[ilds] ILDS Digest, Vol 110, Issue 15

Ric Wilson Ric.Wilson at msn.com
Sun Jun 19 13:53:50 PDT 2016


Richard, Bruce and Ken--Thanks for insights.  It's getting up past 115 outside, so things get conversely clammy indoors, I've fallen behind on the relevant texts to date...wondering whether my purr of AC, a tentacle I am beholden to here, will outlast this ghetto-blasting summer's dry heat.  Aye chihuahua you can feel it when the door opens!


So Ken's earlier reference to Abe was an eye-popper ( https://www.youtube.com/watch?v=hEJwvvQnP2w )! Thanks,too, for my new word of the day, onanistic.  Always a treat to discover a word that compel one's review of how little one knew re: a subject matter (one?) once felt so beyond reproach at regardless of language...ha ha!


As for the inability to distinguish between barracks in prison or a block of dwellings, my insight was hampered. As a recovering racketeer ejected from correctional education industry (embedded within government by Division), I wanted to dig in -- make more use of the context such as your thoughtful reply showed. I imagine, though, communities one perceives--the like and dislikes achieved experentially--along the way reveal where we're coming from and perhaps even grounds for assigning one a trajectory.

So the thing about LD's like or dislike of title(s) at hand, what could the subtext here refer to, I wonder?


Ric Wilson
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Today's Topics:

   1. Re: Nunquam (Kennedy Gammage)
   2. "Aphrodite" (Bruce Redwine)
   3. Re: "Aphrodite" (Richard Pine)
   4. Re: "Aphrodite" (Bruce Redwine)


----------------------------------------------------------------------

Message: 1
Date: Sat, 18 Jun 2016 12:07:03 -0700
From: Kennedy Gammage <gammage.kennedy at gmail.com>
To: ilds at lists.uvic.ca
Subject: Re: [ilds] Nunquam
Message-ID:
        <CANDhJnTNB3UZb_dsCT3wLt2ZYpfnqkYTH4kJ_EHGiX2o1v14_g at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

Hoping it?s OK to quote these 12 lines, relating the poem to her _Revolt_

?Aphrodite?

Not from some silent sea she rose
In her great wave of nacre
But from such a one?O sea
Scourged with iron cables!  O sea,
Boiling with salt froths to curds,
Carded like wool on the moon?s spindles,
Time-scarred, bitter, simmering prophet.
On some such night of storm and labour
Was hoisted trembling into our history?
Wide with panic the great eyes staring ?
Of man?s own wish this speaking loveliness,
On man?s own wish this deathless petrifact.

1964/1961

Some thoughts: My first take registered that the sea was violent: scourged,
boiling, carded ? without taking into account the transition between the
sea and Aphrodite. So I?m wondering about carded but now I think that line
7 ?time-scarred? refers to the goddess. But then ? why does Durrell say
?prophet? instead of ?prophetess,? which one might expect from him.  And as
a goddess, why does she panic? Maybe by comparison it?s nasty and violent
here where we live!

Anyway, she seems to live on via our wishes, either as speaking loveliness
or as a deathless petrifact ? maybe a Marine Venus hauled out of that
scourged and boiling sea.

In relation to the _Revolt_ my initial thought is that Tunc and Nunquam
deliberately ignore WWII while focusing on internal wars, violence and
madness.

Also, strange coincidence: when I Googled petrifact the example was from
Durrell: https://en.wiktionary.org/wiki/petrifact Unless I am mistaken the
scene they capture from Monsieur with the petrified forest is when they are
riding their horses to the beach after Macabru.

When Bruce said these books are hard to read ? I agree, mainly because they
are a huge slog through extended pages-long character monologues! All the
characters are Durrell, and he has a lot to say.

I really think the Revolt is a 60s-era way-station between the Quartet and
the Quintet ? both of which were focused on World War II.

Thanks very much ? Ken

P.S. Aphrodite was the patron saint of prostitutes ? so that bit fits
nicely!



