{fantasy} – Page 9 – { feuilleton }

Morel’s inventions

1: The Invention of Morel (1940), a novel by Adolfo Bioy Casares.

Cover art by Norah Borges.

A fugitive hides on a deserted island somewhere in Polynesia. Tourists arrive, and his fear of being discovered becomes a mixed emotion when he falls in love with one of them. He wants to tell her his feelings, but an anomalous phenomenon keeps them apart. (more)

Jorge Luis Borges declared The Invention of Morel a masterpiece of plotting, comparable to The Turn of The Screw and Journey to the Centre of the Earth. Set on a mysterious island, Bioy’s novella is a story of suspense and exploration, as well as a wonderfully unlikely romance, in which every detail is at once crystal clear and deeply mysterious. Inspired by Bioy Casares’s fascination with the movie star Louise Brooks, The Invention of Morel has gone on to live a secret life of its own.

Octavio Paz:

The Invention of Morel may be described, without exaggeration, as a perfect novel….Bioy Casares’s theme is not cosmic, but metaphysical: the body is imaginary, and we bow to the tyranny of a phantom. Love is a privileged perception, the most complete and total perception not only of the unreality of the world but of our own unreality: not only do we traverse a realm of shadows, we ourselves are shadows.

2: Last Year at Marienbad (1961), a feature film directed by Alain Resnais.

Alain Robbe-Grillet, Sight and Sound, Autumn 1961:

What are these images, actually? They are imaginings; an imagining, if it is vivid enough, is always in the present. The memories one “sees again”, the remote places, the future meetings, or even the episodes of the past we each mentally rearrange to suit our convenience are something like an interior film continually projected in our own minds, as soon as we stop paying attention to what is happening around us. But at other moments, on the contrary, all our senses are registering this exterior world that is certainly there. Hence the total cinema of our mind admits both in alternation and to the same degree the present fragments of reality proposed by sight and hearing, and past fragments, or future fragments, or fragments that are completely phantasmagoric.

Rosetta Stone to Last Year in Marienbad:

In the mid-Fifties, when Casares’ novel was translated into French, it was read by Robbe-Grillet. We know this since he wrote a favorable review of the book in 1955. In 1961, Resnais and Robbe-Grillet were interviewed by filmmaker Jacques Rivette, who commented on the link between Morel and Marienbad, parallels briefly acknowledged by Robbe-Grillet (who didn’t elaborate). Resnais and Robbe-Grillet had evidently never discussed this, as indicated by Resnais’ comment that he was unfamiliar with the book! An English translation of this interview was readily available to all New York critics in 1961, but none of them picked up on the significance of those few sentences.

Louise Brooks, Delphine Seyrig.

Ann Manov, The Invention of Marienbad: Resnais, Robbe-Grillet, Morel, and Adolfo Bioy Casares on the Left Bank:

L’Année dernière à Marienbad (1961) is an adaptation that became a theft. It is plainly based on La Invención de Morel (1940), and this was immediately apparent to the critics who first viewed it. The Cahiers du cinéma that came out with Marienbad is full of references to Morel, of critics saying how immediate the connection was. And on a biographical level, it’s pretty obvious: in 1953, the screenwriter Alain Robbe-Grillet asked his editor at Critique magazine if he could write about an interesting Argentinean novel; he wrote an admiring but mixed review about the importance of the themes of solitude, memory, and the modifiable past, and how he hoped another artist could do them more justice; and seven years later, he wrote a screenplay with the same setting, characters, motifs, and themes, complete with, in first drafts, Hispanic names.

But the orthodox view about this connection, on the exceedingly rare occasions it is mentioned outside of the Hispanic world, is summarily dismissive: as a recent master’s thesis summarizes, “Since the release of Last Year at Marienbad in 1961, some critics have taken to circumventing the difficulty of the film by drawing on The Invention of Morel as the alleged inspiration for the film.”

Thomas Beltzer:

Without Morel, Marienbad is mostly an exercise in formalism; however, with the intertextual juxtaposition of the two, it becomes another, different work. It becomes an early false reality film, perhaps the first.

3: L’invention de Morel (1967), a TV film directed by Claude-Jean Bonnardot.

