Nostalgia

Passages

Every passage tagged with this emotion in the Vela corpus. Search the body text, narrow by source or register, click through to a book’s profile to see how the passage sits with the rest of the work.

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• From An Unquiet Mind: A Memoir of Moods and Madness (1995)

  Poetry, thank God, remained within my grasp, and, having always loved it, I now fell upon it with a passion that is hard to describe. I found that children’s books, which, in addition to being shorter than books written for adults, also had larger print, were relatively accessible to me, and I read over and over again the classics of childhood—Peter Pan, Mary Poppins, Charlotte’s Web, Huckleberry Finn, the Oz books, Doctor Dolittle—that had once, so many years earlier, opened up such unforgettable worlds to me. Now they gave me a second chance, a second wind of pleasure and beauty. But of all the children’s books, I returned most often to The Wind in the Willows. I found myself occasionally totally overwhelmed by it. Once, I remember, I broke down entirely at a particular passage describing Mole and his house. I cried and cried and could not stop. Recently, I pulled down my copy of The Wind in the Willows, which had remained on the bookshelf unopened once I had regained my ability to read, and tried to track down what it was that had created such a shattering reaction. After a brief search I found the passage I had been looking for. Mole, who had been away from his underground home for a very long time exploring the world of light and adventure with his friend Ratty, one winter evening is walking along and suddenly and powerfully, with “recollection in fullest flood,” smells his old home. Desperate to revisit it, he struggles to persuade the Rat to accompany him: “Please stop, Ratty!” pleaded the poor Mole, in anguish of heart. “You don’t understand! It’s my home, my old home! I’ve just come across the smell of it, and it’s close by here, really quite close. And I must go to it, I must, I must! O, come back, Ratty! Please, please come back!” The Rat, initially preoccupied and reluctant to take the time to do so, finally does visit Mole in his home. Later, after Christmas carols and a nightcap of mulled ale in front of the fire, Mole reflects on how much he has missed the warmth and security of what he once had known, all of those “friendly things which had long been unconsciously a part of him.” At this point in my rereading, I remembered exactly, and with visceral force, what I had felt reading it not long after I had started taking lithium: I missed my home, my mind, my life of books and “friendly things,” my world where most things were in their place, and where nothing awful could come in to wreck havoc. Now I had no choice but to live in the broken world that my mind had forced upon me. I longed for the days that I had known before madness and medication had insinuated their way into every aspect of my existence. Rules for the Gracious Acceptance of Lithium into Your Life

• From Austerlitz (2001)

  What particularly attracted me to Turner’s watercolor, said Austerlitz, was not merely the similarity of the scene in Lausanne to the funeral at Cutiau, but the memory it prompted in me of my last walk with Gerald in the early summer of 1966, through the vineyards above Morges on the banks of Lake Geneva. During my subsequent studies of Turner’s life and his sketchbooks I discovered the fact, entirely insignificant in itself but nonetheless one I found curiously moving, that in 1798 he, Turner, had himself visited the estuary of the Mawddach on a journey through Wales, and that at the time he was exactly the same age as I was at the funeral in Cutiau. As I speak of it now, said Austerlitz, it is as if I had been sitting in the south-facing drawing room of Andromeda Lodge among the mourners only yesterday, as if I could still hear their quiet murmuring, and Adela saying she didn’t know what she would do with herself now, all alone in that big house. Gerald, who was then in his last year of school and had come over from Oswestry especially for the funeral, told me about the lack of any improvement in conditions at Stower Grange, which he described as a horrible inkblot disfiguring the souls of its pupils for ever. He was kept from going mad, said Gerald, only by the fact that since joining the Air Cadet Corps he had been able to fly over the whole wretched place in a Chipmunk and get right away from it once a week. The further you can rise above the earth the better, he said, and for that same reason he had decided to study astronomy. About four o’clock I went down to Barmouth station with Gerald. When I returned—dusk was already falling, said Austerlitz, and fine rain hung suspended in the air, apparently without sinking to the ground—Adela came to meet me from the misty depths of the garden, muffled up in greenish-brown tweed with millions of tiny drops of water clinging to the fine fuzz of its outline and forming a kind of

• From The Master and Margarita (1966)

  And not only because it took up two vast halls with arched ceilings, painted with violet, Assyrian-maned horses, not only because on each table there stood a lamp shaded with a shawl, not only because it was not accessible to just anybody coming in off the street, but because in the quality of its fare Griboedov’s beat any restaurant in Moscow up and down, and this fare was available at the most reasonable, by no means onerous, price. Hence there was nothing surprising, for instance, in the following conversation, which the author of these most truthful lines once heard near the cast-iron fence of Griboedov’s: ‘Where are you dining today, Amvrosy?’ ‘What a question! Why, here, of course, my dear Foka! Archibald Archibaldovich whispered to me today that there will be perch au naturel done to order. A virtuoso little treat!’ ‘You sure know how to live, Amvrosy!’ skinny, run-down Foka, with a carbuncle on his neck, replied with a sigh to the ruddy-lipped giant, golden-haired, plump-cheeked Amvrosy-the-poet. ‘I have no special knowledge,’ Amvrosy protested, ‘just the ordinary wish to live like a human being. You mean to say, Foka, that perch can be met with at the Coliseum as well. But at the Coliseum a portion of perch costs thirteen roubles fifteen kopecks, and here—five-fifty! Besides, at the Coliseum they serve three-day-old perch, and, besides, there’s no guarantee you won’t get slapped in the mug with a bunch of grapes at the Coliseum by the first young man who bursts in from Theatre Alley. No, I’m categorically opposed to the Coliseum,’ the gastronome Amvrosy boomed for the whole boulevard to hear. ‘Don’t try to convince me, Foka!’ ‘I’m not trying to convince you, Amvrosy,’ Foka squeaked. ‘One can also dine at home.’ ‘I humbly thank you,’ trumpeted Amvrosy, ‘but I can imagine your wife, in the communal kitchen at home, trying to do perch au naturel to order in a saucepan! Hee, hee, hee! . . . Aurevwar, Foka!’ And, humming, Amvrosy directed his steps to the veranda under the tent. Ahh, yes! . . . Yes, there was a time! . . . Old Muscovites will remember the renowned Griboedov’s! What is poached perch done to order! Cheap stuff, my dear Amvrosy! But sterlet, sterlet in a silvery chafing dish, sterlet slices interlaid with crayfish tails and fresh caviar? And eggs en cocotte with mushroom purée in little dishes? And how did you like the fillets of thrush? With truffles? Quail à la génoise? Nine-fifty! And the jazz, and the courteous service! And in July, when the whole family is in the country, and you are kept in the city by urgent literary business—on the veranda, in the shade of the creeping vines, in a golden spot on the cleanest of tablecloths, a bowl of soup printanier? Remember, Amvrosy? But why ask! I can see by your lips that you do.

