Showing posts with label Miller. Henry Miller. Show all posts
Showing posts with label Miller. Henry Miller. Show all posts

8 May 2009

Sexus, Henry Miller, Vol. 1, pp.287d-290c, Foolish Power


by Corry Shores
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[A summary through sometimes-censored citation.]

Henry Miller

The Rosy Crucifixion
Sexus
Volume Three

Chapter 10

pp.287d-290c

Foolish Power


Mr. Miller is on the subway. He received an urgent message. His lover Mona barely survived a suicide attempt. He expected this. So he's not surprised. Nor is he worried.
I knew also that her instincts would prevent her from accomplishing her end. (288a)
He is curious how she did it. But he hopes her story is convincing.
I did not want to hear some preposterous, outlandish tale which in my unsettled condition would cause me to burst out into hysterical laughter. (288b)
If the moment is too dramatic, he would be unable to keep a straight face.
Drama always affected me strangely, always aroused the sense of the ridiculous, especially when motivated by love. Perhaps that was why, in moments of desperation, I could always laugh at myself. The moment I made the decision to act I became another person the actor. And of course I always overplayed the part. I suppose that at bottom this queer behavior was based on an incurable dislike for deception. Even though it meant saving my own skin, I hated to take people in. (288c)
Miller does not want his own influence to affect the woman's love for him. He wants the woman to be overcome by her desire, and be the assertive one who ensnares him.
There was no triumph or satisfaction in it for me unless the woman surrendered voluntarily. I was always a bad suitor. I became discouraged easily, not because I doubted my own powers but because I distrusted them. I wanted the woman to come to me. I wanted her to make the advances. No danger of her becoming to bold! The more recklessly she gave herself the more I admired her. I hated virgins and shrinking violets. La femme fatale! that was my ideal. (288-289)
In love, we want to be enslaved. But to be enslaved is to create a fragile balance of power. This gives the slave power over the dominant one.
How we hate to admit that we would like nothing better than to be the slave! Slave and master at the same time! For even in love the slave is always the master in disguise. The man who must conquer the woman, subjugate her, bend her to his will, form her according to his desires is he not the slave of his slave? How easy it is, in this relationship, for the woman to upset the balance of power! The mere threat of self-dependence, on the woman's part, and the gallant despot is seized with vertigo. (289b)
So no matter which position, slave or master, in both cases the lover is vulnerable to the other's power. But if they can both acknowledge that fact, they can both be free. But if it is just the man who submits utterly and overtly, then he traps the woman.
But if they are able to throw themselves at one another recklessly, concealing nothing, surrendering all, if they admit to one another their interdependence, do they not enjoy a great and unsuspected freedom? The man who admits to himself that he is a coward has made a step towards conquering his fear; but the man who frankly admits it to every one, who asks that you recognize it in him and make allowance for it in dealing with him, is on the way to becoming a hero. Such a man is often surprised, when the crucial test comes, to find that he knows no fear. Having lost the fear of regarding himself as a coward he is one no longer: only the demonstration is needed to prove the metamorphosis. It is the same in love. The man who admits not only to himself but to his fellowmen, and even to the woman he adores, that he can be twisted around a woman's finger, that he is helpless where the other sex is concerned, usually discovers that he is the more powerful of the two. Nothing breaks a woman down more quickly than complete surrender. a woman is prepared to resist, to be laid siege to: she has been trained to behave that way. When she meets no resistance she falls headlong into the trap. (289b-d)
Thus the ultimate lover is the man who plays the utter fool and unconditionally surrenders to the woman.
To be able to give oneself wholly and completely is the greatest luxury that life affords. Real love only begins at this point of dissolution. The personal life is altogether based on dependence, mutual dependence. Society is the aggregate of persons all interdependent. There is another richer life beyond the pale of society, beyond the personal, but there is no knowing it, no attainment possible, without first traversing the heights and depths of the personal jungle. To become the great lover, the magnetiser and catalyzer, the blinding focus and inspiration of the world, one has to first experience the profound wisdom of being an utter fool. The man whose greatness of heart leads him to folly and ruin is to a woman irresistible. (290a-b)
But those who are self-absorbed will not enter into such a overwhelming love.
To the woman who loves, that is to say. As to those who ask merely to be loved, who seek only their own reflection in the mirror, no love however great, will ever satisfy them. In a world so hungry for love it is no wonder that men and women are blinded by the glamour and glitter of their own reflected egos. No wonder that the revolver shot is the last summons. No wonder that the grinding wheels of the subway express, though they cut the body to pieces, fail to precipitate the elixir of love. In the egocentric prism the helpless victim is walled in by the very light which he refracts. The ego dies in its own glass cage. (290c)

Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.