• The entire film on YouTube (with English subtitles).

4: Celine and Julie Go Boating (1974), a feature film directed by Jacques Rivette.

Jacques Rivette:

When we discussed how the second film should be integrated with the first, we considered various possibilities. At one stage the idea was to go much further in fragmenting the second film, particularly in dispersing the various elements, letting the montage range freely, thus permitting a variety of different meanings. At this point, naturally, we thought of Comedie Policiere and about a writer who has been much in view since L’Année dernière à Marienbad (and even before): Adolfo Bioy Casares and his novel The Invention of Morel. Of course we knew all this existed—Marienbad and the TSE and The Invention of Morel—but we were trying to find a motif for ourselves which would be both similar to theirs and at the same time different…

5: L’invenzione di Morel (1974), a feature film directed by Emidio Greco.

• The entire film on YouTube (Italian only).

6: The Invention of Dr Morel (2000), a short film directed by David Lamelas.

7: Lost (2004–2010), a TV series.

8: The Piano Tuner of Earthquakes (2005), a feature film directed by the Quay Brothers.

Virginie Sélavy: Was The Invention of Morel an influence?

The Quay Brothers: Yeah, it was very important. We couldn’t get the rights for it. We actually wrote to Adolfo Bioy Casares and he said, “sure, you can have it”, and then he wrote back a day later and he said, “I forgot, I gave it to somebody else”. (laughs) We found out that this guy, some Argentinean in Paris who’s had it for thirteen years, never got it off the ground but keeps renewing the rights. So Alan [Passes, co-writer of Piano Tuner] and the two of us said, well, let’s just work around the themes a little bit. So all you really have is the island, the tide, elements like that.

VS: I thought you also kept the idea of people being replaced by their images and living this kind of eternal but illusory, disembodied life.

QQ: Yes, exactly. Perpetuum mobile almost, because at the very end the character in The Invention of Morel asks that if anybody should invent a machine capable of reuniting their images, they help him enter into Faustine’s consciousness, which is a little bit what the Felisberto character is attempting at the end of Piano Tuner. He claims to have succeeded—he says, “we’re together, buried among the rocks”. In his imagination at least he’s done it. The Invention of Morel was actually a homage to Louise Brooks—Faustine really is Louise Brooks. Bioy Casares was fascinated by her.

VS: And there’s also the character of the mad inventor.

QQ: Yes, I think he features less in The Invention of Morel, he’s more like a shadow figure. (more)

Previously on { feuilleton }
• Marienbad hauntings

The Daughters of Izdihar by Hadeer Elsbai

Another new cover of mine, this one suits the weather which today in Britain is giving us temperatures more usually found in regions further south:

From debut author Hadeer Elsbai comes the first book in an incredibly powerful new duology, set wholly in a new world, but inspired by modern Egyptian history, about two young women—Nehal, a spoiled aristocrat used to getting what she wants and Giorgina, a poor bookshop worker used to having nothing—who find they have far more in common, particularly in their struggle for the rights of women and their ability to fight for it with forbidden elemental magic.

As a waterweaver, Nehal can move and shape any water to her will, but she’s limited by her lack of formal education. She desires nothing more than to attend the newly opened Weaving Academy, take complete control of her powers, and pursue a glorious future on the battlefield with the first all-female military regiment. But her family cannot afford to let her go—crushed under her father’s gambling debt, Nehal is forcibly married into a wealthy merchant family. Her new spouse, Nico, is indifferent and distant and in love with another woman, a bookseller named Giorgina…. (more)

The design bears a superficial resemblance to the one I created for The Ingenious by Darius Hinks, one of the requests from the art director being for a similar view down a street and the sky filled with an interlaced pattern. The new artwork isn’t as fantastic, however, since the city of Almaxar in Hadeer’s novel is based on old Cairo. This was very convenient for the research process, Cairo was a popular destination for western travellers in the 19th century so there are many sketches and engravings of its narrow lanes. My street is an amalgam of several different views, with an emphasis on those mashrabiya windows which are designed to help cool buildings. (On a side note, the subject of ventilation and passive cooling in Middle-Eastern architecture is a fascinating one, as this page about windcatchers demonstrates.)

