The Displaced Nation

A home for international creatives

CLASSIC DISPLACED WRITING: Lewis Carroll

9 Comments Posted by on June 3, 2011

Continuing with the Alice theme that has infected the site, here’s the latest edition of Classic Displaced Writing. Also, we’re experimenting and instead of the normal, written article, I’ve done this version as a video. Be sure to tell us what you think of the new format.


QUESTION: Have you ever thought to yourself, during your various experiments with international travel and living, “I must have been mad”?

Note: The film clips are from Alice in Wonderland, a 1903 silent film by Cecil M. Hepworth, starring May Clark in the title role of Alice.

STAY TUNED for Monday’s guest post by Carole Hallett Mobbs on “Alice in Japan.”

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CLASSIC EXPAT WRITING: Nabokov — Pnin

Leave a comment Posted by on May 18, 2011

Few characters in literature deal with discombobulation to quite the extent as Vladimir Nabokov’s Timofey Pnin. Pnin, a Russian-born professor at the “somewhat provincial institution” of Waindell College, is a somewhat absent-minded and culturally confused man. Nabokov begins the novel with Pnin catching the wrong train, thus missing an important lecture he was due to give.

Despite such a farcical beginning, Pnin is not a campus farce. Yes, it is deeply comic, but it is also a novel that plays on Nabokov’s own experiences as a Russian émigré marooned in American academia. There is a phrase I like a lot — I like it so much I named my own blog after it. It is the term “culturally discombobulated.” I think this is something that Pnin struggled under the weight of. For all his intelligence, Pnin struggles with English — “If his Russian was music, his English was murder,” writes Nabokov — and who constantly seems out of step with the society he is living in.

The extract I want to highlight this week comes from early in the novel. Pnin has boarded a train for his lecture, but oblivious to him he has boarded the wrong train — a fact he won’t discover for a number of hours. As Pnin sits in the  train, the novel’s narrator allows us a closer look at Pnin’s history and some of his shortcomings.

Pnin, despite his many shortcomings, had about him a disarming old-fashioned charm, which Dr. Hagen, his staunch protector, insisted before morose trustees was a delicate imported article worth paying in domestic cash. Whereas the degree in sociology and political economy that Pnin had obtained with some point at the University of Prague around 1925 had become by mid-century a doctorate in desuetude, he was not altogether miscast as a teacher of Russian. He was beloved not for any essential ability but for those unforgettable digressions of his, when he would remove his glasses to beam at the past while massaging the lenses of the present. Nostalgic excursions in broken English. Autobiographical tidbits. How Pnin came to the Soedinyonnie Shtati (the United States). “Examination on ship before landing. Very well! ‘Nothing to declare?’ ‘Nothing.’ Very well! Then political questions. He asks: ‘Are you anarchist?’ I answer” — time out on the part of the narrator for a spell of cozy mute mirth — “‘First what do you understand under “anarchism”? Anarchism practical, metaphysical, theoretical, mystical, abstractical, individual, social? When I was young,’ I say, ‘all this had for me signification.’ So we had a very interesting discussion, in consequence of which I passed two whole weeks on Ellis Island” — abdomen beginning to heave; heaving; narrator convulsed …

… And he still did not know that he was on the wrong train.

A special danger in Pnin’s case was the English language. Except for such not very helpful odds and ends as “the rest is silence,” “nevermore,” “weekend,” “who’s who,” and a few ordinary words like “eat,” “street,” “fountain pen,” “gangster,” “Charleston,” “marginal utility,” he had no English at all at the time he left France for the States. Stubbornly he sat down to the task of learning the language of Fenimore Cooper, Edgar Poe, Edison, and thirty-one Presidents. In 1941, at the end of one year of study, he was proficient enough to use glibly terms like “wishful thinking” and “okey-dokey.” By 1942 he was able to interrupt his narration with the phrase, “To make a long story short.” By the time Truman entered his second term, Pnin could handle practically any topic, but otherwise progress seemed to have stopped despite his efforts, and by 1950 his English was still full of flaws.