On Thu, Jun 16, 2016 at 10:15 AM, Bruce Redwine <bredwine1968 at earthlink.net>
wrote:

> Ken, thanks for your reactions and pr?cis of *Nunquam*.  I shall
> undoubtedly find these useful, once I get to reading the novel. Your
> introductory comment??Finally finished re-reading *Revolt*??indicates why
> these two novels have had limited success.  Namely, they?re hard to read.
> Are we the only two still in this discussion?
>
> Bruce
>
>
>
>
>
> On Jun 13, 2016, at 11:01 PM, Kennedy Gammage <gammage.kennedy at gmail.com>
> wrote:
>
> Finally finished re-reading the Revolt, and yes it really is a ?science
> friction? according to Felix, bringing Io back to life with Marchant?s
> miniaturized version of Abel (the language-based AI we met on the first
> page of Tunc) powering her new 1960s-era cyborg brain, while her world
> famous flesh is recreated in ?rubber, leather, nylon, steel?glass, wool,
> jute and so on?gutta-percha, plastic?resins? by the best scientists of the
> Firm. What do you bet Durrell experienced audio-animatronic Mr. Lincoln
> when Miller took him to Disneyland in 1968!
>
> Here?s all they had to do to bring the dummy to life according to
> Marchant: ?mocked out a musculature and a nervous system and allowed her to
> imitate human behavior, speech, gesture, mnemonic response,? since Felix?s
> formerly bulky Abel has been ?reduced spectroscopically to the size of a
> pea.? Yet, even though Marchant implies that Julian has sexually assaulted
> Io?s waxworks after hours at Madame Tussaud?s (!) Durrell will keep up the
> fiction that the Firm is in parallel developing a male cyborg consort for
> her known as Adam, based on Rackstraw. We can all see where this is really
> headed.
>
> ?Muscles powered by tiny photoelectric mnemonic cells.? Felix and Marchant
> do make it sound easy: ?It might seem complicated, but in fact it?s only
> terribly detailed and intricate.? It?s Durrell?s strange science-frictional
> mashup of Mary Shelley and Norbert Wiener.
>
> Does the poem ?Aphrodite? have anything to do with the _Revolt_? Just
> curious. Sadly, that poem is not included in any of my three Durrell
> collections?
>
> Mentioned in the first line of section three: Hitler! So by my count
> that?s only the second reference to WWII in the Revolt so far. What do you
> make of that? Durrell was immersed in the swingin? 60s looking forward not
> back. The only ?back? for these characters are memories of their own past
> interactions, seasoned with shadowy histories of the Firm. That said ?
> precisely zero reference to the contemporaneous Colonels? coup. No outside
> wars in Tunc & Nunquam to distract from the chilly interiors.
>
> And then a third WWII reference: Toybrook, the skunkworks where they are
> building the dummy, looks like the Bergen-Belsen death camp. Felix and
> Marchant laugh heartily, though Durrell must have intended irony.
>
> I believe Julian is the first character to explicitly mention Aphrodite ?
> in relation to Io. Though Felix describes his sleeping wife Benedicta?s
> breast as ?the rise and fall so reassuring, like the spring swell of a
> marvelous free sea ? a Greek sea.?  They are one of the triangles.
>
> OK ? here?s Caradoc?s (I mean Durrell?s) opinion of brutalist
> architecture: ?And now that the mob has too much pocket money we can expect
