Tuesday, January 23, 2018

Snark Winds

And so, even the least of the Bellman's hopes shall be occidentally disoriented. What wind blew you hither, noble Bellman? Not the ill wind which blows no man to good, nor that wind which winds the watch of your wit, so that by and by it will strike.

I think this wind is what the neo-scholastic Flann O'Brien would call the ultimate and inexorable and supreme pancake at the back of the whole shooting match, ie., omnium

And what is this omnium of this wind that we hear so much of on the tellyvision? It is the essential, inherent, interior essence which is hidden inside the root of the kernel of the heart of everything and it is always the same. The bane of Boojum and Bellmen alike, the eternal curse of the drinking classes, this omnium-wind is the wind of an indefinite divisibility.

Monday, January 15, 2018

Winter Snark

As the nurturing, endlessly comforting snows of Québec numb the extremities chez snarque, we have ample time to reflect upon the old adage: good artists borrow; great artists steal (and never from the merely good artists). I've mercilessly looted the Belgians, French and Italians, so the inspiration for this stanza will have to be purloined from the Germans.

Easier said than done, I soon discovered. Friedrich Nietzsche (The Bonnets) and Martin Heidegger (The Barrister) refused to countenance my scheme but Karl Marx (The Banker), that preternaturally prescient Protosurrealist, quickly came up with some snappy double-talk to justify my larcenous designs. He pointed out that crime is actually good for the likes of Lewis Carroll and his ilk (double-plus-good, in fact):

"The criminal produces not only crime but also the criminal law; he produces the professor who lectures on this law and even the inevitable textbook … the whole apparatus of the police and criminal justice … also art, literature, novels, even tragic dramas … he (the criminal) gives a new impulse to the productive forces."

That's pretty juicy stuff, say no more, Karl! Within minutes, my crack team of ninja-idiot-savant-cat-burglar-draftsmen had illicitly purloined and haphazardly reproduced this picture of a giant thumb lusting after his maternal walnut from none other than Max Ernst, the noted German surrealist and bon vivant with the consummate Carrollian good taste to die the day before he was born.

Of course, you, the dear reader, may ask: what's this picture got to do with a vessel being snarked in tropical climes? I can only reply: It's a fair cop, guv'nor!
____________________

NB. Max Ernst's illustrations for the Snark are dadamax-loplop-good! One may wonder what Lewis Carroll would have made of them, but by using our Protosurrealist critical apparatus we can safely say: yes.

Monday, January 8, 2018

They that go down to the sea in ships, that do business in great snark

Eugène Delacroix pooh-poohed maritime disasters and English literature, both of them subjects dear to a Snark hunter's heart …

"… I have been reading the story of a shipwreck by Edgar Allan Poe, where the survivors remain in the most horrible and desperate situation for fifty pages on end — nothing could be more boring. Here we have an example of foreign bad taste. The English, German and other non-Latin peoples have no literature because they have no taste or proportion … they drown one beneath a flood of detail that takes away all the interest."

Later that same evening, over a beaker of pure rainwater, he tossed off this observation:

"Lord Byron praised gin as his hippocrene, because it made him bold … happy are they who, like Voltaire and other great men, can reach a state of inspiration on fresh water and plain living."

So, you want fresh water and plain living with no details? Very well! Get on this sinking raft, Eugène! You did it for Théodore Géricault, you can do it for me! Down there in front, behind the Bellman with your arms outstretched and quit your whining, this ain't no alexandrine hémistichery — this here's Lewis Carroll! Tingle that bell!

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NB. I have increased the mineral content of Delacroix's head to compensate for his natural Gallic bouyancy and to highlight his affinity for impersonating an Easter Island moia.

Tuesday, December 19, 2017

Lost in the Snarkhouse

Yet another shameless Magritte pastiche, and not the last one to grace these pages, I'll wager. Shameless — the 10th Muse of Protosurrealism!

