Sylvain Reynard's Blog, page 43
August 16, 2011
Dante, Sex and God
Dear Everyone,
There is a scene in "Gabriel's Inferno" in which the main character gives a lecture at the University of Toronto on the topic of Lust in Dante's Inferno. Professor Emerson is very familiar with lust and its various forms and some of his expertise emerges during his presentation.
In an interview that I did recently with Tigris Eden, (which will be posted soon), I identified Gabriel as a sensualist. He's obsessed with the pleasures of the body – taste, touch, sound, smell, sight. You can see this in his choice of Scotch, food, sex, art, music, fine clothing and writing instruments, etc.
Julia is very different from Gabriel. She is a product of her upbringing and circumstances, but also of her choices. Rather than focusing on the pleasures of the body, she has favoured the pleasures of the soul – education, friendship, and love.
Throughout the course of the novel, the topic of sex is raised by different characters who espouse different views of it. Last week's post was a glimpse into the music and ideas associated with Julia and her past. Several readers commented on the music and lyrics of the song. I enjoyed reading their reactions and so this week I welcomed readers to contact me via Twitter, Facebook or email to share their ideas about the connection between sex and God.
The response was overwhelming.
Many readers emphasized the connection between partners that emerges through sex – a connection of knowledge, intimacy, and giving. Some readers emphasized the transcendence or the sublime as it's experienced in sex.
Readers identified themselves as coming from various different perspectives – some religious, some not. In all, I was surprised at the similarity among the comments and how reader's reflections overlapped with my own views.
Over the course of writing a story that presents the redemption of sex as much as the redemption of a man, I've wondered about the relationship between sex, love and God. I'll never be able to do justice to these connections in this short post, but I'll present some of my reflections so far.
My suspicion is that sex offers human beings a glimpse of the transcendent in the way nature or human creations caused the Romantic poets to think of the sublime, or what Wordsworth termed "the spontaneous overflow of powerful feelings."
If a Grecian urn, frost, or the ruins of an old abbey can inspire such reactions, how much more can sex? And if the powerful feelings elicited by nature or artifacts provoke us to think about our place in the world, how much more can sex provoke us to think of similar things and beyond?
What I have in mind here is the way that sex is all-consuming during the act and especially, during orgasm. Sex focuses all attention on the attainment of its goal – satisfaction. But one can also think of sex as a symbol of something else. The greatest of bodily pleasures could be seen as a foretaste of Dante's Paradise,where one is known and loved intimately by the Divine and all one's desires are satisfied, not just for moments but for eternity.
When Dante visits Paradise, he meets St. Bernard of Clairvaux (1090-1153). In description of the meeting Dante writes, "Though he had been absorbed in his delight, that contemplator freely undertook the task of teaching." [Canto 32.1]
He goes on to describe Paradise this way,
"The King through whom this kingdom finds content
in so much love and so much joyousness
that no desire would dare to ask for more." [Canto 32.61]
I'm sure everyone has their own idea of what heaven is like, if they believe in heaven. I have a fondness for Dante's vision - that heaven is a place of absorbing delight, where everyone is content, loved and joyous, and one's deepest and best desires are satisfied to the point where there is no more desire.
It sounds similar to sex, doesn't it?
In the closing lines of the end of his Paradiso, Dante pens the following:
"But then my mind was struck by light that flashed
and, with this light, received what it had asked.
Here force failed my high fantasy; but my
desire and will were moved already—like
a wheel revolving uniformly—by
the Love that moves the sun and the other stars." [Canto 33]
Through his visit to Paradise, Dante is given insight into the workings of the universe. Everything is governed by love. From a Dantean perspective, then, it doesn't seem to be too great a leap to suggest that sex within the context of love is a picture or an image of Paradise.
Once again, I welcome your thoughts below. Thanks for reading,
SR
PS. If you have friends who are interested in reading "Gabriel's Inferno," please let them know about two contests in which they can enter to win a copy.
Also, you can read reviews of my book in languages other than English here.
August 9, 2011
Music - Nine Inch Nails
The musical reference in "Gabriel's Inferno" that has generated the most discussion is the mention of Nine Inch Nails. Some readers enjoy Trent Reznor, (the creative force behind the band), and his music. Some readers don't.