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CLASSIC EXPAT WRITING: Letter From London — Sōseki

4 Comments Posted by on May 4, 2011

So with my last entry, on James Joyce’s Paris, I was left bemoaning the term Expat Writer. Partly, I’m annoyed with myself for choosing such a term as “Classic Expat Writing” for this series of blog posts. Ultimately, who wants to read a series of posts called “Classic Expat Writing”? It assumes too much and adopts a slightly superior attitude. And, most importantly, it’s dry and not all catchy. Instead, think of this as writing by the displaced.

The reason that I opted to do this series of posts was so I could share some writing that has moved me, and present it to an audience that is likely to in some way be attuned and empathetic to its contents, either through their own personal experience or particular interests. If people then go off and look at the authors in more detail, so much the better. It’s for these reasons why I am particularly excited with this week’s example.

I have to confess that I was not familiar with the name Sōseki until I visited Japan. My knowledge of Japanese literature is embarrassingly slight and doesn’t really extend beyond Mishima and Murakami. But a few years back, when visiting Tokyo, I sought out the Kinokuniya bookstore near Shinjuku because it had a large selection of English-language books. Having a few days before visiting the Temple of the Golden Pavilion in Kyoto, I was keen to buy Mishima’s novel The Temple of the Golden Pavilion. But when left in a bookstore I can’t help but browse and one book, in particular, caught my eye: The Tower of London: Tales of Victorian London by Sōseki. At this point, I had never before heard about Sōseki Natsume (1867 – 1916), and had no idea about his place in the canon of Japanese literature. If I had been in Japan a few years earlier, it may have passed me unnoticed that the two 1,000 yen notes I would use to buy this book, in fact, featured Sōseki’s portrait.

Instead from a position of ignorance I picked up the book and was intrigued by it. It’s a collection of essays and writings that Sōseki wrote about his time in London.* In the summer of 1900, as a young, unknown professor, he traveled to London on a somewhat meagre scholarship that was provided to him by the Japanese government.  Sōseki was to spend the next two years in the city, unhappy and isolated.

Now being a miserable monoglot, I am entirely dependent upon skilled translators when it comes to foreign (well “foreign” from my perspective) literature. Obviously, I’m not in a position to comment on how accurately Damian Flanagan’s translation conveys the flavor of  Sōseki’s prose, but I did find it to be an incredible read with crisp and clean prose.

The title essay is a phenomenal piece of literature, but it is Sōseki’s Letter from London that I’m highlighting today. Sōseki conveys in a way that I’ve not seen from others that awkward, slippery sense of dislocation of being in an alien country. Even politeness takes on a faintly threatening edge.

One of the things I’ve noticed in the Expat blogging community, we seem to like it when we find writing that we can relate to, that reiterates thoughts and fears that we have had. Of course, there is a place for  that. With Expat blogging it can help develop relationships, it helps builds an audience, and there is very much a place for it. But it can also act like comfort food.

Sōseki, by contrast, has observations and thoughts about the city that I don’t think anybody other than himself could have had. And, for me, that’s what is so interesting and so worthwhile about this book.

This collection, which is published by Tuttle publishing, really should be read by more people. Go buy it and then read it, pronto.

Once outside, everyone I meet is depressingly tall. Worse, they all have unfriendly faces. If they imposed a tax on height in this country they might come up with a more economically small animal. But these are the words of one who cannot accept defeat gracefully, and, looked at impartially, one would have to say that it was they, not I, who look splendid. In any case, I feel small. An unusually small person approaches. Eureka! I think. But when we brush past one another I see he is about two inches taller than me. A strangely complexioned Tom Thumb approaches, but now I realize this is my own image reflected in a mirror. There is nothing for it but to laugh bitterly, and, naturally, when I do so, the image laughs, bitterly, too …

… Generally, people are of a pleasant disposition. Nobody would ever grab me and start insulting and abusing me. They do not take any notice of me. Being magnanimous and composed in all things is in these parts one qualification of being a gentleman. Overtly fussing over trifles like some pickpocket or staring at a person’s face with curiosity is considered vulgar … Pointing at people is the height of rudeness. Such are the customs, but of course London is also the workshop of the world, so they do not laughingly regard foreigners as curiosities. Most people are extremely busy. The ir heads seem to be so teeming with thoughts of money that they have no time to jeer at us Japanese as yellow people. (‘Yellow people’ is well chosen. We are indeed yellow. When I was in Japan I knew I was not particularly white but I regarded myself as being close to a regular human colour, but in this country I have finally realized that I am three leagues away from a human colour – a yellow person who saunters amongst the crowds going to watch plays and shows).

