[ilds] RG Justine 1.26

Durrell School of Corfu durrells at otenet.gr
Sun May 6 09:21:09 PDT 2007

Michael, presumably that insight about Claude will figure in your forthcoming biography of LD - it's a helluva statement!
Richard Pine
  ----- Original Message ----- 
  From: Michael Haag 
  To: ilds at lists.uvic.ca 
  Sent: Sunday, May 06, 2007 6:36 PM
  Subject: Re: [ilds] RG Justine 1.26

  Actually it is all to do with how attentively Claude was working on corrections that day. In fact there is an argument for saying she wrote the Quartet, not Durrell.


  On Sunday, May 6, 2007, at 04:22 pm, slighcl wrote:

    On 5/5/2007 11:18 PM, Michael Haag wrote:

    As a thrilling point of information I direct your attention to 1.26 
    with its list of bus stops. Zizinia is one stop, Bacos is another; 
    there should be a comma between the two. A city may become a world 
    when one loves one of its inhabitants, but it can be hell if you get 
    off at the wrong stop.

    That is a thrilling little point you make, Michael.  I have long admired 1.26, that small interlude of urban impressions set between longer movements.  "A city becomes a world when one loves one of its inhabitants" is among the finest sentences in the novel, and I have thought of it much in various travels over the years.

    Here I will share with the list a glimpse of "the Justine underneath Justine."  (That seems apropos, given the recent turn in the discussion.)  Justine 1.26 was a late addition in red ink to the typescript:

    X X X X X X X X

     Rue Bab-el-Mandeb, Rue Abou-El-Dardar, Minet-el-Barrol (streets slippery
    with discarded fluff from the cotton marts) Nouzha (the rose-garden, some
     remembered kisses) or bus-stops with haunted names like Saba Pacha, Mazloum,
     Zizinia, Bacos, Schutz, Gianaclis.  A city becomes a world when one loves one of its

    X X X X X X X

    Michael will note, I think, that LD got his Alexandrian stops rather indifferently.   Here in the typescript we can see that LD did in fact include the comma separating "Zizinia, Bacos."  Why is the punctuation omitted in all of these later printings?   He certainly had close contact with those who could set him straight, and we can verify that he took occasion to change "Minet-el-Barrol" (appearing in both typescript and Faber 1st / 1st of Justine) to "Minet-el-Bassal"  (later Faber printings).   And I am thinking of other moments in the text where LD chooses to leave the type-setter's innovations--such as "flesh-lips, eyes, water-ices, the coloured stall" (Justine 1.4), which should be "flesh--lips, eyes, water-ices, the coloured stall."  That was never set straight.  (The ear of the poet takes precedence over the corrector's eye, I think.  It is more important that the sounds of these names and words "haunt" evocatively.)


    Charles L. Sligh
    Department of English
    Wake Forest University
    slighcl at wfu.edu

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