James Branch Cabell

I wouldn't rule out getting one of Cabell's books from a library sometime. My sense, though, is that he was above all "clever," and (as I've often said) I think we have "clever" writers in abundance. Chesterton can certainly be clever, but it's in the service of something far greater. I do understand that you personally find more than cleverness in Cabell, JD, and I acknowledge that my reading of him is so long ago as to be a dubious basis for generalization. But I still think he's probably not for me. In any event, I've got an Asimov project under way now that may keep me busy for months.
 
I wouldn't rule out getting one of Cabell's books from a library sometime. My sense, though, is that he was above all "clever," and (as I've often said) I think we have "clever" writers in abundance. Chesterton can certainly be clever, but it's in the service of something far greater. I do understand that you personally find more than cleverness in Cabell, JD, and I acknowledge that my reading of him is so long ago as to be a dubious basis for generalization. But I still think he's probably not for me. In any event, I've got an Asimov project under way now that may keep me busy for months.

I don't know if you've seen that link to the essay I mentioned, but I think you'd find it, at least, of interest:

http://greatsfandf.com/AUTHORS/BranchCabell.php
 
Just so folks understand -- what I've said, mostly, I think, is that I read Jurgen and "The Way of Ecben" forty years or so ago when I was trying new (to me) fantasy writers at every turn, and these didn't interest me much -- and that I'm not impressed by what I understand, from what I've seen said about him, to be Cabell's habitual irony, etc. But my actual reading of Cabell is from long ago indeed.

It's been
I wouldn't rule out getting one of Cabell's books from a library sometime. My sense, though, is that he was above all "clever," and (as I've often said) I think we have "clever" writers in abundance. Chesterton can certainly be clever, but it's in the service of something far greater. I do understand that you personally find more than cleverness in Cabell, JD, and I acknowledge that my reading of him is so long ago as to be a dubious basis for generalization. But I still think he's probably not for me. In any event, I've got an Asimov project under way now that may keep me busy for months.


Slightly off topic, can you explain the ending of Chesterton's The man Who Was Thursday ? :confused: .
 
can you explain the ending of Chesterton's The man Who Was Thursday ? :confused: .

Chesterton himself says something about the novel's end in his Autobiography, I believe (I don't have my copy at hand).

Email me privately and I should be able to send you a study guide for the novel, which I prepared about 15 years ago -- if you'd like that.
 
I wouldn't rule out getting one of Cabell's books from a library sometime. My sense, though, is that he was above all "clever," and (as I've often said) I think we have "clever" writers in abundance.

I must admit that I have a distinct animus toward that word in such contexts. Granted, there are "clever" moments in Cabell's works, but the main example is not the novel, but the character, Jurgen, who thinks of himself as "a monstrously clever fellow", exhibiting (in the words of Fritz Leiber about his Grey Mouser) "either the bonniest or the bitterest self-conceit"; it is, simply put, his defense mechanism against the stupidity, cruelty, injustice, and often vacuity of life and an awareness that, at the end of it all, he is no more important than the items he takes in as a pawnbroker. It is not his "cleverness" which gives him any meaning, but his humanity; which, despite himself, he finds coming out time and again.

But as for the term... I dislike it because it has the connotation of shallowness, a facile quality of superficial sophistication hiding what is essentially a vacuity of meaning or honesty; and I simply cannot see this as being in any way true of Cabell. Sophisticated his work most definitely is, but not superficially so; this is why it works on a number of levels. And as anyone who has read Beyond Life can testify, at root Cabell has some very serious purposes to his writing, as he deals with some of the largest questions in life; he just finds that ironic authorial tone to be the most effective for addressing these in a variety of ways simultaneously; but beneath that jovial or biting (depending) veneer lie both a tragedy and an epic.

I fear, however, that too many (and I most emphatically do NOT put you in this camp, but rather the commentators you mention) are simply as incapable of seeing the substance here as they are of understanding the distinction between irony and satire or a lampoon.

I would also add that, generally speaking, I have a rather noticeable dislike of most humorous writers, particularly in sff. (Humor itself is another thing.) I even have to struggle to read Moorcock's overtly humorous pieces (again, his "ironic comedies" are in a different class); but Cabell is one of the very rare exceptions, for (as with Twain) his humor is deadly serious at the core, making the use of such a tone all the more difficult and effective.
 
