Note for the administration

Javert was born in prison. This I'd forgotten: I went back during his suicide chapter last week, to see what he did in his spare time (he read, "although he hated books") and there it was, again. His mother was a fortune-teller. As I've admitted many times, I've never read Les Misérables before, nor seen the show; beyond what I've absorbed through cultural osmosis of its contents (France, stealing bread, raggedy children, sewers) I didn't know what to expect. Spend any length of time tooling around the internet in search of useful stuff about the book, however, and questions you didn't want the answers to get answered too soon. If the teen Eponine fan sites don't tell you, something else will. Javert jumps.

Although not exactly. But first he writes a letter to his employer, the police. In criticism and reviews a phrase used to be common: "where a lesser writer would..." Has this phrase remained in circulation? This drastically Old School-sounding phrase: Where a lesser writer would have made Jean Valjean the subject of Javert's letter, the author of Les Misérables...leaps. The letter is a leap; something stratospheric is at hand, something unearthly it's so strange and fine. What can I compare it to? The final scene of Aida is close. Some Beatles songs, Norwegian Wood for instance. WWI G.I.s sending fan mail to Gertrude Stein from the trenches on account of Tender Buttons. Lincoln's Gettysburg Address. Albertine. Barbra Streisand. Michael Jackson's Motown Special Moonwalk: hearts everywhere leapt. Javert, himself, leaps--not into the Seine, but into his letter: each numbered point of ten a star to mark the outlines of a new constellation, The Leaping Police Spy.

This letter destroys me; I am in love with it. I weep at my desk as I read it again and again. All the observations of an all-observant life begun and passed in prisons and punishment, only: what he'd seen that still pained him; what rankled; what drove him crazy; what he'd needed, that one night, only, one of the saddest items of the ten: a fellow police spy to spell him. He'd been left too alone with Jean Valjean; he knows it. What he writes: "Thirdly: the mode of keeping track of a man with relays of police agents from distance to distance, is good, but, on important occasions, it is requisite that at least two agents should never lose sight of each other, so that, in case one agent should, for any cause, grow weak in his service, the other may supervise him and take his place." Because as it is, the police have lost both of them, Javert and Jean Valjean. One is free and the other one, having released his prey, is nothing but a dark form, there's nothing left inside this dark form that falls forward into about one o'clock in the morning, to disappear.

The Torn Coat-Tail

What I also wanted to say but didn't have time to last night because I wanted to watch a movie, is that I appreciated the strip of fabric Thenardier tore out of the coat to keep just in case, when he was robbing Marius. Because I'd read through the entire sewer passage, twice, very carefully, without catching sight therein of Marat's shroud, in any state of preservation: it had gone, while I'd been longing for a glimpse. Frustration. Would it get me down? The whiff of failure, the tinny ring of cheat--the same old conditions, normally, of my environment: would they prevail? No, they would not. Scrap for scrap, shroud to frock coat, Marat to Marius Pontmercy (Baron): I'd be satisfied enough, but the dedicated chapter title makes it feel extra special.

Thank you, Victor Hugo.

At it again

First--well, before first: zero--of zero importance: my pen's out of ink and I'm having to use--a pen. Another pen on the train this morning. So then first, last night, it occurs to me to wonder: Where did Marius get the bread roll? Forgotten in his pocket; I couldn't remember, either. Went back and looked it up, found the purchase of a penny roll among the hours before his last time slipping through the garden rails to see Cosette. Who isn't there. So, to the barricade: the long night follows, then the fighting, the head injuries, the slash wounds on the arms, the broken collarbone, the unconsciousness. Typically, in being almost dead Marius admits of no half-measures. There's no stirring, no fluttered eyelids, no groans, no murmured names. He leaks blood; he's heavy. Jean Valjean, exhausted, reaching what must pass for a clean well-lit place in the Paris sewer system of 1832 (long before its prime), lays Marius down, rips up his own shirt, binds the wounds, gazes at Marius with "inexpressible hatred" and goes through his pockets. Along with the notebook and its directions to deliver his dead body to his grandfather's house in the Marais, is the bread roll. Which Jean Valjean eats--Jean Valjean steals bread from Marius. Then, able to, fed now, he carries Marius further; through, for instance, quicksand with raw sewage around his neck and Marius like a full tray in a crowded restaurant at both arms' length upraised.