The knotwork pattern was the third design I tried after the first two turned out to be too obtrusive for the background. Both this one and the pattern used for The Ingenious were taken from templates in Les Éléments de l’Art Arabe – Le Trait des Entrelacs (1879) by Jules Bourgoin, a book which shows how to create these interlacings from scratch. I always prefer to do this when possible, rather than using stock imagery; the creation of the pattern doesn’t take too long once you’ve worked out the portion that will be repeated.

The Daughters of Izdihar will be published early next year by Harper Voyager (US) and Orbit Books (UK).

Previously on { feuilleton }
• The Ingenious by Darius Hinks

The Others, a film by Hugo Santiago

The Others (1974) is the second of the feature-length collaborations directed by Hugo Santiago from screenplays developed with Adolfo Bioy Casares and Jorge Luis Borges. The film was produced in Paris with a French cast, together with two of Santiago’s collaborators from Invasion: cinematographer Ricardo Aronovich and composer Edgardo Cantón. The association of Borges with this one seems to have been little more than providing a very simple idea which I won’t reveal here since doing so would give away the entire story. In later years Borges was dismissive about film adaptations derived from his works but this one is still creditably Borgesian even if it isn’t as satisfying as Invasion.

The story concerns one Roger Spinoza (Patrice Dally), a middle-aged man with a very Borges-like name who runs a bookshop, Librairie des Ameriques, in the centre of Paris. The abrupt and apparently meaningless suicide of Spinoza’s son, Mathieu (Bruno Devoldère), precipitates for the bookseller a personal and possibly metaphysical crisis which prompts him to visit his son’s friends in the hope of discovering an explanation for the tragedy. Spinoza’s visits to Mathieu’s girlfriend, Valérie (Noëlle Chatelet), develop into a romantic relationship which brings him into conflict with Moreau (Daniel Vignat), a lawyer who was Mathieu’s rival for Valérie’s affections. (Valérie works at an astronomical observatory which gives her a natural affinity with Spinoza, a man who shares a name with the Dutch philosopher who supported himself by grinding lenses for Christiaan Huygens’ telescopes.) These events are complicated and rendered mysterious by the presence of “the others”, a number of strange men who individually shadow Spinoza’s investigations while harassing Mathieu’s friends and acquaintances. The actions and identities of the men remain inexplicable until the very end when an explanation—the original idea from Borges—makes everything clear. The philosophical side of Borges’ suggestion is absent, however, which makes the explanation seem both glib and fantastic, but it has the effect of presenting all the events of the past two hours in a very different light.

So why is this not as satisfying as Invasion? In part because Santiago sporadically interrupts his narrative with brief scenes that show the film itself in the process of creation. These are continuations of a 10-minute prologue of outtakes, scene setups, rehearsals, Santiago’s asides to the camera, and so on, all of which are differentiated from the film proper by the cold blue/green cast you get from film footage that hasn’t been filtered for daylight. There was a lot of this kind of Brechtian fourth-wall breaking going on during the 1970s, usually without achieving very much. Santiago’s story is confusing enough without being further fragmented by distracting interruptions. Another distraction is the Edgardo Cantón score which follows Invasion in its use of musique concrète as well as more conventional orchestral scoring. But where the Invasion soundtrack complemented the action the score here works against the film, especially when the sounds and snatches of music are more abrasive than they were previously. I can put up with all manner of directorial eccentricities but this example tested my patience. It’s hard to see why a story such as this would warrant a Brechtian treatment, which suggests that the distractions are more of a result of the director’s lack of faith in his screenplay.

Bioy Casares, Borges and Santiago.

Flaws aside, The Others isn’t without attractions for Borges readers. The film is truer to the spirit of Borges than many of the adaptations of the author’s stories: mirrors abound, and play a significant part in the narrative, while Borges’ words are present in the Grove Press edition of Ficciones seen on a shelf in the bookshop, and in the character of Valérie who informs Spinoza that she was born in Buenos Aires. After the pair have spent the night together Valérie recites in Spanish the Borges poem Spinoza. “Do you know that poem,” she asks. “Yes,” says Spinoza, “it’s from a fellow librarian.” The librarian himself is seen at the very beginning of the film during the production prologue, talking (silently) to Santiago and Adolfo Bioy Casares.