Some may find the following trivial; myself, I find it to be a surprisingly moving and perceptive passage, and something which I would say lies at the heart of Cabell's work. It is from the interrelated set of stories titled Gallantry, and deals with the musings of one particular character who has, in the course of the tales, encountered nearly all the others present at the table. Here he sits watching them, comparing his life to theirs, with the upshot being the following:

Yet in the little man woke a vague suspicion, as he sat among these contented folk, that, after all, they had perhaps attained to something very precious of which his own life had been void, to a something of which he could not even form a conception. Love, of course, he understood, with thoroughness; no man alive had loved more ardently and variously than Louis de Soyecourt. But what the devil? love was a temporary delusion, an ingenious device of Nature's to bring about perpetuation of the species. It was a pleasurable insanity which induced you to take part in a rather preposterously silly and undignified action: and once this action was performed, the insanity, of course, gave way to mutual tolerance, or to dislike, or, more preferably, as de Soyecourt considered, to a courteous oblivion of the past.

And yet, when this Audaine, to cite one instance only, had vented some particularly egregious speech that exquisite wife of his would merely smile, in a fond, half-musing way. She had twice her husband's wit, and was congnizant of the fact, beyond doubt; to any list of his faults and weaknesses you could have compiled she indubitably might have added a dozen items, familiar to herself alone: and with all this, it was clamant that she preferred Audaine to any possible compendium of the manly virtues. Why, in comparison, she would have pished at a seraph! -- after five years of his twaddle, mark you. And Hélène seemed to be really not much more sensible about Gaston....

It was all quite inexplicable. Yet Louis de Souyecourt could see that not one of these folk was blind to his or her yoke-fellow's frailty, but that, beside this something very precious to which they had attained, and he had never attained, a man's foible, or a woman's defect, dwindled into insignificance. Here, then, were people who, after five years' consortment, -- consciously defiant of time's corrosion, of the guttering-out of desire, of the gross and daily disillusions of a life in common, and even of the daily fret of all trivialities shared and diversely viewed, -- who could yet smile and say: "No, my companion is not quite the perfect being I had imagined. What does it matter? I am content. I would have nothing changed."

[...]These people, here at Ingilby, by example, made no pretensions to immaculacy; instead, they kept their gallant compromise with imperfection; and they seemed happy enough... There might be a moral somewhere: but he could not find it.
 
Another bit, for those interested. This from Edward Wageknecht's Cabell: A Reconsideration:
The sirens' songs are forgotten already, and Poictesme may in time join the lost Atlantis. But, for a little while yet, I think that it may provide a number of us with a welcome refuge from the Brave New World. Though there may be much first and last, for which we have to forgive James Branch Cabell, he is still a unique and incomparable figure in American literature. As long as one copy of his books survives in the world, he will remind us that the wind bloweth where it listeth, that the artist is not subject to regimentation. He will never be the voice of a "party" or of a "movement"; he will never speak for anything smaller or more limited than the human spirit itself.

I yesterday finished The Certain Hour, a collection of, again, interrelated stories which spread from the twelfth to the twentieth centuries concerning the poet's (in the larger sense of the term: one with a poetic response to the universe about him or her) involvement with love in its various forms and the importance of this to art and the way we look at life. Some were joyous celebrations of; some were wry commentaries on our failings with; and some were wistful, poignant moments of loss and bravery and generosity.

I have now moved on to The Cords of Vanity, a novel on a different aspect of the theme, generally (so far) lighter in tone, but beneath that tone -- as is so often the case with Cabell -- there is a world of pain and longing, of apprehension of the ideal of beauty (not only physical, but spiritual) linked with our all-too-frequent failing to serve that ideal well (and both our realization of that fact and our self-deception to deny that realization to ourselves), and not a little of the belief that, at our best, we often come very close to achieving at least a momentary touching of hands with that perfection.
 
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The following is from a chapter in The Cords of Vanity. Again, the general tone of this one has been an ironic humor which acts as a distancing technique, allowing Cabell to address various flaws without that "toxic" aspect which might otherwise alienate the reader. In the midst of all this, immediately following a meeting with a former flame (which was largely an exchange of epigrammatic utterances between the two, pointing out just how much the two had grown apart), he recounts how he saw her out for a ride in her carriage, feeling a bit miffed that, though acknowledging his lifting his hat, she did not offer a ride. Then this passage:
A vagrant puff of wind was abroad in the Boulevard that afternoon. It paused for a while to amuse itself with a stray bit of paper. Presently the wind grew tired of this plaything and tossed [it] between the eyes of a sorrel horse. Prince lurched and bolted; and Rex, always a vicious brute, followed his mate. One fancies the vagabond wind must have laughed over that which ensued.