Within the context of the story, Professor Emerson explains that he listens to Nine Inch Nails only when he is in a particular mood. In contrast, Julia never listens to them because she associates a particular song with a bad experience. (Warning: Some people might find the song disturbing and/or offensive)
A character's musical tastes can shed light on what he or she finds beautiful or meaningful. The music a character avoids can be similarly illuminating, by drawing attention to lyrics or ideas that he or she finds distasteful.
In my conversations with readers, I've encountered varying musical tastes (as one might expect). As I pointed out in these discussions, not all my references to Nine Inch Nails are negative. For example, there is a scene in which Gabriel confesses that he has spent a lot of time listening to Johnny Cash's version of Hurt, which was composed by Trent Reznor. Julia admits that Hurt resonates with her, as well. There is also a scene in which Paul claims to like a song that Trent Reznor recorded with Tori Amos.
In the comments section, I invite your remarks on musical taste in general and on Nine Inch Nails specifically. (I only ask that you don't post spoilers for the story!)
I enjoy interacting with readers. It's been a great pleasure to meet many of you through email, Twitter, Facebook and Goodreads.
All the best and thanks for reading,
SR
www.sylvainreynard.com
PS. If you've read "Gabriel's Inferno," would you consider writing a review on Goodreads or Amazon.com, Amazon.co.uk or Amazon.de?
August 4, 2011
Autographs, etc.
Since "Gabriel's Inferno" was released in April, I've had the privilege of connecting with a number of you through email, Goodreads, Facebook and Twitter. (If you haven't found me through one of these interfaces yet, please drop me a line to say hello.)
Several of you mailed your paperback copies of the novel to the publisher for me to autograph, and even more of you requested personalized bookplates. (Click here for more information on how to do this.)
Up to this point, Kindle and Nook readers have been left out ... unless they wanted to stick a bookplate to the back of their e-reader. (Although this would be flattering, I wouldn't recommend it)
But Kindlegraph of Seattle, WA has come up with a creative way for Kindle owners (and Nook owners) to request autographs from their favourite authors.
Here's how it works: You sign in to your Twitter account (or create one and sign in, if you don't have one), you go to the Author's Page, then you request an autograph. The author receives an alert showing that you've requested an autograph, and they electronically sign a document that is then sent back to your Kindle. The name shown to the author is the name associated with your Twitter account. You can watch a screencast of this procedure here.
For Nook owners, Kindlegraph put together a slightly different process. They can sign up with a regular email address and receive their autograph as a PDF. (Since this works for Nook, I'm hoping it will work for KOBO owners, too).
I should mention that the people who manage Kindlegraph are very nice and if you have a problem you can contact them directly. They're very helpful.
I welcome your comments below. And if you're supporting one of the charities I'm supporting, would you please let me know?
In other news, the sequel is progressing nicely and I've been grateful for your words of support and encouragement as it's prepared for publication. Thanks again.
All the best everyone and thanks for reading,
SR
www.sylvainreynard.com
PS. As I mentioned on Twitter this week, you can read excerpts of a number of reviews of "Gabriel's Inferno" here, with links to the full articles.
August 2, 2011
Music - Mozart's "Lacrimosa"
Dear Everyone,
As I mentioned in my previous post, I think that music can provide a background and context to scenes in a story.
Perhaps the most significant song in "Gabriel's Inferno" is Wolfgang Amadeus Mozart's "Lacrimosa" from his Requiem. It was Mozart's (1756-1791) last composition and remained unfinished at his death.
"Lacrimosa" provides the music for "Gabriel's Inferno"'s video trailer, which you can watch here.
You can read the Latin and English lyrics to the Requiem here.
Here are the lyrics to "Lacrimosa":
Day of Weeping,
On which will rise from ashes guilty man for judgment
So have mercy, oh Lord, on this man.
Compassionate Lord Jesus,
Grant them rest.
Amen.
Within the context of the story, Julianne learns that Professor Emerson has been playing "Lacrimosa" over and over again in his office, much to the exasperation of his research assistant. (His research assistant later steals the CD in an effort to stop the madness).