• From Austerlitz (2001)

  patiently stayed beside me, he led me round a few more corners and up several steps to a kind of mezzanine floor, from which I could look up at the mighty dome of the former Wilsonova Station, or more accurately at half the dome, since the other half had been sliced away, so to speak, by the new construction towering up into it. Along the semicircular lower rim of the dome ran a gallery with small café tables on it. When I had bought myself a ticket for the Hook of Holland I sat there for half an hour, until it was time for my train to leave, trying to think my way back through the decades, to remember what it had been like when, carried in Agata’s arms—as Vera had told me, said Austerlitz—I craned my neck, unable to take my eyes off the vault reaching such a vast height above us. But neither Agata nor Vera nor I myself emerged from the past. Sometimes it seemed as if the veil would part; I thought, for one fleeting instant, that I could feel the touch of Agata’s shoulder or see the picture on the front of the Charlie Chaplin comic which Vera had bought me for the journey, but as soon as I tried to hold one of these fragments fast, or get it into better focus, as it were, it disappeared into the emptiness revolving over my head. It was all the more surprising and indeed alarming a little later, said Austerlitz, when I looked out of the corridor window of my carriage just before the train left at seven-thirteen, to find it dawning upon me with perfect certainty that I had seen the pattern of the glass and steel roof above the platforms before, made up as it was of triangles, round arches, horizontal and vertical lines and diagonals, and in the same half- light. As the train rolled very slowly out of the station, through a passage between the backs of blocks of flats and into the dark tunnel running under the New Town, and then I crossed the Vitava with a regular beat, it really seemed to me, said Austerlitz, as if time had stood still since the day when I first left Prague. It was a dark, oppressive morning. A small lamp with a pink pleated shade, the kind of thing one used to see in the windows of Belgian brothels, stood on the white cloth covering the little table in the Czech State Railways dining car, where I was sitting in order to get a better view. The chef, his toque at an angle on his head, leaned in the entrance to his galley smoking and talking to the waiter, a curly-haired, slight little man in a check waistcoat and yellow bow tie. Outside, under the lowering sky, meadows and fields passed by, fishponds, woods, the curve of a bend in a river, a stand of alders, hills and valleys, and at Beroun, if I remember correctly, a limeworks extending over a square mile or more, with chimneys and towering silos disappearing into the low clouds above, huge square buildings of crumbling concrete roofed with rusty corrugated iron, conveyor belts moving up and down, mills to grind the stone, conical mounds of gravel, huts and freight trucks, all of it uniformly covered with pale gray sinter and dust.

• From Austerlitz (2001)

  the Sporkova, in the last weeks before the Germans marched in. In any case, one of the photographs showed the stage of a provincial theater, perhaps in Reichenau or Olmiitz or one of the other towns where Agata sometimes performed before she was engaged to appear in Prague. At first glance, said Austerlitz, Vera said she had thought the two figures in the bottom left-hand comer were Agata and Maximilian—they were so tiny that it was impossible to make them out well—but then of course she noticed that they were other people, perhaps the impresario, or a conjuror and his woman assistant. She had wondered, said Vera, what kind of play or opera had been staged in front of this alarming backdrop, and because of the high mountain range and the wild forest background she thought it might have been Wilhelm Tell, or La Sonnambula, or Ibsen’s last play. The Swiss boy with the apple on his head appeared in my mind’s eye, Vera continued; I sensed in me the moment of terror in which the narrow bridge gives way under the sleepwalker’s foot, and imagined that, high in the rocks above, an avalanche was already breaking loose, about to sweep the poor folk who had lost their way (for what else would have brought them to these desolate surroundings?) down into the depths next moment. Minutes went by, said Austerlitz, in which I too thought I saw the cloud of snow crashing into the valley, before I heard Vera again, speaking of the mysterious quality peculiar to such photographs when they surface from oblivion. One has the impression, she said, of something stirring in them, as if one caught small sighs of despair, gémissements de désespoir was her expression, said Austerlitz, as if the pictures had a memory of their own and remembered us, remembered the roles that we, the survivors, and those no longer among us had played in our former lives. Yes, and the small boy in the other photograph, said Vera after a while, this is you, Jacquot, in February 1939, about six months before you left Prague. You were to accompany Agata to a masked ball at the house of one of her influential admirers, and she had the snow-white costume made for you especially for the occasion. On the back it says Jacquot Austerlitz, paze ruzové krdlovny, in your grandfather’s handwriting, for he happened to be visiting at the time. The picture lay before me, said Austerlitz, but I dared not touch it. The words pdze ruizové krdlovny, paze ruzové krdlovny went round and round in my head, until their meaning came to me from far away, and once again I saw the live tableau with the Rose Queen and the little boy carrying her train at her side.

