Monday, July 20, 2026

Layla Erbil's What Remains (#EuropeanReadingChallenge)

i've no idea why i'm telling you all this my dear readers

i can't know

i feel like i should know everything

before putting my other foot in the grave [208]

Laylâ Erbil's verse novel of 2011 was published by Deep Vellum last year in English translation. 

Lahzen is our narrator; she's an elderly woman of the secular, political left living in Istanbul. She's remembering the events of her life and of Istanbul, her home. She doesn't tell us her story in chronological order, but reflecting backwards on it. There are several recurring themes.

The first is her childhood. She grew up in Fener, also known as Phanar, the once Greek neighborhood on the Golden Horn, the European side of Istanbul. In her childhood, she had Greek, Jewish, Armenian friends. Rosa, the Jew, broke her pencil in half one day when Lahzen had forgotten hers; an act, she tells us, promising forty years of friendship. But in September of 1955, state-sponsored riots against homes and businesses drove out the non-Turks. Rosa's family goes to Israel. Lahzen remembers Greek songs, and songs in mixed Turkish and Greek. Her sister, her aunt go to Orthodox churches to perform magic with candles for good luck. The multicultural Istanbul of her youth is gone, and she misses it. A copy of Marilyn Monroe's skirt from the famous photo over the steam grate remains in a shop window in an arcade:

all that remained

was marilyn's pleated white skirt

in hristo usta's shop window

its white now blotched with purplish rot

the keys to the shop window

remained with hristo usta who fled to athens

do you think he'll come back

one day

you never know

they miss it here [210]

A second thread involves the deaths and disappearances during the years of the military dictatorship in Turkey. As she herself was a leftist, some are people she knew; some are just news items. Her second husband Sabit was in jail, but was eventually released. (There was an earlier husband who was good-looking and had a motorcycle, but oh, well, maybe not such great husband material.)

What it means to be a good person in such a world is a recurring thought for her; she often turns to Kierkegaard, and in particular Kierkegaard's retelling of the story of Abraham and Isaac (in Fear and Trembling):  

...yes we can defend søren as someone who was trying to make the best of the world's fear of raging hellfires in those times; in a sense his love was harmless. he said "how does one become a good christian, that's always been my priority." in his day and age that was what it meant to be a good person. [159] 

In the present her relationship with Sabit is difficult. While he was in jail, she had an affair with his best friend Zeyyat, and maybe she's still a bit in love with Zeyyat. Is Sabit holding that one time infidelity over her head? A bit.

What remains at the end of a life in such a place? History and stones.

The book is billed as a verse novel. I can't comment on the verse, and largely didn't feel it. Probably my limitations, but who knows? Traduttore, traditore. Though it feels like the three ranslators (Ersan, Spangler, Wyers) knew what they were doing. I know nothing about modern Turkish poetry. Mostly I read it as oddly punctuated and capitalized prose, but even as that I quite enjoyed it.

what could the content of the text

be

other than

the writer in her own way

struggling to capture the truth

knowing that it cannot be captured [27]

 

 

Wednesday, July 8, 2026

Dorothy Sayers' Whose Body

"He was so upset, poor little man. He'd found a dead body in his bath."

Mr. Thipps, "the little architect man who's doing the church roof", goes to take a bath in the morning, but there's a dead man in the tub, naked except for a pair of pince-nez. Nobody he knows, he swears. "Uncommonly awkward for him."

That same evening, Sir Reuben Levy disappears. He's a successful financier, with plenty of business enemies in the course of things, though he's considered a sweetheart by his family and domestic staff.

Are the two cases connected? Well...

Parker of Scotland Yard is assigned the Levy case, suspects they might be, and wonders if this unknown corpse is his man. But the dead man was not Sir Reuben Levy.

And Lord Peter Wimsey offers himself to help with the case of the dead man in the bath.

This is the first of the Lord Peter Wimsey mysteries and comes out in 1923, though we learn he's been involved in an earlier case. that of the Attenbury Emeralds. He took to crime-solving to help with his shell shock after World War I, and turns out to be good at it.

And are the two cases connected? Of course they are.

I've read a bunch of the Lord Peter Wimsey stories before, but not all of them and not this one, I think, all out of order. It is a series that benefits from reading in order, and I might go through the series. It certainly starts off well.

Vintage Mystery Scavenger Hunt

Golden Age (1923). Piece of Furniture: Bathtub.  

Sunday, July 5, 2026

Virginia Woolf's The Years

 
     "All talk would be nonsense, I suppose, if it were written down," she said, stirring her coffee.
     Maggie stopped the machine for a moment and smiled.
     "And even if it isn't," she said.
     "But it's the only way we have of knowing each other," Rose protested.
  
The Years was the last novel completed by Virginia Woolf during her life, and came out in 1937. It was the biggest financial success of her lifetime, though I have to imagine Mrs. Dalloway has sold more copies now. It's the story of the Pargiter family across three generations. Colonel Abel Pargiter, who served in India, and his wife Rose, are the parents of seven children; they form the core of the novel, though there are also cousins and family friends.
 