Even more shameless — this insistence that the crew of the HMS Snark use the French language for navigational purposes when it is clearly evident to anyone who has ever been lost at sea that English is the natural language of confusion. This is easily verified. Stand on a street corner in any francophone city and ask a stranger: where am I? If necessary, pull at shirtsleeves and wave your arms, speak very slowly while pronouncing every phoneme at the utmost decibel level.

I shall be observing you from inside the comfortable vantage point of a nearby bottle of plonk. Do not make eye contact with me or else — sapristi! Garçon, call the police, this crazy-man-anglais-cowboy-streetperson is bothering me!

Words, words, words … if only they had the decency to cover themselves up, like the Bellman & Co. They have no loyalty, they can't be bothered to mean anything anymore, they're shameless!

Monday, December 11, 2017

Terra Snarkorum

The original illustration by Holiday of this Universal Map is, to be honest, a bit trite. It's obvious that the poor man was trying to economize on india ink and pen nibs. However, as Ronald Reagan's 11th Commandment reminds us: thou shalt not speak ill of another artist, particularly when they are dead and defenseless (the precise state in which their work is best appreciated and appreciates best).

I felt that I could do better. I assumed the traditional artist's position of cogitation whilst supine on my charpoy. I puffed upon the hookah proferred me by the Assamese chorus-girl who also pressed my feet, the predominant organ of mentation in my species. I was, of course, familiar with the etymology of the word "map", which ultimately conjured up the hebraic motif of a cloth which conceals and a cloth which reveals, all of which I deftly distilled into "what's-behind-curtain-number-four" and "the-Freudian-Slip".

But still … it was obvious … too obvious, perhaps. All the better for my class of readers! Starting with a gratuitious insult to Henry Holiday I had mentally arrived at a hookah-puffing Jewish savant peddling obscurantism to a witless Bellman in a Cairene souk. In the distance I could hear the blood-curdling screams of native children conjugating French verbs. I paid them no heed! I bent over my drawing board, pen in hand, my thoughts feverishly coagulating in a vivid mental maelstrom of mixed metaphors and incongruous images! Two weeks ago I couldn't even spell "artist", now I are one!

Monday, December 4, 2017

Snark on a Hot Tin Roof

There are some who might say this artist's conception of the Bellman is a base and underhanded attack upon the same, suggesting as it does that the Bellman was literally birdbrained and furthermore, that his colleagues possessed the collective wisdom and general prescience of a flock of chickens on the way to the abattoir.

But this is not the case.

I put it to you that the English penchant for all things avian is well-known. I put it to you that Lewis Carroll populated his verse and prose with many avian and semi-avian portmanteaux (or portmantanimaux?) such as the Jubjub Bird and the Borogrove.

I put it to you that the Bellman has suffered the ill-effects of a Violent Unknown Event and that he has metamorphasized into an avian state common amongst avant-garde English cineastes. The wisdom on his face is actually the smug look of a sporting wallah who finally knows for certain which came first, the chicken or the egg.

Monday, November 27, 2017

The Sounds of Snark

The Bellman's speech is of that particular British provenance yclept "fruity". Not so much "plummy" but rather … "peachy". If one removes the fuzzy skin thereof (the burr, so to speak) one is left with a nectarine. This fruit (spelled n-e-c-t-a-r-i-n-e but pronounced "stuffed cabbage") was the preferred nutrition of most cavemen and it was they who first domesticated the dog.

We see here a sample of that species, a young pup named Laelapswho attends upon his master's fruity voice. And what does he hear? A sonorous mussitation which leaves no impression upon him at all, for, as Thomas Aquinas noted, dogs have no souls. Hence their proverbial high fidelity is but a marketing ploy.

A dog, a peach, a gramophone — after all these years, my own 3-piece jazz combo! At last, I can take a bath. And just in time too, my gin-driven ink-pen's almost run dry.

Monday, November 20, 2017

Fitzcarraldo Goes Snark!

What is surrealism? The simultaneous memory of everything. What is protosurrealism? The same as above with the added frisson of remembering an impossible future.

