Since the beginning of 2020, when for two months I was unable to concentrate on any reading unrelated to the latest news—I think of it as my fallows: a temporary but necessary restorative hiatus—I’ve thought a great deal about the experience of reading and particularly the feelings that arise when reading successfully, that is so deeply that time’s flow is stemmed, so vividly that we forget that we are reading, but instead fully enter into a world conjured up somewhere between the mind of the writer and a reader.
What makes an impression when I open the first pages of the book in my hand is what essayist Philip Lopate describes as ‘a voice in the ear’. When encountering a writer for the first time, hearing this voice through the texture of sentences and paragraphs, getting a sense of the world unfolding in our imagination, following a line of thought, takes a little time. Sometimes, if fortunate, the words on the page quickly reveal the blast-furnace of brilliance, that open flame that is evident from the first pages of Woolf’s To the Lighthouse. On other occasions, Sebald’s The Emigrants comes to mind, as does Lispector’s Near to the Wild Heart, the whispering heat becomes evident as the world of the book reveals itself. Some such books become tutelary spirits taking us somewhere we wouldn’t have found alone, others become companions for years or decades.
Once satisfied that that I will allow a writer’s voice to remain in my mind, this isn’t always fully under my control—once I abandoned a book three times, only to be convinced of its disruptive magnificence on the fourth attempt—then reason can lower its guard and allow the world of the book to fully unfold. If the voice in the ear has wielded its key, the door opens to make clearer the atmosphere of a particular book. That elusive combination of voice and atmosphere, similar I think to the German Stimmung, is, for me, what remains long after I have forgotten particular sentences, plots and characters.
Literary atmosphere is not fact, but possibility, a sensory experience closely related to a third element that often defines how central a book will become to my reading life: the spirit of place (genius loci) or world created by a writer, distinctive in all the writers that make up my necklace of tutelary companions, particularly so in the writing of Gerald Murnane, Marguerite Duras, Maria Gabriela Llansol and Thomas Mann.
When I look at the shelves of those books that endure as a personal canon, it is not the characters, or the story, or a plot that unite them; each and all of these can get in the way of what makes a book come alive to me. Nor is it style, which if evident can be too much, or too short a thrill: literary fireworks that dazzle and disappear just as quickly.
That point of encounter between the writer and the reader, in the example of this amateur reader, that allows a book to become an imperfect conduit to what feels like my soul, or at least somewhere greater than just mind or body (and the body is always involved), is always some fine and subtle layering of the voice in the ear, the spirit of a conjured world and that invisible but authoritative atmosphere. When these layers are in perfect balance, those few indispensable books, to borrow from Augustine, are deeper in me than I am in me.
Your fallows are for me like the infamous doldrums at sea. That season has also caused me to revisit old inspirations and dig into new ones. The genius loci of Gerald Murnane has now enveloped me, in all of its difficult, often intellectually painful embrace. So different from anyplace else, from Sebald, Calvino, Borges (I’ve walked the maze on San Giorgio Maggiore – a living Borges tales), and others.
I have also revisited the places that held people in the doldrums – the incrediblly difficult worlds of Dino Buzzati’s The Tartar Steppe and of Julien Gracq’s “The Opposing Shore seem ever more like our world today (and thanks to Nassim Nicholas Taleb for bringing those to attention – we live in the Black Swan World).
Thank you for including us in your reading revelations!
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My pleasure, thank you for your thoughts. Murnane is a living treasure.
Such a wonderful post, Anthony. I think you’ve really got to the essence of why some books/authors are so important to us. My first encounter with Woolf was Mrs. Dalloway and the effect was exactly what you articulate here – it changed my life, in effect, and Woolf and her writing have permanent lodgings inside me. Maybe that powerful a reaction is less common as ou get older and have read more, but it does still happen thankfully.
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Thanks, K! I agree that it is less common, but on the other hand more likely to be enduring perhaps.
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