After a minute it returned and lifted a bit of paper from the roadway, -- with a new respect, perhaps -- and the two of them frolicked away over close-shaven turf. It was a merry game they played there in the spring sunlight. The paper fluttered a little, whirled over and over, and scuttled off through the grass; with a gust of mirth, the wind was after it, now gained upon it, now lost ground in eddying about a tree, and now made up the disadvantage in the open, and at last chuckled over its playmate pinned to the earth and flapping in sharp, indignant remonstrances. Then, da capo.

It was a merry game that lasted till the angry sunset had flashed its final palpitant lance through the tree-trunks farther down the roadway. There were gaping people in this place, and broken wheels and shafts, and a policeman with a smoking pistol, and two dead horses, and a horrible-looking dead boy in yellow-topped boots. Somebody had charitably covered his face with a handkerchief; and men were lifting a limp, white heap from among the splintered rubbish.

Then wind and paper played half-heartedly in the twilight until the night had grown too chilly for further sport. There was no more murder to be done; and so the vagabond wind was puffed out into nothingness, and the bit of paper was left alone, and at about this season the big stars -- the incurious stars -- peeped out of heaven, one by one.

The rest of the chapter, poignantly titled "He Participates in a Brave Jest" for reasons I will not reveal here, deals with the aftermath, and is nearly heart-breaking.
 
For any who may be following this, here's yet another perspective on Cabell and his work, particularly the novel I'm (re-)reading at the moment, The Cream of the Jest (a personal favorite):

http://reconditecogitations.blogspot.com/2011/04/cream-of-whose-jest.html

I will say that it almost seems a pity that the writer has given the text of the Sigil of Scoteia in rather more plain form than in the frontispiece of Cabell's novel, but for those who don't have the patience to try to decipher the odd lettering, it will prove useful. I do, however, disagree with him that Cabell was simply "having a little fun with the sigil's writing" as, by virtue of being the frontispiece of the novel, it sets forth the novel's theme, a Romantic theme which is filled with implications of that ideal and what it means.

Incidentally, this particular novel not only has its relation to Twain, as noted in the blog, but also received praise from figures as diverse as Arthur Machen (whose works Cabell had also praised in Beyond Life) and Sinclair Lewis. At times it becomes, as so much of his work does, richly philosophical and poignantly poetic; qualities which, along with the frequent wordplay, makes repeated readings not only a pleasure, but an increasing joy.
 
jdw -- I've found your ruminations on Gallantry, Cords, Cream etc to be very perceptive and spot on -- you should publish an article or book on Cabell! (seriously)

And I found the bit on Twain's story 'My Platonic Lover' to be fascinating -- I hadn't heard of this story which certainly resonates with Cream of the Jest. I have just listened to MPL on youtube and I noticed that in the first paragraph or so Twain uses the phrase "in the flesh" -- this was Cabell's working title for Cream of the Jest. Then at the end of the first [or second?] dream we are told "the night closed down" which reminded me of the way dreams end in Cream -- "the dream ended, and the universe seemed to fold about him, just as a hand closes".

But apparently MPL was not published until the Dec 1912 issue of Harper's magazine. Cabell must surely have seen it there since Harpers regularly published his own stories, and read it too, as he liked Twain. However Cabell's story 'Concerning David Jogram' was published there more than a year previously, in Nov 1911; and in one of his many prefaces Cabell relates how what became Cream had started as a cycle of stories concerning Richard Fentnor Harrowby (the ostensible narrator of Cream). When Cabell decided the Harrowby stories weren't going anywhere he Economically dispersed them -- two or three became part of Cream, one went into Certain Hour (perhaps 'Concerning Corinna' or 'The Lady of All Our Dreams'?) and another was Jogram. So this perhaps places the failed Harrowby cycle earlier in 1911? -- at any rate well before the publication of MPL. But what more likely than that Cabell took some bricks from MPL to use with the stray Harrowby stories to construct his novel "In the Flesh", that is, "Cream of the Jest". Btw, you'll notice the phrase 'in the flesh' recurs a number of times in the text of Cream.
 