What is the final panel of Fit the First? A protosurrealist Narrenschiff patched together from semiotic pentimenti and oneiric palimpsets, a carte-de-visite of the Victorian ideal of the future, an artifact drifting down the estuary of the Mississippi … the Amazon … the Thames … the Congo …

"We said there warn't no home like the ol' HMS Snark, after all. Other places do seem so cramped up and smothery, but the Snark don't. You feel mighty free and easy and comfortable on her.

"But when we reach the sea we'll build a bigger ship! What great treachery that will be! Then we shall control every bathing machine and produce history as others produce plays. I, the Bellman, the wrath of god!"


The Bellman ceased, and sat apart, indistinct and silent, in the pose of a meditating Buddha. Nobody moved for a time. "We have lost the first of the ebb," said the Butcher, suddenly. I raised my head. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky — seemed to lead into the heart of an immense darkness.

Monday, November 13, 2017

How to Win Friends and Influence Boojum

Declaimed by a drowsy Beaver at the stern of the HMS Snark as it drifts through the somnambulant equatorial swamps … simian caterwaulings and jackanape antics of the crew providing the needful soothing jungle lullabies … a siesta beckons … perhaps a postprandial charpoy, memsahib?

These snores, that I wish to outgribe.
So clear,
Their mimsy incarnations, which fly through the brillig air
I drowse a tulgey sleep.
Did I love a Boojum?

Monday, November 6, 2017

At Swim-Two-Snarks

Words, words, words! There's not going to be any of 'em in this drawing and besides, the Beaver seldom knows what to say anyway. They make such a buzzing in her head … so she's popped off, outside on deck, away from that galoot of a Butcher and his loquacious cronies in the main salon. She's having a breath of fresh sea air, watching the Boots and the Bellman gammon the ship's bowsprit, thinking of absolutely nothing in particular.

She is, as they say, a tabula rasa. Just the thing for an artist who's short on paper. A few quick strokes of the pen et voilà! In place of a quotidian Castor Canadensis, we now have a charming ingenue recently out of finishing school. She has imbibed all the social graces necessary for the sporting companion of any High Church Anglicans bent on Snarkicide. No more riparian galactophagogery for this lady, she's wearing the galligaskins now and she's loaded for Boojum!

In short — nurture triumphs over nature — again! Huzzah for the tabulae rasae of this world! Besides, no one likes a palimpset anyway, those snooty, nefandous know-it-alls.

Monday, October 9, 2017

Trained rocks keep fallin' on my head

The aversion of the Beaver's eyes is motivated by the primitive belief that whatever cannot be seen by oneself, cannot itself see you. This charming simplicity of thought is the innocent basis of most epistemologies, and it can be said, with some justice, that all of Western philosophy is but footnotes to the nursery-room game of peek-a-boo. 

And so … we are indulging in a pre-Socratic, preschool tautology of existential hide-and-go-seek … the Beaver dematerializes her stony-faced surrealist nemesis the Butcher by averting her eyes. Lewis Carroll disarms his Boojum by composing the Snark backwards and thus placing the former into a perpetually receding, invisible future of the latter. 

As for myself, I'm one of those literal-minded draughtsmen who cannot draw what he cannot see. I shall spurn Rule Number One of Illustration (if you cannot draw it, place a bush in front of it) for I am above such petty stratagems — a plague on all manner of foliage, those leaves, so many, so many, is there no end to them? The naked Boojum shall remain a naked, undrawn, unseeing Boojum.

To see a Boojum, ladies and gentlemen, is to be seen by a Boojum! Eschew the lethal gaze of all negating nonentities and all will be well! Focus instead your nondiscerning gaze upon the perfectly rendered nonchalance of this cool drawing. Nothing to see here folks, just move right along.

Monday, October 2, 2017

Through a Glass, Snarkly

The illustration of this stanzel (stanza-cum-panel) has completely exhausted my remaining brain-worker abilities. Purchasing insurance for a lengthy sea voyage in the company of a declared homicidal maniac is standard naval procedure but fiendishly tricky for a landlubber draftsman such as I. The dagger-proof coat which the Beaver is wearing was the crux of the drawing and easier by far, I decided to indicate its prophylactic function by delineating its essential nature: what goes on inside the dagger-proof coat, stays inside the dagger-proof coat. 

