The joy of text

 

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by Richard Nilsen
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What’s the most beautiful sentence in the English language?
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In his epic TV series, The Singing Detective, author Dennis Potter has his hero ask a similar question: “What’s the loveliest word in the English language?” An answer is offered: “Love.” But no, you’re responding to the sentiment behind the word. What is the loveliest word “in the sound it makes in the mouth? In the shape it makes in the page?”
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His answer: “E-L-B-O-W.”
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You may have your own candidate. Mine might be “anaflaxis,” or perhaps “curmudgeon.” Both pleasant to say, “in the sound it makes in the mouth.”
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My nomination for the most beautiful sentence?
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Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls.”
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It is the opening sentence of the second chapter of James Joyce’s Ulysses. It is followed by a tasty list of those comestibles that Mr. Leopold Bloom especially savored. “He liked thick giblet soup, nutty gizzards, a stuffed roast heart, liverslices fried with crustcrumbs, fried hencods’ roes.” And then he brings you up short with the consummation of the paragraph: “Most of all he liked grilled mutton kidneys which gave to his palate a fine tang of faintly scented urine.”
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If you get past the last bit without a distinct sensory, gustatory and olfactory assault, you aren’t paying attention.
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But it’s that first sentence I want to examine. It has a cadence to it: You can scan its metrics two ways. First, you can break it down into four brief bursts: His name, as if it were the first line of a song; then comes the two-beat “ate with relish;” another two-beat “the inner organs,” and the peroration in another two beats — “of beasts and fowls.”
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You can, however, scan it as two lines, a pentameter followed by a tetrameter. And if you do it that way, you can feel behind the rhythm the ghost of Anglo-Saxon poetry, each line interrupted by a caesura.
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Mr. Leopold Bloom // ate with relish
The inner organs // of beasts and fowls.
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Either way, it is a graceful mix of iambs and dactyls. All that is fine, and worth noting. But the real treasure is paying attention to where in your mouth you articulate the various consonants and vowels: You shift the sounds around in your mouth, front to back, roof to base, like you were savoring a morsel of tasty food. These are words that as you say them out loud, you practically chew on. Try it: Mister Leopold Bloom ate with relish, etc. Your tongue flies around, your lips purse, your teeth come together and separate, your jaw moves forward and back, in a fine simulacrum of mastication.
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This is one tasty sentence.
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You should also note how heterogeneous the sounds are. Few consonants or vowels are repeated. There are five “L” sounds, which move your tongue up to the palate; four sibilant “S” sounds; four “O” sounds, making your lips project, as if you were smacking them; four short “I” sounds drawing the tongue back in the mouth; four rhotic “R” sounds, which scrunches your mouth up in a contortion (admittedly, a different sound if you speak them with the Irish accent that Joyce would have used); three “T” sounds, moving that tongue to hide just at the back of the teeth; three “E” sounds, stretching your cheeks out wide to pronounce; two “M” sounds, making you go, “mmm,” like you really enjoyed that mouthful; two “N” sounds, drawing the aroma up into your nasal cavities; two “B” bumps, rhyming with the single “P” to keep your lips plosive. There are two different “TH” sounds, an eth and a thorn — voiceless and voiced dental fricatives.
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All the rest of the sounds occur only once. Which means, to read the sentence out loud, your tongue, lips and jaw get a workout worthy of Jane Fonda.
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So much for the gnathometry of the sentence.
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 I also want to point out that the sentence is not difficult to comprehend. It is, in fact, a fairly ordinary sentence, outside its poetry. And I mention that because I want to make the case for the book as a whole. It has a reputation. People who haven’t yet essayed it are apt to fear it like ebola. But, these days, now nearly a hundred years after its conception, we have grown used to many of its more idiosyncratic habits. Stream of consciousness has made its way to paperback bodice rippers and Tom Clancy munitionology. And after MTV, how simple seems the rapid cutting and multiple points of view. Joyce should not present any unclimbable obstacles these days.
