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Do You Never Laugh, Miss Eyre?

from pinterest [cropped]

When I was perhaps as young as nine or ten, I attempted to read Charlotte Brontë's Jane Eyre to very unsatisfactory results. I had already pored many times over a severely abridged children's version of the tale, which contained many illustrations of an odd sort of watercolour-meets-oil surrealism. I was familiar with the skeletal plot, held in a state of mixed fascination and repulsion for the bland heroine and exaggerated protagonist-hero, and excessively bored with the 'real' version - which (to my young eyes) simply had more words mixed in. 

Imagine my surprise when, picking up the book again after at least a decade of intentional avoidance, I found it interesting! My chief prior complaint had been against the bleakness and out-of-humor nature of all the characters - from dour Jane to wild Edward to hyper-Puritanical St. John. But I had been mistaken; lacking a matured sense of humor and probably an attention span as well, I missed quite a few of the bright spots and quips that the novel hides. 

That is not to say that the novel is not dark and full of turmoil. But I have grown up, and the book grows on me. (I have also been through the depths of Wuthering Heights, which is dark enough to make molasses spark like gold.) And let's face it - parts of it are just plain funny. Several very competent film adaptations have been made of semi-late years, and despite their competence most of them don't do justice to the snark and spirit of this heroine - which is quite an irony, considering that so much of the time that wit is bent against the idea that feeling and humor cannot be mixed with quietness and principle. 

So in the interest of a producing something under the influence of a head cold, I give you a few of the spots of Eyre that touched my humour. Alas; so many of them are situational and complex. I am particularly fond of the part where - well, but you shall have to read it and unearth for yourself these gems where they fall, fleeting and certain,


like sunlight scattered on the moor.


I deliberated a moment: my answer, when it did come, was objectionable: 
'I must keep in good health and not die.' 

'Don't trouble yourself to give her a character,' returned Mr. Rochester: 
'eulogiums will not bias me; I shall judge for myself. She began by felling my horse.'

'Am I hideous, Jane?'
'Very, sir: you always were, you know.'

'I mentally shake hands with you for your answer, despite its inaccuracy.' 


All that region [the kitchen] was fire and commotion; the soup and fish were in the last stage of projection, 
and the cook hung over her crucibles in a frame of mind and body threatening spontaneous combustion.

'Little niggard*!' said he, 'refusing me a pecuniary request! Give me five pounds, Jane.' 
'Not five shillings, sir; nor five pence.' 
'Just let me look at the cash.' 
'No, sir; you are not to be trusted.'" 


I would always rather be happy than dignified. 

'Justly thought; rightly said, Miss Eyre; and at this moment I am paving hell with energy.' 

Though it was now dark, I knew he was awake; because I heard him 
fulminating strange anathemas at finding himself lying in a pool of water. 

'Mr. Rochester, you must neither expect nor exact anything celestial of me - for you will not get it, 
any more than I shall get it of you: which I do not at all anticipate.'

With that answer, he left me. I would much rather he had knocked me down. 


*In case anyone is prone to needless sensationalism, this is not a racial slur; look it up.
Read More 3 Missages | scribbled by Unknown edit post

“There are no uninteresting things, only uninterested people.”


Over the last several days, Jenny and Abigail and I have at intervals treated with a lively contempt various cliches of modern literature. One of the many mentioned was that of the hero or heroine discovering that he or she possesses the capacity to tame and ride a mythical monster, usually a dragon. I am not saying that in every case this cannot be done originally or sensibly; merely that it has become such a common occurrence that, at least since Eragon, few readers anymore will find themselves taken aback by this "twist" in the story. 

What has brought us to this point, where the taming of a fascinating and awe-inspiring beast of fantasy and mythicality tempts us only to yawn? Has mere overuse of a concept stolen all thrill from us? Is such a thrill to be attributed only to the novelty of a thing? 