If you wish, you can duplicate poor Paul's experience by replaying the book trailer. Then you can try, like Julianne, to imagine what kind of psychological space Professor Emerson would have to be in in order to listen to that music continually ...
I won't spoil the story.
Although Mozart lived hundreds of years after Dante's death, his Requiem is a perfect fit for the The Divine Comedy and for the tortured male lead, Gabriel Emerson.
If you're interested on the background to Mozart's composition, you can read a short article here.
For a longer article on the life and works of Mozart, click here.
I invite you to share your favourite piece of music from "Gabriel's Inferno" in the comments below, or perhaps to suggest a piece that should have been included but wasn't. A playlist and media player are featured here.
Thanks for reading (and listening),
SR
PS. I want to thank everyone who read "Gabriel's Inferno" and left a review or a rating on Goodreads and/or Amazon.com. I truly appreciate it.
If you haven't read it yet, you can purchase an electronic version through the publisher for $4.99, $2 less than it's offered on Amazon.com.
July 28, 2011
Reviews of "Gabriel's Inferno"
In addition to the reviews here on Goodreads, a number of book blogs have reviewed "Gabriel's Inferno." Here are a two recent excerpts, with links:
"A Tale of Many Reviews"
Reviewer: Leisha
'Gabriel’s Inferno is a lengthy read with an overwhelming sense of darkness that takes frequent trips into the world and works of Dante. This is my kind of romance! Reynard has crafted a novel that reads smoothly and beautifully all the while dealing with topics that are often uncomfortable yet intriguing. As Julia and Gabriel are facing and dealing with their personal demons, they are also dealing with their growing attraction to one another. The reader is almost always uncertain of the outcome of this novel and that feeling of uncertainty adds to the drama and to the anticipation of finding out what comes next.'
http://www.ataleofmanyreviews.com/?p=990
The Book Hookup
Reviewer: Tamie
'As the story progresses we learn that Gabriel and Julia share some sort of history and while he can’t seem to remember it, it becomes clear that this past connection is very important for both of them. Gabriel feels he is beyond redemption for his past sins, and Julia feels her past has obstacles she may not be able to overcome as they struggle towards a relationship they can both live with. I’m not always the most patient reader, but if the author is very good then I feel rewarded. I think it’s probably hard for a writer to decide how long to tease the audience, and in this case I think it was just long enough. It’s always interesting to me when there are major secrets in a book. An author can choose to let the you in on them, or make you wait to find them out when the character does. SR does the latter. You’re in for a lot of anticipating, and nail biting, but it’s worth it!'
http://thebookhookup.com/2011/07/28/g...
You can find links to other review here: http://www.sylvainreynard.com/p/revie...
All the best everyone, SR
July 26, 2011
Music - "You and Me" by Matthew Barber
Dear Everyone,
As a writer and as a reader, I'm interested in the way that music can set a scene, hint at a subtext, or offer clues to a mystery. I've explored some of these options in "Gabriel's Inferno."
In one scene, I envisioned "You and Me" by Matthew Barber playing in the background while the central characters talk over dinner. This song emphasizes the differences between the characters and the way they have chosen to live their lives. The song also mentions the contrast between virtue and vice.
Few contemporary songs include references to virtue and vice, but Matthew Barber is not your typical singer-songwriter. You can watch him perform the song here. (And you can purchase the song from the "Ghost Notes" album on iTunes.)
Professor Emerson confesses to having all Seven Deadly Sins: pride, envy, wrath, sloth, avarice, gluttony and lust. He thinks that he's a magnet for a sin. On the other hand, the lovely Miss Mitchell is a paragon of the Seven Virtues that oppose those vices: humility, kindness, patience, diligence, liberality, abstinence and chastity. The virtues and vices are paired in this way because humility is the corrective for pride, kindness is the corrective for envy, etc.
Liberality is perhaps the virtue least familiar by name. It can be likened to generosity and it's supposed to combat greed. We normally think of generosity in terms of giving to others, particularly in terms of donating money to charities or worthy causes.
