Tag: Gerald Murnane

Infinite Imagining – Gerald Murnane’s The Plains

Gerald Murnane’s The Plains is perhaps nothing more than a collection of possibilities. A filmmaker goes to the central plains of Australia to make a film for the inhabitants on the country’s populated coastal edges. He is hired by one of the great families of the plains and he stays in the man’s house for twenty years. As for the film, it is never produced. This is all the plot there is to it. But we read through the novel as we walk through a field in the summer, stopping constantly to wonder at everything that eludes our gaze from afar. We learn of the religions of the plainsmen, of their obsessions with emblems and symbols, of their love affairs, and their wars.

The plains have little in common with the real plains of Australia. Instead, this is a highly philosophical book. But not in the sense that it puts forward arguments about the nature of things intending to convince us of some view or other. Instead, it offers us suggestions for interpreting the world that together form not a worldview but rather reflect the fruits of a certain vision of things. The novel shows us not how to live but what a certain life can look like. It is a life of the imagination, of the infinite possibilities of meaning-making latent within us. And reading the novel, we find that this emphasis on the imagination and its limitless potential has a far more practical, human value than we might otherwise guess.

What Does a Plain Mean?

“Twenty years ago, when I first arrived on the plains, I kept my eyes open. I looked for anything in the landscape that seemed to hint at some elaborate meaning behind appearances.”

What is a plain? What does the thought of it do to us? A patch of flatland, with the occasional tree or stream. It is not a complex image. On a piece of paper, we could represent a plain with a single horizontal line. And yet the more we consider a plain, the more Murnane’s novel makes us consider it, we realise just what possibilities are contained within that line, behind it, above it, beyond it. The central event of the novel’s first part is a meeting with the great landowners of the plains at the saloon of the town where the filmmaker is staying. A great many people have gathered at the place to offer their services to those rich men who with a single gesture could offer them work for the rest of their lives.

One man offers a way of representing the great families’ histories on graphs, and for hours they sit with coloured pencils drawing. Others come to offer religions, or emblems, to the landowners. They are constantly reinventing themselves, and always in need of the new visions that such outsiders can provide. Another man talks of a musical concert where the instruments are so far away from each other that we can only hear one or two at the same time, forcing us to imagine the harmonies that would be possible to hear if we were located in some invisible other point.

Many of the ideas and thoughts of The Plains suggest a space that must be filled by the imagination, like the concert/ stage. The philosophies that the plainsmen prefer never answer everything, always leaving space for interpretation. The plainsmen prefer to keep to their own understanding of the plains, rather than suggest that they are limited by common ground. We learn of relationships where after a single meeting two lovers promise never to meet again because the strength of the promise of that meeting is so great that no future reality could ever compare to it- better to fantasise than to live in disappointment. These are people whose imagination can replace a life of experiences but not in a way that seems sad to us. The sheer richness of the thoughts that Murnane describes makes it seem that we are the ones who are missing out on a full life.

Plains of the Soul

Reflection, the journey into another plain – the plain of the self – is the natural mode of these plainsmen. “The plainsman’s heroes, in life and in art, were such as the man who went home every afternoon for thirty years to an unexceptional house with neat lawns and listless shrubs and sat late into the night deciding on the route of a journey that he might have followed for thirty years only to arrive at the place where he sat”. There is a poem of the plains whose thousands of lines only describe the space around a woman seen from afar, but in so doing plant such seeds for the imagination that no description of her could ever compare.

We learn of the infinite plains of the soul. That “each man in his heart is a traveller in a boundless landscape. But even the plainsmen (who should have learned not to fear hugeness of horizons) looked for landmarks and signposts in the disquieting terrain of the spirit” – this is the view of one philosopher of the plains. The mansion where the narrator spends his years is filled with notes and diaries of the place’s previous occupants, and we soon realise that it takes far more than a lifetime to cross the plains of another’s world. The man barely talks to his patron’s wife or daughter, but he creates a plain for them in his mind.

We learn of a war between two factions. The Horizonites and the Haremen grew out of squabbling groups of artists. The former saw the infinite distances bespoken by the far distance as the greatest source of inspiration, while the latter saw the infinite variety of what lies before us as something still richer. Their disagreement bubbled for many years before suddenly disappearing without the armed conflict that seemed inevitable. As with the rest of the action of The Plains, it seemed that the imagination was the best space for carrying out the war.

