[Poe] Writers with the last name Ish—.

It would seem that I have a certain proclivity for other writers with a last name starting Ish—. Thinking that Christopher Isherwood as the ubiquitous subject of poe had finally been exhausted, I came back to the beginning and stumbled upon another writer with the same first three letters in his surname, begging comparison to Isherwood and swirling about in my mind recently. This literary mind-quest starts with an account mentioned previously, a few years ago when I was sitting in the Muddy Waters and picked up a tattered copy of Isherwood’s The Berlin Stories. I acquired the book that started my passion for Isherwood’s writing, and ultimately the life he lived which informed so much of his work. Somewhere in this initial reading of Mr. Norris Changes Trains and Goodbye to Berlin the old, down and out copy I had found got misplaced, prompting a trip to the library so I could finish these stories. In finding the appropriate area of the fiction section, I found a replacement copy for The Berlin Stories and learned the titles of Isherwood’s other works, yet also noticed his neighbor on the alphabetically aligned shelves: Kazuo Ishiguro.

It turns out that most libraries and bookstores conveniently arrange their books alphabetically, and with my habit of always checking out the Isherwood scene in any library or bookstore in which I find myself (having long since become a devotee of his writings), I find myself saying hello to Ishiguro as well, who is usually sitting just on Isherwood’s left (our right.)

Never having read a hint of his prose, nor having much of an impression beyond having absorbed at some point that The Remains of the Day, a common presence in the otherwise Isherwood-inspired interlude at the shelves, had been morphed into a cinematic adaptation (a process that has sparked my incredulity), I did not keep Ishiguro in mind as a writer to invest reading time in. In no way was this a negative judgment; seeing him regularly next to Isherwood took whatever place Ishiguro might otherwise have occupied on my nebulous, internal list of writings to be read.

With the affordances of a friend’s commode library of leftish magazines, I stumbled upon a review of a similar Ishiguro-to-film transference in Never Let Me Go; and I learned for the first time of the story’s nuanced sinisterness amongst the banality of English schooling. What I now see as Ishiguro’s talent for mixing tropes from across prose forms, which I have come to enjoy as I read more of his work, initially caught my attention for the mixture of science-fiction themes with the realistic and mundane setting. Often feeling satisfied with reading a review of a film over actually viewing it, I did find a place for Never Let Me Go on the grand, above-mentioned list.

Before getting to that reading, a Master’s program exploded all over my life and fully consumed my temporal assets, which allowed little if no personal reading space. However, a literature course on short stories as a global form, taken this past semester, did give me the chance to read my first Ishiguro, Nocturnes: Five Stories of Music and Nightfall (simply Nocturnes from here on out.) While not loving all of the stories in that collection, I did enjoy two in particular which shared a certain haunting weirdness I have found to be sticking with me in my thoughts, Nocturne (the singular title refers to the collection’s fourth story) and Come Rain or Come Shine. In finally getting to the public library’s copy of Never Let Me Go, I have uncovered for myself more of Ishiguro’s affinity for musical references and styling in his prose, and I feel as though I am gaining a stronger sense of him as a writer and artist. The centrality of music to his work is all the more evident in reading Never Let Me Go after Nocturnes, as they have many striking similarities. There’s a simpler level where names such as Come Rain or Come Shine and Never Let Me Go are the titles of songs which play prominently in their respective narratives. Yet a more nuanced scene is framed with Ishiguro’s twin images of ladies losing themselves in the musical moment. First, Kathy is the subject of the following from Never Let Me Go,

“Maybe the volume had been turned right up by whoever had been using it last, I don’t know. But it was much louder than I usually had it and that was probably why I didn’t hear her before I did. Or maybe I’d just got complacent by then. Anyway, what I was doing was swaying about slowly in time to the song, holding an imaginary baby to my breast. In fact, to make it all the more embarrassing, it was one of those times I’d grabbed a pillow to stand in for the baby, and I was doing this slow dance, my eyes closed, singing along softly each time those lines came around again: / ‘Oh baby, baby, never let me go…’” (Ishiguro, “Never Let Me Go” 71)

This scene is mirrored in the story Nocturne by Lindy Gardner’s moment of nonlucidness, as she processes her separation from her now ex-husband Tony and goes into a different space with the narrating protagonist actually watching, “After a while, though, I’d stopped paying much attention to the music because there was Lindy in front of me, gone into a kind of dream, dancing slowly to the [Tony’s] song” (Ishiguro, “Nocturnes” 142). Each lady is dancing slowly by herself with different levels of voyeurism going on by another presence, unknown in the first and seemingly known in the second. Both are expressing some sort of disregard for their surroundings in their absorption with their respective music, the first with the inattention to volume and the second with the blatant check out. By reading more of Ishiguro’s work I hope to encounter more of his women characters and their music, in an effort to shed more light on what he is up to with these tropes.