The novel is arranged in ten chapters, each labelled with a year. The longest are the first, 1880, and the last, 'The Present Day,' presumably 1936 or so, just before the novel appears. In 1880, we meet the seven children--Eleanor, Morris, Milly, Edward, Delia, Martin, and Rose. Mother Rose has been bedridden for years, and may finally be dying, and we see the children's (and husband's--who keeps a mistress) reaction to their mother's imminent death. Delia, the rebellious one, thinks it's time for her to go; others are more uncertain, but it's true Rose the mother doesn't have much of a life by then. At the end of the chapter, after a couple of dream-haunted days of collapses and rallies, she dies.
 
The other year chapters all take place on a single day, and are built around a meeting of family members. In 1891, it's the day of Parnell's death, the advocate for Irish Home Rule; Colonel Abel goes to visit his brother and sister-in-law for his niece Maggie's birthday. Abel, perfectly content in his imperialism, had no use for Parnell, but admires his sister-in-law's emotion at the death. In 1917 Maggie, now married to a Frenchman René (Renny), hosts Eleanor for dinner; German air raids on London occur that night. 1918 sees the day of the armistice; we follow Crosby, the Pargiter nurse and maid, now pensioned off, in the shortest chapter; she's annoyed by all the celebratory guns going off. In 'The Present Day', Delia and her husband Patrick, throw a party; all the surviving family members appear; there's a dance and dinner, and the party ends at dawn:
"The sun had risen, and the sky above the houses wore an air of extraordinary beauty, simplicity and peace."
So it's a family novel, but if so, it's quite different from what you might expect; it's impressionistic in its style, sketch-y, even, so long as you don't imagine that as a derogatory adjective. It's half the length of Buddenbrooks, for example, and avoids scenes that might have been expected: Charles, one of Maggie's children, dies in World War I, but we only learn that obliquely and long after the event.
 
Woolf conceived the novel after she'd given a lecture 'Professions for Women' in 1931:
"When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say." 
That set her to thinking and she initially imagined a novel-essay about the Pargiter family, a blend of essays about the status of women mixed with fictional episodes. That book was reconstructed after her death and is available, titled The Pargiters, but I haven't read it. In the end, though, the essays became her book Three Guineas and the fictional episodes became the novel The Years. That initial conception is still visible; in the first generation, there aren't many possibilities for women: Eleanor ends up looking after her widowed father, only becoming a great world traveler after his death; Kitty, a cousin, whom  Edward Pargiter loved and wanted to marry, marries instead a great lord and lives that lifestyle; Delia, in that first generation but somewhat younger, becomes a suffragette and is sent to prison for her agitation. It's only in the third generation that real professional possibilities open up for women: Peggy, Maggie's daughter, becomes a doctor, though it doesn't seem to make her very happy.
 
But a schematic essay-novel is not the novel Virginia Woolf has given us (though the idea of it definitely colors the criticism from what I've seen). Several of the male characters are also well-rounded, particularly Abel, the patriarch, and North, Peggy and Charles' brother, who also served in World War I, but then went to be a farmer in Africa.  Like any family novel of multiple generations, it's interested in the passing of time, and 1880 to 1935 are a time of great changes in England. In 1880, tea is being made with a spirit lamp and people travel in horse-drawn carriages; in 1936, the flash and circle symbol of the British Union of Fascists is graffitied on walls, and Eleanor discusses traveling by plane (though she doesn't).
 
It's also very good on family relations. As aunt and niece suggest in that opening quote, there's never perfect understanding or communication. During that final party, Edward, by then a professor, quotes Sophocles, but refuses to translate:
"It's no go, North thought. He can't say what he wants to say; he's afraid. They're all afraid; afraid of being laughed at; afraid of giving themselves away. He's afraid too, he thought, looking at the young man with a fine forehead and a weak chin, who was gesticulating too emphatically. We're all afraid of each other, he thought; afraid of what?"
And yet that's not the whole of the story either; again as that opening quote suggests, there is communication. North dances with a girl at the party, asks her for a date, she accepts. The next generation? Another way in which this would be unlike Buddenbrooks. This is a family with a decent amount of good will toward each other--not true of all families-- even if they don't always articulate it. The party is a success; it, and the novel, end with 'simplicity and peace.'
οὔτοι συνέχθειν, άλλα συνφιλεῖν ἔφυν

-Sophocles, Antigone, l.523 (Antigone speaking) 

And what was it Edward was unable to say in English? Elizabeth Wyckoff translates as, "I cannot share in hatred, but in love."
 
Nothing of Virginia Woolf's is exactly unknown or ignored. As I noted, you can easily enough find the novel The Pargiters she decided against giving us. But when I first was reading Virginia Woolf, thirty years ago or whatever, I read Mrs. Dalloway, To The Lighthouse, Orlando, the Common Reader series, etc., but it didn't occur to me to read The Years. I don't know what bit of received opinion I picked up that I didn't need to read it, but it was wrong. 
 
This was my spin book for Classics Club Spin #44, and a very good spin it was!