Second, they finally reach the exit. Dusk on some unpopulated shoreline, the river Seine, safety, just beyond one iron-barred grate. But it's locked. They're going to die there. Jean Valjean lays Marius down on a little stone ledge there and collapses with his back against the grate. By good fortune: because Thenardier suddenly appears from some crook for crooks in the sewer and he's got a key but he hates Jean Valjean. Whom he fails to recognize with his back to the light. He also, just like he did with his father at Waterloo, mistakes Marius for a corpse and then robs him; but saves him.

What a great book! I remain pissed at my educators for not requiring me to read it in school--if not repeatedly, starting at an early age, then at least once would have been nice. Helpful. I've regained my equanimity. My mother tells me that she had to read Les Misérables in junior high. It was never even suggested to me that I recall; my mother wouldn't have because, she says, the story of Jean Valjean being pursued and pursued and for what, traumatized her. Was this reaction widespread? I wonder. Is that why they stopped teaching it in public schools? Maybe parents complained. I remember my father taking me to meet with my English teacher when I went crazy from reading Crime and Punishment in tenth grade. Mr. McSheffrey! I loved him. Though I don't know how Crime and Punishment slipped in there; normally he had us reading A.J. Cronin novels.

Better (Believe Me) than Beowulf

I have been a little overwhelmed by what I've read of Les Misérables at work these past two days. I cannot escape the feeling of having encountered the whole kit and caboodle in its most literal and active form. It prostrates me.

Somewhat unhelpfully, I'm also reading Faulkner; this afternoon, on the train, I took a further faint during the first story in Go Down, Moses when "Uncle Buddy forgot that. He was standing facing the front door and right in front of it, with the fyce right in front of him yelling fire and murder every time it could draw a new breath; he said the first he knew was when the fyce gave a shriek and whirled and Tomey's Turl was right behind it. Uncle Buck said he never even saw the door open; that the fyce just screamed once and ran between his legs and then Tomey's Turl ran right clean over him. He never even bobbled; he knocked Uncle Buck down and then caught him before he fell without even stopping, snatched him up under one arm, still running, and carried him along for about ten feet, saying, 'Look out of here, old Buck. Look out of here, old Buck,' before he threw him away and went on. By that time they couldn't even hear the fyce any more at all."

I'm Gumby Dammit! *

I still have no adequate explanation for why I spent almost $15 at the General Store in Oyster Bay, Long Island last weekend on a Gumby and Pokey figurine set, instead of buying something useful. To repeat. Reading Les Misérables at work was supposed to be weaning me from trivialities. But there they sit, green astride orange with big eyeballs, across my living room. Gumby and Pokey: maybe also a little like how Jean Valjean is carrying Marius unconscious with a broken collarbone through the (so far rag-free) Paris sewer system. But it's a stretch. A stretch!

I remember thinking I would pose them on my desk at work, in the underutilized World Financial Center space beneath my two flat-screen computer monitors. I'll admit, I pictured the picturesque ways I put them exciting co-workers to manual interactions (always healthy). But when I yanked them out of their packaging--and I am such an ass, I'd spent extra to get the "1960's Editions"--the sad fact appeared, plain as Play-Doh: Gumbies and Pokies are not what they were. God knows what Play-Doh is now; I don't want to. Oh, all right, Wikipedia: "Its 2004 United States patent indicates it is composed of water, a starch-based binder, a retrogradation inhibitor, salt, lubricant, surfactant, preservative, hardener, humectant, fragrance, and color. A petroleum additive gives the compound a smooth feel, and borax prevents mold from developing."