Whereas Ishiguro often invokes music in his writing, Isherwood takes the role of the indifferent camera, having written in his highly autobiographical Goodbye to Berlin, “I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed” (Isherwood 1). In this mode, we get the vivid prose portraits which Isherwood made a hallmark of his work, and about which I have written about extensively on Octopoe so will not gush over now.

While these two men diverge in their writing around whether music or photography influences their prose style, there is a strange connection to be made between Kathy in Never Let Me Go and the later events of Goodbye to Berlin when a post-abortion Sally Bowles says:

“You know, Chris, in some ways I wish I’d had that kid… It would have been rather marvellous to have had it. The last day or two, I’ve been sort of feeling what it would be like to be a mother. Do you know, last night, I sat here for a long time by myself and held this cushion in my arms and imagined it was my baby? And I felt a most marvellous sort of shut-off feeling from all the rest of the world. I imagined how it’d grow up and how I’d work for it, and how, after I’d put it to bed at nights, I’d go out and make love to filthy old men to get money to pay for its food and clothes… It’s all very well for you to grin like that, Chris… I did really!” (Isherwood 55)

Isherwood and Ishiguro provide us with two young ladies, each lost in a moment of cradling a cushion to her breast as an imaginary baby, neither of them able to have children themselves, Kathy due to her biological preconditions (no spoilers this time around) and Sally because of a metaphorical immaturity and unpreparedness to cope with the actual reality of rearing progeny. Still recovering from the operation which satisfied her desire not to have the child, Sally fickly daydreams about motherhood. She loses herself in the moment, shutting everything out as Kathy did in her own pseudo-maternal slow dance, yet follows up with a quick distancing from this personal tone by impersonalizing her own imagined offspring with the genderless pronoun it. Sally’s description of motherly life does not convey confidence that she actually knows what being a mother would be like.

These young women from the worlds of Ishiguro and Isherwood are losing themselves in the fleeting moments of music, or solitude, which might make one slow down and dance, or mutter the most delicate fantasies. Or sing out the wildest dream. I love the humanity these two writers bring to their prose, and having fallen for Isherwood hope to continue exploring Ishiguro’s works for more of the same. Distractingly, however, I feel my appreciation for Isherwood extends into a complex realm where I have found odd little commonalities between us and have read extensively of his works, crowding out other writers. I now increasingly read the work of his peers as well, namely W.H. Auden, Stephen Spender, Paul Bowles and Gore Vidal. Upon the release of Tom Ford’s adaptation of Isherwood’s seminal A Single Man, I braced myself emotionally for the worst. However, I absolved Mr. Ford upon seeing the film. Further processing had to occur when I was hanging out in the Park Branch public library down from my apartment on Page Street. I read an interview by The Advocate magazine of Ford, who spoke of his affinity for Isherwood and – the catalyst for crazy – spoke to an experience of having met Isherwood in southern California in his youth. Knowing that Isherwood died in 1986, I will never meet my most revered artistic predecessor. Simply, I was jealous of Ford, yet feeling this allowed for his adoption of Isherwood’s text to spark my own mental disengagement from Isherwood’s literary world, in which I had become enmeshed.

Slowly I am moving away from exclusively reading Isherwood & Friends, even if it is only down the library shelf at Ishiguro. Yet what I have read up to this point is promising, and hope that the recently checked out An Artist of the Floating World, and When We Were Orphans contribute to a new pocket of knowledge in the literary solar system in my head.

Works Cited

Isherwood, Christopher. The Berlin Stories. New York: New Directions, 1935. Print

Ishiguro, Kazuo. Never Let Me Go. New York: Alfred A. Knopf, 2005. Print.

Ishiguro, Kazuo. Nocturnes: Five Stories of Music and Nightfall. New York: Vintage International, 2009. Print.

l'octopoe francophone, poe

[Poe] Paul Bowles from the desert

Reflexive cultural expressions stoke the Franco-American flame.

Excerpt from: Paul BOWLES, The Sheltering Sky (1949)

[She was late that noon, and when she arrived she was in a breathless state because Corporal Dupeyrier had stopped her near the Zaouia and given her a very important message for him. It was a matter of a foreigner, an American, who had lost his passport.