But sometimes there are people who surreptitiously comment on my country of origin. The other day I was standing in looking around a shop somewhere when two women approached me from behind, remarking, “least-poor Chinese”. “Least-poor” is an extraordinary adjective. In one park I heard a couple arguing whether I was a Chinaman or a Japanese. Two or three days ago I was invited out somewhere and set off in my silk hat and frock-coat only for two men who seemed like workmen to pass by saying, “A handsome Jap.” I do not know whether I should be flattered or offended.

*I’m not entirely sure what it says about me that in browsing a large selection of Japanese literature in an effort to get a better understanding of Japan, I picked up a book that is centered around impressions of London and the English.

Img: White Tower, Tower of London, from the South East, c. 1890-1910, courtesy Wikimedia Commons

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CLASSIC EXPAT WRITING: James Joyce’s Paris

8 Comments Posted by on April 20, 2011

Statue of the Republic, Paris, c. 1890, from Wikimedia Commons (Public domain)

In producing this small, slightly piffling series of blog posts dedicated to expat writing, or members of the literati that we might class as expats, one thing that keeps holding me back somewhat and that is that I frankly dislike the term “expat writer”.

Expat writer: say it quietly to yourself and no doubt it conjures up thoughts about Peter Mayle and his numerous imitators, and do we really want to be conjuring up thoughts about Peter Mayle and his numerous imitators? If it’s not careful, expat writing can seem to be  mostly about a rather self-satisfied soul who is a little too pleased with himself and a little too enchanted with his surrounding. And if, like me, you’re one of those fusty souls who thinks that any writer worth their salt is more concerned with internalising thoughts and emotions, poor expat writers, who seem interested purely in the external, can drive you mad.

I was reminded a little about what this expat writer conundrum when on Twitter I stumbled across a discussion led by some of this parish about whether James Joyce should be considered an expat writer or not. Of course, it seems simple. Joyce spent most of his adult life living in continental Europe. It logically follows that we can lay claim to the title of expat writer for Joyce on account of him being both an expat and a writer. But it seems others would argue that Joyce is not an expat writer. And it is true, I grant you, that he certainly not in the Peter Mayle mould of expat writer. Paris, on the surface, does not seem to have inspired him. It never nourished, on the surface, his work in the way that Dublin did. But we could argue that Joyce needed the intellectual climate of France in the 20s and 30s to feed his own modernist work. If we were to be glib we might say that Finnegans Wake was conceived in Dublin, but Paris was its midwife.

With this in mind, for this week I’m drawing attention to an interesting essay from the New York Times first published in 1982 which takes a closer look at Joyce’s Paris and its effect on his work. An extract follows, but the full article can be found here at the New York Times Website.

N o. 7, Rue Edmond Valentin. A six-story facade, heavy ornamental moldings, a wrought-iron grille door, the Eiffel Tower in sight down the street: the heartland of upper-bourgeois Paris. Poodleland. Beneath the city’s winter overcast, these arrondissements – the 7th, the 8th, the 16th, the 17th -are an endless yellow-gray undercast: bland and impermeable. They are a chilly mask: and for the later James Joyce, who cloaked his turbulence with formality, they made an oddly appropriate residence.

Joyce spent 20 years in Paris – almost as long as in Dublin – but that is like counting the time we sleep. In 1922, two years after he arrived from Zurich, he immersed himself in the elusive dream that took him 16 years to finish: ”Finnegans Wake.”

In ”Ulysses,” the tangible presence of Dublin is memorialized: paving-stone and brick wall, legend and grilled kidneys, gab and gossip. ”Finnegans Wake” is a sleeping packrat dragging the world in, bit by bit. There are slivers of Paris in the pack but they are transmuted, as a dream transmutes the sound of a passing car into an army in flight.