> nothing so much as a long age of bloodshed expressed by the concrete block.
> It is hard nowadays to distinguish a barracks from a prison or a block of
> dwellings?they belong to the same strain of thought ? Mobego I call it
> after our old friend Sipple.? Very fair architectural criticism, but
> suspect economics: blaming the mob and its ego (thanks for clarifying that
> for me Bruce) for decisions the working class never made. If this so-called
> UK mob had ?too much pocket money? in 1968 it was probably due to the long
> privations from WWII finally easing! (Is this reference #4? Call it
> three-and-a-half.) But why ever ?blame? the mob for the sins of the ruling
> class? They certainly haven?t had too much pocket money for decades now, if
> ever by definition.
>
>
> I think there was some discussion of Hippo?s house, Naos, in relation to
> Egyptian shrines. It would be fun to reference some of these earlier
> threads from time to time on the listserv, both to avoid reinventing the
> wheel - but mainly to re-enjoy what Bill Godshalk had to say about it!
>
> ?I thought vividly of the boy with his throat cut lying on his side in
> Sipple?s bed?I thought of Iolanthe who had committed the murder. It was
> unbelievable really. Unbelievable.? Yes, for the reader it really is
> totally unbelievable and unsupported, though it amply served its
> characteristically vivid & salacious purpose in the storyline.
>
> Did Julian mastermind this shocking incident with Adam and Rackstraw? Of
> course!
>
> I guess my central question was what Durrell wanted or expected us to
> believe about creating a true-to-life cyborg (not only that, but an exact
> replica of a world famous person who was also the main characters? personal
> friend and lover!) ? in 1968. I think we all understand what a challenge
> this would pose in 2016 ? but maybe the immediate readers of the day
> thought anything was possible. Or ? and I think this is more likely ? maybe
> Durrell thought of it as a modern fairy tale. Something more akin to ?the
> uncanny? than to ?sci-fric,? more Pygmalion than _The Stepford Wives._
>
> Of course, some of his ideas are profoundly politically incorrect: like
> Baum talking religious leaders into endorsing the Firm?s paid recruitment
> program for onanistic skin care product donors. That might have earned
> Durrell a Fatwa if anyone had been paying attention back in the day.
>
> That?s all I?ve got cheers ? now I can finally read some of the Stanislaw
> Lem books I picked up at Powell?s in Portland.
>
> - Ken
>
> P.S. How about doing one of these Virtual Book Club (VBC) sessions about
> _Prospero?s Cell_ when the time comes? I can pretty much guarantee it will
> be a lively discussion.
>
>
>
>
> _______________________________________________
> ILDS mailing list
> ILDS at lists.uvic.ca
> https://lists.uvic.ca/mailman/listinfo/ilds
>
>
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Message: 2
Date: Sat, 18 Jun 2016 13:43:12 -0700
From: Bruce Redwine <bredwine1968 at earthlink.net>
To: Sumantra Nag <ilds at lists.uvic.ca>
Cc: Ken Gammage <gammage.kennedy at gmail.com>,    Bruce Redwine
        <bredwine1968 at earthlink.net>
Subject: [ilds] "Aphrodite"
Message-ID: <E77C337C-7051-4C96-A498-7529DB467958 at earthlink.net>
Content-Type: text/plain; charset="utf-8"