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Which makes it all the more important to read the book. It is some of the best prose ever put to paper. Joyce’s writing is elegant, precise, musical and redolent.
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The entire final chapter of the book is one of the greatest monologues in literature, when Molly Bloom lies in bed next to her husband and recalls her love affairs, her life, her body, her mind and heart. It alone raises Ulysses to the level of classic. Everyone should read it and weep.
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But to enjoy the prose, you have to break yourself of the habit of reading solely for content. Speed reading Ulysses is flying over country where the driving would reveal cities, rivers, regional foods, national parks, and people worth meeting. The prose is meant to noticed. It is unsurpassed. The plot of the book is hardly more than an excuse for the writing.
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Joyce wrote the book over many years, writing and rewriting like a demon. It takes reworking on an obsessive scale to get just the right mot juste in every case. You can see that in the manuscript, worked over so thoroughly, it is barely legible.
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Ulysses was written at the end of the First World War and published in 1922 by Sylvia Beach and the Paris bookstore, Shakespeare & Co. Joyce was 40 years old and an exile from his native Ireland. It chronicles a single day — June 16, 1904 — in Dublin, Ireland as lived by three primary characters, Stephen Daedalus, and Leopold and Molly Bloom. It’s a simple plot. Not much happens of consequence, but we follow the events in the minds of the characters as much as through the words of a narrator. And we aren’t often told which.
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But what is of consequence is the language. You can pretty much read any page and nearly swoon at the beauty of the words, the rhythm, pitch and melody.
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Of course, that’s not what caught public attention first. The book has been banned in many countries, including the U.S. It was considered obscene. It had to be printed in Paris, and at least 500 copies were seized and burned by the U.S. Postal Service as they were confiscated in shipment. Another 2000 to 3000 copies were seized and destroyed by the New York Society for the Suppression of Vice in 1929.
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When Random House decided to take up the American publication, The publisher sued and in The United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled that the book was not pornographic and therefore could not be obscene. Random House published the authorized American edition in 1934.
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We say “authorized,” because Ulysses has been much pirated. Even printed as an underground book by publishers of pornography, wishing to capitalize on its notoriety. I have an edition by Collectors Publications of Industry, Calif., which features pages and pages of ads at the back for such other literary gems as True Love Stories of a Wayward Teenager, The Incestual Triangle, Four Way Swappers, and The Debauched Hospodar. (Along with Henry Miller’s The World of Sex and Lawrence Durrell’s Black Book and The Story of O. They seemed to make little distinction between actual literature and smut, i.e., they knew their audience).
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My wife’s father-in-law was a poet who had studied with Robert Frost, and after a trip to Europe, he smuggled in a copy of Ulysses in the 1920s concealed by binding it in a cover for a Nancy Drew mystery.
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To read it now, after Fifty Shades of Grey and countless Jackie Collins tomes, it one puzzles over the ruckus. You can search the pages ofUlysses looking for the “good bits” and be disappointed. Judge Woolsey in his judicious judicial opinion famously wrote, “whilst in many places the effect of Ulysses on the reader undoubtedly is somewhat emetic, nowhere does it tend to be an aphrodisiac.” (Remember the mutton kidneys).
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 Woolsey’s opinion opened the door for Lady Chatterly’s Lover (or is it “Lady Loverly’s Chatter?”), Henry Miller’s Tropic of Cancer., and Allen Ginsberg’s Howl. It may be hard to define great literature, but you know it when you see it.
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Richard Nilsen inspired many ideas and memories at the salons he presented through the years when he was an arts critic and movie, travel, and features writer at The Arizona Republic.   A few years ago, Richard moved to North Carolina.   We want to continue our connection with Richard and have asked him to be a regular contributor to the Spirit of the Senses Journal.   We asked Richard to write short essays that were inspired by the salons.

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