Meaning-Making

“The mind is its own place, and in itself / Can make a heaven of hell, a hell of heaven.” Milton wrote in Paradise Lost. Murnane’s novel shows the imagination making a heaven out of a space that we might imagine leading only to boredom. The Plains is not a novel that aims to answer our questions. Murnane’s narrator even notes that plains are “simply a convenient source of metaphors for those who know that men invent their own meanings”. Yet if we are to create our own meanings, we must know how to. We must train ourselves to look upon the world in a way that sees the potential for meaning-making lying in everyday things.

I love The Plains because I find this thought dizzyingly exciting. We know of those poets like Rilke who can entertain themselves with contemplating a single object, but Murnane seems to go further – he does not find beauty alone in single-minded contemplation, but a realm of infinite meanings and possibilities.

The Hidden Humanism of The Plains

Our capacity to imagine is perhaps the most extraordinary of human faculties. To see its sharpened form and feel our own be sharpened, as we do in Murnane’s novel, ultimately has a decidedly humanistic effect that seems surprising when we consider that The Plains has very little to do with those aspects of novels that normally make them seem human to us – plots and people. The American philosopher, Thomas Nagel, whom I’ve also been reading recently, notes in his essay “Death” that what makes death bad are “hopes which may or may not be fulfilled or possibilities which may or may not be realized”. In dying we lose possibilities, and the earlier and more unexpectedly we die the greater that loss is.

Death has little to do with Murnane’s novel, but it too is a plain that all of us must cross. More importantly, though, Murnane’s novel provides another way of looking at what Nagel talks about when he refersto lost possibilities. Now, this may seem silly. After all, we know what possibilities a young man at war may lose when a bomb explodes nearby – a sweetheart left unmarried, an unfounded family, an empty seat at the table where his friends sit and break bread. What good is a novel about imagination next to these realities, we might ask?

Only this – that Murnane’s novel reveals a layer of possibilities and riches lying even beyond that which comes to mind most obviously as having the potential to be lost. The novel is like the explorer it at one point describes whose task “is to postulate the existence of a land beyond the known land.” This land is the land of the imagination, and we come to feel by the end of The Plains just how infinite it is. If we die, we do not only lose the infinite world without us, but also the infinite world within us. Newly aware of the depth, death becomes more terrible, and life becomes still more wondrous, vital, and worth holding on to with all the strength we have.

Anyway, it is the kind of book that opens up a world. Just for that reason, it is well worth reading. 

I previously looked at Murnane’s Invisible Yet Enduring Lilacs, which I was less impressed by, here. The Plains, which I have now read twice, is a much better book.

Chopping Down the Bourgeoisie – Thomas Bernhard’s Woodcutters

I am not, on the whole, a fan of what I would call “closed-box novels”. Those torturous first-person narratives which Beckett and Murnane and so many others like to write, where our main character is generally floating in space, very rarely lucky enough to be trapped in a small box. From within this cramped environment they ramble, complain, whatever. But given how far detached from our own world theirs is, I get very little from them. Such narratives neither bring us closer to our fellows, nor do they ever appear to have any positive message to impart at all. Just pessimism and cynicism. If I wanted that, I’d go outside.

Thomas Bernhard’s novel Woodcutters is in some sense one of these closed-box mysteries. The main character spends most of the narrative sitting in a chair at a party, reminiscing or else thinking ill of those around him. A little later he has a bite to eat, sits and listens to an actor discourse, and finally goes home. What action there is lies within his mind until very late in the story. Though it is unparagraphed, and though it has a certain peculiar disconnection from human life that reminds me of Beckett, I ended up enjoying the novel. There was some light within its caverns, and the writing is also (trans. David McLintock) far funnier than I had expected.

I suppose I would like to open the box, and explain briefly what value to us in the real world this novel might have.

