“This
is not a book about Dreams; it is meant for those whose `continual cares,
fears, sorrows, dry brains,’ drive rest away; it contains some of the composing
and calming beauties that, in their compiler's own experience, bring a happy
sleep in their train.”
Had
Marianne Moore kept and published a commonplace book, it might have resembled Planet and Glow-Worm: A Book for the
Sleepless (Macmillan & Co., 1944), compiled by Edith Sitwell. Even the
passage quoted above, the first sentence of Sitwell’s preface, contains a Moore
trademark – the apt but unidentified allusion. It also reflects Moore’s taste
for broad, recondite reading. The quote within the quote above is borrowed from The Anatomy of Melancholy, a Sitwell
favorite. Happy serendipity led me to
the slender blue volume, once in the personal library of Edgar Odell Lovett, the
first president of Rice University, and now in the collection of the Fondren Library. I know Sitwell and her brothers, Osbert and Sacheverell (both
generously represented in the book), largely by reputation, and they impress me
as an eccentric English phenomenon that never successfully crossed the
Atlantic.
A
paradox is built into the notion of bedtime reading. Do we wish to read books strictly
as soporifics? If so, we would reach for a title by the dullest writer imaginable
– Joyce Carol Oates. Or do we select a good book, one that will be difficult to
close and will postpone sleep and induce the next morning’s hangover. Sitwell
at first does little to resolve the dilemma: “The greatest of all works of
literature, in a certain kind, bring comfort to the heart, but they do not
bring sleep . . . they awaken the heart and the soul to what lies beyond grief.”
And she includes in Planet and Glow-Worm
samples of the “greatest
of all works of literature” – Shakespeare, Keats, Baudelaire. Here is another
passage from Burton included by Sitwell:
“And
withal to refrigerate the face, by washing it often with rose, violet,
nenuphar, lettuce, lovage waters, and the like . . . Quercetan commends the
water of frog’s spawn for ruddiness in the face. Crato would fain have them use
all summer the condite flowers of succory, strawberry water, roses . . . It is
good overnight to anoint the face with hare’s blood, and in the morning to wash
it with strawberry and cowslip water, the juice of distilled lemons, juice of
cucumbers, or to use the seeds of melons, or kernels of peaches beaten small,
or the roots of Aron, and mixed with wheat bran to bake it in an oven, and to
crumble it in strawberry water, or to put fresh cheese curds to a red face.”
The
risk here, of course, is that Burton’s recipes might make you hungry and
inspire a midnight visit to the refrigerator, further postponing sleep. If Sitwell’s strategy after all
is to encourage tedium, yawning and sleep, she includes a useful excerpt
from a writer even duller than La Oates, Gertrude Stein, who is represented by
a mercifully brief excerpt from The World
Is Round. Similarly, you’ll find samples from Finnegans Wake and Blake’s
“Book of Thel.”
I
love miscellanies and detest manifestos. Sitwell’s compendium takes its place
among the commonplace books and kindred creations that serve as models for the
sort of writing that comes naturally to me -- brief essays (Dr. Johnson called them "sallies of the mind") unified only by a common sensibility. One of the reasons I’ll never be a
critic is that I lack the necessary analytical and organizational skills. The
late David Myers identified the species I represent, and then he joined us:
“Book
blogging on the model of the commonplace book has attracted some of the most
interesting foxes now writing about books . . . These are writers united not by
doctrine or ideological commitment, but by an ambition to copiousness and
eloquence—and the secret handshake that passes between those who have spent a
life among books. They are proud to be foxes. They don’t avoid hedgehogs; they
just don’t want to be one. They are happy knowing many small tricks. Or,
rather, such knowledge brings them great happiness.”
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