• From An Unquiet Mind: A Memoir of Moods and Madness (1995)

  That year I walked for long hours along the sea and through the town and sat for hours mulling and writing among the ancient ruins of the city. I never tired of imagining what the twelfth-century cathedral must once have been, what glorious stained glass must once have filled its now-empty stone-edged windows; nor could I escape the almost archetypal pullings of Sunday services in the college chapel, which, like the university itself, had been built during the early fifteenth century. The medieval traditions of learning and religion were threaded together in a deeply mystifying and wonderful way. The thick scarlet gowns of the undergraduates, said to be brightly colored because of an early Scottish king’s decree that students, as potentially dangerous to the State, should be easily recognized, brought vivid contrast to the gray buildings of the town; and, after chapel, the red-gowned students would walk to the end of the town’s pier, further extending their vivid contrast to the dark skies and the sea. It was, it is, a mystical place: full of memories of cold, clear nights and men and women in evening dress, long gloves, silk scarves, kilts, and tartan sashes over the shoulders of women in elegant floor-length silk gowns; an endless round of formal balls; late dinner parties of salmon, hams, fresh game, sherry, malt whiskies, and port; bright scarlet gowns on the backs of students on bicycles, in dining and lecture halls, in gardens, and on the ground as picnic blankets in the spring. There were late nights of singing and talking with my Scottish roommates; long banks of daffodils and bluebells on the hills above the sea; seaweed and rocks and limpet shells along the yellow, high-tided sands, and ravishingly beautiful Christmas services at the end of term: undergraduates in their long, bright gowns of red, and graduate students in their short, black somber ones; the old and beautiful carols; hanging lamps of gold-chained crowns, and deeply carved wooden choir stalls; the recitation of lessons in both the English public school and the far gentler, more lyrical Scottish accents. Leaving the chapel late that winter night was to enter onto an ancient scene, the sight of scarlet against snow, the ringing of bells, and a clear, full moon. St. Andrews provided a gentle forgetfulness over the preceding painful years of my life. It remains a haunting and lovely time to me, a marrow experience. For one who during her undergraduate years was trying to escape an inexplicable weariness and despair, St. Andrews was an amulet against all manner of longing and loss, a year of gravely held but joyous remembrances. Throughout and beyond a long North Sea winter, it was the Indian summer of my life.

• From An Unquiet Mind: A Memoir of Moods and Madness (1995)

  That year I walked for long hours along the sea and through the town and sat for hours mulling and writing among the ancient ruins of the city. I never tired of imagining what the twelfth-century cathedral must once have been, what glorious stained glass must once have filled its now-empty stone-edged windows; nor could I escape the almost archetypal pullings of Sunday services in the college chapel, which, like the university itself, had been built during the early fifteenth century. The medieval traditions of learning and religion were threaded together in a deeply mystifying and wonderful way. The thick scarlet gowns of the undergraduates, said to be brightly colored because of an early Scottish king’s decree that students, as potentially dangerous to the State, should be easily recognized, brought vivid contrast to the gray buildings of the town; and, after chapel, the red-gowned students would walk to the end of the town’s pier, further extending their vivid contrast to the dark skies and the sea. It was, it is, a mystical place: full of memories of cold, clear nights and men and women in evening dress, long gloves, silk scarves, kilts, and tartan sashes over the shoulders of women in elegant floor-length silk gowns; an endless round of formal balls; late dinner parties of salmon, hams, fresh game, sherry, malt whiskies, and port; bright scarlet gowns on the backs of students on bicycles, in dining and lecture halls, in gardens, and on the ground as picnic blankets in the spring. There were late nights of singing and talking with my Scottish roommates; long banks of daffodils and bluebells on the hills above the sea; seaweed and rocks and limpet shells along the yellow, high-tided sands, and ravishingly beautiful Christmas services at the end of term: undergraduates in their long, bright gowns of red, and graduate students in their short, black somber ones; the old and beautiful carols; hanging lamps of gold-chained crowns, and deeply carved wooden choir stalls; the recitation of lessons in both the English public school and the far gentler, more lyrical Scottish accents. Leaving the chapel late that winter night was to enter onto an ancient scene, the sight of scarlet against snow, the ringing of bells, and a clear, full moon. St. Andrews provided a gentle forgetfulness over the preceding painful years of my life. It remains a haunting and lovely time to me, a marrow experience. For one who during her undergraduate years was trying to escape an inexplicable weariness and despair, St. Andrews was an amulet against all manner of longing and loss, a year of gravely held but joyous remembrances. Throughout and beyond a long North Sea winter, it was the Indian summer of my life.