My thanks to Ken Gammage for bringing this poem to our attention.  In term of Durrell?s development, ?Aphrodite? has obvious relevance to The Revolt of Aphrodite.  I go along with the idea of war as recurring motif (war in history and war between the sexes).  A few comments.

1.  This version is from Brigham?s edition of Lawrence Durrell:  Collected Poems:  1931-1974 (Faber 1980).  The poem was first published in 1961and later collected in Durrell?s Selected Poems:  1935-1963 (Faber 1964).  Durrell again reprinted it in The Ikons and Other Poems (Dutton 1967), where it holds a prominent position as the second of thirty-two selections.  ?Io? also appears in Ikons (cf. Io with Iolanthe in Revolt).   The version of ?Aphrodite? in Ikons sets off the last two lines in the fashion of a sonnet?s resolution couplet.

2.  I take the poem as a truncated sonnet (twelve lines instead of fourteen) but without distinct quatrains.  Sonnets (particularly Petrarch?s and Shakespeare?s) are typically about love, although they need not be.  Aphrodite, like her Roman counterpart Venus, is the goddess of love.

3.  We have Aphrodite rising on her ?great wave of nacre,? but Durrell?s Aphrodite is obviously not Botticelli?s Venus on the half-shell rising from the sea in The Birth of Venus.  She?s more like some scarred warrior, some ?bitter, simmering prophet.? I don?t think Durrell distinguished between ?prophet? and ?prophetess? (he wasn?t always a sexist?),  but this can be researched and shown otherwise.  Why ?panic? in her eyes?  Panic is derived from the god Pan, who is associated with instilling fear.  Perhaps Durrell intends that Aphrodite creates terror in all who behold her.  I think this fits Durrell.

4.  The last two lines serve to ?resolve? the meaning:  ?of man?s own wish? v. ?on man?s own wish.?  The wish v. the fact, beauty v. terror.  So we have Durrell?s nonce usage??petrifact.?  (Thanks to Ken for digging this up.)  Apparently this is the first use of the word in English.  Petrifact is a backformation of petrifaction, which the OED has going back to 1611 (which is well within Durrell?s readings in Renaissance English).  Since petrifact also appears in Monsieur?there seems to be a linkage in Durrell?s thought.  Yes, good point, Ken, Durrell?s Aphrodite is like a piece of statuary, hard and cold and beaten up, a Marine Venus of his own making, his own invention (as is clear in Reflections on a Marine Venus.)

Bruce



> On Jun 18, 2016, at 12:07 PM, Kennedy Gammage <gammage.kennedy at gmail.com> wrote:
>
> Hoping it?s OK to quote these 12 lines, relating the poem to her _Revolt_
>
> ?Aphrodite?
>
> Not from some silent sea she rose
> In her great wave of nacre
> But from such a one?O sea
> Scourged with iron cables!  O sea,
> Boiling with salt froths to curds,
> Carded like wool on the moon?s spindles,
> Time-scarred, bitter, simmering prophet.
> On some such night of storm and labour
> Was hoisted trembling into our history?
> Wide with panic the great eyes staring ?
> Of man?s own wish this speaking loveliness,
> On man?s own wish this deathless petrifact.
>
> 1964/1961
>
> Some thoughts: My first take registered that the sea was violent: scourged, boiling, carded ? without taking into account the transition between the sea and Aphrodite. So I?m wondering about carded but now I think that line 7 ?time-scarred? refers to the goddess. But then ? why does Durrell say ?prophet? instead of ?prophetess,? which one might expect from him.  And as a goddess, why does she panic? Maybe by comparison it?s nasty and violent here where we live!
>
> Anyway, she seems to live on via our wishes, either as speaking loveliness or as a deathless petrifact ? maybe a Marine Venus hauled out of that scourged and boiling sea.
>
> In relation to the _Revolt_ my initial thought is that Tunc and Nunquam deliberately ignore WWII while focusing on internal wars, violence and madness.
>
> Also, strange coincidence: when I Googled petrifact the example was from Durrell: https://en.wiktionary.org/wiki/petrifact <https://en.wiktionary.org/wiki/petrifact> Unless I am mistaken the scene they capture from Monsieur with the petrified forest is when they are riding their horses to the beach after Macabru.
>
> When Bruce said these books are hard to read ? I agree, mainly because they are a huge slog through extended pages-long character monologues! All the characters are Durrell, and he has a lot to say.
>
> I really think the Revolt is a 60s-era way-station between the Quartet and the Quintet ? both of which were focused on World War II.
>
> Thanks very much ? Ken
>
> P.S. Aphrodite was the patron saint of prostitutes ? so that bit fits nicely!
>
>

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Message: 3
Date: Sun, 19 Jun 2016 01:10:22 +0300
From: Richard Pine <pinedurrellcorfu at gmail.com>
To: ilds at lists.uvic.ca
Cc: Ken Gammage <gammage.kennedy at gmail.com>,    Bruce Redwine
        <bredwine1968 at earthlink.net>
Subject: Re: [ilds] "Aphrodite"
Message-ID:
        <CAEVum0Khhx6cystZ2Qb7+1Qy5v-xBaF+c8mcrzOvMq8M=8hfCA at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

