Poetics, Perception, Disinterestedness: An Online Notebook

Showing posts with label novels. Show all posts
Showing posts with label novels. Show all posts

Saturday, June 07, 2008

Pride and Prejudice...and Autism

So Odd a Mixture: Along the Autistic Spectrum in Pride and Prejudice (2007):

[This book] looks at eight seemingly diverse characters in Austen's classic novel, Pride and Prejudice, who display autistic traits. These characters--five in the Bennet family and three in the extended family of the Fitzwilliams--have fundamental difficulties with communication, empathy and theory of mind. Perhaps it is high-functioning autism or Asperger's Syndrome that provides an explanation for some characters' awkward behaviour at crowded balls, their frequent silences or their tendency to lapse into monologues rather than truly converse with others.


Book review by Michael Giffen: There's a danger when we apply clinical disorders to persons or characters we don't understand or don't like. Look at what critics who never knew Patrick White did to him and his novels.

High among the frontier problems between psychoanalysis and criticism, C.S. Lewis notices some critics use psychoanalysis to infer the pathology of an author from his or her work, which results not in literary criticism but in pathological biography.


Sunday, April 20, 2008

The Real Siegfried Sassoon

Regeneration (1991) by Pat Barker is the first in the trilogy of novels on the First World War. The excerpt below narrates the first meeting of poets Siegfried Sassoon and Wilfred Owen. The stuttering Owen asks the older, established poet to sign five copies of Sassoon's book:

Owen, feeding the names, would have given anything to say one sentence without stammering. No hope of that--he was far too nervous. Everything about Sassoon intimidated him. His status as a published poet, his height, his good looks, the clipped aristocratic voice, sometimes quick, sometimes halting, but always cold, the bored expression, the way he had of not looking at you when you spoke--shyness, perhaps but it seemed like arrogance. Above all, his reputation for courage. owen had his owen reasons for being sensitive about that.

Sassoon reached the last book. Owen felt the meeting begin to slip away from him. Rather desperately, he said, 'I l-liked "The D-Death B-Bed" b-best.' And suddenly he relaxed. It doesn't matter what this Sassoon thought about him, since the real Sassoon was in the poems.


The Death-Bed from The Old Huntsman and Other Poems (1918):

He drowsed and was aware of silence heaped
Round him, unshaken as the steadfast walls;
Aqueous like floating rays of amber light,
Soaring and quivering in the wings of sleep.
Silence and safety; and his mortal shore
Lipped by the inward, moonless waves of death.

Someone was holding water to his mouth.
He swallowed, unresisting; moaned and dropped
Through crimson gloom to darkness; and forgot
The opiate throb and ache that was his wound.
Water--calm, sliding green above the weir.
Water--a sky-lit alley for his boat,
Bird-voiced, and bordered with reflected flowers
And shaken hues of summer; drifting down,
He dipped contented oars, and sighed, and slept.

Night, with a gust of wind, was in the ward,
Blowing the curtain to a glimmering curve.
Night. He was blind; he could not see the stars
Glinting among the wraiths of wandering cloud;
Queer blots of colour, purple, scarlet, green,
Flickered and faded in his drowning eyes.

Rain--he could hear it rustling through the dark;
Fragrance and passionless music woven as one;
Warm rain on drooping roses; pattering showers
That soak the woods; not the harsh rain that sweeps
Behind the thunder, but a trickling peace,
Gently and slowly washing life away.

He stirred, shifting his body; then the pain
Leapt like a prowling beast, and gripped and tore
His groping dreams with grinding claws and fangs.
But someone was beside him; soon he lay
Shuddering because that evil thing had passed.
And death, who'd stepped toward him, paused and stared.

Light many lamps and gather round his bed.
Lend him your eyes, warm blood, and will to live.
Speak to him; rouse him; you may save him yet.
He's young; he hated War; how should he die
When cruel old campaigners win safe through?

But death replied: 'I choose him.' So he went,
And there was silence in the summer night;
Silence and safety; and the veils of sleep.
Then, far away, the thudding of the guns.


More from the Siegfried Sassoon collection at Bartleby.