Through Goodreads, I have been able to meet a number of my readers. The interface on that website is set up in a similar fashion to Facebook so that one can see updates on what one's friends are reading, what their ratings are of particular books, etc. Recently, I saw that one of my readers was reading a series of books by an American author named Heather Huffman.
Mrs. Huffman describes her novels as stories about strong female leads who face difficult situations. She provides her books for free through Barnes and Noble for Nook readers or anyone who uploads a Nook application to their cell phone or PC or Mac computer.
Why would a novelist provide ALL her books for free?
Mrs. Huffman answers this question on the top of her website, where she states that she would prefer her readers make a donation to WorldVision or the charity of their choice, rather than paying for her book. In particularly, she encourages her readers to donate to WorldVision's program to support and protect sexually exploited girls.
Mrs. Huffman's work is a great example of the virtue of liberality. She donates her writing to charity and in so doing, inspires others to give of their talents to worthy causes. Donations don't always have to be financial - one can donate time, things that one makes, or even one's writing. One person can make a difference.
All the best,
SR
PS. If you read one of Mrs. Huffman's novels or if you make a contribution to a charity or a worthy cause, would you let me know? I welcome your comments below.
July 19, 2011
Literature - "Les Misérables"
There is a scene in “Gabriel’s Inferno” in which a male and a female character enter into a discussion about forgiveness and penance. I don’t agree with the view of penance that is presented by the woman and neither does she (it differs from the one presented in the link above). But since the man she is speaking with is distraught, she reasons with him as best she can, taking a much starker, harsher view of penance.
She also mentions forgiveness and she does so by referencing Victor Hugo’s novel "Les Misérables." This work is arguably one of the greatest novels of the nineteenth century and if you haven’t read it yet, you should.
http://www.sylvainreynard.com/2011/07...
Literature - Les Misérables
Dear Everyone,
There is a scene in "Gabriel's Inferno" in which a male and a female character enter into a discussion about forgiveness and penance. I don't agree with the view of penance that is presented by the woman and neither does she (it differs from the one presented in the link above). But since the man she is speaking with is distraught, she reasons with him as best she can, taking a much starker, harsher view of penance.
She also mentions forgiveness and she does so by referencing Victor Hugo's novel Les Misérables. This work is arguably one of the greatest novels of the nineteenth century and if you haven't read it yet, you should. There are several different stories intertwined in the narrative but my favourite is the story of Jean Valjean, the convict. He steals a loaf of bread to feed the hungry children of his widowed sister. He is arrested for the theft and sentenced to five years in the galleys.
After his release from prison, he steals again. This time, he steals the rich trappings of a Bishop's house. But when he is arrested and forced to face his victim, something surprising happens. The Bishop declares that the stolen items are gifts and he adds to the items, giving more than Jean had stolen initially. After the gendarmes have departed, leaving Jean alone with the Bishop, the Bishop bids him go in peace. And he declares that he has bought the convict's soul for God and that he must now go forth and do good.
You'll have to read the story to see what happens next. (And you can do so for free through Kindle or Nook).
This exchange is, perhaps, one of the most powerful ones in the novel. It's a mirror image of Jean's previous experience over the theft of the bread, but with an unexpected outcome. Once again, the law would provide justice and certainly the Bishop was well within the rights that the law provides him to demand that justice be served. But he doesn't do that. He offers mercy, instead. He gives back the items Jean stole from him and in so doing, forgives him and challenges him to go forth in peace and to be a good man.
Anyone who has ever pondered the subject of forgiveness knows that some wrongs are incredibly difficult to forgive. We've all been in situations in which we would rather have justice than offer mercy to the person(s) who wronged us. Some people cling to justice or revenge and spend their entire lives striving for it. I'm not suggesting that we substitute forgiveness for justice or that justice should be jettisoned altogether. I'm simply pointing out that forgiveness and justice can go together not just for the good of the wrongdoer, but also for the victim. Forgiveness and mercy are gifts that only the victim can bestow on the wrongdoer, but they are gifts that bless both the giver and the recipient.