Plot Introduction

Woodcutters is set in Bernhard’s native Austria, in the Vienna of the 1980s. Our narrator is a writer, temporarily back in his homeland from England, where he appears to be in self-imposed exile. While in Vienna he accidentally encounters the Auersbergers – a married couple and old friends from the 50s, whom our narrator now despises, and they give him an invitation to “an artistic dinner” that he somehow fails to decline. He also hears of the suicide, by hanging, of their mutual friend, a woman called Joana. The action of Woodcutters takes place during this dinner, the same day as Joana’s funeral – first as our narrator sits alone on his chair, then during the dinner itself. The guest of honour is an actor from the Burgtheater, the most important Viennese theatre, but he is running late. Among the various guests is also Jeannie Billroth, another writer who the narrator despises.

Joana

The narrator’s treatment of his old friend’s suicide is rather ambiguous. As with most of the people in Woodcutters, Joana had once had a great impact on the narrator’s life, but since been abandoned by him. She had had a hard life, coming from the countryside to Vienna to be an artist but then ending up simply doing movement classes with actors. She married, but then Fritz, her famous fabric-making husband, ran off to Mexico without her. And so she drank, and drank, and the narrator is more surprised to hear that she had recently still been alive than that she had died. Why exactly she ended her life is unclear – what final thing brought her to go to the countryside and hang herself. But the narrator says he had always known she would hang herself, because she had dreams and dreams are not fit for this world.

Joana had been the narrator’s friend, and he had taken no interest in her these past ten or twenty years. Whether or not there is any guilt there is hard to say, but the cynicism of the narrator shouldn’t be confused with authority. At the funeral, which takes place in the village where Joana grew up and died, the narrator encounters John, Joana’s companion. At first he hates him, considering him an ill-educated peasant, but as he recollects the funeral his opinion changes, and he realises that in comparison with the bourgeois trash that were also there, John was actually a good man. He had organised the funeral, he had done his duty and looked death in the face in the way that the endlessly posing Viennese never had. And that, of course, is better than nothing.

Auersberger

Just now looking through the German Wikipedia page for Woodcutters I discovered to my surprise and, I think, horror, that these characters all have quite clear analogues in the real world. In many cases Bernhard did not even bother changing first names. That is a surprise because Woodcutters is full of characters with changed names. Joana was originally Elfriede, for example, and Auersberger’s name has also been pruned by him to make it sound more aristocratic. Everyone here is trying to be someone other than themselves.

The Auersbergers, “Auersberger” and “his wife”, are the hosts of the party. They have not changed in the thirty or so years that the narrator has had the misfortune of knowing them. The man is a composer, from the school of Anton Webern; his wife is a singer. Auersberger had promise, had genius perhaps, but now he is simply considered one of Webern’s many successors. He has a drinking problem, and occasionally goes for drying-out cures.

Their marriage is not happy – none in the book is. They are sustained by her money and these social events. They are, to quote our narrator, “perfidious society masturbators”. They have destroyed an entire village – the source of her wealth – by their indolence. As they do no work, they are forced to gradually sell parcels of land from her inheritance, which leads to land development. And no doubt by not working they are also doing a lot of damage to their souls. Everything about the Auersbergers is fake, dishonest. I particularly enjoyed the several pages where the actor talks about The Wild Duck, the play by Ibsen that he had been in, and not one person save Jeannie and the narrator has actually seen it. But in addition to the fake names there are fake books, fake libraries, fake relationships. Their whole world is false.

Auersberger, though, is terribly funny. He has drunk far more than he should and his wife keeps trying to force him to go to bed, whereupon he kicks her. But the best line in the book, I thought, comes when the discussion turns to suicide’s prevalence among the Austrians at that time.

“The Styrians are rather prone to suicide, said Auersberger, who by this stage was just about totally drunk and had become highly agitated. He told the actor that he was surprised that so few Burgtheater actors killed themselves, since they had such good reason to do so. Saying this he burst out laughing at his own remark, though the others merely found it embarrassing and glared at him.”

This gives a good idea of the humour in Woodcutters. It is cruel, but it is also shockingly funny. Yet I cannot leave Auersberger like this, because his particular character goes too far. The narrator is cynical, is brutal. But Auersberger – at least to me, reads as someone far more sinister, considering the context of politically unrepentant Austria in postwar period. When he starts talking about how “the human race ought to be abolished”, or “we should all kill one another”, it suggests a kind of unreformed Nazi nihilism, at least to me. So too does his destruction of chairs and wineglasses. He is good for a laugh, but not when you start thinking about him.