“An American?” echoed the lieutenant. “In Bou Noura?” Yes, said Jacqueline. He was here with his wife, they were at Abdelkader’s pension (which was the only place they could have been, since it was the only hostelry of any sort in the region), and they had already been in Bou Noura several days. She had even seen the gentleman: a young man.

“Well,” said the lieutenant, “I’m hungry. How about a little rice today? Have you time to prepare it?”

“Ah, yes, monsieur. But he told me to tell you that it is important you see the American today.”

“What are you talking about? Why should I see him? I can’t find his passport for him. When you go back to the Mission, pass by the Poste and tell Corporal Dupeyrier to tell the American he must go to Algiers, to his consul. If he doesn’t already know it,” he added.

Ah, ce n’est pas pour ça! It’s because he accused Monsieur Abdelkader of stealing the passport.”

“What?” roared the lieutenant, sitting up.

“Yes. He went yesterday to file a complaint. And Monsieur Abdelkader says that you will oblige him to retract it. That’s why you must see him today.” Jacqueline, obviously delighted with the degree of reaction, went into the kitchen and began to rattle the utensils loudly. She was carried away by the idea of her importance.

The lieutenant slumped back into his bed and fell to worrying. It was imperative that the American be induced to withdraw his accusation, not only because Abdelkader was an old friend of his, and was quite incapable of stealing anything whatever, but particularly because he was one of the best known and highly esteemed men of Bou Noura. As proprietor of the inn he maintained close friendships with the chauffeurs of all the buses and trucks that passed through the territory; in the Sahara these are important people. Assuredly there was not one of them who at one time or another had not asked for, and received, credit from Abdelkader on his meals and lodgings; most of them had even borrowed money from him. For an Arab he was amazingly trusting and easy-going about money, both with Europeans and with his compatriots, and everyone liked him for it. Not only was it unthinkable that he should have stolen the passport—it was just as unthinkable that he should be formally accused of such a thing. For that reason the corporal was right. The complaint must be retracted immediately. “Another stroke of bad luck,” he thought. “Why must he be an American?” With a Frenchman he would have known how to go about persuading him to do it without any unpleasantness. But with an American! Already he could see him: a gorilla-like brute with a fierce frown on his face, a cigar in the corner of his mouth, and probably an automatic in his hip pocket. Doubtless no complete sentences would pass between them because neither one would be able to understand enough of the other’s language. He began trying to recall his English: “Sir, I must to you, to pray that you will—” “My dear sir, please I would make to you remark—” Then he remembered having heard that Americans did not speak English in any case, that they had a patois which only they could understand among themselves. The most unpleasant part of the situation to him was the fact that he would be in bed, while the American would be free to roam about the room, would enjoy all the advantages, physical and moral.

He groaned a little as he sat up to eat the soup Jacqueline had brought him. Outside the wind was blowing and the dogs of the nomad encampment up the road were barking; if the sun had not been shining so brightly that the moving palm branches by the window gleamed like glass, for a moment he would have said it was the middle of the night—the sounds of the wind and the dogs would have been exactly the same. He ate his lunch; when Jacqueline was ready to leave he said to her: “You will go to the Poste and tell Corporate Dupeyrier to bring the American here at three o’clock. He himself is to bring him, remember.”

Oui, oui,” she said, still in a state of acute pleasure. If she had missed out on the infanticide, at least she was in on the new scandal at the start.]


Paul Bowles gives us a haunting narrative with The Sheltering Sky, and his nimble prose conveys an alluring sense of time and place, one which sort of ends up with misunderstandings and despair.* Aiming for a lighter slice of the novel, we will reflect on the scene above, in which Bowles gives us his representation of the French colonial administrator meeting the American tourist. Inevitably the familiar coals of the long smoldering Franco-American fire are stirred, and we get the American Bowles writing a Frenchman thinking of an American—to amusing affects.

This excerpt comes in the middle of Paul Bowles’ The Sheltering Sky, when the three American protagonists – Port and Kit Moresby, married, and the so-called third wheel Tunner – are well along their portentous journey into the Sahara. Historically and geographically speaking, the text alludes to Tangier, a city where Port, “heard all three of the town’s tongues: Arabic, Spanish and French,” in what now constitutes the modern state of Morocco. A giant swathe of north, west, and central Africa was certainly politically and militarily administered by France for much of the past two centuries in an imperial context, explaining the presence there of any French people and assorted westerners at all. Tangier itself was technically considered an international zone, administered by France and several other European colonizers, giving the city a very interesting vibe with international émigrés—much like Bowles himself, who lived in Tangier for many years of his life.** The desert, and not to mention Africa, has certainly been a source of mystery, misunderstanding and misplaced romance for much of the Western experience. Interestingly, Bowles wrote The Sheltering Sky on location in Morocco.