• From Tropic of Cancer (1934)

  About the patrons and prodromes of the Renaissance I know little, but Madam Pimpernel, la belle boulangère , and Maître Jehan Crapotte, l’ orfèvre , these occupy my spare thoughts still. Not forgetting Rodin, the evil genius of The Wandering Jew , who practiced his nefarious ways “until the day when he was en-flamed and outwitted by the octoroon Cecily.” Sitting in the Square du Temple, musing over the doings of the horse knackers led by Jean Caboche, I have thought long and ruefully over the sad fate of Charles the Silly. A halfwit, who prowled about the halls of his Hôtel St. Paul, garbed in the filthiest rags, eaten away by ulcers and vermin, gnawing a bone, when they flung him one, like a mangy dog. At the Rue des Lions I looked for the stones of the old menagerie where he once fed his pets. His only diversion, poor dolt, aside from those card games with his “low-born companion,” Odette de Champdivers. It was a Sunday afternoon, much like this, when I first met Germaine. I was strolling along the Boulevard Beaumarchais, rich by a hundred francs or so which my wife had frantically cabled from America. There was a touch of spring in the air, a poisonous, malefic spring that seemed to burst from the manholes. Night after night I had been coming back to this quarter, attracted by certain leprous streets which only revealed their sinister splendor when the light of day had oozed away and the whores commenced to take up their posts. The Rue du Pasteur-Wagner is one I recall in particular, corner of the Rue Amelot which hides behind the boulevard like a slumbering lizard. Here, at the neck of the bottle, so to speak, there was always a cluster of vultures who croaked and flapped their dirty wings, who reached out with sharp talons and plucked you into a doorway. Jolly, rapacious devils who didn’t even give you time to button your pants when it was over. Led you into a little room off the street, a room without a window usually, and, sitting on the edge of the bed with skirts tucked up gave you a quick inspection, spat on your cock, and placed it for you. While you washed yourself another one stood at the door and, holding her victim by the hand, watched nonchalantly as you gave the finishing touches to your toilet. Germaine was different. There was nothing to tell me so from her appearance. Nothing to distinguish her from the other trollops who met each afternoon and evening at the Café de l’Eléphant. As I say, it was a spring day and the few francs my wife had scraped up to cable me were jingling in my pocket. I had a sort of vague premonition that I would not reach the Bastille without being taken in tow by one of these buzzards.

• From Austerlitz (2001)

  clarity, like pure fantasies. I often feel, said Vera, as if I were gazing at a diorama as I once did when I was a child in Reichenberg, seeing the figures inside a case filled with some strangely translucent aura poised motionless in mid-movement, owing their lifelike appearance, oddly enough, to their extremely diminutive size. In later life I never set eyes on anything more magical than the yellow Syrian desert in the Reichenberg diorama, the peaks of the Zillertal Alps rising white and radiant above the dark pine forests, and that moment frozen in time when the young poet Goethe, wearing a short, light- brown coat fluttering in the wind, is about to climb into a post-chaise to which his traveling bags are already strapped. These days, Vera continued, the pictures of our excursions together from the Sporkova through the Lesser Quarter tend to go hand in hand with such reminiscences of my own childhood. When memories come back to you, you sometimes feel as if you were looking at the past through a glass mountain, and now, as I tell you this, if I close my eyes I see the two of us as it were disembodied, or, more precisely, reduced to the unnaturally enlarged pupils of our eyes, looking down from the observation platform on the Petrin Hill at the green slopes below, with the funicular railway making its way upwards like a fat caterpillar, while further out, on the other side of the city, the railway train you always waited so eagerly to see is making its way past the row of houses at the foot of the VySehrad and slowly crossing the bridge over the river, trailing a white cloud of vapor. When the weather was bad, said Vera, we often visited my aunt Otylie in the glove shop on the Serikova which she had been running since before the Great War and in which, as in some consecrated shrine or temple, a muted atmosphere banishing all profane ideas reigned. Aunt Otylie was a spinster lady of alarmingly fragile appearance. She always wore an outer garment of pleated black silk with a detachable white lace collar, and moved about in a little cloud of lily-of-the-valley perfume. If she was not busy serving one of the women she described as her honored lady clients, she was constantly occupied in maintaining order among her stock of hundreds, if not thousands, of different pairs of gloves of all kinds, ranging from cotton for everyday wear to the most elegant velvet or kid creations from Paris and Milan, arranged in a hierarchy of her own devising which she had preserved for decades through all the vicissitudes of time, and which only she really understood. But when we went to see her, said Vera, she gave you her entire attention, showed you this and that, let you look at the shallow drawers which glided out with extraordinary ease, and allowed you not just to pick up glove after glove but even to try them on, explaining the niceties of every model to you patiently, just as if she saw you as heir presumptive to her business. And I remember, Vera told me, said Austerlitz, that it was Aunt Otylie who taught you to count at the age of

• From Tropic of Cancer (1934)

  One never thinks of China, but it is there all the time on the tips of your fingers and it makes your nose itchy; and long afterward, when you have forgotten almost what a firecracker smells like, you wake up one day with gold leaf choking you and the broken pieces of punk waft back their pungent odor and the bright red wrappers give you a nostalgia for a people and a soil you have never known, but which is in your blood, mysteriously there in your blood, like the sense of time or space, a fugitive, constant value to which you turn more and more as you get old, which you try to seize with your mind, but ineffectually, because in everything Chinese there is wisdom and mystery and you can never grasp it with two hands or with your mind but you must let it rub off, let it stick to your fingers, let it slowly infiltrate your veins. A few weeks later, upon receipt of a pressing invitation from Collins who had returned to Le Havre, Fillmore and I boarded the train one morning, prepared to spend the weekend with him. It was the first time I had been outside of Paris since my arrival here. We were in fine fettle, drinking Anjou all the way to the coast. Collins had given us the address of a bar where we were to meet; it was a place called Jimmie’s Bar, which everyone in Le Havre was supposed to know. We got into an open barouche at the station and started on a brisk trot for the rendezvous; there was still a half bottle of Anjou left which we polished off as we rode along. Le Havre looked gay, sunny; the air was bracing, with that strong salty tang which almost made me homesick for New York. There were masts and hulls cropping up everywhere, bright bits of bunting, big open squares and high-ceilinged cafés such as one only sees in the provinces. A fine impression immediately; the city was welcoming us with open arms. Before we ever reached the bar we saw Collins coming down the street on a trot, heading for the station, no doubt, and a little late as usual. Fillmore immediately suggested a Pernod; we were all slapping each other on the back, laughing and spitting, drunk already from the sunshine and the salt sea air. Collins seemed undecided about the Pernod at first. He had a little dose of clap, he informed us. Nothing very serious—“a strain” most likely. He showed us a bottle he had in his pocket—“Vénétienne” it was called, if I remember rightly. The sailors’ remedy for clap. We stopped off at a restaurant to have a little snack before repairing to Jimmie’s place. It was a huge tavern with big, smoky rafters and tables creaking with food. We drank copiously of the wines that Collins recommended. Then we sat down on a terrasse and had coffee and liqueurs.