So how is the pilgrim to find Joyce in Paris? There is, of course, his biographical presence, which will be attended to in a moment. But mostly what we look for in a literary pilgrimage is the cafe the characters drank in, not the one where the author did. Not, that is, unless the author is materially incorporated in the characters. We follow the characters Stephen and Bloom in and about Dublin; and we follow Joyce too, because he gave them his meanderings. In Paris, Joyce’s work and his life diverge d. How do you follow the sleeping Hum- phrey Chimpden Earwicker, whose dream is ”Finnegans Wake”? Strictly speaking: by eating an indigestible dinner, falling asleep, and letting the toots and stirrings outside and an uneasy memory infiltrate your dreams.

By the time Joyce got to Paris he was approaching middle age and near-blindness. He was not inactive, but he did not throw himself into the life of the city in order to find himself or his subjects or his art. He had them already. He used Paris for its quiet, its elegance and the congenial atmosphere it offered a writer.

He had company and diversion. He had the material support of Harriet Weaver, who sent him astonishing sums from London, and of Sylvia Beach and Adrienne Monnier, who got ”Ulysses” into print when nobody else dared to. He had a reasonable amount of lionizing; but he also had the privacy and aloofness that Paris allows to its lions, because it possesses so many of them.

Mostly, except for brief visits in 1902 and 1903, Joyce’s Paris geography is a series of respectable apartments, such as the one on Edmond Valentin, where he sat and wrote. They were havens of a sort, but invaded more and more by shadows. Literal ones: He had at least 10 eye operations, and at times could barely see to write. Correcting proofs, he would lay his head sideways on the page to achieve the only odd angle at which he still had some vision.

There were other troubles. The lion grew moth-eaten, as his Herculean labors on ”Finnegans Wake” were rewarded by puzzlement and distress on the part of many of his admirers. Even the American poet Ezra Pound, not exactly a clear-running stream, wrote him: ”I will have another go at it, but up to present I make nothing of it whatever … I don’t see what which has to do with where …”

Question: I’d be fascinated to know your own thoughts on what constitutes an expat writer. Do you need to focus your work on the expat life to be one?

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CLASSIC EXPAT WRITING: London and the English — Casanova

Leave a comment Posted by on April 6, 2011

While inextricably linked in the imagination with his home city of Venice, Giacomo Casanova spent much of his life travelling and living in other parts of Europe. That ugly term “expat” which many of us, myself included, seem to cling onto as an identifier, was not in use in Casanova’s day, and to apply it to him retrospectively would seem to do him a great disservice. Casanova was a traveller and an observer, a man who seemed to treat Eighteenth Century Europe as a playground, a man whose life for the most part seemed permanently picaresque. Paris, St Petersburg, Dresden, Vienna, Warsaw, Prague, London: at some point all these cities played host to Casanova, and in his extensive memoir, Story of my Life he details his thoughts and observations about them all. While almost certainly someone we’ll return to at a later date, here are some choice extracts on his thoughts about London and the English. This is taken from the Arthur Machen translation of 1894.

On arriving in England:

The stranger who sets his foot on English soil has need of a good deal of patience. The custom-house officials made a minute, vexatious and even an impertinent perquisition; but as the duke and ambassador had to submit, I thought it best to follow his example; besides, resistance would be useless. The Englishman, who prides himself on his strict adherence to the law of the land, is curt and rude in his manner, and the English officials cannot be compared to the French, who know how to combine politeness with the exercise of their rights.

English is different in every respect from the rest of Europe; even the country has a different aspect, and the water of the Thames has a taste peculiar to itself. Everything has its own characteristics, and the fish, cattle, horses, men, and women are of a type not found in any other land. Their manner of living is wholly different from that of other countries, especially their cookery. The most striking feature in their character is their national pride; they exalt themselves above all other nations.

My attention was attracted by the universal cleanliness, the beauty of the country, the goodness of the roads, the reasonable charges for posting, the quickness of the horses, although they never go beyond a trot; and lastly, the construction of the towns on the Dover road; Canterbury and Rochester for instance, though large and populous, are like long passages; they are all length and no breadth…..

On whores and kings:

I visited the theatres of Covent Garden and Drury Lane, but I could not extract much enjoyment out of the performances as I did not know a word of English. I dined at all the taverns, high and low, to get some insight into the peculiar manners of the English. In the morning I went on ‘Change, where I made some friends. It was there that a merchant to whom I spoke got me a Negro servant who spoke English, French, and Italian with equal facility; and the same individual procured me a cook who spoke French. I also visited the bagnios where a rich man can sup, bathe, and sleep with a fashionable courtezan, of which species there are many in London. It makes a magnificent debauch and only costs six guineas. The expense may be reduced to a hundred francs, but economy in pleasure is not to my taste.

