Reading Russian Authors in Moldova

From Lenin's Asylum: Two Years in Moldova, by A. A. