. A century and a half before your time, the soul of the nineteenth century passed into the scene of rescue, but then it continued on through and out, taking with it much of the word rescue’s emotional context. Now this image of rescue is just an item in a museum, but in its own time it was readable in the home as an allegory of salvation. Some happiness then followed. But the picture isn’t making you happy now. Its caption no longer teaches you to adore.
Because (for one reason among many) in the twentieth century, Cranch’s grandnephew T. S. Eliot was to turn the soul away from his ancestor’s poem’s olfactory regime of coal smoke in favor of French cigarettes and then of Anglo-Catholic incense. Before Eliot’s disdainful gaze the unwonted coal-gas light ebbed as well. Under redarkened heavens there no longer remained enough energy to read hope by.
are a continuing revelation. Letters filled with passionate avowal from a man to a woman would ordinarily be called love letters, but these letters were written by T.S. Eliot, and history has opened the trunk of the machina just in time to make delivery during the Trump era. There, the marvel of the letters turns out to be their dreadful familiarity, in ways that would have been hard to credit just five years earlier. From them we now learn, for instance, that Eliot was capable of explaining to the woman he said he loved that if he were to divorce his estranged wife, the Church of England would suffer its most grievous loss since the conversion of John Henry Newman (Dickey’s posts “Temptation and Duty,” 5 February 2020, and “Establishing Patterns,” 17 February 2020).
We read such texts this year as we read Twitter this year: in hope that there may be a world outside the text.
Even if the text does seem for the moment to be all that there is, we yearn for a counterbulletin. For the author of the texts to Hale, then, perhaps as if from the beings that he classed as Grishkin and Sweeney, this tentative counter-hope from the gutter.
The gutter creatures
are two cattle egrets and a mongoose. The mongoose has been dining on food that people leave on the ground in his Honolulu park for feral cats. Like the birds who would be his prey if it weren’t for that gutter kindness, he is beautiful directly, without what Eliot might have called dissociation. When he opens his mouth to bite, he is obeying only one law: a law whose pure text originated before speech and now reveals itself in indifference to anything said in speech afterward. The spring to the kill or the flapping ascent into air are, poem or no poem.
the last poet who might have gotten away with using the phrase “sin and error” about the Battle of Britain was probably Emily Dickinson (d. 1886), she who successfully wrote a poem (Fr479, “Because I could not stop for death”) containing the word “immortality.” By the time of T. S. Eliot (b. 1888), that era in the possibilities of language had passed. The Wright Brothers, sons of a bishop, had vouchsafed to Eliot’s time a descriptive lexicon that made obsolete some key words of the Book of Common Prayer, but Eliot didn’t journey to the airfield to pick up the mixed parcel of words and mathematics that held his new heritage. Instead, sheltering from bombs, the great modernist poet regressed to black letter. Throughout the Quartets he is articulate about what can’t be easily read through that ornamented face (EastCoker II: “A periphrastic study in a worn-out poetical fashion”), but he is a man of letters, articulate only in letters.
Yet the light and air through which another dove is descending as you look are text-free. In the text above, the word “dove” stands in ways not related logically or representationally for both an icon in stained glass and a night-gray Heinkel 111, but the feathered luminance in the image below is merely and wholly a body. It is not an allegory of body; it is body as such. Words wear out, says a T. S. Eliot poem written in words, but the whistling, flapping sounds of descent aren’t words. They subsist in the audible as they have never stopped subsisting: audible only; immortally un-paraphrasable in mortal language. To hear them under that aspect, holding in conscious abeyance the idea of a meaning beyond nature, is a joyous fear. A text in black letter tells us that fear before the supernatural is the beginning of wisdom, but joy is in the understanding that light comes to us by laws of nature as a continuation without an end. What it communicates is not a predication but a melody.
Demonstrably, one thing about the life of the electrical engineer Mark Anthony remains in historical memory. His dates of birth and death don’t seem to be accessible online, but during the years of his floruit, 1909-1911, he is known to history to have been experimenting in New York with what we would now call a radio-controlled drone bomber. About that the online record yields two reprinted newspaper articles. Says Anthony in one of them, from 1909,
There are also two 1909 portraits in the Library of Congress’s George Grantham Bain Collection, an archive of news agency photographs. One is captioned “Anthony at transformer,” and it shows a standing man, presumably Anthony, looking down at a table upon which rests a transformer. By analogy with “at bat” or “at the wheel,” the phrase “at transformer” is a dramatis persona in a scene of power and mastery.
The other portrait . . .
Dark but with a rubbery sheen, the rope-bound object in the background may be what the newspaper article calls “a balloon 22 feet long, with a capacity of 600 cubic feet of gas.” Anthony’s right hand rests on what looks like a compressed-gas cylinder’s hose connection, and it seems to be holding the inflation tube of another balloon, tied off with string. The system looks ready for arming and flight, and the artist who memorialized the event for history bent his name to the masterful arc of the inventor’s shoulder.
A later article about radio control extinguishes the expectation. From Germany in 1911, it reports: “A somewhat similar invention was recently reported from New York, where Mark Anthony, a well-known electrical engineer, offered his device to the United States Government for $125,000. The offer was declined. . . ” But in what Cavafy might have called the days of 1909, an image inflated itself with curves bulging into more curves and then went tense and still, in a waiting phase, at the brink of a moment when the curves might merge, then soar free enclosed in straining rubber, then explode and cause to explode. The balloon, the hat, the nose, and the double beacon of the eyes behind their collimators: all these awaited the unbuttoning of what a poem written in 1911 was to call “My morning coat, my collar mounting firmly to the chin, / My necktie rich and modest, but asserted by a simple pin.”
The unbuttoning didn’t take place in 1909, but the readiness was all. In 1912 Vaslav Nijinsky would fuck the nymph’s veil. Two years after that, the term “blow sky-high” would explode into aeronautical meaning.
Title: Joseph Conrad, The Secret Agent, chapter 4: “I have the means to make myself deadly, but that by itself, you understand, is absolutely nothing in the way of protection. What is effective is the belief those people have in my will to use the means. That’s their impression. It is absolute. Therefore I am deadly.” “Those people” are the police; “the means” is a bomb in the speaker’s breast pocket, with its detonator button in his hand. I visualize a hand looking like Mark Anthony’s.