• From Tropic of Cancer (1934)

  One never thinks of China, but it is there all the time on the tips of your fingers and it makes your nose itchy; and long afterward, when you have forgotten almost what a firecracker smells like, you wake up one day with gold leaf choking you and the broken pieces of punk waft back their pungent odor and the bright red wrappers give you a nostalgia for a people and a soil you have never known, but which is in your blood, mysteriously there in your blood, like the sense of time or space, a fugitive, constant value to which you turn more and more as you get old, which you try to seize with your mind, but ineffectually, because in everything Chinese there is wisdom and mystery and you can never grasp it with two hands or with your mind but you must let it rub off, let it stick to your fingers, let it slowly infiltrate your veins. A few weeks later, upon receipt of a pressing invitation from Collins who had returned to Le Havre, Fillmore and I boarded the train one morning, prepared to spend the weekend with him. It was the first time I had been outside of Paris since my arrival here. We were in fine fettle, drinking Anjou all the way to the coast. Collins had given us the address of a bar where we were to meet; it was a place called Jimmie’s Bar, which everyone in Le Havre was supposed to know. We got into an open barouche at the station and started on a brisk trot for the rendezvous; there was still a half bottle of Anjou left which we polished off as we rode along. Le Havre looked gay, sunny; the air was bracing, with that strong salty tang which almost made me homesick for New York. There were masts and hulls cropping up everywhere, bright bits of bunting, big open squares and high-ceilinged cafés such as one only sees in the provinces. A fine impression immediately; the city was welcoming us with open arms. Before we ever reached the bar we saw Collins coming down the street on a trot, heading for the station, no doubt, and a little late as usual. Fillmore immediately suggested a Pernod; we were all slapping each other on the back, laughing and spitting, drunk already from the sunshine and the salt sea air. Collins seemed undecided about the Pernod at first. He had a little dose of clap, he informed us. Nothing very serious—“a strain” most likely. He showed us a bottle he had in his pocket—“Vénétienne” it was called, if I remember rightly. The sailors’ remedy for clap. We stopped off at a restaurant to have a little snack before repairing to Jimmie’s place. It was a huge tavern with big, smoky rafters and tables creaking with food. We drank copiously of the wines that Collins recommended. Then we sat down on a terrasse and had coffee and liqueurs.

• From Tropic of Cancer (1934)

  Wren’s loose laugh has somehow released. With that bottle between my legs and the sun splashing through the window I experience once again the splendor of those miserable days when I first arrived in Paris, a bewildered, poverty-stricken individual who haunted the streets like a ghost at a banquet. Everything comes back to me in a rush—the toilets that wouldn’t work, the prince who shined my shoes, the Cinema Splendide where I slept on the patron’s overcoat, the bars in the window, the feeling of suffocation, the fat cockroaches, the drinking and carousing that went on between times, Rose Cannaque and Naples dying in the sunlight. Dancing the streets on an empty belly and now and then calling on strange people—Madame Delorme, for instance. How I ever got to Madame Delorme’s, I can’t imagine any more. But I got there, got inside somehow, past the butler, past the maid with her little white apron, got right inside the palace with my corduroy trousers and my hunting jacket—and not a button on my fly. Even now I can taste again the golden ambiance of that room where Madame Delorme sat upon a throne in her mannish rig, the goldfish in the bowls, the maps of the ancient world, the beautifully bound books; I can feel again her heavy hand resting upon my shoulder, frightening me a little with her heavy Lesbian air. More comfortable down below in that thick stew pouring into the Gare St. Lazare, the whores in the doorways, seltzer bottles on every table; a thick tide of semen flooding the gutters. Nothing better between five and seven than to be pushed around in that throng, to follow a leg or a beautiful bust, to move along with the tide and everything whirling in your brain. A weird sort of contentment in those days. No appointments, no invitations for dinner, no program, no dough. The golden period, when I had not a single friend. Each morning the dreary walk to the American Express, and each morning the inevitable answer from the clerk. Dashing here and there like a bedbug, gathering butts now and then, sometimes furtively, sometimes brazenly; sitting down on a bench and squeezing my guts to stop the gnawing, or walking through the Jardin des Tuileries and getting an erection looking at the dumb statues. Or wandering along the Seine at night, wandering and wandering, and going mad with the beauty of it, the trees leaning to, the broken images in the water, the rush of the current under the bloody lights of the bridges, the women sleeping in doorways, sleeping on newspapers, sleeping in the rain; everywhere the musty porches of the cathedrals and beggars and lice and old hags full of St.