I think it's important to point out that LD disliked the composite title
'Revolt of Aphrodite'  which, he said, was foisted on him by the American
publishers. He referred to it by preference under the original titles of
the two volumes.
RP

On Sat, Jun 18, 2016 at 11:43 PM, Bruce Redwine <bredwine1968 at earthlink.net>
wrote:

> My thanks to Ken Gammage for bringing this poem to our attention.  In term
> of Durrell?s development, ?Aphrodite? has obvious relevance to *The
> Revolt of Aphrodite*.  I go along with the idea of war as recurring motif
> (war in history and war between the sexes).  A few comments.
>
> 1.  This version is from Brigham?s edition of *Lawrence Durrell:
>  Collected Poems:  1931-1974* (Faber 1980).  The poem was first published
> in 1961and later collected in Durrell?s *Selected Poems:  1935-1963*
> (Faber 1964).  Durrell again reprinted it in *The Ikons and Other Poems*
> (Dutton 1967), where it holds a prominent position as the second of
> thirty-two selections.  ?Io? also appears in* Ikons* (cf. Io with
> Iolanthe in *Revolt*).   The version of ?Aphrodite? in *Ikons* sets off
> the last two lines in the fashion of a sonnet?s resolution couplet.
>
> 2.  I take the poem as a truncated sonnet (twelve lines instead of
> fourteen) but without distinct quatrains.  Sonnets (particularly Petrarch?s
> and Shakespeare?s) are typically about love, although they need not be.
> Aphrodite, like her Roman counterpart Venus, is the goddess of love.
>
> 3.  We have Aphrodite rising on her ?great wave of nacre,? but Durrell?s
> Aphrodite is obviously not Botticelli?s Venus on the half-shell rising from
> the sea in *The* *Birth of Venus*.  She?s more like some scarred warrior,
> some ?bitter, simmering prophet.? I don?t think Durrell distinguished
> between ?prophet? and ?prophetess? (he wasn?t always a sexist?),  but this
> can be researched and shown otherwise.  Why ?panic? in her eyes?  *Panic*
> is derived from the god Pan, who is associated with instilling fear.
> Perhaps Durrell intends that Aphrodite creates terror in all who behold
> her.  I think this fits Durrell.
>
> 4.  The last two lines serve to ?resolve? the meaning:  ?of man?s own
> wish? v. ?on man?s own wish.?  The wish v. the fact, beauty v. terror.  So
> we have Durrell?s nonce usage??petrifact.?  (Thanks to Ken for digging this
> up.)  Apparently this is the first use of the word in English.
> *Petrifact* is a backformation of *petrifaction*, which the *OED* has
> going back to 1611 (which is well within Durrell?s readings in Renaissance
> English).  Since *petrifact* also appears in *Monsieur*?there seems to be
> a linkage in Durrell?s thought.  Yes, good point, Ken, Durrell?s Aphrodite
> is like a piece of statuary, hard and cold and beaten up, a Marine Venus of
> his own making, his own invention (as is clear in *Reflections on a
> Marine Venus*.)
>
> Bruce
