Lust Bloom [v0.2]

Lust Bloom [v0.2]

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Joanna Drynda, Alicja Krauze-Olejniczak, and Slawomir Piontek, eds., Zwischen Einflussangst und Einflusslust: Zur Auseinandersetzung mit der Tradition in der osterreichischen Gegenwartsliteratur. Vienna: Praesens Verlag, 2017.168 pp.

The publication of Harold Blooms The Anxiety of Influence in 1973 was a watershed moment in Anglo-American criticism, but its significance outside the Anglopone world has largely been more muted, and indirect, if no less extensive. A new edited volume, Zwischen Einflussangst und Einflusslust, sets out to address Bloom's terms directly, in the context of contemporary Austrian literature. The editors' foreword summarizes the objective of the book:

This appeal raises sharply the question of the proper interpretation of section 305 (a) of the Tariff Act of 1930 (19 USCA 1305 (a). That section provides that \"all persons are prohibited from importing into the United States from any foreign country * * * any obscene book, pamphlet, paper, writing, advertisement, circular, print, picture, drawing, or other representation, figure, or image on or of paper or other material, * * *\" and directs that, upon the appearance of any such book or matter at any customs office, the collector shall seize it and inform the district attorney, who shall institute proceedings for forfeiture. In accordance with the statute, the collector seized Ulysses, a book written by James Joyce, and the United States filed a libel for forfeiture. The claimant, Random House, Inc., the publisher of the American edition, intervened in the cause and filed its answer denying that the book was obscene and was subject to confiscation and praying that it be admitted into the United States. The case came on for trial before Woolsey, J., who found that the book, taken as a whole, \"did not tend to excite sexual impulses or lustful thoughts but that its net effect * * * was only that of a somewhat tragic and very powerful commentary on the inner lives of men and women.\" He accordingly granted a decree adjudging that the book was \"not of the character the entry of which is prohibited under the provision of section 305 of the Tariff Act of 1930 * * * and * * * dismissing the libel,\" from which this appeal has been taken.

That numerous long passages in Ulysses contain matter that is obscene under any fair *707 definition of the word cannot be gainsaid; yet they are relevant to the purpose of depicting the thoughts of the characters and are introduced to give meaning to the whole, rather than to promote lust or portray filth for its own sake. The net effect even of portions most open to attack, such as the closing monologue of the wife of Leopold Bloom, is pitiful and tragic, rather than lustful. The book depicts the souls of men and women that are by turns bewildered and keenly apprehensive, sordid and aspiring, ugly and beautiful, hateful and loving. In the end one feels, more than anything else, pity and sorrow for the confusion, misery, and degradation of humanity. Page after page of the book is, or seems to be, incomprehensible. But many passages show the trained hand of an artist, who can at one moment adapt to perfection the style of an ancient chronicler, and at another become a veritable personification of Thomas Carlyle. In numerous places there are found originality, beauty, and distinction. The book as a whole is not pornographic, and, while in not a few spots it is coarse, blasphemous, and obscene, it does not, in our opinion, tend to promote lust. The erotic passages are submerged in the book as a whole and have little resultant effect. If these are to make the book subject to confiscation, by the same test Venus and Adonis, Hamlet, Romeo and Juliet, and the story told in the Eighth Book of the Odyssey by the bard Demodocus of how Ares and Aphrodite were entrapped in a net spread by the outraged Hephaestus amid the laughter of the immortal gods, as well as many other classics, would have to be suppressed. Indeed, it may be questioned whether the obscene passages in Romeo and Juliet were as necessary to the development of the play as those in the monologue of Mrs. Bloom are to the depiction of the latter's tortured soul.

It is unnecessary to add illustrations to show that, in the administration of statutes aimed at the suppression of immoral books, standard works of literature have not been barred merely because they contained some obscene passages, and that confiscation for such a reason would destroy much that is precious in order to benefit a few.

