Sentences — January 14, 2009, 12:47 pm

Perfectly Different

enormousroom_001

“With the reader’s permission I beg, at this point of my narrative, to indulge in one or two extrinsic observations.” I find that request irresistible–not because I’ve come to know through repeated readings what E.E. Cummings is about to offer in exchange for my time, but because I like the strategy of asking. It’s a rhetorical tactic of apparent guilelessness that is actually all guile. Cummings is no more asking our permission than he was waiting to receive it; rather, the tone of chummy subservience is, functionally, its opposite: a tone of potentially grating Olympian assurance lubricated by a pose of politeness.

The book from which this false indulgence falls is Cummings’s The Enormous Room, about which I’m posting this week. Appearing in 1922 (as the notice in the 11 February 1922 issue of The Publisher’s Weekly confirms), the book isn’t read enough, however prized it is by some of our better younger writers. Consider one of the allegedly “extrinsic observations” that unfolds in Cummings’s narrative, a portrait of a person with whom the author was held in confinement in France, and to whom Cummings refers as the little Machine-Fixer:

The little Machine-Fixer (le petit bonhomme avec le bras cassé as he
styled himself, referring to his little paralysed left arm) was so
perfectly different that I must let you see him next. He was slightly
taller than Garibaldi, about of a size with Monsieur Auguste. He and
Monsieur Auguste together were a fine sight, a sight which made me feel
that I came of a race of giants. I am afraid it was more or less as
giants that B. and I pitied the Machine-Fixer–still this was not really
our fault, since the Machine-Fixer came to us with his troubles much as a
very minute and helpless child comes to a very large and omnipotent one.
And God knows we did not only pity him, we liked him–and if we could in
some often ridiculous manner assist the Machine-Fixer I think we nearly
always did. The assistance to which I refer was wholly spiritual; since
the minute Machine-Fixer’s colossal self-pride eliminated any possibility
of material assistance. What we did, about every other night, was to
entertain him (as we entertained our other friends) chez nous; that is
to say, he would come up late every evening or every other evening, after
his day’s toil–for he worked as co-sweeper with Garibaldi and he was a
tremendous worker; never have I seen a man who took his work so seriously
and made so much of it–to sit, with great care and very respectfully,
upon one or the other of our beds at the upper end of The Enormous Room,
and smoke a black small pipe, talking excitedly and strenuously and
fiercely about La Misère and himself and ourselves, often crying a
little but very bitterly, and from time to time striking matches with a
short angry gesture on the sole of his big, almost square boot. His
little, abrupt, conscientious, relentless, difficult self lived always in
a single dimension–the somewhat beautiful dimension of Sorrow. He was a
Belgian, and one of two Belgians in whom I have ever felt the least or
slightest interest; for the Machine-Fixer might have been a Polak or an
Idol or an Esquimo so far as his nationality affected his soul. By and
large, that was the trouble–the Machine-Fixer had a soul.

Cummings produces portrait after portrait of his fellow confinees in the titular enormous room where all of them are, at length, detained. Elaboration builds on elaboration. It’s not unlike, in structure, how Saul Bellow would build a description of a person piece upon piece, although Bellow was more specific in his vision than Cummings could or would be. Cummings’s shadings skitter from random externals (a boot, a pipe) back to statements less about the little Machine-Fixer than about Cummings himself–the portraiture is most often self-portraiture, as befits a book that is, ultimately, about presumption. I always finish The Enormous Room thinking I would have liked to detain Cummings, too.

Share
Single Page

More from Wyatt Mason:

Conversation October 2, 2015, 8:26 am

Permission to Speak Frankly

“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”

From the October 2014 issue

You Are Not Alone Across Time

Using Sophocles to treat PTSD

From the February 2010 issue

The untamed

Joshua Ferris’s restless-novel syndrome

Get access to 165 years of
Harper’s for only $45.99

United States Canada

CATEGORIES

THE CURRENT ISSUE

August 2016

A Sigh and a Salute

= Subscribers only.
Sign in here.
Subscribe here.

Four in Prose

= Subscribers only.
Sign in here.
Subscribe here.

Don the Realtor

= Subscribers only.
Sign in here.
Subscribe here.

Atlas Aggregated

= Subscribers only.
Sign in here.
Subscribe here.

The Origins of Speech

= Subscribers only.
Sign in here.
Subscribe here.

Four in Verse

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content

FEATURED ON HARPERS.ORG

Post
Martin Amis on the rise of Trump, Tom Wolfe on the origins of speech, Art Spiegelman on Si Lewen, fiction by Diane Williams, and more

In Havana, the past year has been marked by a parade of bold-faced names from the north — John Kerry reopening the United States Embassy; Andrew Cuomo bringing a delegation of American business leaders; celebrities ranging from Joe Torre, traveling on behalf of Major League Baseball to oversee an exhibition game between the Tampa Bay Rays and the Cuban national team, to Jimmy Buffett, said to be considering opening one of his Margaritaville restaurants there. All this culminated with a three-day trip in March by Barack Obama, the first American president to visit Cuba since Calvin Coolidge in 1928. But to those who know the city well, perhaps nothing said as much about the transformation of political relations between the United States and Cuba that began in December 2014 as a concert in the Tribuna Antiimperialista.

Illustration by Darrel Rees
Article
Don the Realtor·

= Subscribers only.
Sign in here.
Subscribe here.

"If you have ever wondered what it’s like, being a young and avaricious teetotal German-American philistine on the make in Manhattan, then your curiosity will be quenched by The Art of the Deal."
Photograph (detail) © Polly Borland/Exclusive by Getty Images
Article
The Origins of Speech·

= Subscribers only.
Sign in here.
Subscribe here.

"To Chomsky...every child’s language organ could use the 'deep structure,' 'universal grammar,' and 'language acquisition device' he was born with to express what he had to say, no matter whether it came out of his mouth in English or Urdu or Nagamese."
Illustration (detail) by Darrel Rees. Source photograph © Miroslav Dakov/Alamy Live News
Article
A Sigh and a Salute·

= Subscribers only.
Sign in here.
Subscribe here.

"Si told me that various paintings had spoken to him, but he wished they had been hung closer together 'so they could talk to each other.' This observation planted a seed that would come to fruition years later in his mature work."
Artwork (detail) by Si Lewen
Article
El Bloqueo·

= Subscribers only.
Sign in here.
Subscribe here.

"Amid the festivities and the flood of celebrities, it would be easy for Americans to miss that the central plank of the long-standing cold war against Cuba — the economic embargo — remains very much alive and well."
Photograph (detail) by Rose Marie Cromwell

Estimated portion of registered voters in Zimbabwe who are dead:

1/4

Honeybees can recognize individual human faces.

Pope Francis announced that nuns could use social media, and a priest flew a hot-air balloon around the world.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!

HARPER’S FINEST

Mississippi Drift

By

Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'

Subscribe Today