Brain Pickings

Posts Tagged ‘books’

05 APRIL, 2012

Dating Advice from Dickens: A Collection of Victorian Vignettes

By:

A “Manly Young Lady” and a “Poetical Young Gentleman” walk into a bar.

1837 was a good year for Charles Dickens. Sketches by Boz, his collected essays on London life, and the first volumes of The Pickwick Papers were both in circulation, and his publishers were eager to cash in on this rising star with the satiric voice.

The next year, a slim book of short vignettes appeared with the title Sketches of Young Ladies. It had a certain Dickensian flair, each lady named and tagged and organized in an encyclopedia of of feminine characters. Immediately popular, its author was, like Boz, anonymous.

Six months later, another similar book appeared, Sketches of Young Gentlemen, and then another, Sketches of Young Couples, specially timed to Queen Victoria’s 1839 engagement to the future Prince Albert. Also hugely popular, the three sketches were bound up and sold together over the second half of the nineteenth century before disappearing in the twentieth.

But who was the author? There was always “gold to be got out of Dickens,” as one newspaper put it in 1884, but the truth was not revealed until the turn of the century: the first book, Sketches of Ladies, had been written by the young humorist Edward Caswall; the others, Sketches of Young Gentlemen and Sketches of Young Couples, were written, as everyone had expected, by Charles Dickens himself.

All three books were recently resurrected by Oxford University Press as Sketches of Young Gentlemen and Young Couples: With Sketches of Young Ladies by Edward Caswall, revealing a taxonomy of archetypes that is at once amusingly outdated and surprisingly timely.

The “Extremely Natural Young Lady” might be a cousin to today’s manic pixie dream girl:

[She] is always doing some out-of-the-way-thing, that she might appear simple and girlish… She enjoys nothing so much as getting her gown torn and arranging her hair out of doors.

Indeed, Dickens had been inspired by a Dickens stylist — because everything was, and still is, a remix.

'The Mysterious Young Lady never utters a syllable to anyone.' Illustration by Phiz.

The “Petting Young Lady” would no doubt be delighted with today’s cat videos:

Her favorite term for expressing intense admiration is ‘little.’ Thus if she sees a hose which pleases her, she instantly cries out ‘What a dear little horse!’ although the horse be as big as a hay-stack.

The “Manly Young Lady” would surely put you in your place:

In conversation, she is most spectacularly positive, and should you sit next to her at dinner, ten to one but she puts you down half a dozen times at least.

'The Manly Young Lady has been known to travel alone, outside of the coach, all the way from Manchester to London.' Illustration by Phiz.

The “Out-and-Out Young Gentleman” had time only for parties:

[He] is employed in a city counting house or solicitor’s office, in which he does as little as he possibly can; his chief places of resort are, the streets, the taverns, and the theaters.

And the “Poetical Young Gentleman” was as you would expect:

He has a great deal to say about the world, and is given much to opining, especially if he has taken anything strong to drink, that there is nothing in it worth living for.

'The favorite attitude of the Poetical Young Gentleman is staring with very round eyes at the opposite wall.' Illustration by Phiz.

This new collection of Dickens’ Sketches of Young Gentlemen and Young Couples: With Sketches of Young Ladies gives Caswall his due both as a satirist and as an inspiration for one of the nineteenth century’s greatest caricaturists. And though its blend of humor and astute cultural observation captures a bygone era beautifully, its tease-points could easily apply to today’s crop of hipsters, techies, and other social performative roles we all don.

Michelle Legro is an associate editor at Lapham’s Quarterly. You can find her on Twitter.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





You can also become a one-time patron with a single donation in any amount:





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.

04 APRIL, 2012

Edward Gorey’s Donald Illustrations

By:

A boy, a monster, and a loving mid-century collaboration.

In September of 1968, author and editor Peter F. Neumeyer embarked upon a thirteen-month collaboration with the inimitable Edward Gorey — mid-century illustrator extraordinaire, grim alphabetician, irony connoisseur, tongue-in-cheek pornographer. Their remarkable illustrated correspondence tackled topics as diverse ad metaphysics and pancake recipes, but focused primarily on the three books at the heart of their collaboration. The third book, Why We Have Day and Night, was released last year and was among the year’s best children’s books. The first two are now out as a boxed set for the first time in The Donald Boxed Set: Donald and the . . . & Donald Has a Difficulty — a lovely duo of smyth-sewn casebound books in a beautiful slip-case, brimming with Gorey’s signature black-and-white illustrations of eccentric characters and strange creatures.

The Donald series was supposed to go on forever. Neumeyer reminisces:

Gorey writing me at one point, ‘I have just purchased lots of pristine new file folders. They await such things as… revised Donalds, new Donalds, new Lionels [another series], what else?’ Another time, he wrote that ‘[M]y mind’s eye sees a shelf of Neumeyer/Gorey works. Will Harvard have a room devoted to our memorabilia? It had better.’

