Edible Matter and Joseph Conrad

While researching an essay for another class, I came upon a miscellaneous document by Joseph Conrad that connects quite well with Jane Bennett’s “Edible Matter” chapter.  The essay, which is actually the introduction of his wife Jessie’s cook book, describes the the art of “good cooking” as a “moral agent” (146).  And, in a very edible matter-esque description, Conrad describes good food as:

“[t]he intimate influence of conscientious cooking by rendering easy the process of digestion promotoes the serenity of mind, the graciousness of though,  and that indulgent view of our neighbors’ failings which is the only genuine form of optimism. Those are its titles to our reverence”  (147).

This description truly made me think of how food is part of a massive assemblage that ultimately manifests its effects in myriad ways, but most importantly, it can influence how we feel.

Moreover, Conrad —in utilizing rather absurd pseudo-scientific claims— instists that the Native American Indians acquired their “sombre and excessive ferocity” from “perpetual indigestion,” which he argued was because their “wives had not mastered the art of conscientious cooking” (147).

given this description of Food, from Conrad, and Marion’s post on Virginia Woolf, it seems like there may have been more thoughts about the vibrance of matter and the fallacy of modernism going on than we would like to think. Reading essays like this make me believe that perhaps recent work in OOO and Actor-Network theory is actually giving a name to something that has long been thought about?

 

For further reading, the book and chapter is:

Conrad, Joseph. “Cookery.” Last Essays. Ed. Richard Curle. Freeport: Books for Libraries, 1970. 146-148. Print.

Ian Bogost and Joseph Conrad

After reading Marion’s post on Virginia Woolf and Bruno Latour, I began to draw a connection between the work of Ian Bogost and Joseph Conrad’ Heart of Darkness. One of the main characteristics that brings these two together is the idea of a picture in a picture.

Throughout “Seeing Things” Bogost discusses the idea of a “flattening” of ontological differences when one looks at a picture through a picture, and this idea seemed to be a rather salient force throughout H of D, since Marlow’s tale is being told through another unnamed narrator; in essence, a narrative in a narrative. This concept immediately made me think of the H of D narrative as Mise en abyme —a French term that describes a type of frame story, in which the core narrative can be used to illuminate some aspect of the framing story.  Therefore, by approaching the narrative in such a manner, I began to think about the immense possibilities that could arise in terms of viewing Heart of Darkness through a OOO lens.

If there is any modernist writing that could be more deserving, H of D seems more than worthy for the application of an object-oriented reading. Conrad’s novel inundates the reading with immense sense impressions, and in the process he exposes the reader to some of the purest examples of things without an inherent purpose.  Things appear helter-skelter throughout the novel merely for their theatricality, but what else can we infer from their presence? How do they change the narrative in  any way shape or form?

Ultimately, it seems like an OOO approach would bring forth some interesting speculation on a text that has been analyzed to death. Moreover, I think it could reveal a very complex ontological arrangement that almost parallels the work I am doing in my own final essay —that is things through a picture in a picture.

Dreaming of Things: Perceptions of the Inanimate in “A Complaynte of a Lover’s Lyfe”

In this final essay I am taking an object-oriented approach to John Lydgate’s A Complaynte of a Lover’s Lyfe, which is written in the Chaucerian dream-sequence tradition.  Throughout my essay, I contend that the narrator’s account of the events directly influences the role of basic objects that appear within the poem.  Put another way, I argue that the very dream itself serves as a frame by which the narrator can impose his own preconceptions on the objects of this vision.  Through this line of reasoning, I hope to reveal the narrator’s own biases and show how his account of events is overshadowed by his own ineptitude as a voyeur and storyteller.

Moreover, since the narrator admits to his audience that he is a poor story teller, I insist that such a shortcoming immediately sets the audience up for complexities in the interpretation of inanimate objects.  That is to say, key items and natural phenomena are products of the narrator’s own vision, which questions the validity of these imaginative productions.  Therefore, I ultimately argue that readers should be skeptical of the narrator’s own ontological view of things.  Additionally, I approach this idea of objects in the dream-vision by drawing from Ian Bogost’s short film Seeing Things, which loosely references the concept of Mise en abyme.  In this case, I am seeing the narrator’s dream as a story within a story, which is what helps illuminate the narrator’s depictions of the inorganic.

The Agency of Death

Throughout my initial reading of Sir Orfeo, I thought of Sir Orfeo’s quest as a testament to humility and pure love, as many of Sir Orfeo’s actions seemed to indicate such motivations. However, as we discussed in class, the allegory of death, mourning, and coping seem to be a far greater underlying theme throughout the piece.  Not only does the idea of death play a major part in interpreting the king’s actions and the enigmatic fairy kingdom that steals the queen, but it also shows how death has an agency throughout the piece that affects the networks it touches.

