For the uninitiated, the poetic mysteries of baseball can seem elusive if not downright silly. Diamonds Are Forever: Artists and Writers on Baseball (Chronicle), a print version of the Smithsonian Institution exhibition of the same name, doesn’t set
One of the pleasures of reading for no particular reason is coming across hidden stories, involuntary essays, samples of what someone once called “found literature”—as opposed, I imagine, to the literature that states its official identity on the cover. Leafing through a book on Samuel de Champlain, I came across, of all things, a detective story.
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
A few years after Kafka’s death, Milena, the woman he had loved so dearly, was taken away by the Nazis and sent to a concentration camp. Suddenly life seemed to have become its reverse: not death, which is a conclusion, but a mad and meaningless state of brutal suffering, brought on through no visible fault and serving no visible end. To attempt to survive this nightmare, a friend of Milena devised a method: she would resort to the books she had read, stored in her memory.
Many years ago my father-in-law, who had been a British prisoner of war in Japan, gave me a small pocket anthology, The Knapsack, edited by the undeservedly forgotten Herbert Read. The book (which I have since passed on to my daughter) had been put together for the Ministry of War to be given to its soldiers: its proclaimed intention was "to celebrate the genius of Mars." Surprisingly, however, the general tone of the anthology was above all elegiac.