28 Apr 2009

Sexus, Henry Miller, Vol. 1, pp.17c-21d, The First Dawn, Their First Night

[A summary through sometimes-censored citation.]

Henry Miller

Sexus: The Rosy Crucifixion

Volume One

pp.17c-21d

The First Dawn
Their First Night

Miller and Mara meet. He has but three dollars.
The greeting she gave me was cordial and brisk. No mention of my visit to the house or the letters or the gifts. Where would I like to go, she asked after a few words. (17c)
Miller can produce no suggestions. Finally she proposes Jimmy Kelly's place.

They take a cab.
I sank back into the seat, overwhelmed by her mere presence. I made no attempt to kiss her or even to hold her hand. She had come – that was the paramount thing. That was everything. (17-18)
They stayed all night to early morn «eating, drinking, dancing.» He learned nothing more about her «real life,»
not because of any secrecy on her part but rather because the moment was too full and neither past nor future seemed important. (18a)
A problem intrudes.
When the bill came I almost dropped dead. (18b)
He explains that he has no way to pay it. His friends will bail him out. He calls them. And he begs. A friend will lend him fifty.
It was a lot of money for him to borrow from the till, and he knew I wasn't any too reliable, but I gave him a harrowing story,promising faithfully to return it before the day was out. (18c)
The messenger who brought the money happened to be another friend. He lends twenty-five.
I took it an thanked him warmly. I paid the bill, gave the waiter a generous tip, shook hands with the manager, the assistant manager, the bouncer, the hat check girl, the door man, and with a beggar who had his mitt out. (19a)
They take a cab.
as it wheeled around, Mara impulsively climbed over me and straddled me. (19ab)
They begin.
We went into a blind f.ˌ`·˖֗, with the cab lurching and careening, our teeth knocking, tongue bitten, and the juice pouring from her like hot soup. (19b)
Dawn breaks. More?
«Wait, wait», she begged, panting and clutching at me furiously, and with that she went into a prolonged o.ˌ`·˖.ˌ`·˖ in which I thought she would rub my c.ˌ`·˖ off. Finally she slid off and slumped back into the corner, her dress still up over her knees. I leaned over to embrace her again and as I did so I ran my hand up her wet c.ˌ`·˖֗. She clung to me like a leech, wiggling her slippery a.ˌ`· around in a frenzy of abandon. I felt the hot juice trickling through my fingers. I had all four fingers up her cr.ˌ`·˖.ˌ`, stirring up the liquid moss which was tingling with electrical spasms. She had two or three o.ˌ`·˖.ˌ`·˖ and then sank back exhausted, smiling up at me weakly like a trapped doe. (19c)
She recovers. But something frightens her. She ducks. Someone is following them, she thinks. So she tells the cab driver to race off.
she gave rapid, jerky orders to the driver to go this way and that, faster and faster. «Please, please!» she begged him, as though it were life and death. (20a)
Miller does not first believe. She must be paranoid. Then he realizes they are endangered. Is she a criminal?
Suddenly I put two and two together, in my own crazy fashion. I reflected quickly... nobody is following us... that's all coke and laudanum... but somebody's after her, that's definite... she's committed a crime, a serious one, and maybe more than one... nothing she says adds up... I'm in a web of lies... I'm in love with a monster, the most gorgeous monster imaginable... I should quit her now, immediately, without a word of explanation... otherwise I'm doomed... she's fathomless, impenetrable... I might have known that the one woman in the world whom I can't live without is marked with mystery... get out at once... jump... save yourself! (20b-c)
Calm returns.
I felt her hand on my leg, rousing me stealthily. Her face was relaxed, her eyes wide open, full, shining with innocence... «They've gone,» she said, «it's all right now.» (20cd)
Miller's dependent again.
Nothing is right, I thought to myself. We're only beginning. Mara, Mara, where are you leading me? It's fateful, it's ominous, but I belong to you body and soul, and you will take me where you will, deliver me to my keeper, bruised, crushed, broken. For us there is no final understanding. I feel the ground slipping from under me... (20d)
She's also fallen.
My thoughts she was never able to penetrate, neither then nor later. She probed deeper than thought: she read blindly, as if endowed with antennae. She knew that I was meant to destroy, that I would destroy her too in the end. She knew that whatever game she might pretend to play with me she had met her match. (20-21)
They near his home. She has the driver park nearby.
We were facing one another, hands clasped, knees touching. A fire ran through our veins. We remained thus for several minutes, as in some ancient ceremony, the silence broken only by the purr of the motor. (21b)
She will call tomorrow. In his ear she whispers
«I'm falling in love with the strangest man on earth. You frighten me, you're so gentle. Hold me tight... believe in me always... I feel almost as if I were with a god.»
Mara's made Miller anew.
Embracing her, trembling with the warmth of her passion, my mind jumped clear of the embrace, electrified by the tiny seed she had planted in me. Something that had been chained down, something that had struggled abortively to assert itself ever since I was a child and had brought my ego into the street for a glance around, now broke loose and went sky-rocketing into the blue. Some phenomenal new being was sprouting with alarming rapidity from the top of my head, from the double crown which was mine from birth. (21c-d)





Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.


21 Apr 2009

Sexus, Henry Miller, Vol. 1, pp.pp. 16a-17c

[A summary through sometimes-censored citation.]

Henry Miller

Sexus: The Rosy Crucifixion

Volume One

pp. 16a-17c

Desperate Anticipations
Arrangings to Meet


Days pass. The protagonist hears nothing from his new secret love. When he can escape his wife, he writes voluminous love letters.
From time to time I had tried to write but the gloom which my wife created around her was too much for me. Only once did I succeed in breaking the spell which she had cast over the place; that was during a high fever which lasted for several days when I refused to see a doctor, refused to take any medicine, refused to take any nourishment. In a courner of the room upstairs I lay in a wide bed and fought off a delirium which threatened to end in death. I had never really been ill since childhood and the experience was delicious. To make my way to the toilet was like staggering through all the intricate passages of an ocean liner. I lived several lives in the few days that it lasted. That was my sole vacation in the sepulchre which is called home. The only other place I could tolerate was the kitchen. It was a sort of comfortable prison cell and, like a prisoner, here I often sat alone late into the night planning my escape. (16b-d)
After I had posted a letter I would go upstairs and lie down beside my wife and, with eyes wide open, stare into the darkness, as if trying to read my future. (17a)

His desperation is his certainty.
I said to myself over and over that if a man, a sincere and desperate man like myself, loves a woman with all his heart, if he is ready to cut off his ears and mail them to her, if he will take his heart's blood and pump it out on paper, saturate her with his need and longing, besiege her everlastingly, she cannot possibly refuse him. The homeliest man, the weakest man, the most undeserving man must triumph if he is willing to surrender his last drop of blood. No woman can hold out against the gift of absolute love. (17b)

He returns to the dance hall. There's a message. It's from her.
The sight of her handwriting made me tremble. (17bc)
They will meet tomorrow at midnight. But he must not contact her at home.




Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.

19 Apr 2009

Sexus, Henry Miller, Vol. 1, pp.14a-16a

[A summary through sometimes-censored citation.]

