The Lodestone

All the Strange Hours by Loren Eiseley ~

Sometimes I think Loren Eiseley must have been the saddest American that ever lived, but he found consolation in places most others would fail to uncover it.

His mother was deaf and mentally ill, his father a failed stage actor who earned a scant living as a salesman. They were a family of outsiders with few friends and connections, always moving from the edge of one town to the edge of another. Eiseley fled as soon as he was able, riding the rails as a young man through the Great Depression, living hand-to-mouth and at the mercy of strangers. He nearly died of tuberculosis in his early twenties.

Somehow he managed to get an education and become an anthropologist. He found his peace working alone in the empty places of the High Plains or at the foot of the Rockies, scraping at the exposed strata of ancient streambeds to unbury the lingering remains of the great Ice Ages: the bones of forgotten nomads and species long extinct. He found his peace, too, in books. Few men of science have ever been so well read.

Eiseley seems to have harbored doubts about his calling. He might have been a poet, or a philosopher. He was distracted by wonder, overwhelmed with a feeling “as though the universe were too frighteningly queer to be understood by minds like ours.”

As a scientist he knew that “one is supposed to flourish Occam’s razor and reduce hypotheses about a complex world to human proportions. Certainly I try,” he said. “Mostly I come out feeling that whatever else the universe may be, it’s so-called simplicity is a trick… We have learned a lot, but the scope is too vast for us. Every now and then if we look behind us, everything has changed. It isn’t precisely that nature tricks us. We trick ourselves with our own ingenuity.”

For sentiments like these, which appear in all his books, Eiseley was sometimes called a bad scientist by his more self-assured colleagues. He lacked the necessary professional hubris and was too willing to grant that the truly big questions were still wide open. He could never be satisfied with inflexible materialism:

“In the world there is nothing to explain the world,” he said. “Nothing to explain the necessity of life, nothing to explain the hunger of the elements to become life, nothing to explain why the stolid world of rock and soil and mineral should diversify itself into beauty, terror, and uncertainty… In the world there is nothing below a certain depth that is truly explanatory. It is as if matter dreamed and muttered in its sleep. But why, and for what reason it dreams, there is no evidence.”

Faithless, Eiseley had the soul of a believer. Imprisoned since childhood by an unbreachable spiritual isolation, he nonetheless kept company with a something (a Someone, perhaps) that hid always beyond the range of his sight but was present, indefinably, in the thousand shifting shapes of the life principle. “Those who love its endless manifestations may be accused of a submerged form of worship,” he granted.

This, at least, is my own key to Eiseley: He was utterly devout in adoration of a presence he could not see and that promised a communion he could never quite believe was offered to him.

There’s an illustrative passage from Thomas Traherne, the seventeenth-century Christian mystic whom Eiseley himself occasionally quoted:

“As iron at a distance is drawn by the lodestone, there being some invisible communications between then, so there is in us a world of Love to somewhat, though we know not what in the world that should be. There are invisible ways of conveyance by which some great thing doth touch our souls, and by which we tend to it.”

Gore and Bone Saws

The Butchering Art by Lindsay Fitzharris ~

I’m afraid that my wife and I are the only people that ever watched The Knick, which is a  shame. It was an excellent show, a Steven Soderbergh project in which Clive Owen played a drug-addicted genius surgeon at New York’s Knickerbocker Hospital circa 1900. The Knick only ran for two seasons (2014-2015). Thankfully, however, the storyline resolved itself nicely at the end of the second, so that you need not feel let down too much by the fact that season three never happened.

There’s a great deal of nasty, pre-antibiotics medicine in The Knick, which is why I couldn’t help thinking of it while reading Lindsay Fitzharris’s The Butchering Art. You might describe her book as a phantasmagorical survey of Victorian medicine masquerading as a biography of Dr. Joseph Lister (for whom both Listerine and listeria are named).

Poor Lister! I’m not sure she knows it, but Fitzharris has done him a disservice. Here in his own biography he is powerfully upstaged by gore and bone saws. Surgery in the mid-1800s is horrifying, Halloween-grade stuff. The first hundred pages of the book are better (or worse), in this respect, than reading Poe or Lovecraft. The remainder of it, in which Lister manages through scientific application and will power to make a name for himself as a medical reformer, is a letdown by comparison.

Good Lord, Jim

Lord Jim by Joseph Conrad ~

Somewhere in the latter half of Lord Jim, the narrator Marlow asks his audience: “Are not our lives too short for that full utterance which through all our stammerings is of course our only and abiding intention?”

Ah, Conrad, the last Romantic! Consider the notions implied in that evocative sentence: 1) that the true task of life is the perfect expression of the inmost self; 2) that the would-be utterance of that inmost self in its unexpressed form is pure, unalloyed; 3) that the profundity of the self-to-be-expressed is fathomless, such that one is inevitably doomed to sip the bitter cup of mortality before perfect self-revelation could ever be accomplished.

To the mental adolescent all of this may echo amongst the stars; I know there was a time in my own life when I would have thought so. But indulgent self-absorption of this sort only poisons the heart and hobbles the mind.

That Conrad endorses (and not merely through his narrator) such overbearing Romanticism does not prevent him from writing a worthy novel, of course. His artistry is undeniable and his prose very justly admired. But this was a difficult book for me to enjoy, and I offer that as a serious criticism. All sadist modern authors and critics to the contrary, I consider my incapacity to enjoy a novel at least as much a judgment on the book as a judgment on myself.