On Sunday I made an elegant toilette and went to Court about eleven, and met the Comte de Guerchi as we had arranged. He introduced me to George III., who spoke to me, but in such a low voice that I could not understand him and had to reply by a bow. The queen made up for the king, however, and I was delighted to observe that the proud ambassador from my beloved Venice was also present. When M. de Guerchi introduced me under the name of the Chevalier de Seingalt, Zuccato looked astonished, for Mr. Morosini had called me Casanova in his letter. The queen asked me from what part of France I came, and understanding from my answer that I was from Venice, she looked at the Venetian ambassador, who bowed as if to say that he had no objection to make. Her Majesty then asked me if I knew the ambassadors extraordinary, who had been sent to congratulate the king, and I replied that I had the pleasure of knowing them intimately, and that I had spent three days in their society at Lyons, where M. Morosini gave me letters for my Lord d’Egremont and M. Zuccato.

“M. Querini amused me extremely,” said the queen; “he called me a little devil.”

“He meant to say that your highness is as witty as an angel.”

I longed for the queen to ask me why I had not been presented by M. Zuccatto, for I had a reply on the tip of my tongue that would have deprived the ambassador of his sleep for a week, while I should have slept soundly, for vengeance is a divine pleasure, especially when it is taken on the proud and foolish; but the whole conversation was a compound of nothings, as is usual in courts.

After my interview was over I got into my sedan-chair and went to Soho Square. A man in court dress cannot walk the streets of London without being pelted with mud by the mob, while the gentleman look on and laugh. All customs must be respected; they are all at once worthy and absurd.

On matters of the stomach:

The Englishman is entirely carnivorous. He eats very little bread, and calls himself economical because he spares himself the expense of soup and dessert, which circumstance made me remark that an English dinner is like eternity: it has no beginning and no end. Soup is considered very extravagant, as the very servants refuse to eat the meat from which it has been made. They say it is only fit to give to dogs. The salt beef which they use is certainly excellent. I cannot say the same for their beer, which was so bitter that I could not drink it. However, I could not be expected to like beer after the excellent French wines with which the wine merchant supplied me, certainly at a very heavy cost.

On unruliness at the theatre:

After a long discussion on politics, national manners, literature, in which subjects Martinelli shone, we went to Drury Lane Theatre, where I had a specimen of the rough insular manners. By some accident or other the company could not give the piece that had been announced, and the audience were in a tumult. Garrick, the celebrated actor who was buried twenty years later in Westminster Abbey, came forward and tried in vain to restore order. He was obliged to retire behind the curtain. Then the king, the queen, and all the fashionables left the theatre, and in less than an hour the theatre was gutted, till nothing but the bare walls were left.

After this destruction, which went on without any authority interposing, the mad populace rushed to the taverns to consume gin and beer. In a fortnight the theatre was refitted and the piece announced again, and when Garrick appeared before the curtain to implore the indulgence of the house, a voice from the pit shouted, “On your knees.” A thousand voices took up the cry “On your knees,” and the English Roscius was obliged to kneel down and beg forgiveness. Then came a thunder of applause, and everything was over. Such are the English, and above all, the Londoners. They hoot the king and the royal family when they appear in public, and the consequence is, that they are never seen, save on great occasions, when order is kept by hundreds of constables.

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CONTEMPORARY DISPLACED WRITING: Fury — Salman Rushdie

Leave a comment Posted by on March 30, 2011

Continuing with our look at writing concerned with expat experiences, when I first moved to the US, spending my time in New York and Philadelphia, I found myself often thinking about the following extract from Salman Rushdie‘s novel, Fury.

There’s just something about this piece that sits absolutely right with me. It conveys so well the Gulliver-esque excitement and fear that I felt when first having to navigate New York; and how, when listening to the locals talking, their inflections and pronunciations sounded to my ears so utterly confusing, and thrilling, and also…oddly bovine.