Jeannie and the Actor

Considering it is a broadside against Viennese bourgeois society, art naturally enough sits at centre of Woodcutters. Our narrator time and again refers to the way that Vienna consumes talented artists and turns them into mediocrities – Joana and Auersberger are but examples of this. Only Fritz and – we presume – the narrator, were able to escape the Austrian capital’s pernicious influence, and then only by fleeing abroad. Jeannie Billroth, who the narrator once served as lover, is one who has not escaped Vienna’s clutches. Styling herself as the Viennese Virginia Woolf, she is in the narrator’s eye a phenomenal mediocrity. Her days, he suggests, are spent pandering to politicians to secure pensions and prizes. After all,

“Artistic life in Austria is a road built by state opportunism out of people’s baseness and mendacity, paved with scholarships and prizes, lined with decorations and distinctions, and leading to an honoured grave in the Central Cemetery”.

If Jeannie is as untalented and inauthentic as everyone else at the party, the actor is almost the opposite. He arrives incredibly late, pays decorum no heed, but though he is for the most part boring, he is nonetheless himself. When Jeannie asks him, not once, not twice, not even three times but repeatedly until he cannot ignore her any longer, whether he could say, “at the end of his life, that his art had brought him fulfilment”, he at last snaps. He hates the party, hates the people there, and hates Jeannie above all. What he wants, what he truly wants, is “to go into the forest, deep into the forest… to yield oneself up to the forest” and be a woodcutter.

The actor, who had described to the uninterested listeners how he had holed himself up in a mountain shack in order to learn his lines and truly feel his role, is the real artist. Of course, he is as petty as the rest of them in many ways, and he does appear slightly ridiculous. Here is the wonderful description of him eating. It is truly amazing how Bernhard manages to convey the rush of the artist’s spooning in his language:

“Ekdal, he said, spooning up his soup, has been my dream role for decades. And then he went on, interrupting himself after every other word to spoon up more soup, Ekdal—pause for a spoonful—has always—another spoonful—been my—another spoonful—favourite part, adding, after two more spoonfuls, for decades.”

Truth-telling and Cynicism

Why mention the spooning? Because it makes the actor look ridiculous. It undermines him, and Woodcutters as a whole is about undermining people. It is about, in some sense, telling the truth.

“For years, perhaps for decades, we may have wanted to tell someone the truth to his face, the truth that he has never heard because no one has dared to tell it to him to his face, and then at last someone does it for us.”

It is only, obliterated by another person, that we can ever reflect upon ourselves honestly and turn away from the incorrect path that we are on. Sometimes, not even that is enough. In another moment that had me write “big oof” in the margins the narrator turns to a very drunken Auersberger, quite randomly after the dinner, and say

“that he had made a mess of his life and dragged his genius in the dirt for the sake of a rich wife and high living, that he had destroyed himself in the process and made drinking the be-all and end-all of his life, that he had exchanged one misfortune, that of his youth, for a second misfortune, that of old age, that he had sacrificed his musical genius for his revolting socializing, and intellectual freedom for the bondage of wealth.”

Big oof indeed.

Can we ever break out of the cycles that we are in? Are we condemned to them until at last, confronted with the sheer awfulness of other people, we finally snap? The cynicism of the narrator is not without its purpose. There is at least a kind of hope, if only for himself, that life can be better than an artistic dinner in Vienna. And as the novel ends he runs – literally runs – determined to make something of his experience that isn’t just a complaint. There is something to be valued here.

Conclusion

Woodcutters is the first work of fiction by Bernhard that I have read. I remember once starting Frost and stopping, but after Woodcutters I have already ordered another novel. Woodcutters is not quite the closed-box I thought it was. It is hilarious in a way that is relevant to us all, living as we do in a bourgeois cultural milieu (you are on this blog, after all). It is not too long either, and easy to read. Bernhard’s style has his narrator constantly going in circles, searching for perfect barb with which to pierce his old friends’ bubbles. And these barbs are not the end. There is a sense, a limited sense, that underneath the cynicism and the misanthropy there is a good world and a good life to be found, just not the one we live in and not the one we’re living.

But that’s what we have books for. To show the way to something better.