Thanks for the comments. I was beginning to think either no one was reading what I'd posted, or that it simply bored 'em silly. As I've noted elsewhere, he has moved well into my top five favorite writers.... In fact, for all my determination to get on to other things which are pressing for my attention, I found myself once again going into Beyond Life; and in doing so, having now read the entire "Biography", I see a number of connections to the rest of the eighteen-volume novel which I certainly had not noted before. For all its discursiveness, it is evident that Cabell very carefully wove the fabric together in a variety of ways, and I maintain that this is a quite unique achievement in literature, and one of the richest I've ever found.

I don't know if I'd feel comfortable doing something on him at this point... though it certainly is tempting. It honestly grieves me that he has become rather a neglected writer, viewed as a humorist or the like, when what he actually engaged in is, frankly, such a variegated ragout, yet so clearly informed by a humane and romantic spirit.

I also thank you for your comments on Twain and Cream of the Jest -- I see him perhaps hinting at this with some of the pieces in that eighteenth volume, but what you've added here is particularly intriguing.

And, as I am going through Beyond Life again, I cannot resist quoting one of my favorite passages (of many) which seems, to me, to give a very good idea of Cabell's own views on the purposes of literature and the seeds from which it grows, as well as a passage concerning Arthur Machen, which some around here might find interesting. The first stems from Charteris' comments on "realism" and the realistic novel, which was such a craze at the time:

And yet, none the less, this novel of contemporary life may be informed by art if, through some occult magic, the tale becomes a symbol: and if, however dimly, we comprehend that we are reading not merely about "John Jones, aged 26, who gave his address as 187 West Avenue," but about humanity, -- and about the strivings of that ape reft of his tail, and grown rusty at climbing, who yet, however dimly, feels himself to be a symbol, and the frail representative of Omnipotence in a place that is not home; and so strives blunderingly, from mystery to mystery, with pathetic makeshifts, not understanding anything, greedy in all desires, and honeycombed with poltroonery, and yet ready to give all, and to die fighting, for the sake of that undemonstrable idea. If, in short, the chronicle becomes a symbol of that which is really integral to human existence, in a sense to which motor cars and marriage licenses and even joys and miseries appear as extraneous things, -- why, then and then only, this tale of our contemporaries shifts incommunicably to fine art....

I wonder if you are familiar with that uncanny genius whom the London directory prosaically lists as Arthur Machen? If so, you may remember that in his maddening volume Hieroglypics, Mr. Machen circumvolantly approaches to the doctrine I have just voiced -- that all enduring art must be an allegory. No doubt, he does not word this axiom quite explicitly: but then Mr. Machen very rarely expresses outright that which his wizardry suggests. And it is perhaps on account of this rash reliance upon intelligence and imagination, as being at all ordinary human traits, that Mr. Machen has failed to appeal as instantly as, we will say, Mr. Robert W. Chambers[....] But here in a secluded library is no place to speak of the thirty years' neglect that has been accorded Mr. Arthur Machen: it is the sort of crime that ought to be discussed in the Biblical manner, from the house-top....
 
Of Cabell I've only read Jurgen, over a decade ago. At the time I was into pre-1945 fantasy: Hope Mirrless, Dunsany, Bulgakov, Flann O'Brien, etc., and this showed up in my radar. But although I recognize it was funny I didn't feel like pursuing more of Cabell's work.

This thread has made me curious to read Beyond Life though: I'm a sucker for writers bickering against the tyranny of realism. Sadly it's always a chore to find recent and decent copies of his work. I'm also worried about revisions: if Cabell often revised, did he also revise Beyond Life? Does anyone know? I'd hate to buy a version that doesn't reflect his most definitive thoughts about it.
 
Of Cabell I've only read Jurgen, over a decade ago. At the time I was into pre-1945 fantasy: Hope Mirrless, Dunsany, Bulgakov, Flann O'Brien, etc., and this showed up in my radar. But although I recognize it was funny I didn't feel like pursuing more of Cabell's work.

This thread has made me curious to read Beyond Life though: I'm a sucker for writers bickering against the tyranny of realism. Sadly it's always a chore to find recent and decent copies of his work. I'm also worried about revisions: if Cabell often revised, did he also revise Beyond Life? Does anyone know? I'd hate to buy a version that doesn't reflect his most definitive thoughts about it.
Have you read Silverlock by John Myer Myers ? That one is a fun read. :)
 
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