When he left the apartment nowadays he felt like an ancient sleeper, rising. Outside, in America, everything was too bright, too loud, too strange. The city had come out in a rash of painfully punning cows. At Lincoln Center Solanka ran into Moozart and Moodama Butterfly. Outside the Beacon Theatre a trio of horned and uddered divas had taken up residence: Whitney Mooston, Mooriah Carey and Bette Midler (the Bovine Miss M). Bewildered by this infestation of paronomasticating livestock, Professor Solanka suddenly felt like a visitor from Lilliput-Blefuscu or the moon, or to be straightforward, London. He was alienated, too, by the postage stamps, by the monthly, rather than quarterly, payment of gas, electricity and telephone bills, by the unknown brands of candy in the stores (Twinkies, Ho Hos, Ring Pops), by the words “candy” and “stores”, by the armed policemen on the streets, by the anonymous faces in magazines, faces that all Americans somehow recognized at once, by the indecipherable words of popular songs which American ears could make out without strain, by the end-loaded pronunciation of names like Farrar, Harrell, Candell, by the broadly spoken e’s that turned expression into axpression, I’ll get to the check into I’ll gat that chack; by, in short, the sheer immensity of his ignorance of the engulfing melee of ordinary American life….

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CLASSIC EXPAT WRITING: The French as Dostoevsky Saw Them — Saul Bellow

Leave a comment Posted by on March 22, 2011

Renting an apartment in Paris was not a simple matter in 1947, but a good friend of mine, Nicolaus, had found one for us on the right bank, in a fussy building. I had brought a new Remington portable typewriter, which the landlady had absolutely demanded as a gift. She had to have the rent in dollars, too. Francs would not do. It was a steep rental. Nicolaus, however, said the apartment was worth the money. He knew Paris, and I took his word for it. Nicolaus spoke French perfectly. People from Indianapolis take to French quite naturally; I have observed this time and again. He was a perfect Frenchman, carried a pair of gloves and drove a French car. He was annoyed with me when I asked my landlady how one disposed of the garbage in this apartment. “In France,” he said to me severely, detaining me in the chilly dining-room, “no man would ask such a question. Garbage is not your concern. You are not supposed to know that garbage exists. Besides, ordures is not a nice word.”

“Oh,” I said. “I’m sorry. I suppose I shouldn’t have asked.”

The landlady now brought forth her inventaire. An amazing document! A catalogue of every object in the house, from the Chippendale chair to the meanest cup, fully and marvelously described in stiff, upright, copious letters. We started to go through the list, and moved from Madame’s room, a flapper’s boudoir of the ‘twenties, backwards to the kitchen. Madame read the description and displayed each article. “Dining room table. Style Empire. Condition excellent. Triangular scratch on left side. No other defect.” We finished in the kitchen with three lousy tin spoons.

“Ah,” said Nicolaus, “What a sense of detail the French have!”

I was less impressed, but one must respect respect itself and I did not openly disagree.

As soon as Madame left, I turned a somersault over the Chippendale chair and landed thunderously on the floor. This lightened my heart for a time, but in subsequent dealings with Madame and others in France I could not always recover my lightness of heart by such means.

Depressed and sunk in spirit, I dwelt among Madame’s works of art that cold winter of 1948. The city lay under perpetual fog and the smoke could not rise and flowed in the streets in brown and gray currents. An unnatural medicinal smell emanated from the Seine. Many people suffered from the grippe Espagnole — all diseases are apt to be of foreign origin — and many more from melancholy and bad temper. Paris is the seat of a highly developed humanity, and one thus witnesses highly developed forms of suffering there. Witnesses and sometimes, experiences. Sadness is a daily levy that civilization imposes in Paris. Gay Paris.? Gay, my foot! Mere advertising. Paris is one of the grimmest cities in the world. I do not ask you to take my word for it. Go to Balzac and Stendhal, to Zola, to Strindberg — to Paris itself. Nicolaus said the Parisians were celebrated for their tartness of character. He declared that it would be better for me to feel my way into it than to criticize it. Himself, he was a connoisseur of the Parisian temperament. I was lacking in detachment, he said. To this accusation I confessed and pleaded guilty. I was a poor visitor and, by any standard, an inferior tourist…

Click here to read the full article at The New Republic.

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