Henry Miller

Sexus: The Rosy Crucifixion

Volume One

pp. 14a-16a

Last night the protagonist waited all evening for his new lover. She never showed. He went home to sleep.
Sunday morning. I awaken fresh as a daisy. The world lies before me, unconquered, unsullied, virgin as the Arctic zones. (14a)
He decides he will just go to her home and ring for her.
Here I am, take me or stab me to death. Stab the heart, stab the brain, stab the lungs, the kidneys, the viscera, the eyes, the ears. If only one organ be left alive you are doomed doomed to be mine, forever, in this world and the next and all the worlds to come. I'm a desperado of love, a scalper, a slayer. I'm insatiable. I eat hair, dirty wax, dry blood clots, anything and everything you call yours. (14bc)
He travels toward her residence, and affirms his chances.
I believe in God the Father, in Jesus Christ his only begotten Son, in the blessed Virgin Mary, the Holy Ghost, in Adam Cadmium, in chrome nickel, the oxides and the mercurichromes, in water-fowls and water0cress, in epileptoid seizures, in bubonic plagues, in Devachan, in planetary conjunctions, in chicken tracks and stick throwing, in revolutions, in stock crashes, in wars, earthquakes, cyclones, in Kali Yuga and in hula-hula. I believe. I believe. I believe because not to believe is to become as lead, to lie prone and rigid, forever inert, to waste away. (14-15)
On his way, he sees no rural scenes, just signs of civilization.
Where are the beasts of the field, the crops, the manure, the roses that flower in the midst of corruption? I see railroad tracks, gas stations, cement blocks, iron girders, tall chimneys, automobile cemeteries, factories, warehouses, sweat shops, vacant lots. Not even a goat in sight. I see it all clearly and distinctly : it spells desolation, death, death everlasting. For thirty years now I have worn the iron cross of ignominious servitude, serving but not believing, working but taking no wages, resting but knowing no peace. Why should I believe that everything will suddenly change, just having her, just loving and being loved?
Nothing will be changed except myself.
As he nears her house, he sees some other woman hanging clothes in the back-yard. He does not want to encounter her, so he circles the block.
when I come again to the door she is gone. Somehow my courage too is gone. (15c)
He rings. A tall young man opens the door. She is not in. He does not know when she will be back.
Then good-bye and bang! The door is staring me in the face. Young man, you'll regret this. One day I'll return with a shot-gun and blow your t.֫·ˌ`֝·˖֗off... So that's it! Everybody on guard, everybody tipped off, everybody trained to be elusive and evasive. Miss Mara is never where she's expected to be, nor does anybody know where she might be expected to be. Miss Mara inhabits the airs: volcanic ash blown hither and thither by the Trade winds. (15-16)


Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.


Sexus, Henry Miller, Entry Directory



by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

[Central Entry Directory]
[Literature, Poetry, and Drama Entry Directory]


Henry Miller

Sexus

The Rosy Crucifixion

Volume One










Sexus, Henry Miller, Vol. 1, pp.11b-14a


[A summary through sometimes-censored citation.]