I postulate - nay, I would assert the ways of God to men, and justify eternal Providence, but Milton has done so already; so I shall in my smallish turn assert that the extraordinary fails to be interesting because we have ceased to be interested. What is humorous and entertaining, original and earth-shattering about the interaction between a man and a dragon are not scales nor tails nor claws nor the number of Kelvins contained within the breath of the latter. If the beast is able to converse, then the conversation catches our fancies by telling the tale of Persons everywhere conversing, their foibles and follies and faults. If the beast is dumb and raging, it throws sparks very like a fulfillment of the dominion mandate, telling the tale of reason with love exerted over bestial force. But whatever the size or anthropomorphisms of the dragon, it is not the dragon - never the dragon - that fascinates. The dragon draws the edge of the shadow of truth the tale tells, but it is the man who is most fantastical. 

Writers and readers alike, I venture, have lost sight of this, and this is why dragon-riders and all similarly fantastical things wind up so tediously written and tiresome to read. Throw a dragon in merely as a fail-safe to make a story fantastical ("add one dragon and a pinch of villainye"), and the story will be only as fantastical as a dragon. This is why our tales of dragons (along with our sappy romantic novels) reek of tediousness and sawdust when they should ring like bells. And if the writer cannot see beyond the mere trappings of fantasy to the fantastical nature of man, rendered twice-fantastical by virtue of both its fantasticality and its reality, then the reader will not. Some books, as one author put it, tell the truth about its characters, whereas others convey a picture of its author; if the author is bored, the story holds true. A thousand ridden dragons will only multiply the dullness factor a thousandfold. 

“It is one thing to describe an interview with a gorgon or a griffin, 
a creature who does not exist. 
It is another thing to discover that the rhinoceros does exist 
and then take pleasure in the fact that he looks as if he didn't.” 

Read More 0 Missages | scribbled by Unknown edit post

"I think it was the shape of his coat-tails," he said.

Ms. Rachel, over at The Inkpen Authoress, was kind enough to think of me and ask me a series of questions, a sort of interview-a-la-bloggue. There's nothing like a quiet little chat over tea, and this time I did most of the talking - which was perhaps a little over-stimulating for my dialoguical brain, but terribly fun nevertheless. I hope to return the favor and have her muse a little on my space here. She has a knack for asking questions, I'll say; I was quite tickled by the mental fare she gave! 

 Here's a smidge of the interview:






What do you look for first as the mark of a good writer?


We could get into a lot of boring discussion on what makes a good this or that, but I have one initial step, a sort of litmus test, that I often find myself taking. That is, to turn to the back cover and read the brief biography of the author.  If they're British and deceased, that's generally a good sign. 





Thank you once again to Rachel! Take a look at her blog here (or above, for those observant ones), with the interview specifically here. 

And so, having laboured all Labour Day, I shall tuck myself to bed and leave all airy, weighty matters for another day. "After all," said Scarlett, "after all - " 

But that would be cliche. 
Read More 0 Missages | scribbled by Unknown edit post

Only Dull People are Brilliant at Breakfast!


courtesy of deviantart.com 

This piece features two of my favourite characters to play with from The Brew; because every misadventuring hero ought to have the acerbic wit of a spinster aunt to keep him steady. 

I wrote this quite a while ago, which is funny because between the visit to the seaside and the aunt being named 'Jasmine' - well, there's a lot of facts from present happenings that seem to have insinuated themselves into my past. I thought it fitting. This is part of the backstory, which may or may not affix itself to the beginning of the actual plot... 



In England, people actually try to be brilliant at breakfast. That is so dreadful of them! 
-Oscar Wilde-