Bowles’ Lieutenant d’Armagnac, the character speaking to Jacqueline in the above scene, is the commander of Bou Noura, a small regional post in the desert along traditional transportation routes. He is the typical French colonial, abroad as gendarme, doctor, missionary or teacher. The above excerpt is actually just a portion of the brief eighteenth chapter of The Sheltering Sky, in which we meet this young Frenchman living a comfortable lifestyle, relatively benevolent and ambivalent (at least in his own view) about the indigenous peoples: the Arabs, the Berbers and the many other transitory desert peoples of North Africa. We meet Lieutenant d’Armagnac as the formerly popular, bed-ridden and scandalized big fish in the pond; he is demoralized due to the scandal causing transgressions and their repercussions earlier in the chapter. When American tourists arrive in Bou Noura and subsequently manage to ruffle local feathers of more than one plumage, we have Bowles’ humorous and somewhat conventional French perception on American travelers in response.

Having missed the earlier scandal, Jacqueline is eager to be the bearer of relative misfortune to a calmly dismissive lieutenant. It is not until Jacqueline informs the lieutenant of the Port’s faux pas against Monsieur Abdelkader, and thus the demonstration of his American lack of savoir-vivre as tourist to these parts of the world (as opposed to colonial ruler?), that the sparks truly start to fly. Soon Lieutenant d’Armagnac is considering his confrontation with the American, with that exaggerated gulf between Gallic reason and Anglo-Saxon barbarity a clear sign of ill luck.

The image the lieutenant gives us is comic, but tinges with relevancy on the reference to, “an automatic in his hip pocket,” as the possession of weapons exasperatingly remains in our contemporary American discourse. The most delight comes with his discouragement around being able to communicate at all, and the attempt to recall his own English. The traditional antagonism flares most brightly with the hilarious,

“Then he remembered having heard that Americans did not speak English in any case, that they had a patois which only they could understand among themselves.”

Class distinctions are embedded in the term patois, and the thought around how this weaves into Bowles’ larger narrative of cross cultural ignorance is quite fun. The story has many westerners journeying into the desert looking for a lacking element to their lives, but come across an empty void in their own vapid misunderstanding of place and context. Bowles layers in characters and their corresponding prejudices to enrich the narrative, giving us this familiar Franco-American tinder. Bowles gently stokes this long running fire between cultural cousins to perhaps call out both as joined in their profound otherness in a place so foreign and understandably, if passively, hostile to them as exploiters.

Lieutenant d’Armagnac frets over his adversarial disadvantage, and eventually sends Jacqueline – delighted with involvement – to retrieve the American. Overall, the short glimpse we have of the lieutenant’s expressions around American tourists is one of several intertwined cross-cultural misunderstandings that Bowles uses to demonstrate the power and severity of that lack of comprehension while inevitably one is joined with all under the sheltering sky. This single example is a humorous reminder of the similarities and conceptualizations that people in both France and America share, and one American’s play on those ideas to add to his overall affect in writing. There is a fine line between mutual cultural questioning and antagonism, but Bowles certainly gives us a tame example. Nobody is being branded a complete coward, or an uncouth beast; certainly no foods are being renamed.

The entirety of The Sheltering Sky is highly interesting and makes for an intense overall read. It is obviously recommended here, and should be available at your local public library branch.

Camels have nothing to do with this post, but do feature in Bowles’ narrative, so are appropriate.

*Michael Ondaatje also gives us a doomed pair of westerners in the romantic and tragic deserts of North Africa, in The English Patient.

**Christopher Isherwood was a friend of Paul Bowles, and he gives a brief account in Christopher and His Kind (subject of the 11/20/09, [Litpoe]) of visiting Bowles in Tangier with hashish inspired infamy. The incident is elaborated upon in the contemporary film, Chris & Don: A Love Story. Gore Vidal was also a friend of Bowles, and visited him in Tangier, as described in Vidal’s memoir Palimpsest.

A zaouia is the Maghrebi and West African term for an Islamic religious school and/or monastery, roughly corresponding with the word madrassa.