Semi-random thoughts on what I enjoy reading. Less coherent, perhaps, than usual around here:
Dante famously ratchets his storytelling up through the course of his travels through Hell, Purgatory, and Heaven by how he shows things. In Hell (and I’m not going to Google the exact quotes, nope, not going to do it!) he starts his description of the horrors of the damned by saying: O Memory! Here thy shall show thy worth! or something like that. In other words, he is relying on his merely earthy and human mental faculties as the sources of his vision. However fantastic the tortures and dooms of the damned may be, they remain within the grasp – and experiences, poetically understood – of anyone, really. Reason in the person of Virgil is perfectly competent to see and explain the poetic justice that is at the core of Hell.
Once in Purgatory, among the saved who have been judged by a judgement they willingly embrace to be unready to endure the full glory of the Face of God, Dante can’t rely on his merely human faculties to describe and understand what he sees. Virgil seeks guidance and instruction from the souls whose understanding has been expanded by the Light of Christ denied simple human reason by the Fall. There is a lovely medieval symmetry in climbing through various stages of purgation to get back to the state of original human innocence at the Garden of Eden atop a mountain. Yet the penances here, and the Mercy and Justice of God that have degreed them, are not something Virgil can completely grasp unaided.
Dante the poet invokes the aide of the Muses in order to be able to describe what he sees, and points frequently to the substantial mystery of salvation that falls outside their ken. As a reader, in Hell you are having terrifying things pointed out to you, a terrible justice, and told to see. It is in your power, you know, your reason can work it out, that the punishments of the damned are chosen by them, and are just. The tone changes radically in Purgatory, where grace is asked for to aid our understanding. For we are walking on sacred ground.
Finally, in Heaven, we leave mere human reason behind. Virgil is left standing in Paradise. The message here is not that reason is wrong and that we should abandon it in favor of some murky idea of God’s direct infusion of divine grace. Instead, we use the grace of reason – the blessing of being made in the image of God – to seek His guidance. With His help, delivered through a hierarchy of secondary causes – other penitents, the prayers of the faithful, the teachings of the Church, the very penances assigned to the particular sins, the whole world around us – we can climb back to a state of innocence.
Which is not enough.
In Heaven, Dante the poet seeks the aid of highest Heaven, and acknowledges his inadequacy. While Hell is described via definite statements – here I saw, there they lay – Heaven’s glories are couched in doubt – I think I saw, it appeared to me. It works. The reader gets the awe and wonder through sharing Dante’s feelings of inadequacy in the face of the Divine. By not describing anything in Heaven with definite certainty, he manages, paradoxically, to describe Heaven in its awe and wonder and love. The Lover is compelled to praise the Beloved, and words fail, and in that failure succeed.
In this sense, Dante succeeds by neither showing nor telling.
From the sublime to the not as sublime: in The Night Land, Hodgson gives evocative names to the horrors of the Night Land and consistently resist any temptation to describe them in any detail – you get gigantic, imperceptibly slow-moving, cold, eerily lit – but that’s about it. They’re just Out There, full of malice and inhumanly patient.
Way scarier than any detailed description could ever render them.
As a counterpoint, was thinking of Jack Vance’s The Moon Moth. In this classic story, Vance creates with a few deft strokes an incredibly vivid and alien world, and fills it with amazing cultural detail. One the one hand, he, like Dante and Hodgson in their very different ways, leaves a lot to the imagination. Yet he also dumps a huge amount of information on the reader, which is critical to the satisfactory resolution of the protagonist’s problems.
As a reader, I never even noticed the info dumps at the time. Only in retrospect are the fairly frequent passages of explanation in Vance’s short stories apparent. Part of the trick, I think, is spooning it out over time so the individual chunks aren’t too big, and leaving plenty of mystery. In Moon Moth, it is only in the last couple paragraphs that all the pieces come together, and only after you’ve reached the point where the protagonist is surely doomed – by the same social conventions that end up saving him! In The Dragon Masters, he pulls a related trick, where only at the end are you able to piece together the large number of clues he’s left lying about to reach the shocking conclusion.
Asking how he does this – how he manages on the one hand to be very spare in his descriptions while on the other packing the exposition with what often seem like asides but turn out to be critical information – and yet writes as gripping a story as just about anyone, is, I suppose, where the genius lies.
Now somebody who writes tell me it’s just planning and hard work.
Finally, there’s Cordwainer Smith, who, even more than Vance, drops you in the middle of the action and only gradually throws you a lifeline but never quite gets you feet back on solid ground. It feels like he never explains anything, although a moment’s reflection – thinking of Mother Hitton’s Littul Kittons (I spelled that wrong in the right way, before looking it up! And I can’t spell ‘amatuer’ right 9 times out of 10.) shows that he, indeed, does. It’s a weird morality play, where Smith breaks the wall to talk to the reader on a number of occasions, yet still maintains an air of mystery, surprise, and inevitable horror.
Most of his stories leave me a bit awed and scratching my head – what was THAT? Where did that come from?
Thus ends the brain dump for today.