Archie’s maternal grandparents had belonged to that incredible class of people who possessed so much practicality that they were able to conjure deeper impracticalities in a moment than any sheerly impractical person might have managed in a lifetime. They named their first daughter Charlotte, a name equipped with a sturdy sort of sweetness very like its owner, and in that they could hardly have been anything but sensible. She grew up to be a very pretty girl, with dark eyes that housed the depths of the universe and a mass of dark hair that might have easily overrun a few lesser galaxies. As soon as all was deemed judiciously proper, she fell as decorously into love as anyone of her sex can be expected to, with a wealthy, titled, landed man of few remarkable looks and many remarkable stories. Of course, she really married him more for the stories and less for the titles and land, but her parents never suspected such an impropriety. She settled at his estate in Steeple, and they did not name their first and only son “Archie,” but he soon acquired the nickname after he went to university.
The younger sister (the very aunt towards whom Archie was now bound for a visit) had a very different story. Her parents in their great quantities of practicality had somehow decided that the name “Jasmine” was altogether right and fitting, and so she had grown up with nicknames like “Jazz” and “Rasberries.” (The latter might have been her own fault more than her name’s.) It was not that Jasmine was a bad name; it simply did not suit her. Somehow, the large eyes and flowing hair escaped her, and the flat, pale-brown tones of hair and eyes never blossomed into anything beyond a passing stranger’s thought, “Well, she’s not bad to look at…” She was as different from her limpid name in personality as in looks. Pigment was not entirely culpable for a perpetually shrewish look in her eyes, and she had a way of hissing “men!” like a curse word under her breath which eligibles of said sex found quite off-putting.
Jasmine Upton’s fate was therefore sealed: a spinster and the favourite aunt. It did not matter to Archie or to her that she was the only aunt; both lived in full assurance that, had the former twenty aunts, it would not have been otherwise. She lived in her family’s comfortable estate in the wooded hills of North Chelsea, only a few hours’ ride from the northwest seashores.
The prospect of visiting the seaside was enough to delight the heart of any young man between the ages of ten and thirty, much less one living in the middle of Chelsea’s flatlands, but there existed a kinship between aunt and nephew deeper than a boy’s love for running out of doors. Such a bond sprang not wholly out of the lofty estimation of the aunt in the nephew’s eyes. Archie had somehow borrowed her unremarkable looks in spite of being the son of her more striking sister, and out of this came a maternal instinct towards her nephew on the spinster’s part. What was more, she discovered early on that the lad was clever.
Their first breakfast of this particular holiday together contained such familial conversationalisms as characterized all their dealings.
“Darjeeling—”
“Please, Aunt, my friends call me Archie.”
“Your friends—whom I have yet to meet, I might point out, though I have run into one or two stupid collegiate babes-in-arms who blithered on as if they might have some claim to acquaintance with you—may call you what they will. I, as your aunt, have not the capacity to be so disagreeable, and may call you ‘High Supreme Lord Darjeeling Falcon’ if I so please.”
Archie tried very hard to look displeased and failed. He settled for stuffing his face with marmalade and toast.
“Now, Darjeeling, what will you do with yourself after you finish this six-year spell of trying your wits in the company of dolts?”
Aunt Jasmine did not think much of the current academic system, but if that had ever bothered Archie he had come to see things her way long since. He set his teacup down carefully and fixed his aunt with a grave stare. “Thank you,” he said at last, before returning to his breakfast.
She did not blink. “You are welcome, of course, though I’ll thank you not to use my honest questions as excuses for you to play the enigma.”
Archie hastened to explain. “Thank you for asking me what I meant to do with myself. Most people ask what I mean to do with my degree, and I feel as though it ought to be some great, malleable substance, which I may turn into a grand sculpture or a set of new drains. But the depths of my organs (especially during breakfast) instinctively inform me that my degree will be little more than a piece of paper for service, and while I’m a dab hand at paper hats and  boats neither of those will do very well for keeping my head or my toes dry – let alone my belly full!”
“Really, Archie, if one didn’t know you were so clever one would think you fearfully stupid. Not that I’m certain there’s a vast difference, mind,” she added, giving him an ironic look over her slanted spectacles. She gave him those looks every now and then, the sort that made him wonder if she were not fully capable of turning him into a toad on a whim. The speculation struck him as delightful rather than frightful. “My sister is not clever enough to be less clever, and her late husband—God rest his soul!—had the same problem, and consequentially you felt bound to outclever them both. Now, if I had had the raising of you—”
“My dear aunt, if you had raised me, you would find me insufferable. I count it one of the better parts of my life that you did not have a hand in my upbringing; it has made us so much the better friends.”
His aunt contemplated the notion at the bottom of her teacup. “True,” she conceded at last. “I shan’t pry into your future. I leave it to you to rush in where angels fear to tread. Only tell me you don’t mean to go on dwelling in a state of academia indefinitely. Academics are like narcotics, or perhaps the plague. If you didn’t mean to get out sooner rather than later, I should have to disown you, which wouldn’t put you off terribly, but it would inconvenience me tremendously. A fate worse than death, really,” her face grew as grave as Archie had ever seen it before: “I would have to rewrite my will. I can’t stand the sight of my lawyer, much less the sound; he grows more portly and dead-eyed and monologue-bound by the century – not that Tetley & Sons isn’t a good firm, or the most lucrative in the country. All the same, I’m glad you did not study law.”
Archie absorbed the statement and then selected the least irrelevant of all its contents as the subject of his next statement: “I believe I’m graduating with a Tetley. He studies law and complains perpetually about working for his father’s firm.”
For perhaps the first time in his acquaintance with his aunt, she looked extremely anxious. “I hope you’re not particularly acquainted with the boy!”
“Acquainted, but there is little soul-sharing between us.”
“That’s a mercy, then, for he’s certain to be a bore after a year at his father’s firm. That is why you must never tempt me to disown you, for I don’t care to summon my lawyer to my side ‘til after my flesh really begins to decay. And then, Darjeeling, I fear you will have to suffer his presence, though I warn you to spend no more time with him beyond the reading of the will. I’ve tried to make it a sprightly document, but Tetley Sr. could make anything a frightful bore, and those things are catching!”
“Do you mean, Aunt Upton, that after ten minutes’ conversation I might find myself portly and over-fond of the sound of my own voice?”
“I am quite certain the latter is already true,” his aunt gave him a glare, the same glare she had found effective in her youth at withering the hopes and self-confidence of at least fifteen careless young men at once. Her nephew, she noted with not a little pride, seemed to find the strength of such ire supremely amusing. Still, she rallied her disgruntlement enough to add, “I don’t think there’s ever much a chance of your being portly; the proportions of your paternal line saw to that. Still, life is full of uncertainties.”
The conversation was laid to rest after that, most likely due to the fact that Archie made a point of eating two or three times his usual amount of morning feed. This did not escape the notice of the aunt, who decided that persistent valor in the face of an impending danger was one of his better qualities. She braced herself for an entertaining fortnight.   
Read More 2 Missages | scribbled by Unknown edit post