Several of my readers have recently communicated to me that they don't "get it", that my written commentaries on the Snark contain "too many references to stuff we don't know about anyway", and finally, that's it all "too surreal". Success at last!
 

But seriously, big words make my head hurt too, that's why I became an artist. As a child I learned about these gigantic hurtful words and the small-minded hurtful people who use 'em. Whenever someone tries to make my brain hurt-hurt with jaw-jaw, I remember what Humpty Dumpty advised Alice on the subject of big, bad, scary words —
 "They've a temper, some of them - particularly verbs: they're the proudest — adjectives you can do anything with, but not verbs — however, I can manage the whole lot of them! Impenetrability! That's what I say!' 

The egg speaks and having spoken, we obey! Yes, our new watchword shall be: impenetrably-clear.

Monday, September 25, 2017

Snark, Actually

The provenance of this image is, I confess, is a hopelessly adulterated concoction of all the flotsam & jetsam which churns up my head: 
• Corrupted retinal imprints of an Alma-Tadema confection of Egytian heirophants barging down the Nile.
 
• Scattered brain-crumb trail of Enobarbus channeling Shakespeare's fancification of Jacques Amyot's crib of Plutarch's précis of Cleopatra a-burning on the water.
 
• Thomas Mann's Deutsche Bahn-ification of the disgraced Joseph's descent down the Nile in the Joseph Tetralogy.
 
• A muddled childhood memory of Thor Heyerdahl's voyages … over-saturated Technicolor imagery of Incan fellahin poling their islands of bundled reeds across Lake Titicaca, through Upper Egypt and down to Easter Island.
 
• Most importantly, the compulsion to depict accurately an object of stone floating in water, hence proving it as light as a duck and therefore, a witch.


To those who insist upon a certain logical decorum in the threads binding an image to a text, I say: pshaw! I just rummage through the cultural debris and emotional wheel ruts, happy as a tove in a wabe. If poetry is metaphor, and metaphor is image-making, then there's more critical analysis in one panel of this Snark than in the many pages of intellectual jiggery-pokery with which Lewis Carroll has been belabored through the ages.
 

On the deck of the HMS Snark, we also can see The Barrister and The Billiard-Marker playing at dice over a fragment of an aortic blood vessel which appears to have been illicitly removed from the poet Dante Alighieri (why? Because I say so). Here's what Witold Gombrowicz, said about Dante and his Divine Comedy, another famous poem about Snarks …
 

"Dante was reciting his epoch, but the epoch was also reciting, and the poem is, so to speak, a double platitude, the poet simply recited what was already being recited. Something like those Sunday discussions of soccer by people gathered in bars and coffee houses. Do they really care about soccer? Not in the least. … Humanity glides along the worn ruts of articulation. An empty poem, which exists in defiance of reality and almost as if to spite it!"*
 

Well, doesn't that just about wrap it up for The Meaning of the Snark? I mean, simply substitute Lewis Carroll for Dante (deep inside, you know you really want to) and there it is, a poem about nothing! A drawing about nothing! And whatever it is that you read into the drawing, that's what you truly wanted all along — and thus, deserve!


Yes, yes, yes! I know that Lewis Carroll spoke no Italian outside his bathing machine. And yes, he did claim total ignorance of the meaning of his work, in English or Italian — unlike Dante (Alighieri, not "Wombat" Rossetti), who wouldn't shut up about his boojums. Frankly, I don't know what I'm doing either, it's all the rage these days and I think it's going rather well, it always does when you draw with your eyes wide shut.

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*W. Gombrowicz, Diary, Volume 3, October 16, 1966, translated by Lillian Vallee, Northwestern Univ. Press, 1993. The works of Gombrowicz are ideal for name-dropping at academic and intellectual soirées, preferably from an upstairs window and attached to an anvil. 