>
>
>
> On Jun 18, 2016, at 12:07 PM, Kennedy Gammage <gammage.kennedy at gmail.com>
> wrote:
>
> Hoping it?s OK to quote these 12 lines, relating the poem to her _Revolt_
>
> ?Aphrodite?
>
> Not from some silent sea she rose
> In her great wave of nacre
> But from such a one?O sea
> Scourged with iron cables!  O sea,
> Boiling with salt froths to curds,
> Carded like wool on the moon?s spindles,
> Time-scarred, bitter, simmering prophet.
> On some such night of storm and labour
> Was hoisted trembling into our history?
> Wide with panic the great eyes staring ?
> Of man?s own wish this speaking loveliness,
> On man?s own wish this deathless petrifact.
>
> 1964/1961
>
> Some thoughts: My first take registered that the sea was violent:
> scourged, boiling, carded ? without taking into account the transition
> between the sea and Aphrodite. So I?m wondering about carded but now I
> think that line 7 ?time-scarred? refers to the goddess. But then ? why does
> Durrell say ?prophet? instead of ?prophetess,? which one might expect from
> him.  And as a goddess, why does she panic? Maybe by comparison it?s nasty
> and violent here where we live!
>
> Anyway, she seems to live on via our wishes, either as speaking loveliness
> or as a deathless petrifact ? maybe a Marine Venus hauled out of that
> scourged and boiling sea.
>
> In relation to the _Revolt_ my initial thought is that Tunc and Nunquam
> deliberately ignore WWII while focusing on internal wars, violence and
> madness.
>
> Also, strange coincidence: when I Googled petrifact the example was from
> Durrell: https://en.wiktionary.org/wiki/petrifact Unless I am mistaken
> the scene they capture from Monsieur with the petrified forest is when they
> are riding their horses to the beach after Macabru.
>
> When Bruce said these books are hard to read ? I agree, mainly because
> they are a huge slog through extended pages-long character monologues! All
> the characters are Durrell, and he has a lot to say.
>
> I really think the Revolt is a 60s-era way-station between the Quartet and
> the Quintet ? both of which were focused on World War II.
>
> Thanks very much ? Ken
>
> P.S. Aphrodite was the patron saint of prostitutes ? so that bit fits
> nicely!
>
>
>
>
> _______________________________________________
> ILDS mailing list
> ILDS at lists.uvic.ca
> https://lists.uvic.ca/mailman/listinfo/ilds
>
>
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Message: 4
Date: Sat, 18 Jun 2016 15:40:05 -0700
From: Bruce Redwine <bredwine1968 at earthlink.net>
To: Richard Pine <pinedurrellcorfu at gmail.com>
Cc: Sumantra Nag <ilds at lists.uvic.ca>, Ken Gammage
        <gammage.kennedy at gmail.com>,    Bruce Redwine
        <bredwine1968 at earthlink.net>
Subject: Re: [ilds] "Aphrodite"
Message-ID: <BF4739E6-3086-42B1-B4DB-3595380054A1 at earthlink.net>
Content-Type: text/plain; charset="utf-8"