William Shakespeare provides one of the best speeches on mercy through the words of Portia in Act IV, Scene I of The Merchant of Venice,
The quality of mercy is not strain'd,
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to render
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence 'gainst the merchant there.
There are a number of important lines here. Notice how Shakespeare points out that mercy is "twice blest" and "mighty." One might wonder if part of the blessing mentioned is the liberation and freedom that comes with forgiving someone, rather than holding tightly to the injury one has from being wronged.
Shakespeare also points out "That, in the course of justice, none of us should see salvation." The speech as a a whole highlights the painful truth of our own shortcomings as human beings – our need for grace, forgiveness and mercy. Portia's challenge is for us to remember our needs when we deal with others and to allow mercy to "season" justice. Yes, this is easier to say than to do. But the beauty that is the mercy of the Bishop far outstrips the ugliness of the justice that sends a man to prison for stealing a loaf of bread.
I welcome your comments below.
All the best and thanks for reading,
SR
PS. Thank you for voting for me on the Goodreads Best Break out Author Novels list. "Gabriel's Inferno" is in first place. (There is still time to vote for your favourites, if you choose).
July 12, 2011
Literature - The Bible
If one wanted to make sense of the references in Dante’s Divine Comedy, the first book to start with would be the Bible. Biblical characters, themes and allusions are woven throughout the three parts of Dante’s great work.
Although much of western literature once included biblical allusions, literature has changed. Today’s fiction is more likely to draw on feature films and comic books than the Bible. Much of what I consider to be the literature of the Bible is unfamiliar to many people. (MIT has an online course that some of you might find interesting)
In this post, I’d like to draw your attention to one book from the Hebrew Bible and one passage from the New Testament, solely for the purpose of enjoying their words. I’m not interested in questions of interpretation with these passages. I’m simply asking readers to approach the texts as pieces of literature and see what they think of them...
www.sylvainreynard.com
Literature - The Bible
Dear Everyone,
If one wanted to make sense of the references in Dante's Divine Comedy, the first book to start with would be the Bible. Biblical characters, themes and allusions are woven throughout the three parts of Dante's great work.
Although much of western literature once included biblical allusions, literature has changed. Today's fiction is more likely to draw on feature films and comic books than the Bible. Much of what I consider to be the literature of the Bible is unfamiliar to many people. (MIT has an online course that some of you might find interesting)
In this post, I'd like to draw your attention to one book from the Hebrew Bible and one passage from the New Testament, solely for the purpose of enjoying their words. I'm not interested in questions of interpretation with these passages. I'm simply asking readers to approach the texts as pieces of literature and see what they think of them.
Part of the first text is quoted in "Gabriel's Inferno," and is taken from the Song of Songs 1: 1-4, 15-16:
"The song of songs, which is Solomon's.
Let him kiss me with the kisses of his mouth--for thy love is better than wine.
Thine ointments have a goodly fragrance; thy name is as ointment poured forth; therefore do the maidens love thee.
Draw me, we will run after thee; the king hath brought me into his chambers; we will be glad and rejoice in thee, we will find thy love more fragrant than wine! sincerely do they love thee….
"Behold, thou art fair, my love; behold, thou art fair; thine eyes are as doves.
Behold, thou art fair, my beloved, yea, pleasant; also our couch is leafy."
Song of Songs 3:1-5
"By night on my bed I sought him whom my soul loveth; I sought him, but I found him not.
'I will rise now, and go about the city, in the streets and in the broad ways, I will seek him whom my soul loveth.' I sought him, but I found him not.
The watchmen that go about the city found me: 'Saw ye him whom my soul loveth?'
Scarce had I passed from them, when I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother's house, and into the chamber of her that conceived me.
I adjure you, O daughters of Jerusalem, by the gazelles, and by the hinds of the field, that ye awaken not, nor stir up love, until it please.'"
Song of Songs 4: 1- 7
Behold, thou art fair, my love; behold, thou art fair; thine eyes are as doves behind thy veil; thy hair is as a flock of goats, that trail down from mount Gilead.
Thy teeth are like a flock of ewes all shaped alike, which are come up from the washing; whereof all are paired, and none faileth among them.
