Last week, as I sought a text to carry me across the midnight bridge between decades, I wanted something that might, even for a moment, turn the world on its head. What could, I wondered, be more fitting than to spend New Year’s Eve and the following day in the company of Pierre Senges. After all, a voyage with the French writer, be it brief or extended, is guaranteed to offer a taste of the unexpected. The world he inhabits exists on the edges of maps, in the margins of manuscripts, in the creases between pages, and tucked into the corners of the imagination. If it looks familiar that’s because you have been there, wandered its streets, navigated its seas, crossed its stages. But when you stop to adjust your compass, or try to align yourself with the stars, the needle tends to spin, shudder to a stop, and, then, as soon as you think you know where you are heading, a flood of literary, historical, or starkly contemporary references will slide into the narrative and lead you off track once again. To read Pierre Senges is to embark on an adventure, one that may just as easily take you travelling halfway around the world as stumbling down the block and into the local pub.
Fortunately for me, I had recent translations of two rather different texts by Senges on hand, both translated by his tireless advocate Jacob Siefrig, and published by a couple of inventive small publishers. The first, my New Year’s Eve companion, was the chapbook Falstaff: Apotheosis. Published by Seattle-based Sublunary Editions, a project that began in mid-2019 to produce original literary offerings distributed as a monthly print newsletter, this small, pocket-sized volume marks their first foray into the big world of book publishing on a manageable small scale.
Senges delights in taking characters and themes from literature and history, reimagining them in terms that stretch from the mildly satirical to the strangely absurd, and then proceeding to fashion tales shot through with sharp, dry humour—one that can, at times, be lost on readers who like their humour to be more, shall we say, in your face. In this regard, Falstaff: Apotheosis, taking as its subject Shakespeare’s most misunderstood minor character, is an ideal bite-sized introduction to his singular style. More than a comic foil, Falstaff is presented as an ingenious master of humiliation as a heroic act. His crowning glory, or apotheosis, is his bold and daring performance of a deceased figure on the battlefield, an act that sets the stage for a treatise on the ethics of playing dead:
To be the master of one’s own death, what a timeless caprice: the trick being to lie down not just any old way, rather to adopt the humble simplicity of the sandbag, or the hieratism of the tree trunk, or the mannerist posture of a hunting dog, or an expressionism inspired by anatomies of past centuries and the bold contrasts of cinematic skills—to breathe out one’s last sigh, but exhale it negligently, instead to opt for the Romanticism of the last and lightest breath, like the breath a child turns on a dandelion. . .
What makes Senges so successful is his language—long winding sentences filled with wise and wonderful imagery, holding fast to a measure of seriousness in the narrative voices he employs.
My into-the-new-year Senges was Geometry in the Dust. Published by the bold, experimental Lawrence, Kansas-based publisher Inside the Castle, this is a longer, more elaborate ruse—a delicious anachronistic tale presented as a report to a desert-bound prince keen to construct a city in his kingdom of sand, from his loyal minister who has been sent on a mission to learn about the features of a real-life city and advise his ruler on what will need to be considered. Echoing the spirit of the travels of Ibn Battuta or Marco Polo, our narrator is attentive but a step out of time, observing the modern metropolis, but not always connecting the dots completely. The result a strangely insightful and original reflection on the nature of the urban landscape.
His observations are often trapped in time. He seeks out the city scribes at one point, hoping to be able to compare his ideas to theirs and finds, rather than rows of copyists at their desks he finds that calligraphers ply their trade by night, running through the darkened streets, clutching paint, hurriedly scrawling messages on walls. The intensity of city life overwhelms him, continually exceeding his expectations, but leading to wonderful portraits as he seeks to describe the indescribable to the sheltered and isolated ruler he serves:
To define a city for you more or less: it’s a danse macabre every single day of the week: it seems to me that the idea of the danse macabre will help you put your finger on what a city is, because it communicates to you a scraping of nail on bone, as well as a gnashing of teeth. The danse tells us all we need to know about the city’s circular nature (not so long ago cities were contained within wooden circles, like certain soft-rind cheeses; although they tried hard to emancipate themselves and go over the walls, they still retain a bit of this roundness: it will be necessary to take this design into consideration)
Yet, even if the noise, chaos and moral loose edges of the city challenge our often judgemental traveller, he is determined to make sense of everything (including the curious cul-de-sac) and advise his prince on the extent to which all architectural, cultural and social intersections should be designed so as to leave nothing to chance. It’s difficult, of course, not to be struck by the degree of hubris driving the ambitions of this desert monarch and his faithful servant, especially on their shifting terrain of sand and dust. But then again, perhaps it is only in the space of pure fancy that the ideal metropolis can exist. Paired with the artist Killoffer’s grotesque depictions of the hectic, congested modern city, Geometry in the Dust offers a fantastic meditation on the impossibility of reducing a concept as complex as the city to a few lines scratched in the dirt.
For a taste of this work and Senges’ inimitable style, see this excerpt from Geometry in the Dust with illustrations by Killoffer at 3:AM Magazine.
Falstaff: Apotheosis and Geometry in the Dust by Pierre Senges are both translated by Jacob Siefrig and published by Sublunary Editions and Inside the Castle respectively.
6 thoughts on “The theatre of the desert: Pierre Senges’ Falstaff: Apotheosis and Geometry in the Dust”
I do like the sound of Geometry in the Dust…
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I enjoyed the falstaff book myself Joe when I read it Senges has a clever way of twisted known characters around
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You have certainly convinced me that this is a writer worth trying! (And, less relevantly, I love the phrase ‘midnight bridge between the decades’).
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His The Major Refutation (which purports to be a 16th century argument that the discovery of the New World is a hoax) is excellent too.