Of course I had a Gumby way back when I was eating Play-Doh (always in moderation) and I think I liked my Gumby, but not that much. Or maybe it was very much indeed and I was scarred somehow--I really can't recall. I don't remember ever owning a Pokey before, either. For that matter. What is clear in my mind is that Gumby's legs would bend up to the back of his head; Gumby did backbends; Gumby could almost come to seem woven. Gumby, now, no. A disappointment; but, so far as it was mine, quite trivial**. I only pity the poor kids trying to figure out how to have fun with it, because the toy of Today is stacked against them.


* "This video is no longer available due to a copyright claim by NBC Universal."
** Come to think of it, I believe I might have had a Pokey with a wire exposed.

Dying for Love

I was thinking the saddest commentary of all on femalekind was that Dian Fossey acted alone. Then I reconsidered. For who's to say that women of a thousand different races haven't left their people for another species to live with and protect? Clearly, its failure to catch on with a great many other heavily-documented white women signifies little or nothing at all.

Here I make a mental note to embed a link to a Google search for "women who fight poachers" at "protect," a task which I am in no position to perform at this moment as I am writing in a notebook with a pen. Ironically (?), my S.T. Dupont Paris fountain pen which was a gift and with which I've been writing these entries since March ran out of ink while I was writing "mental to" and I'm now on the last of the dozens of itsy-bitsy little bit of ink cartridges that were part of this marvelous gift. And it's a Friday and I'm already home so I can't get to that fountain pen store in Tribeca for new ones...quelle catastrophe!

Listen, it's hard. It's hard to plan a day trip with being away from the cats on top of all the logistics involved in making one day, back and forth, anywhere, happen--Jane Austen was very right about this--clearly requiring more and keener, less cat-centered minds than mine. Especially when there are perfectly good notebooks and (many) other pens strewn throughout the whole apartment.

I also need to remember to put a Google link for "females who fight poachers" inside something about how maybe not all the females who do so are women. Meaning, human women and thereby doing something to redeem "femalekind" in the first sentence. And also definitely not meaning that some women who do it are really transsexuals. Although some of them very well might be, if at all possible that's not what this part should say.

When I get around to typing these words to post on Reading Les Misérables at Work and I do that Google search for "women who fight poachers" for the link, I don't expect to find entries pointing to long lists. Anyway. But it's hard. What can we do? It's hard to leave the home--Cosette, still sitting in a morning dress on her bedroom windowsill, one pitched battle, with massacre, one desperate escape and one history of the Paris sewer system later: Cosette is still in the house! I feel as if I could go and see her sitting there, worried tears and joyful meditations chasing one another in her downcast eyes which seem to sparkle, from below. Typical behavior in the young female principle--and very appropriate, too. It's better for Cosette to be at home. Picture, her ex-sister, Eponine, who went out, who lost her home, is lying dead beside a pile of rocks with one breast showing. A Top Corpse in World Literature, but still.

I'll have to revise that first search, I guess. But I couldn't have been more than twenty when it seemed to me I realized I didn't have it in me to be a naturalist like I had always hoped to be. Not just because of the science studies involved--although this became the huge consideration--but really because I didn't believe I could stand to watch wild animals die all the time as a result of human stupidity. It would have made me so sad, crazy-sad. Would I have snapped and fired at poachers? Who cares? It never had the chance to happen. Now, I'm an older woman. No one needs me in a window: all those seats have been taken. I too can go out, now.

But I'm not going to no jungle with a shotgun to guard monkeys from armed men trying to kill them for their aphrodisiac properties. Yet. Mother.

Highlights

Jean Valjean is in the Paris sewer system. And so is my nominee for Best Inanimate Object in World Literature: the scrap of Marat's shroud that's said (said--by anyone other than Victor Hugo? I don't know) to have been discovered hanging from a broken hinge of a long-gone grating at a mouth of the Grand Sewer--and then, once recognized (uh-huh), left in place--by Bruneseau's salutary expedition of 1805-1812. Marius is down there too but he's unconscious. The suspense I feel is very great: after thirty years of further rotting in the midst of major construction, is the scrap--the "morsel" as Isabel F. Hapgood translates it--or any part of it still there? (Morceau, it must be.) And if it is, will they see it? I'll have to be reading so carefully now!