Fiorello: Hey, wait, wait. What does this say here, this thing here?
Driftwood: Oh, that? Oh, that’s the usual clause that’s in every contract. That just says, uh, it says, uh, if any of the parties participating in this contract are shown not to be in their right mind, the entire agreement is automatically nullified.
Fiorello: Well, I don’t know…
Driftwood: It’s all right. That’s, that’s in every contract. That’s, that’s what they call a sanity clause.
Fiorello: Ha-ha-ha-ha-ha! You can’t fool me. There ain’t no Sanity Clause!
The first film that the Marx Brothers made for MGM, A Night at the Opera is on my list of top-5 films. The scene above never fails to brighten my mood.
I am invoking the Sanity Clause on my participation in the Art of the Novella Reading Challenge. Thirteen books down, I am beyond Passionate. With the last novella, I reached my delight ceiling and this challenge began to feel less like fun and more like hard slog. For the rest of the month I’ll be cheerleading Frances in her continued attempt to read all 42 novellas in the series.
The thirteen books I read for the Art of the Novella Reading Challenge were:
- Benito Cereno by Herman Melville
- First Love by Ivan Turgenev
- The Man That Corrupted Hadleyburg by Mark Twain
- The Duel by Joseph Conrad
- The Hound of the Baskervilles by Arthur Conan Doyle
- My Life by Chekhov
- Rasselas, Prince of Abyssinia by Samuel Johnson
- Stempenyu: A Jewish Romance by Sholem Aleichem
- The Devil by Tolstoy
- The Awakening by Kate Chopin
- The Death of Ivan Ilych by Tolstoy
- The Nice Old Man and the Pretty Girl by Italo Svevo
- Parnassus on Wheels by Christopher Morley
Two of the thirteen I disliked, and two I thought first-rate. The others brought pleasure. There are some brilliant stories in the remaining twenty-nine novellas, which I look forward to reading at a more leisurely pace. For now, having digested thirteen new stories and many more memorable characters, I have binged on fiction. It is time for a little poetry, some diaries perhaps and non-fiction.
For my second of the Art of the Novella series, my daughter selects Turgenev’s First Love. This is good, I am on surer ground with Turgenev than Melville. I consider the short stories in Sketches from a Hunter’s Album as among the finest and Kasyan from the Beautiful Lands the most perfect of that collection.
In First Love Turgenev writes with an artful simplicity, despite the slightly fusty Constance Garnett translation. Sixteen year old Vladimir falls hopelessly in love with twenty-one year Zinaida, daughter of a diminished aristocratic family. With the self-possession of a twenty-one year old beauty, Zinaida, flirts effortlessly with Vladimir, playing him off against a contingent of fervent admirers. Suddenly her gaiety turns to wretchedness – as Vladimir (and the reader) decipher who has captured Zinaida’s love, Turgenev misdirects the reader and leads his story to a shocking ending. Full appreciation of the viciousness of the penultimate chapter, as so often with stories of this period, requires attentive reading. A few words conceal a lot of detail.
It is a weaker tale than those in Sketches, though just rescued from sentimentality by those last two chapters. I’ve never been able to decide whether I prefer Turgenev or Dostoyevsky, on this reading my vote is tipping in favour of the latter.
[Read as part of Frances’s and Melville House’s The Art of the Novella Reading Challenge.]
There are a few artists capable of consistently constructing powerful short stories: Chekhov, Turgenev, Hemingway; contemporaries include Julian Barnes and Julie Orringer.
My Joycean summer enables me to add another to my list, though in completing Dubliners, I have completed Joyce’s short story collection. The stories in Dubliners stand shoulder to shoulder with Chekhov’s oeuvre. Is there a weak story in the fifteen that make up Dubliners? After the Race perhaps, but it may open up on future readings. My favourite three, this time around, in ascending order would have to be: Araby, The Sisters and The Dead. There is sufficient subtlety and depth in the stories to repay many readings.
Twenty years ago I was fortunate to spend part of my education in Dublin. At that time, the city and, in many ways, the people that Joyce portrayed in Dubliners were recognisable. Given Joyce’s apparent manifesto in Dubliners, to portray the city in all it’s iniquity in order to “lead to the spiritual liberation of the city”, it is arguable whether he would feel sufficient progress has yet been made. But perhaps that edginess is what is required to make great cities.