Faber published the one-volume edition of The Revolt of Aphrodite in 1974?not Dutton.  So I assume the Brits and not the Yanks imposed, if such, that title on Durrell?s ?double-decker.?  I don?t think this alters the relevance of ?Aphrodite.?  Durrell could always have rejected the suggestion.  But he didn?t.

Bruce





> On Jun 18, 2016, at 3:10 PM, Richard Pine <pinedurrellcorfu at gmail.com> wrote:
>
> I think it's important to point out that LD disliked the composite title 'Revolt of Aphrodite'  which, he said, was foisted on him by the American publishers. He referred to it by preference under the original titles of the two volumes.
> RP
>
> On Sat, Jun 18, 2016 at 11:43 PM, Bruce Redwine <bredwine1968 at earthlink.net <mailto:bredwine1968 at earthlink.net>> wrote:
> My thanks to Ken Gammage for bringing this poem to our attention.  In term of Durrell?s development, ?Aphrodite? has obvious relevance to The Revolt of Aphrodite.  I go along with the idea of war as recurring motif (war in history and war between the sexes).  A few comments.
>
> 1.  This version is from Brigham?s edition of Lawrence Durrell:  Collected Poems:  1931-1974 (Faber 1980).  The poem was first published in 1961and later collected in Durrell?s Selected Poems:  1935-1963 (Faber 1964).  Durrell again reprinted it in The Ikons and Other Poems (Dutton 1967), where it holds a prominent position as the second of thirty-two selections.  ?Io? also appears in Ikons (cf. Io with Iolanthe in Revolt).   The version of ?Aphrodite? in Ikons sets off the last two lines in the fashion of a sonnet?s resolution couplet.
>
> 2.  I take the poem as a truncated sonnet (twelve lines instead of fourteen) but without distinct quatrains.  Sonnets (particularly Petrarch?s and Shakespeare?s) are typically about love, although they need not be.  Aphrodite, like her Roman counterpart Venus, is the goddess of love.
>
> 3.  We have Aphrodite rising on her ?great wave of nacre,? but Durrell?s Aphrodite is obviously not Botticelli?s Venus on the half-shell rising from the sea in The Birth of Venus.  She?s more like some scarred warrior, some ?bitter, simmering prophet.? I don?t think Durrell distinguished between ?prophet? and ?prophetess? (he wasn?t always a sexist?),  but this can be researched and shown otherwise.  Why ?panic? in her eyes?  Panic is derived from the god Pan, who is associated with instilling fear.  Perhaps Durrell intends that Aphrodite creates terror in all who behold her.  I think this fits Durrell.
>
> 4.  The last two lines serve to ?resolve? the meaning:  ?of man?s own wish? v. ?on man?s own wish.?  The wish v. the fact, beauty v. terror.  So we have Durrell?s nonce usage??petrifact.?  (Thanks to Ken for digging this up.)  Apparently this is the first use of the word in English.  Petrifact is a backformation of petrifaction, which the OED has going back to 1611 (which is well within Durrell?s readings in Renaissance English).  Since petrifact also appears in Monsieur?there seems to be a linkage in Durrell?s thought.  Yes, good point, Ken, Durrell?s Aphrodite is like a piece of statuary, hard and cold and beaten up, a Marine Venus of his own making, his own invention (as is clear in Reflections on a Marine Venus.)
>
> Bruce
>
>
>
>> On Jun 18, 2016, at 12:07 PM, Kennedy Gammage <gammage.kennedy at gmail.com <mailto:gammage.kennedy at gmail.com>> wrote:
>>
>> Hoping it?s OK to quote these 12 lines, relating the poem to her _Revolt_
>>
>> ?Aphrodite?
>>
>> Not from some silent sea she rose
>> In her great wave of nacre
>> But from such a one?O sea
>> Scourged with iron cables!  O sea,
>> Boiling with salt froths to curds,
>> Carded like wool on the moon?s spindles,
>> Time-scarred, bitter, simmering prophet.
>> On some such night of storm and labour
>> Was hoisted trembling into our history?
>> Wide with panic the great eyes staring ?
>> Of man?s own wish this speaking loveliness,
>> On man?s own wish this deathless petrifact.
>>
>> 1964/1961
>>
>> Some thoughts: My first take registered that the sea was violent: scourged, boiling, carded ? without taking into account the transition between the sea and Aphrodite. So I?m wondering about carded but now I think that line 7 ?time-scarred? refers to the goddess. But then ? why does Durrell say ?prophet? instead of ?prophetess,? which one might expect from him.  And as a goddess, why does she panic? Maybe by comparison it?s nasty and violent here where we live!
>>
>> Anyway, she seems to live on via our wishes, either as speaking loveliness or as a deathless petrifact ? maybe a Marine Venus hauled out of that scourged and boiling sea.
>>
>> In relation to the _Revolt_ my initial thought is that Tunc and Nunquam deliberately ignore WWII while focusing on internal wars, violence and madness.
>>
>> Also, strange coincidence: when I Googled petrifact the example was from Durrell: https://en.wiktionary.org/wiki/petrifact <https://en.wiktionary.org/wiki/petrifact> Unless I am mistaken the scene they capture from Monsieur with the petrified forest is when they are riding their horses to the beach after Macabru.
>>
>> When Bruce said these books are hard to read ? I agree, mainly because they are a huge slog through extended pages-long character monologues! All the characters are Durrell, and he has a lot to say.
>>
>> I really think the Revolt is a 60s-era way-station between the Quartet and the Quintet ? both of which were focused on World War II.
>>
>> Thanks very much ? Ken
>>
>> P.S. Aphrodite was the patron saint of prostitutes ? so that bit fits nicely!
>>
>>
>

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