It is settled, at least so far as this court is concerned, that works of physiology, medicine, science, and sex instruction are not within the statute, though to some extent and among some persons they may tend to promote lustful thoughts. United States v. Dennett, 39 F.(2d) 564, 76 A. L. R. 1092. We think the same immunity should apply to literature as to science, where the presentation, when viewed objectively, is sincere, and the erotic matter is not introduced to promote lust and does not furnish the dominant note of the publication. The question in each case is whether a publication taken as a whole has a libidinous effect. The book before us has such portentous length, is written with such evident truthfulness in its depiction of certain types of humanity, and is so little erotic in its result, that it does not fall within the forbidden class.

In the New York Supreme Court, Judge Morgan J. O'Brien declined to prohibit a receiver from selling Arabian Nights, Rabelais, Ovid's Art of Love, the Decameron of Boccaccio, the Heptameron of Queen Margaret of Navarre, or the Confessions of Rousseau. He remarked that a rule which would exclude them would bar \"a very large proportion of the works of fiction of the most famous writers of the English language.\" In re Worthington Co. (Sup.) 30 N.Y.S. 361, 362, 24 L. R. A. 110. The main difference between many standard works and Ulysses is its far more abundant use of coarse and colloquial words and presentation of dirty scenes, rather than in any excess of prurient suggestion. We do not think that Ulysses, taken as a whole, tends to promote lust, and its criticised *708 passages do this no more than scores of standard books that are constantly bought and sold. Indeed a book of physiology in the hands of adolescents may be more objectionable on this ground than almost anything else.

It may be that Ulysses will not last as a substantial contribution to literature, and it is certainly easy to believe that, in spite of the opinion of Joyce's laudators, the immortals will still reign, but the same thing may be said of current works of art and music and of many other serious efforts of the mind. Art certainly cannot advance under compulsion to traditional forms, and nothing in such a field is more stifling to progress than limitation of the right to experiment with a new technique. The foolish judgments of Lord Eldon about one hundred years ago, proscribing the works of Byron and Southey, and the finding by the jury under a charge by Lord Denman that the publication of Shelley's \"Queen Mab\" was an indictable offense are a warning to all who have to determine the limits of the field within which authors may exercise themselves. We think that Ulysses is a book of originality and sincerity of treatment and that it has not the effect of promoting lust. Accordingly it does *709 not fall within the statute, even though it justly may offend many.

The public is content with the standard of salability; the prigs with the standard of preciosity. The people need and deserve a moral standard; it should be a point of honor with men of letters to maintain it. Masterpieces have never been produced by men given to obscenity or lustful thoughts men who have no Master. Reverence for good work is the foundation of literary character. A refusal to imitate obscenity or to load a book with it is an author's professional chastity.

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Yes, there is a weeping version of the spectacular and disease resistant kousa dogwood! This tree is unusual and very interesting with branches of full leaves and bloom bracts, that weep down to the ground. It is a unique tree and likely not something your neighbors are going to have. The weeping branches create a cascade effect, and within them is a secret hideaway that your kids or grandkids will adore.

The kousa dogwood is an Asian variety of our own native dogwood, but has its own unique beauty and is resistant to many of the diseases that affect the North American Dogwood. When I think about cornus kousa, I think of beautiful oblong dogwood blooms in the garden in early summer when our native dogwood species have already lost their blooms. The fruit of cornus kousa is larger than that of our native dogwood and edible, making it a bird magnet for a few weeks in the fall. Kousa leaves are smoother and longer than the the leaves of the native dogwood with a deep green in the summer. In the fall, the kousa takes on a variegated orange, red and green that is more symmetrical and organized than the swirling psychedelic displays put on by our native dogwoods. The branch structure of the weeping kousa is also lovely, with six branches appearing at each node and growing downward symmetrically from the stem to create an elegant cascade effect. Care should be taken when pruning as inexperience can result in diminishing, rather than improving, the cascade effect. Kousa dogwoods are resistant, but not immune, to borers and common dogwood fungal diseases. Like with all dogwoods, care should be taken to provide well draining soil rich in organic matter, and trees should receive extra care and mulch if planted in direct sunlight. 59ce067264

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