Thy lips are like a thread of scarlet, and thy mouth is comely; thy temples are like a pomegranate split open behind thy veil.
Thy neck is like the tower of David builded with turrets, whereon there hang a thousand shields, all the armour of the mighty men.
Thy two breasts are like two fawns that are twins of a gazelle, which feed among the lilies.
Until the day breathe, and the shadows flee away, I will get me to the mountain of myrrh, and to the hill of frankincense.
Thou art all fair, my love; and there is no spot in thee.
As a piece of literature, the verses quoted above seem to fall into the category of erotic poetry. There's a sweetness to the descriptions of the lovers' interactions, which is coupled with a tremendous desire and an appreciation of physical beauty.
Notice how the voice shifts from the female lover to the male beloved in the last two verses of the first passage, and again in the third passage. The female lover extols the virtues of her beloved and describes her longing for him. In the third passage, the male beloved describes the beauty of his female love. We're treated to an insight into ancient views of beauty in the analogies he uses for her appearance. (I'll leave you to your own inferences as to what the mountain and the hill refer to.)
I welcome you to share your thoughts in the comments below.
The second passage I'd like to draw your attention to is the parable of the prodigal son from the Gospel according to St. Luke 15: 11-32. This text is important within the context of "Gabriel's Inferno" and Dante's Divine Comedy in that both works explore aspects of forgiveness, love and redemption. Here is the text from the Bible:
And he said, "There was a man who had two sons. And the younger of them said to his father, 'Father, give me the share of property that is coming to me.' And he divided his property between them. Not many days later, the younger son gathered all he had and took a journey into a far country, and there he squandered his property in reckless living. And when he had spent everything, a severe famine arose in that country, and he began to be in need. So he went and hired himself out to one of the citizens of that country, who sent him into his fields to feed pigs. And he was longing to be fed with the pods that the pigs ate, and no one gave him anything.
"But when he came to himself, he said, 'How many of my father's hired servants have more than enough bread, but I perish here with hunger! I will arise and go to my father, and I will say to him, "Father, I have sinned against heaven and before you. I am no longer worthy to be called your son. Treat me as one of your hired servants."' And he arose and came to his father. But while he was still a long way off, his father saw him and felt compassion, and ran and embraced him and kissed him. And the son said to him, 'Father, I have sinned against heaven and before you. I am no longer worthy to be called your son.'
But the father said to his servants, 'Bring quickly the best robe, and put it on him, and put a ring on his hand, and shoes on his feet. And bring the fattened calf and kill it, and let us eat and celebrate. For this my son was dead, and is alive again; he was lost, and is found.' And they began to celebrate.
"Now his older son was in the field, and as he came and drew near to the house, he heard music and dancing. And he called one of the servants and asked what these things meant. And he said to him, 'Your brother has come, and your father has killed the fattened calf, because he has received him back safe and sound.' But he was angry and refused to go in. His father came out and entreated him, but he answered his father, 'Look, these many years I have served you, and I never disobeyed your command, yet you never gave me a young goat, that I might celebrate with my friends. But when this son of yours came, who has devoured your property with prostitutes, you killed the fattened calf for him!' And he said to him, 'Son, you are always with me, and all that is mine is yours. It was fitting to celebrate and be glad, for this your brother was dead, and is alive; he was lost, and is found.'"
I don't think that one needs to be religious in order to be moved by this story. Anyone who has ever disappointed his or her family, or felt alone and abandoned can surely relate to the despair of the prodigal. The prodigal's longing for his home is another important image, contrasting sharply with his disgust with himself.
The forgiveness and welcome communicated by the father is something that provides hope and inspiration, despite the jealousy and condemnation manifested by the son of constancy.
Sex, love, faith, hope, redemption, sin, virtue .... all of these concepts are presented in the literature of the Bible, providing inspiration for their presentation in other literary works throughout history.
All the best and thanks for reading,
SR
PS. Henri Nouwen has a very interesting meditation on the parable of the prodigal son and Rembrandt's painting of it.
Jennifer Lane (Author of "With Good Behavior" and "Bad Behavior") just posted an interview with me and a review of my book on her website.
