Dec. 27th, 2018

breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Tributaries
feeding into a large river: I had
many lives. In the provisional world,
I stood where the fruit was,
flats of cherries, clementines,
under Hallie’s flowers.

I had many lives. Feeding
into a river, the river
feeding into a great ocean. If the self
becomes invisible has it disappeared?

I thrived. I lived
not completely alone, alone
but not completely, strangers
surging around me.
That’s what the sea is:
we exist in secret.


—Louise Glück, from “Formaggio” (in Vita Nova)
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Always keen on advancement, Pat[ricia Highsmith, already working as a comics scriptwriter at Timely and other companies], tried to write for the high-paying, widely distributed Wonder Woman comic book, but was shut out of the job. This was in 1947, just one year before she began to imagine her lesbian novel, The Price of Salt. Wonder Woman, daughter of Amazon Queen Hippolyta and still the heroine of her own comic book, has a favorite exclamation: “Suffering Sappho!” She lives on the forbidden-to-males Paradise Island with a happy coepheroi of lithe young Amazons, and she arrived in America in 1942, in the form of her Altar Ego, Lieutenant Diana Prince, to help the Allies fight World War II. The thought of what Patricia Highsmith, in her most sexually active period (the 1940s were feverish for Pat) and in the right mood, might have made of Wonder Woman’s bondage-obsessed plots and nubile young Amazons can only be inscribed on the short list of popular culture’s lingering regrets.


—Joan Schenkar, The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith (Chapter 2: How to Begin, Part 2)

Inscribed on the short list of popular culture’s lingering regrets, indeed.

And a little bonus anecdote about Highsmith’s time at Timely Comics, which would later become Marvel:

1943: Vince Fago, her editor at Timely, tries to arrange a date for her with another comic book writer, Stan Lee. Neither Lee nor Pat is interested, so Spider-Man (the superhero Stan Lee cocreated) misses his opportunity to date Tom Ripley (the antihero Pat Highsmith created).
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
At twenty, when she was a junior at Barnard College living at home in New York City—and just as liable to falling through the crust of the world as she is now [in 1973, at fifty-two]—Pat first wrote about thin ice:

"We live on the thin ice of unexplained phenomena. Suppose our food suddenly did not digest in our stomachs. Suppose it lay like a lump of dough inside us and poisoned us."

Food has disturbed her on and off since she was an adolescent. She wrote to her professor friend Alex Szogyi (he was also a food writer) that food was her bête noire—and she has come to attach many confusions to the act of eating. France, the culinary center of the Western world, means nothing to her: “I don’t even like the food,” she writes from Fontainebleu. She thinks America’s “Nixon” problem is gastric: “the USA [is] suffering a prolonged attack of acid stomach, an irrepressible urge to throw up.” She herself often has the urge to throw up. Her idea of an attractive name for a cookbook is “Desperate Measures.” For a long time now [in 1973], liquids have been her most important nourishment.


—Joan Schenkar, The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith (Chapter 1: How to Begin, Part 1)

At various points in her (thus far truly superb) Highsmith biography Schenkar calls Highsmith’s troubled relationship with food “anorexia,” but based on the above I question whether that term is really applicable. Caveat that I’m only sixty pages in and there may be information I’m missing (though I did search the index for relevant terms); but every definition of anorexia I’ve ever encountered has had at its forefront body image and an intense desire to avoid gaining weight, as in these opening paragraphs from the Mayo Clinic:

Anorexia (an-o-REK-see-uh) nervosa — often simply called anorexia — is an eating disorder characterized by an abnormally low body weight, intense fear of gaining weight and a distorted perception of body weight. People with anorexia place a high value on controlling their weight and shape, using extreme efforts that tend to significantly interfere with activities in their lives."

To prevent weight gain or to continue losing weight, people with anorexia usually severely restrict the amount of food they eat. They may control calorie intake by vomiting after eating or by misusing laxatives, diet aids, diuretics or enemas. They may also try to lose weight by exercising excessively.