For example, as the she earnestly begs the fairy king not to take her away, the king proclaims that she will “live with ous evermo,” and if she is to refuse they will “totore [tear] thine limes al /…And thei thou best so totorn, / Yete thou worst with ous y-born” (169, 171, 173-74).   Such a statement on the part of the fairy’s —when seen as a calling of death— shows how powerful an agency like death possess. The force of this agency effects more than just the queen, it tears the king from his sanity and wreaks emotional havoc on his psyche.  Despite the queen’s ultimate acquiesce and acceptance of the inevitable separation, the King cannot fathom such occurrences and merely drives himself into distress, thinking “[n]ever eft y nil no woman se / into wilderness ichil te / and live ther evermore,” which shows how the king refuses to bear the pain of emotional attachment (211-14).

In addition to his refusal to deal with human contact, the king’s drive to find his wife seems to manifest the type of agency death bestows on the assemblages throughout the poem    —it transforms them.  The idea that the king will get back his lost wife shows how he has gained a sense of hope or a faith in finding what may have been impossible to find.  This type of response bring to mind a sense that the king will be able to defeat death, which is an utterly impossible feat, but nonetheless it seems to show how death’s agency can transform the logical mind of the mourner into one of self-destructive and unfounded hope.  However, the story certainly does not end on such a dismal note, but in doing so the reader is left asking what this type of allegory has achieved. Perhaps the point of the narrative is that ending on a sad note is precisely what humans cannot understand and is why the story ends as such.

Knightly Oaths Gone Wrong

If there is one major idea that I came away with after reading Eliduc, the issue of mismanaged promises was the the highlight of the lai. Throughout the piece, the knight’s imprudent attitude toward making chivalrous oaths leads him into immense complexities in what would otherwise be a rather simple tale.  Although such mismanagement and foolish behavior would make the knight prone to being labeled as the antithesis of knightly values, it seems as though the knight’s misfortune really underlines the impossibility of living to such a strict code of values.  In other words, Marie seems to be providing an account of the overreaching aspects of chivalry, which can be seen in the complex assemblages that she builds throughout the tale.

Through an intricate web of promises and oaths, Marie sheds light on the difficult and seemingly absurdly loyal role a knight must fulfill, and one of the key methods of conveying this idea is through marriage. As he is exiled from his homeland, the knight assures his wife that he will be “faithful to her,” which seems to be a reasonable action. However, the lack of details Marie gives us —in regard to his marriage— seem to make the knights promise more of an obligation, for his only barrier for not cheating on her is “Christianity,” which he claims “would not allow it” (602).  Therefore, it seems that religion manifests itself as a force that ultimately forces the knight to retain empty promises that ultimately complicate the plot.

Moreover, the assemblage that the knight forms wife his wife provides a somewhat of a parallel to the relationship that he forms wife his lord.  For example, the act of the old lord trying to regain the knight’s assistance seems to show how there is a constant wavering inside the knight’s mind, for despite the offer of “a third of his inheritance / and the whole of his treasure” the knight still has an intense bond with his original lord, whom he “must go to help him in his need” (637).  Not only does his response show a perplexing loyalty to someone who wrongfully treated him, but it also shows a bond that pointlessly holds the knight in the service of another.

Such assemblages seem to clash with each other, for they are constructed apart from each other, yet the knight inadvertently brings them in contact with one another. Moreover, they seem to reveal how the medieval system of chivalry held a great deal of incompatibility with free-will or an individuals desires, which often come and go on a whim.  Therefore, it seems that Marie is giving us a case study into when oaths go wrong.

“Neutral Sexuality” : an Attraction to the Lifeless

Throughout Bennett’s chapter “A Life of Metal,” I was rather inspired by her comment: “Humans, inexplicably, are ‘excited’ by what we otherwise believe to be ‘altogether inadequate stimuli’” (Bennett 61). Such a statement brought me back to the lecture Jeffery Cohen gave on stone. Moreover, it made me think about the seemingly inexplicable attraction we, humans, have with the world matter.

Going by the idea that “apparently dead things” have a sort of “neutral sexuality,” I thought about how this idea is manifest in the world we live in (61).  Not very long after, it became almost frighteningly apparent how intimate we are with the material world.  Now, it can easily be argued that humans have an overwhelming affection for objects, but when we look at this material lust through the lens of Bennett, it becomes clear there is a vitality, an energy that drives us to need them and be close to them.

However, it seems that although this vitality could be witnessed in just about every object humans create, the most pure form of it comes through in natural, unaltered materials. One such example that came to mind, was countertops. Yes, the surfaces that are found in kitchens everywhere. However, it seems that every aspiring homeowner dreams granite or marble countertops, which brings to mind a seemingly logical question: why? Is it simply due to their asthetic beauty, and if so, why are they more beautiful than a manmade material? Or, is it because they provide a touch, or a feel, that seems so steadfast and genuine that we are almost left in a state of awe and respect their silence.  All of these reasons may be correct, but I think they ultimately show how the inorganic has an immovable —almost primordial— grip on our us, that maintains an intimate bond with ageless materials.