• From Tropic of Cancer (1934)

  We had a fine drinking bout up in Carl’s room the other day discussing the possibilities. I wanted to know what I could do for a living back there—if I could be a proofreader, for example. She said I didn’t need to worry about what I would do—they would find a job for me as long as I was earnest and sincere. I tried to look earnest, but I only succeeded in looking pathetic. They don’t want to see sad faces in Russia; they want you to be cheerful, enthusiastic, light-hearted, optimistic. It sounded very much like America to me. I wasn’t born with this kind of enthusiasm. I didn’t let on to her, of course, but secretly I was praying to be left alone, to go back to my little niche, and to stay there until the war breaks. All this hocus-pocus about Russia disturbed me a little. She got so excited about it, Tania, that we finished almost a half dozen bottles of vin ordinaire . Carl was jumping about like a cockroach. He has just enough Jew in him to lose his head over an idea like Russia. Nothing would do but to marry us off—immediately. “Hitch up!” he says, “you have nothing to lose!” And then he pretends to run a little errand so that we can pull off a fast one. And while she wanted it all right, Tania, still that Russia business had gotten so solidly planted in her skull that she pissed the interval away chewing my ear off, which made me somewhat grumpy and ill at ease. Anyway, we had to think about eating and getting to the office, so we piled into a taxi on the Boulevard Edgar-Quinet, just a stone’s throw away from the cemetery, and off we whizzed. It was just a nice hour to spin through Paris in an open cab, and the wine rolling around in our tanks made it seem even more lovely than usual. Carl was sitting opposite us, on the strapontin , his face as red as a beet. He was happy, the poor bastard, thinking what a glorious new life he would lead on the other side of Europe. And at the same time he felt a bit wistful, too—I could see that. He didn’t really want to leave Paris, any more than I did. Paris hadn’t been good to him, any more than it had to me, or to anybody, for that matter, but when you’ve suffered and endured things here it’s then that Paris takes hold of you, grabs you by the balls, you might say, like some lovesick bitch who’d rather die than let you get out of her hands. That’s how it looked to him, I could see that. Rolling over the Seine he had a big foolish grin on his face and he looked around at the buildings and the statues as though he were seeing them in a dream.

• From Tropic of Cancer (1934)

  But finally she decided that it was just as well she didn’t come back. “I won’t have that candlestick next to me any more,” she said. “Always that candlestick… it made me nervous. If you had only been a fairy I would have stayed with you. …” With Macha gone our evenings took on a different character. Often we sat by the fire drinking hot toddies and discussing the life back there in the States. We talked about it as if we never expected to go back there again. Fillmore had a map of New York City which he had tacked on the wall; we used to spend whole evenings discussing the relative virtues of Paris and New York. And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said. The future belongs to the machine, to the robots. He was the Poet of the Body and the Soul, Whitman. The first and the last poet. He is almost undecipherable today, a monument covered with rude hieroglyphs for which there is no key. It seems strange almost to mention his name over here. There is no equivalent in the languages of Europe for the spirit which he immortalized. Europe is saturated with art and her soil is full of dead bones and her museums are bursting with plundered treasures, but what Europe has never had is a free, healthy spirit, what you might call a MAN. Goethe was the nearest approach, but Goethe was a stuffed shirt, by comparison. Goethe was a respectable citizen, a pedant, a bore, a universal spirit, but stamped with the German trade-mark, with the double eagle. The serenity of Goethe, the calm, Olympian attitude, is nothing more than the drowsy stupor of a German burgeois deity. Goethe is an end of something, Whitman is a beginning. After a discussion of this sort I would sometimes put on my things and go for a walk, bundled up in a sweater, a spring overcoat of Fillmore’s and a cape over that. A foul, damp cold against which there is no protection except a strong spirit. They say America is a country of extremes, and it is true that the thermometer registers degrees of cold which are practically unheard of here; but the cold of a Paris winter is a cold unknown to America, it is psychological, an inner as well as an outer cold. If it never freezes here it never thaws either.

• From Tropic of Cancer (1934)

  One never thinks of China, but it is there all the time on the tips of your fingers and it makes your nose itchy; and long afterward, when you have forgotten almost what a firecracker smells like, you wake up one day with gold leaf choking you and the broken pieces of punk waft back their pungent odor and the bright red wrappers give you a nostalgia for a people and a soil you have never known, but which is in your blood, mysteriously there in your blood, like the sense of time or space, a fugitive, constant value to which you turn more and more as you get old, which you try to seize with your mind, but ineffectually, because in everything Chinese there is wisdom and mystery and you can never grasp it with two hands or with your mind but you must let it rub off, let it stick to your fingers, let it slowly infiltrate your veins. A few weeks later, upon receipt of a pressing invitation from Collins who had returned to Le Havre, Fillmore and I boarded the train one morning, prepared to spend the weekend with him. It was the first time I had been outside of Paris since my arrival here. We were in fine fettle, drinking Anjou all the way to the coast. Collins had given us the address of a bar where we were to meet; it was a place called Jimmie’s Bar, which everyone in Le Havre was supposed to know. We got into an open barouche at the station and started on a brisk trot for the rendezvous; there was still a half bottle of Anjou left which we polished off as we rode along. Le Havre looked gay, sunny; the air was bracing, with that strong salty tang which almost made me homesick for New York. There were masts and hulls cropping up everywhere, bright bits of bunting, big open squares and high-ceilinged cafés such as one only sees in the provinces. A fine impression immediately; the city was welcoming us with open arms. Before we ever reached the bar we saw Collins coming down the street on a trot, heading for the station, no doubt, and a little late as usual. Fillmore immediately suggested a Pernod; we were all slapping each other on the back, laughing and spitting, drunk already from the sunshine and the salt sea air. Collins seemed undecided about the Pernod at first. He had a little dose of clap, he informed us. Nothing very serious—“a strain” most likely. He showed us a bottle he had in his pocket—“Vénétienne” it was called, if I remember rightly. The sailors’ remedy for clap. We stopped off at a restaurant to have a little snack before repairing to Jimmie’s place. It was a huge tavern with big, smoky rafters and tables creaking with food. We drank copiously of the wines that Collins recommended. Then we sat down on a terrasse and had coffee and liqueurs.