Imagination’s Paradise? – Gerald Murnane’s Invisible Yet Enduring Lilacs

I read the Australian author Gerald Murnane’s novel The Plains last year, after coming across him in a long feature from the New York Times. The article paints him as an eccentric connoisseur of the imagination; a man who, though he has never left his small home region in Australia, nevertheless creates vast worlds within us, stretching our imagination in ways we hadn’t thought possible. I loved The Plains, though I wasn’t quite sure how to write about it. Although on a basic level it is the story of a man, come to the central plains of Australia to make a film about the place, the novel was really about the way that the simple idea of “the plains”, a central, apparently empty space, can actually contain a complex network of hidden meanings. How it’s much more than meets the eye.

Invisible Yet Enduring Lilacs is a collection of essays by Murnane, but even to call them that has its problems. Murnane’s fiction and non-fiction form a continuum, much as do the works of Borges, who Murnane cites as one of his inspirations. But where Borges makes his fictions essay-like and academic, Murnane makes his non-fiction oddly fictional. There is little concrete information here, and what we do read that might be factual never feels very reliable. Instead, what we get out of each of the essays collected in Invisible Yet Enduring Lilacs is an invitation into a kind of fugue state in which images melt into other images and our imagination is made child-like and free again.

The Cover of Invisible Yet Enduring Lilacs shows a man riding a horse against a background showing a map of Hungary
The cover of Invisible Yet Enduring Lilacs shows two of Murnane’s main obsessions – Horse Racing and Hungary. Both of them are discussed within the essays

Murnane has a poet’s sense for the magical potential of everyday objects to open up a world of associations, and the highest praise I can give the collection is to say that having finished it you go out into the world with fresh eyes, with the world itself equally fresh and made newly beautiful. But Invisible Yet Enduring Lilacs isn’t without its problems, and a recommendation comes with certain caveats. For the book’s strengths, and its weaknesses, read on.

Spaces and Imagination

The essays in Invisible Yet Enduring Lilacs are chronologically ordered, and certain themes and ideas repeat throughout, although in each instance with a slightly different shade. One of the first major themes of the book is that of space, of empty space, and its potential. Murnane recounts in “On the Road to Bendigo: Kerouac’s Australian Life” how, as a child, he used to watch American films. He didn’t get much out of them – the action went too fast for him. Instead, he focused on the things which seemed unchangeable, stable. “The places where nothing seemed to happen.” The great brown vistas that lie behind the horse rider in a Western, for example. And over time Murnane began to fill the scenery, if not with action, then at least with his own ideas. He realised that “the way to understand a place” is “to turn your back on it”. To imagine.

And so Murnane reads Kerouac, and he reads Kerouac’s biographies, but he never boards a plane. Instead, in his head, he creates his own America, pieced together from Kerouac’s writings and those who write about him. If there is something that ties together the various essays of Invisible Yet Enduring Lilacs, it is this idea of the way that everything can be a tool for the creation of an inner, imaginary world within us. This has its dangers. Murnane’s infatuation with the imagination comes across almost solipsistic at times. He himself, in “The Breathing Author”, says that he acknowledges other people’s inner existences, but that he can only see other minds and their contents within the space of his own imagination, as a “landscape” his own mind’s “landscape”. While this may be true to how we understand each other, the way he emphasises it rather devalues individual human dignity…

“Stream System” and Associations of Images

Murnane is a mathematical writer. He likes his fictions to conform to shapes, like circles or triangles or whatever. Perhaps his most famous short story, which is also included among the essays here (another example of genre bending), is called “Stream System”. The narrator of the essay/story goes to a place which is marked on the map as “stream system”. This then sets off a chain of memories, thoughts, and associations, which eventually leads him to face repressed memories about his failure to be kind to his own brother, who died young and unloved. It is well done. We circle around the idea of this location on the map, but with each loop (as it were) the meaning of the water system changes, and new images are heaped on top of the old.

And meaning, the metonymic shifting of meaning, is key to Murnane’s whole project. As he writes, “my writing was not an attempt to produce something called “literature” but an attempt to discover meaning”. “Meaning” he later defines as what exists when he can see in his mind a thing “being connected to some other thing or things.” His whole fictional world concerns the creation of connections and meanings. In this, he stands awkwardly alongside postmodern writers like Don Delillo and Thomas Pynchon. Where they see conspiratorial connections in everything, Murnane seeks to connect apparently unrelated things together, finding in this act of connecting the very purpose of his work. It is, perhaps, an altogether more positive idea. Even though it is one that is very much divorced from the world itself.