Monday, September 18, 2017

Turinese Snark


Alberto Savinio had this to say about animals such as the Beaver who are always trying to draw attention to themselves: 

"Totemism is a sign of the dignity that animals once enjoyed, a testimony that the earth was once a paradise … our memory of the time when animals lived with us as companions and equals contains the most encouraging idea of the future of the world, an idea that lets us glimpse, beyond the contraction of peoples into themselves, their expansion into a common brotherhood, and finally their new merging with the animals in a paradise regained."
 

In this panel we see the final and ultimate member of the crew, the Butcher, apparently menacing the Beaver in an umbrous manner while she is at play. Is the Butcher truly malevolent towards the Beaver as the text insinuates or is he pursuing that childish dream of Eden which she rolls before her? Universal brotherhood of sentient beings or ignominous immolation at the hands of a petrified maniac?
 

Clues abound: the (conveniently) protean decor of the HMS Snark, indeed, the entire mise en scène is redolent of the fashionably unsettled piazzi of Turin, a place notorious for the alpine fogs which beset and befuddle its inhabitants. A similar metaphysical ennui settles heavily over both the Beaver and the hinted-at Butcher, perhaps they are in that liminal state which Savinio alludes to, struggling to emerge from a state of totemic memories into a future Paradise Regained?
 Is Lewis Carroll hinting at an eschatalogical program of redemption here? Is the Hunting of the Snark really a music-hall species of the Divine Comedy, the Snark is Beatrice, the Baker is Dante and the crew of the HMS Snark, a multicephalic crypto-gnostic Virgil?

Mystery and Melancholy of a Street,
Giorgio de Chirico
Or is it all just a load of rubbish, the useless odds and ends found inside an Oxford don's pilfered portmanteau, disparate rubbish strewn about the paving stones of a Turinese piazza by a disappointed thief who had been posing as a railway porter on the Bragia trunk line, the better to prey upon Englishmen doing the Grand Tour? Savinio had this to say about the dodgy sort of things that can spring out of a fellow's portmanteau on a chilly Piedmontese morning:

"
Romanticism: the terror of nature, its forests, its tempests, its dawns, its splendors … surrealism: the internal terror of a man, his forests, his tempests, his dawns, his splendor."

Monday, August 21, 2017

A Confederacy of Snarks!

It's a fair cop, guv'nor! The Bellman, assisted by the Fellowship of the Snark, brandishes his clochetic truncheon at this wallah's stoney noggin. Note further, my dear Watson, that a close reading of the text with a fine-toothed comb and well-knitted brow elicits the following facts:

Given …
The duncedness of this otherwise un-named crewmember is literally not-to-be-believed, a statement which itself is not-to-be-believed since it has not been repeated the requisite three times.
Given …
The sole thought of this non-nonbelievable dunce is Snark.
From which …
To possess a dunce is to possess a ready-made Platonic Ideal of a Snark — and in a very handy demi-godlike package too!
And therefore…
This dunce is no dunce, eh? QED!

So, our dunce is an imposter disguising himself as an Easter Island moia with an uncanny penchant for resembling the notorious French confidence-picturist and double-crosser, Eugène Delacroix! After some rough handling and quick bell-work, the so-called Eugène made the following (internal, hence epistemologically dunciad) statement:

"… one should not be too difficult. An artist should not treat himself like an enemy. Experience ought to teach us two things: first, that we should do a great deal of correcting, secondly, that we must not correct too much."

Proof positive and bob's your uncle! This man's an absolute diabolical numbskull, cunningly fitted out with all the French Polynesian deviltry necessary to hold two simultaneously opposing thoughts at once — the very conditions necessary for a Snark to flourish inside the old brain pan! Pseudo-neoplatonic skullduggery with alarming whiffs of a faux-phrenological sub-gnostic epistemological thing-um-a-jiggery — some sort of game's afoot! I could have had a job with NASA but I'm sticking it out with this snark business, I'm a brainworker!