In a note about Death and the Compass, Borges said that most stories should stand or fall by their general atmosphere rather than their plot. The Others would have succeeded very well on this level if not for its flaws; the events are persistently intriguing and the streets of Paris are effortlessly photogenic, a sombre city captured at angles and cropped views by Aronovich’s camera. Three years later Aronovich was photographing another series of enigmas for Alain Resnais in Providence. Like the Resnais film, The Others has been unavailable for far too long but may now be viewed with English subtitles here.

Previously on { feuilleton }
• Invasion revisited
• Goodfellow and Borges
• The Rejected Sorcerer
• The Immortal by Jorge Luis Borges
• Borges on Ulysses
• Borges in the firing line
• La Bibliothèque de Babel
• Borges and the cats
• Invasion, a film by Hugo Santiago
• Spiderweb, a film by Paul Miller
• The Library of Babel by Érik Desmazières
• Books Borges never wrote
• Borges and I
• Borges documentary
• Borges in Performance

Weekend links 629

UFOs: The Psychic Solution (1977) by Jacques Vallée. A retitled reprint of The Invisible College (1975) with cover art by Peter Tybus.

• “In the summer of 1992…a curious experimental interstellar ambient-house album, made it to number one in the UK charts, promoted by a top ten single that was almost forty minutes long.” Darran Anderson navigates the noösphere with my favourite Orb album, U.F.Orb.

• Among the recent arrivals at Standard Ebooks, the home of free, high-quality, public-domain texts: Hope Mirrlees’ strange fantasy novel, Lud-in-the-Mist (1926).

• James Balmont’s guide to the intricate cinema of Hong Kong’s crime auteur, Johnnie To.

• Shortlisted photos from the Astronomy Photographer of the Year Contest.

• At Dennis Cooper’s: Spotlight on…Jean Genet Miracle of the Rose.

• Steven Heller’s font of the month is Ambicase.

• New music: Two Sisters by Sarah Davachi.

• RIP Peter Brook and James Caan.

• Unidentified Flying Object (1970) by UFO | Psychic And UFO Revelations In The Last Days (1994) by Bill Laswell & Pete Namlook | UFOnic (1995) by Sabalon Glitz

Wendel Dietterlin’s Architectura

While looking through my bookshelves recently for examples of Baroque architecture I was reminded of the eccentric designs of Wendel Dietterlin (c. 1550–1599), a German painter and engraver whose Architectura (1598) is less a guide to architectural form than an excuse to indulge the artist’s fervid imagination. This wasn’t really the reference material I was after—Dietterlin is pre-Baroque—but I’d not seen so much of his work in one place before. Dover Publications have reprinted all of these plates for many years as The Fantastic Engravings Of Wendel Dietterlin but it’s one Dover book I’ve never owned.

“Fantastic” is an apt description. Where a similar study might present the reader with careful elaborations of Vitruvian principles, Dietterlin offers plate after plate of suggestions for portals, fountains, fireplaces and facades, many of which are festooned with bizarre and grotesque details. Wild animals are a persistent theme. Other artists of the period tended to favour mythological scenes for fountain sculpture; Dietterlin shows a series of large animals being attacked by smaller ones: bear versus dogs, dragon versus men, and so on. Similar groupings may be found on his designs for rustic arches. Ostensibly these are traditional hunting scenes but there’s a fury in Dietterlin’s renderings that pushes the representations away from the decorative towards the pathological.

In other designs the wildness is transferred to the decoration itself. Examples of the traditionally sober orders of Classical architecture are shown encrusted with decorations added at the whim of the artist; Dietterlin wasn’t the only artist to do this but other artists are seldom this excessive. Strangest of all is the plate that shows a huge elephant standing before (or emerging from) a fireplace. René Passeron included a handful of engraving artists in the precursors section of his Concise Encyclopedia of Surrealism in 1975, but Dietterlin isn’t among them. I’d say that elephant alone is suitable qualification, a forerunner of Magritte’s Time Transfixed, as well as a literal (if inadvertent) representation of “the elephant in the room”.

Continue reading “Wendel Dietterlin’s Architectura”