Writing and its purpose

Murnane wanted to be a poet when he was young. And his writing, even in these essays, has a poetical quality to it. Not in the sense of a rhyme that creeps into the text. Rather, there is a hypnotic quality to Murnane’s rhythm and repetitions that borders the same world of free and childlike imagination that the best poetry does. It is, in a way, incantatory at times. And in Invisible Yet Enduring Lilacs there are a lot of details for one who wants to understand how he works. Not only is there the business of the stream system that I’ve mentioned above, but Murnane also quotes approvingly, on the subject of rhythm, the likes of Robert Louis Stevenson – “Each sentence, by successive phrases, shall first come into a kind of knot, and then, after a moment of suspended meaning, solve and clear itself”.

For Murnane, writing is a way of creating meaning between images. But it also has the exorcism-like purpose that it does for other writers – he writes to remove things from himself. “My sentences arise out of images and feelings that haunt me – not always painfully; sometimes quite pleasantly. These images and feelings haunt me until I find the sentences to bring them into this world”. In the same way as Murnane turns other people into imaginations contained within his own imagination, his view of the purpose of literature is similarly unambitious. For him, it never explains anything, rather it simply serves to show “how stupendously complicated everything is”. He isn’t interested in creating living, breathing characters, so much as reflecting a real mind. What that means in practice is that his stories simply aim to make us believe that only his narrators are real. Believing the rest is unimportant.

Hungary, Horse Riding, Idiosyncrasies

Murnane is weird. He loves horse races, imagining decades of races and writing down their details over the course of his life. For him the best literature aspires to the condition of horse racing, and when he reads a good book he imagines it as a rider, approaching the finish on the field. He has never worn sunglasses, has never learned to swim. He has never gone voluntarily into an art gallery. He comes across, on multiple occasions in Invisible Yet Enduring Lilacs, as a kind of aesthetic hermit. His influences – Borges, Calvino, Proust, and others – are all idiosyncratic, but with them I have never felt such a conscious retreat from the real world into the imagined one. Murnane often doesn’t seem interested in… well… anything.

Even books seem not to interest him in a serious way – he reads the same old ones over and over. And ultimately, the impression I had at times while I read Invisible Yet Enduring Lilacs was not a positive one. We are taken from the world so brutally, so completely, that it’s hard not to miss it. His style itself becomes grating.

One of the biggest disappoints of the book for me was the final essay, “The Angel’s Son: Why I learned Hungarian Late in Life”. It is an exciting premise, but instead of answering it Murnane goes on another walk among past images, reaching the actual subject – Hungarian – very late in the essay. Of course, there are some beautiful turns of phrase – “if an English word or phrase is a pane of clear glass with something called a meaning on its far side, a Hungarian word is a pane of coloured glass. The meaning on the other side of that glass is apparent to me, but I can never be unaware of the rich tints of the glass.” – but that’s what Murnane’s good at. It’s not a surprise.

Even though the essay is in keeping with Murnane’s general style within Invisible Yet Enduring Lilacs, I couldn’t help but feel disappointed at the end. When I actually wanted to know something, the whole essay revealed itself to be akin to a construct of smoke and mirrors, and wholly unsatisfactory.

Conclusion

If you want to read Invisible Yet Enduring Lilacs my recommendation comes with these warnings. There is almost nothing here, even though the nothingness is beautiful. Murnane’s style is unique, and the experience of being led into a world of the imagination is not without its charms. It’s also certainly true that his appreciation – ironically enough – of the objects of our world as sources of images is capable of leading us into the world, rather than away from it. But Murnane, it is fair to say, is one of those writers who is best sampled a few pages at a time. Reading Invisible Yet Enduring Lilacs through within the space of a week, I felt especially keenly the problems of the work. Perhaps it has made me be unfair. Murnane is a unique writer, and certainly worth one’s time, but The Plains is a much more exciting book, and that’s the one I’d start with. If you’ve come across Murnane yourself and have a different view, why not leave a comment? He’s not the most accessible writer, and it may be that I just don’t know how to approach him.