• From Tropic of Cancer (1934)

  When I get terribly excited I can’t hold myself back any more... three, four, five times... just like that! Paff, paff, paff! And then I bleed and that is very unhealthy for me because I am inclined to be anemic. So you see why once in a while I must let myself be sucked by a Lesbian. ...” When the cold weather set in the princess disappeared. It was getting uncomfortable with just a little coal stove in the studio; the bedroom was like an icebox and the kitchen was hardly any better. There was just a little space around the stove where it was actually warm. So Macha had found herself a sculptor who was castrated. She told us about him before she left. After a few days she tried coming back to us, but Fillmore wouldn’t hear of it. She complained that the sculptor kept her awake all night kissing her. And then there was no hot water for her douches. But finally she decided that it was just as well she didn’t come back. “I won’t have that candlestick next to me any more,” she said. “Always that candlestick... it made me nervous. If you had only been a fairy I would have stayed with you. ...” With Macha gone our evenings took on a different character. Often we sat by the fire drinking hot toddies and discussing the life back there in the States. We talked about it as if we never expected to go back there again. Fillmore had a map of New York City which he had tacked on the wall; we used to spend whole evenings discussing the relative virtues of Paris and New York. And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said. The future belongs to the machine, to the robots. He was the Poet of the Body and the Soul, Whitman. The first and the last poet. He is almost undecipherable today, a monument covered with rude hieroglyphs for which there is no key. It seems strange almost to mention his name over here. There is no equivalent in the languages of Europe for the spirit which he immortalized. Europe is saturated with art and her soil is full of dead bones and her museums are bursting with plundered treasures, but what Europe has never had is a free, healthy spirit, what you might call a MAN.

• From Tropic of Cancer (1934)

  About the patrons and prodromes of the Renaissance I know little, but Madam Pimpernel, la belle boulangère , and Maître Jehan Crapotte, l’ orfèvre , these occupy my spare thoughts still. Not forgetting Rodin, the evil genius of The Wandering Jew , who practiced his nefarious ways “until the day when he was en-flamed and outwitted by the octoroon Cecily.” Sitting in the Square du Temple, musing over the doings of the horse knackers led by Jean Caboche, I have thought long and ruefully over the sad fate of Charles the Silly. A halfwit, who prowled about the halls of his Hôtel St. Paul, garbed in the filthiest rags, eaten away by ulcers and vermin, gnawing a bone, when they flung him one, like a mangy dog. At the Rue des Lions I looked for the stones of the old menagerie where he once fed his pets. His only diversion, poor dolt, aside from those card games with his “low-born companion,” Odette de Champdivers. It was a Sunday afternoon, much like this, when I first met Germaine. I was strolling along the Boulevard Beaumarchais, rich by a hundred francs or so which my wife had frantically cabled from America. There was a touch of spring in the air, a poisonous, malefic spring that seemed to burst from the manholes. Night after night I had been coming back to this quarter, attracted by certain leprous streets which only revealed their sinister splendor when the light of day had oozed away and the whores commenced to take up their posts. The Rue du Pasteur-Wagner is one I recall in particular, corner of the Rue Amelot which hides behind the boulevard like a slumbering lizard. Here, at the neck of the bottle, so to speak, there was always a cluster of vultures who croaked and flapped their dirty wings, who reached out with sharp talons and plucked you into a doorway. Jolly, rapacious devils who didn’t even give you time to button your pants when it was over. Led you into a little room off the street, a room without a window usually, and, sitting on the edge of the bed with skirts tucked up gave you a quick inspection, spat on your cock, and placed it for you. While you washed yourself another one stood at the door and, holding her victim by the hand, watched nonchalantly as you gave the finishing touches to your toilet. Germaine was different. There was nothing to tell me so from her appearance. Nothing to distinguish her from the other trollops who met each afternoon and evening at the Café de l’Eléphant. As I say, it was a spring day and the few francs my wife had scraped up to cable me were jingling in my pocket. I had a sort of vague premonition that I would not reach the Bastille without being taken in tow by one of these buzzards.

• From The Well of Loneliness (1928)

  So, that after all the little wax Christ-child did not very much miss His presents. That evening Pauline’s two brothers arrived—they were Poilus stationed just outside Paris—and they brought along with them another young man, one Jean, who was ardently courting Adèle. Very soon came the sound of singing and laughter from the kitchen, and when Stephen went up to her bedroom to look for a book, there was Adèle quite flushed and with very bright eyes because of this Jean—in great haste she turned down the bed and then flew on the wings of love back to the kitchen. But Stephen went slowly downstairs to her study where Puddle was sitting in front of the fire, and she thought that Puddle sat there as though tired; her hands were quite idle, and after a moment Stephen noticed that she was dozing. Very quietly Stephen opened her book, unwilling to rouse the little grey woman who looked so small in the huge leather chair, and whose head kept guiltily nodding. But the book seemed scarcely worth troubling to read, so that presently Stephen laid it aside and sat staring into the flickering logs that hummed and burnt blue because it was frosty. On the Malvern Hills there would probably be snow; deep snow might be capping the Worcestershire Beacon. The air up at British Camp would be sweet with the smell of winter and open spaces—little lights would be glinting far down in the valley. At Morton the lakes would be still and frozen, so Peter the swan would be feeling friendly—in winter he had always fed from her hand—he must be old now, the swan called Peter. Coup! C-o-u-p! and Peter waddling towards her. He, who was all gliding grace on the water, would come awkwardly waddling towards her hand for the chunk of dry bread that she held in her fingers. Jean with his Adèle along in the kitchen—a nice-looking boy he was, Stephen had seen him—they were young, and both were exceedingly happy, for their parents approved, so some day they would marry. Then children would come, too many, no doubt, for Jean’s slender purse, and yet in this life one must pay for one’s pleasures—they would pay with their children, and this appeared perfectly fair to Stephen. She thought that it seemed a long time ago since she herself had been a small child, romping about on the floor with her father, bothering Williams down at the stables, dressing up as young Nelson and posing for Collins who had sometimes been cross to young Nelson. She was nearly thirty, and what had she done? Written one good novel and one very bad one, with few mediocre short stories thrown in. Oh, well, she was going to start writing again quite soon—she had an idea for a novel. But she sighed, and Puddle woke up with a start. ‘Is that you, my dear? Have I been asleep?’ ‘Only for a very few minutes, Puddle.’

