‘I wonder sometimes if the teacher is not the real student and beneficiary’ (George Steiner)
… all study is worthwhile, observing things and trying to understand their hidden patterns.
The interesting thing about this quote from C. J. Sansom’s Revelation is that it is said about the study of medicine, including the opening up of bodies, during the Tudor period when such procedures were highly controversial.
Somehow Geryon made it to adolescence.
Thus opens the next chapter in Anne Carson’s Autobiography of Red, which is entitled ‘Change’. First though, still a twelve-year old, Geryon meets Herakles:
Herakles stepped off
the bus from New Mexico and Geryon
came fast around the corner of the platform and there it was one of those moments
that is the opposite of blindness.
‘One of those moments that is the opposite of blindness’. These are the kinds of phrases I so admire in Carson’s work.
Having become a teenager, Geryon acts his age:
He had recently relinquished speech.
His mother can only resort to irony:
Maybe I’ll just keep talking
and if I say anything intelligent you can take a picture of it. She inhaled.
Geryon had taken up photography, while his mother wants to know about his new friend:
So Geryon what do you like about this guy this Herakles can you tell me?
Can I tell you, thought Geryon.
Thousand things he could not tell flowed over his mind. Herakles knows a lot
about art. We have good discussions.
Carson’s story touches on many subjects. One of them is the issue of sexual awakening, a problematic one for Geryon, largely due, of course, to the abuse suffered at the hands of his brother:
Sex is a way of getting to know someone,
Herakles had said. He was sixteen. Hot unsorted parts of the question
were licking up from every crack in Geryon,
he beat at them as a nervous laugh escaped him.
…
Tell me, said Geryon and he intended to ask him, Do people who like sex
have a question about it too?
but the words came out wrong – Is it true you think about sex every day?
All the while he is deeply affected by Herakles: ‘Geryon felt all nerves in him move to the surface of his body’ – ‘His voice washed Geryon open’ – ‘Staring at him Geryon felt his soul move in his side’.
There are lovely descriptions of his behaviour, that of a true introvert:
Why do you have your jacket over your head?
……………………………………
Can’t hear you Geryon. The jacket shifted. Geryon peered out. I said sometimes
I need a little privacy.
He is still working on his autobiography, which has progressed from the sculpture work he did as a child to producing a photographic essay.
This was when Geryon liked to plan
his autobiography, in that blurred state
between awake and asleep when too many intake valves are open in the soul.
I can relate to that description of the early morning as a time ‘when too many intake valves are open in the soul’. That he worked on his autobiography ‘from the age of five to the age of forty-four’ also resonates with me. As I have said on the ‘Story’ page, quoting Walter Brueggemann, our ‘story must be told, tested, and retold countless times’ as part of our ongoing attempt to make sense of our lives.
There is a wonderful moment when Geryon catches the arm of Herakles’ grandmother, which ‘was like a handful of autumn’. Her voice in turn is likened to ‘old coals’.
Geryon gets lovesick, which Carson again captures beautifully. Having come home with a t-shirt his mother hasn’t seen before, she wants to know where he got it from.
Herakles gave it – and here Geryon had meant
to slide past the name coolly
but such a cloud of agony poured up his soul he couldn’t remember
what he was saying.
Each morning a shock
to return to the cut soul.
Pulling himself onto the edge of the bed he stared at the dull amplitude of rain.
Buckets of water sloshed from sky
to roof to eave to windowsill. He watched it hit his feet and puddle on the floor.
…
Rain lashing the kitchen window
sent another phrase
of Herakles’ chasing across his mind.
The chapter that introduces Geryon’s lovesickness is entitled ‘Fruit Bowl’. There is much that could be said about it, especially as the motif of the fruit bowl is an important and a recurring one, having already played a significant part in connection with Geryon’s fraught relationship with his brother. Once again though you will just have to read for yourselves.
Then the inevitable happens: Herakles ends the relationship.
I want you to be free.
Don’t want to be free want to be with you. Beaten but alert Geryon organized all
his inside force to suppress this remark.
‘Tunnel’ is where we leave Geryon for now, suffering, as he is, the consequences of ‘the human custom of wrong love’, as Carson puts it.
And another Anne Carson gem, again from Autobiography of Red.
Distance, she says,
… extends from a spaceless
within to the edge
of what can be loved.
Reality is a sound, you have to tune in to it not just keep yelling.
(Anne Carson, Autobiography of Red: A Novel in Verse)
Brilliant!
Autobiography of Red: A Novel in Verse – Anne Carson’s masterpiece. Having just read the sequel Red Doc>, I simply had to revisit what has become one of my favourite books of all time. And so I am currently reading this narrative poem, which I only discovered about a year ago, for the fourth time. There is no other book, in which I can lose myself in quite the same way.
The story is based on some fragments by the Greek writer Stesichoros, whose work in turn reinterprets an episode of the story of Heracles (Hercules), one of whose labours involved killing a dragon in order to get its magic cattle. Stesichoros retells the story from the perspective of the dragon/monster, whom he calls Geryon. Carson adopts the same perspective but gives it another twist by turning Herakles (as a classicist, she adopts the ‘proper’ spelling) into Geryon’s lover.
Carson’s story begins with the childhood of Geryon, the red dragon (hence Autobiography of Red). Sexually abused and bullied by his older brother, he retreats into himself:
Inside is mine, he thought.
…
That was also the day
he began his autobiography. In this work Geryon set down all inside things
particularly his own heroism
and early death much to the despair of the community. He coolly omitted
all outside things.
Carson is a perceptive observer and an unrivalled communicator: the retreat, the self-pity – it’s all here and all so well expressed.
Because of the problems with his brother, Geryon is quite fixated upon his mother. So when, one evening, his mother goes out, leaving him alone with his brother and the babysitter:
Geryon felt the walls of the kitchen contract as most of the air in the room
swirled after her.
He could not breathe. He knew he must not cry. And he knew the sound
of the door closing
had to be kept out of him. Geryon turned all attention to his inside world.
Then he is told that his mother won’t be back for hours.
At this news Geryon felt everything in the room hurl itself
away from him
towards the rims of the world.
In another scene Geryon and his mother enjoy spending some time on their own:
She winked at him over the telephone. He winked back using both eyes
and returned to work.
He had ripped up some pieces of crispy paper he found in her purse to use for hair
and was gluing these to the top of the tomato.
The tomato sculpture, by the way, is Geryon’s autobiography, as he hasn’t learned how to write yet.
His mother is on the phone while Geryon is working on his sculpture. This is how the scene ends:
Maybe next time you could
use a one-dollar bill instead of a ten for the hair, she said as they began to eat.
Soon after: enter Herakles – but that will have to wait for now.
A truly delightful story this …
… either you took what they said for God’s word or in God’s name they casually condemned you to eternal torment.
Thus C. J. Sansom, Revelation, about radical preachers in the Tudor period. Some things, apparently, haven’t changed all that much.
Karl Möller 