Far-Flung Echoes of Long-Forgotten Tales

I'm in the process of packing up and moving across town. This means dragging out every article of everything that I own and deciding whether to take it or leave it. Among the rubble behind my bed was a packet of letters and scribbles, some of them pages taken from journals that I have since (apparently) discarded. I don't know why I kept them, but among these I found stories and notes from events long since forgotten:

October 28, 2005

Calvin comes limping into the garage door, crying pitifully, face streaked with a mixture of dirt, tears, and blood. (Churchill would be proud.) To any general assessment, he has just gotten into a big fight... one wonders what the other guy looked like. 

His story? 

"I sawed Greg flipping on the swing, an' I tried it, an' I did it, but oncet I falled!" 

(And Ben choruses from the background: "He can do really good flips!") 

I washed off his face - the bloody nose, bloody lip, bumped noggin slightly abrased - not to mention all the dirt in his mouth, nose, lips, and hair! Ah. And then he had to change his shirt, which was FILTHY disgusting... 

April 09, 2007

John Flavel says:

"When you go to God in any duty, take your heart aside and say, 'O my soul, I am now engaged in the greatest work that a creature was ever employed about; I am going into the awful presence of God upon everlasting moment. O my soul, leave trifling now; be composed, be watchful, be serious; this is no common work, it is soul-work; it is for eternity; it is work which will bring forth fruit to life or death in the world to come. Pause awhile and consider your sins, your wants, your troubles; keep your thoughts awhile on these before you address yourself to duty." -Keeping the Heart 

Today, I find it ironical,

that in an event I do not recall and a book I do not remember reading, two common practices (that of dealing with dirt and blood, and that of self-dialogical writing) would surface so strongly. I don't know why I kept those papers. It's kind of cool. 
Read More 0 Missages | scribbled by Unknown edit post
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