Henry Miller

Sexus: The Rosy Crucifixion

Volume One

pp. 11b-14a


Previously the protagonist arrived near the dance hall. He met his new lover here the night before.
Everything looked familiar yet made no sense; it took ages to coordinate a few simple impressions which by ordinary reflex calculus would mean table, chair, building, person. Buildings emptied of their automatons are even more desolate than tombs; when the machines are left idle they create a void deeper than death itself. I was a ghost moving about in a vacuum. To sit down, to stop and light a cigarette, not to sit down, not to smoke, to think, or not to think, breathe or top breathing, it was all one and the same. Drop dead and the man behind you walks over you; fire a revolver and another man fires at you; yell and you wake the dead who, oddly enough, also have powerful lungs. Traffic is now going East and West; in a minute it will be going North and South. Everything is proceeding blindly according to rule and nobody is getting anywhere. Lurch and stagger in and about, up and down, some dropping out like flies, others swarming in like gnats. Eat standing up, with slots, levers, greasy nickels, greasy cellophane, greasy appetite. Wipe your mouth, belch, pick your teeth, cock your hat, tramp, slide, stagger, whistle, blow your brains out. In the next life I will be a vulture feeding on rich carrion : I will perch on top of the tall buildings and dive like a shot the moment I smell death. (11b-12)
He imagines greeting his new lover Mara. They embrace.
This will take place in a void under powerful Klieg lights with three centimeters of privacy marking a mystic circle around us. (12a)
Now he enters the dance hall.
I mount the steps and enter the arena, the grand ball-room of the double-barrelled sex adepts, now flooded with a warm boudoir glow. The phantoms are waltzing in a sweet chewing gum haze, knees slightly crooked, haunches taut, ankles swimming in powdered sapphire. Between drum beats I hear the ambulance clanging down below, then fire engines, then police sirens. The waltz is perforated with anguish, little bullet holes slipping over the cogs of the mechanical piano which is drowned because it is blocks away in a burning building without fire escapes. (12b-c)
But he cannot find her.
She is not on the floor. She may be lying in bed reading a book, she may be making love with a prize-fighter, or she many [sic] be running like mad through a field of stubble, one shoe on, one shoe off, a man named Corn Cob pursuing her hotly. Wherever she is I am standing in complete darkness; her absence blots me out. (12c)
He asks around where she might be. Most don't know. One person wrongly assures him that she will come.
I wait and wait. The girls are steaming, like sweating horses standing in a field of snow. Midnight. No sign of Mara. I move slowly, unwillingly, towards the door. (13b)
While taking the subway home, he wonders if he suffers any ailments.
No migraine, no acidosis, no intestinal catarrh, no lumbago, no floating bladder, no corns or bunions, no varicose veins? As far as I know I'm sound as a button, and yet... Well, the truth is I lack something, something vital...
I'm love-sick. Sick to death. A touch of dandruff and I'd succumb like a poisoned rat. (13c)
He arrives home.
My body is heavy as lead when I throw it into bed. I pass immediately into the lowest depth of dream. This body, which has become a sarcophagus with stone handles, lies perfectly motionless; the dreamer rises out of it, like a vapor, to circumnavigate the world. The dreamer seeks vainly to find a form and shape that will fit his ethereal essence. Like a celestial tailor, he tries on one body after another, but they are all misfits. Finally he is obliged to return to his own body, to reassume the leaden mould, to become a prisoner of the flesh, to carry on in torpor, pain and ennui. (13-14)


Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.


Sexus, Henry Miller, Vol. 1, pp.9a-11a


[A Summary through censored citation.]

Henry Miller

Sexus: The Rosy Crucifixion

Volume One

pp.9a-11a


Lust rebirths the protagonist in his early middle-age.
I was approaching my thirty-third year, the age of Christ crucified. A wholly new life lay before me, had I the courage to risk all. Actually there was nothing to risk : I was at the bottom rung of the ladder, a failure in every sense of the word. (9bd)
He is married. Last night he met a new woman at the dance hall. His desire for her overcomes him.
To make absolute, unconditional surrender to the woman one loves is to break every bond save the desire not to lose her, which is the most terrible bond of all. (9d)
Love is his new ambition.
In the distance a band was playing; it brought back memories of my childhood, stifled dreams, longings, regrets. A sultry, passionate rebellion filled my veins. I thought of certain great figures in the past, of all that they had accomplished at my age. What ambitions I may have had were gone; there was nothing I wanted to do except to put myself completely in her hands. Above everything else I wanted to hear her voice, know that she was still alive, that she had not already forgotten me. To be able to put a nickel in the slot every day of my life henceforth, to be able to hear her say hello, that and nothing more was the utmost I dared hope for. (10c)
He tries to contact her to see if she will be at the dance hall again. He never reaches her. But prepares to go again in hopes of a chance encounter.
I telephoned my wife that I would not be home for dinner. She greeted the announcement in her usual disgusted way, as though she expected nothing more of me than disappointments and postponements. «Choke on it, you b___,» I thought to myself as I hung up, «at least I know that I don't want you, any part of you, dead or alive.» (10d)
He boards a trolley.
I rode around for a couple of hours in a deep trance; when I came to I recognized an Arabian ice cream parlor near the water-front, got off, walked to the wharf and sat on a string-piece looking up at the humming fret-work of the Brooklyn Bridge. There were still several hours to kill before I dared venture to go to the dance hall. Gazing vacantly at the opposite shore my thoughts drifted ceaselessly, like a ship without a rudder. (11a)

Miller, Henry. Sexus: The Rosy Crucifixion. New York: Grove Press, 1965.