But the perpetual Donald never quite manifested. Neumeyer writes wistfully:

The unending series never came to be, though shortly before his death, Ted once again returned to Donald. How far he got, only perusal of his vast legacy of papers would show.

Ted slipped away, a good, kind man of very specific genius. As I roam my bookshelves today, I can reconstruct some of the enthusiasms of that most generous of friends — a few of the many books he insisted on sending me so we could talk about them: Cyril Connolly’s The Unquiet Grave and The Rock Pool; four volumes of Haiku, translated b R. H. Blyth; L. H. Myers’s The Near and the Far; Raymond Queneau’s The Blue Flowers and Exercises in Style; Flann O’Brien’s The Best of Myles; Rayner Heppenstall’s The Greater Infortune; The Journal of Jules Renard (edited and translated by Louise Bogan and Elizabeth Roget); and a beautiful giant Abrams book on Pisanello — and many, many more.

Heaven would be to resume those conversations.

More than a treat for young readers, The Donald Boxed Set is an exquisite piece of Gorey memorabilia and a delightful embodiment a warm, inspired collaboration, the whimsical layers of which unfold in Floating Worlds: The Letters of Edward Gorey and Peter F. Neumeyer — one of the 11 best art and design books of 2011.

Illustrations © The Edward Gorey Charitable Trust. All rights reserved.

Donating = Loving

Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. If you find any joy and stimulation here, please consider becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





You can also become a one-time patron with a single donation in any amount.





Brain Pickings has a free weekly newsletter. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.

04 APRIL, 2012

The Origin and Cultural Evolution of Silence

By:

‘Sound imposes a narrative on you, and it’s always someone else’s narrative.’

A recent New York Times Magazine piece on the extinction of silence prompted me to revisit George Prochnik’s excellent In Pursuit of Silence: Listening for Meaning in a World of Noise. As a lover of marginalia, I went straight for my notes on the book, which included this highlighted passage on the origin and cultural appropriation of silence:

The roots of our English term ‘silence’ sink down through the language in multiple directions. Among the word’s antecedents is the Gothic verb anasilan, a word that denotes the wind dying down, and the Latin desinere, a word meaning ‘stop.’ Both of these etymologies suggest the way that silence is bound up with the idea of interrupted action. The pursuit of silence, likewise, is dissimilar from most other pursuits in that it generally begins with a surrender of the chase, the abandonment of efforts to impose our will and vision on the world. Not only is it about standing still; with rare exceptions, the pursuit of silence seems initially to involve a step backward from the tussle of life… [I]t’s as though, as a culture, we’ve learned to ‘mind the gaps’ so well that they’ve all but disappeared. We live in an age of incessancy, under the banner of the already heard and forgotten.

But rather than exploring silence solely as subtraction, Prochnik captures its additive potential with a beautiful anecdote:

A painter friend of mine once told me that he thought of sound as an usher for the here and now. When he was a small child, Adam suffered an illness that left him profoundly deaf for several months. His memories of that time are vivid and not, he insists, at all negative. Indeed, they opened a world in which the images he saw could be woven together with much greater freedom and originality than he’d ever known. The experience was powerful enough that it helped steer him toward his lifelong immersion in the visual arts. ‘Sound imposes a narrative on you,’ he said, ‘and it’s always someone else’s narrative. My experience of silence was like being awake inside a dream I could direct.’

This idea — the notion of finding creative expression in negative space — resonates with many artists, literally or metaphorically. Rodin famously claimed that his sculpting process was all about removing the stone that wasn’t part of the sculpture, and Louis Armstrong maintained that the important notes were the ones he didn’t play.

But no one captures the profound and paradoxical nature of silence better than silent Buddhist retreat leader Gene Lushtak. Prochnik recounts a story Lushtak told him about Ajahn Chah, the most prominent leader of 20th-century Buddhism:

A young monk came to live in the monastery where Ajahn Chah was practicing. The people who lived in the town outside the monastery were holding a series of festivals in which they sang and danced all night long. When the monks would rise at three thirty in the morning to begin their meditation, the parties from the night before would still be going strong. At last, one morning the young monk cried out to Ajahn Chah, ‘Venerable One, the noise is interrupting my practice — I can’t meditate with all this noise!; ‘The noise isn’t bothering you, ‘ Ajahn responded. ‘You are bothering the noise.’ As Lushtak put it to me, ‘Silence is not a function of what we think of as silence. It’s when my reaction is quiet. What’s silent is my protest against the way things are.’

Brain Pickings has a free weekly newsletter and people say it’s cool. It comes out on Sundays and offers the week’s best articles. Here’s what to expect. Like? Sign up.