• From The Girls (2016)

  I knew how easily it could happen, the past at hand, like the helpless cognitive slip of an optical illusion. The tone of a day linked to some particular item: my mother’s chiffon scarf, the humidity of a cut pumpkin. Certain patterns of shade. Even the flash of sunlight on the hood of a white car could cause a momentary ripple in me, allowing a slim space of return. I’d seen old Yardley slickers—the makeup now just a waxy crumble—sell for almost one hundred dollars on the Internet. So grown women could smell it again, that chemical, flowery fug. That’s how badly people wanted it—to know that their lives had happened, that the person they once had been still existed inside of them. There were so many things that returned me. The tang of soy, smoke in someone’s hair, the grassy hills turning blond in June. An arrangement of oaks and boulders could, seen out of the corner of my eye, crack open something in my chest, palms going suddenly slick with adrenaline. I anticipated disgust from Julian, maybe even fear. That was the logical response. But I was confused by the way he was looking at me. With something like awe. His father must have told him. The summer of the crumbling house, the sunburned toddlers. When I’d first tried to tell Dan, on the night of a brownout in Venice that summoned a candlelit, apocalyptic intimacy, he had burst out laughing. Mistaking the hush in my voice for the drop of hilarity. Even after I convinced Dan I was telling the truth, he talked about the ranch with that same parodic goof. Like a horror movie with bad special effects, the boom microphone dipping into the frame and tinting the butchery into comedy. And it was a relief to exaggerate my distance, neatening my involvement into the orderly package of anecdote. It helped that I wasn’t mentioned in most of the books. Not the paperbacks with the title bloody and oozing, the glossed pages of crime scene photographs. Not the less popular but more accurate tome written by the lead prosecutor, gross with specifics, down to the undigested spaghetti they found in the little boy’s stomach. The couple of lines that did mention me were buried in an out-of-print book by a former poet, and he’d gotten my name wrong and hadn’t made any connection to my grandmother. The same poet also claimed that the CIA was producing porn films starring a drugged Marilyn Monroe, films sold to politicians and foreign heads of state.

• From Austerlitz (2001)

  interior, which appeared to be very spacious, contained only the most essential furniture and no curtains or carpets. The walls were painted a pale shade of matt gray, and the floorboards were also gray, but of a rather darker hue. Apart from what seemed to me a curiously elongated, old-fashioned ottoman, the front room, into which Austerlitz took me first, had nothing in it but a large table, also varnished matt gray, with several dozen photographs lying on it, most of them dating quite a long way back and rather worn at the edges. Some of the pictures were already familiar to me, so to speak: pictures of empty Belgian landscapes, stations and Métro viaducts in Paris, the palm house in the Jardin des Plantes, various moths and other night-flying insects, ornate dovecotes, Gerald Fitzpatrick on the airfield near Quy, and a number of heavy doors and gateways. Austerlitz told me that he sometimes sat here for hours, laying out these photographs or others from his collection the wrong way up, as if playing a game of patience, and that then, one by one, he turned them over, always with a new sense of surprise at what he saw, pushing the pictures back and forth and over each other, arranging them in an order depending on their family resemblances, or withdrawing them from the game until either there was nothing left but the gray tabletop, or he felt exhausted by the constant effort of thinking and remembering and had to rest on the ottoman. I often lie here until late in the evening, feeling time roll back, said Austerlitz, as we passed into the sitting room at the rear, where he lit the little gas fire and invited me to sit down on one of the chairs standing on either side of the hearth. This room too contained hardly any furniture; there were just the gray floorboards and the walls on which the light of the flickering blue flames was now cast in the gathering dusk. I can still hear the faint hiss of the gas, and I remember that while Austerlitz was making tea in the kitchen I sat entranced by the reflection of the little fire, which looked as if it were burning at some distance from the house on the other side of the glazed veranda doors, among the now almost pitch-black bushes in the garden. When Austerlitz had brought the tea tray in and was holding slices of white bread on a toasting fork in front of the blue gas flames, I said something about the incomprehensibility of mirror images, to which he replied that he often sat in this room after nightfall, staring at the apparently motionless spot of light reflected out there in the darkness, and when he did so he inevitably thought of a Rembrandt exhibition he had seen once, many years ago, in the Rijksmuseum in Amsterdam, where he had not felt inclined to linger before any of the large-scale masterpieces which have been reproduced over and over again, but instead stood for a long time looking at a small painting measuring at most nine by twelve inches, from the Dublin collection, as far as he remembered, which according to its label showed the Flight into Egypt, although he could make out neither Mary