Vibrant Matter in “Les Deus Amanz”

Throughout Les Deus Amanz I kept thinking about how Bennett’s concept of vibrant materialism had a prominent place in the poem. When she speaks about vibrant materrialism, Bennett particularly takes note of how matter is never really destroyed, or eliminated, but rather, it manifests itself in different ways and has an immense effect on our lives, whether or not we recognize the consequences. Therefore, the potion that the king’s daughter pours onto the mountainside seems to manifest this kind of vibrancy, and in doing so, it seem to reveal how a medieval audience would have seen the power of performance enhancing matter.

Although he is portrayed as a “brave and refined” young man, the princess’s lover seems to fall short in his capacity for strength. Such a misfortune provokes the implementation of materials that aid the young knight in his endeavor. However, contrary to our expectations, the potion that the princess has had concocted, seems to fail, despite claims that it will “fortify you / and give you lots of strength” (107-08). In essence, it is as though this matter refuses to act in accordance with its creator’s wishes — it wants to exist in its own way.

Moreover, the idea of vibrant materialism is seen when the princess pours the performance enhancing potion out over the countryside. Rather than nourish and revitalize the fatigued knight, the potion works a feat of wonder, and “the entire region and countryside / were much improved thereby: / many a fine herb now found there / owes its start to the potion” which seems to show how the energy and matter of this potion find a new way of expression and continue to manifest their vibrancy (216-18).

Perhaps such a transformation of vibrant matter is how medieval audiences saw things like potions. It seems as though Marie is showing us how powerful substances are. In other words, what we nonchalantly put in our bodies may actually carry far more significance or carry more influence than we can predict or comprehend. Therefore, perhaps the people of Marie’s time had a greater appreciation for edible matter and the vibrance of matter in general.

Cohen’s View of Laustic

Jeffery Cohen’s lecture, in class yesterday, was such an incredible experience.  I was very surprised at hearing how in-depth, important, and emotional the field of “thing theory” can be.  However, of all the topics discussed during yesterday’s lecture, the one discussion that captivated me was the analysis of Laüstic, which seemed to fully embody what we have been covering, in this course. 

I was intrigued about what Dr. Cohen said about things being forced into new forms against their will. In this case, I thought it was interesting how we saw the nightingale’s own vibrance being suppressed by it dying, and also, I was moved by what Dr. Cohen said about the idea of ethical concerns with forcing this dead creature into becoming a piece a vibrant matter, according to the wishes of its human murderers.  Such a view of the nightingale seemed to truly shed light on what Bennett has been saying all along in Vibrant Matter, and that is, we need to garner a more ecological and ethical view on our treatment of things.

Although the nightingale’s death does seem to evoke a kind of sadness and contempt for those who reshaped its vibrance, I would argue that its beauty is still preserved and carries on.  When we think about how the nightingale was, in essence, at the wrong place at the wrong time, the very act of turning it into something of a saintly idol seems to evoke a sense of respect and reverence for a being that would have otherwise been discarded and forgotten about.  However, by becoming a symbol of the two adulterous lovers, it seems that its vitality is increased and even saved from a short appearance in the story of forbidden love.

Therefore, I would agree with Cohen’s assertion that we should have an ethical concern for something that has had life its life, or vitality, taken from it, but I would say that in the case of Laüstic, something far more beautiful emerges through the act of reshaping a material’s vibrance.

 

Our Definition of the Social

Throughout my reading of Bruno Latour’s Reassembling the Social I kept thinking about how his push for a new definition of sociology had many real-world opportunities and could truly bring about a new view on how we view networks.

One aspect of his work that struck me as rather radical was his assertion that the original definition and makeup of sociology are in the business of “interrupt[ing]” associations rather than resuming them, which is to say that for far too long we have been neglecting the deeper, more involved aspects of a network.  Taking this statement into consideration, I began to think more deeply about the entire view that we as humans take, when we think about the social. Before studying the works of Latour, Bennett, and others (that we have discussed in class), I felt like I had never considered the immensity of the “thing” and how taking the time to study it could actually play a vital role in the way I, and others, see the processes of the world.

Therefore, I think Latour’s assertion is unequivocal, for he is essentially referencing the fact that we have, in essence, been trained to be anthropocentric in our study of “the social.” Now, such a revelation may seem to be slightly overdue, but Bennett’s “Edible Matter” truly highlighted the significance of this assertion.  In other words, it shows how the social delves much deeper than just power plants and collections of rubbish in drainage grates — it brings the concept to much more personal level, a level we are all familiar with.  Such a connection, between Bennett and Latour, has made me think much more about all the assemblages that I encounter on a daily basis, in regard to edible things.

Put another way, I have come to see these assemblages in a far different light. To illustrate, before I would have thought about the Red Bull or coffee I drink as things that help give me energy, but put in the perspective of Bennett, I began to think about the possible assemblage that could emerge. That is, the caffeine in the drink, the money spent, the sleep neglected, the good or bad results that may happen from studying —there are just so many things that play a part. Therefore, I think it has been exceedingly beneficial to study these theories, for put in a more serious context, we truly could have a immensely different view of situations we would have normally overlooked.