But what Schenkar is describing above isn’t motivated by weight loss or distorted body image. Rather, it’s the result of a kind of visceral repulsion, and a physical difficulty around the act of consuming food that verges on body horror. This distaste/disgust for food and the act of eating, which both Highsmith and Schenkar describe; this tendency to dwell on the possibility of the body rejecting what we put in it, and on the disturbingly “thin ice” separating nourishment from poison (ironically, Highsmith’s food aversion factored into her turning more and more to actually poisoning herself by replacing food with alcohol); this tendency to overthink the mechanics of eating and digestion until they become revolting; and the semi-panicked sense that one must sometimes resort of “Desperate Measures” in order to consume calories—none of that seems to me to hinge on weight control. From what I’ve read thus far, Highsmith definitely didn’t exercise excessively, unless you mean doing the underpants Charleston with a wide variety of women; and controlling her body shape doesn’t seem to have been a major consideration (and this was a woman who meticulously catalogued her every malady and self-criticism in over 8,000 pages of notebooks and diaries—you’d think we’d know). I mean I get why the word “anorexia” leaps to mind, since I don’t know a better one; but it also seems, in some fundamental way, inaccurate. Highsmith seems to have struggled to eat, rather than struggled not to eat; maybe that’s the real distinction I’m drawing here.

I suppose I would be dishonest not to mention that the Schenkar quote above is one of the most accurate descriptions I’ve ever read of my own difficulties with food.
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Conventions of the time
held them together.
It was a period
(very long) in which
the heart once given freely
was required, as a formal gesture,
to forfeit liberty: a consecration
at once moving and hopelessly doomed.

As to ourselves:
fortunately we diverged
from these requirements,
as I reminded myself
when my life shattered.
So that what we had for so long
was, more or less,
voluntary, alive.
And only long afterward
did I begin to think otherwise.

We are all human—
we protect ourselves
as well as we can
even to the point of denying
clarity, the point
of self-deception. As in
the consecration to which I alluded.

And yet, within this deception,
true happiness occurred.
So that I believe I would
repeat these errors exactly.
Nor does it seem to me
crucial to know
whether or not such happiness
is built on illusion:
it has its own reality.
And in either case, it will end.


—Louise Glück, “Earthly Love” (from Vita Nova)

And in either case, it will end.
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
We invent them, I said to Harry, the people we love and hate. We project our feelings onto other people, but there is always a dynamic that creates those inventions. The fantasies are made between people, and the ideas about those people live inside us.

“Yes,” she said, “and even after they die, they are still there. I am made of the dead.”


—Siri Hustvedt, The Blazing World (narrator Rachel Briefman)
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Shame arrives before guilt.

But there is no going back, Harry. The mind is its own place, and it bears us backward and forward. It has its own architecture of the past that comes from real rooms and real streets, but they are made over and over again in time and now reside within, not without. Once those places were filled with the noise of garbage trucks and sirens and the sentence fragments of chattering pedestrians and the odors of the moving seasons, but the dense visions and clamor and smells have been simplified into interior mental codes grown stiff with words. The future is made up of that same stuff–elemental spaces we inhabit with wishes or fears. Why so many fears? There is no single story in that foggy region of childhood to explain you, Harry.


—Siri Hustvedt, The Blazing World (narrator/journal-keeper Harriet Burden)
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Was the fact that [Susan Sontag] never mentioned, on any of the occasions we talked, her equally prominent female companion – they lived in the same Manhattan building – a sign of grande dame sophistication or some sort of weird test of my character? (Actually I did hear her say her name once; when someone at an otherwise fairly staid farewell dinner gave Sontag a vulgar present at the end of her Stanford visit – a book of glossy photos of the campy 1950s pin-up, Bettie Page – she said: ‘I’ll have to show these to Annie.’)


—Terry Castle, from “Desperately Seeking Susan” (London Review of Books, 2005)
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
… for mine is the very human pleasure of witnessing catastrophes.


—Colette, The pure and the impure
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
No one rejoices more in revenge than women, wrote Juvenal. Women do most delight in revenge, wrote Sir Thomas Browne. Sweet is revenge, especially to women, wrote Lord Byron. And I say, I wonder why boys. I wonder why.


—Siri Hustvedt, The Blazing World (narrator Harriet Burden)
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Her own problem with love was proximity. She could live for love, but she couldn’t live with it. And she really couldn’t bear anything that wasn’t writing for very long.


—Joan Schenkar, The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
To dissimulate and keep up the dissimulation over a long period without ever flagging, through silences, through smiles, to appear to be an entirely different person—this relegates the trifling exaggerations of gossips to a quite inferior category. It is a task, as I’ve had occasion to notice ever since, which is only possible for the young…


—Colette, The pure and the impure

(Recording because extremely relevant to Irene in "The hour should be the evening and the season winter"
Page generated Jul. 12th, 2025 03:36 pm
Powered by Dreamwidth Studios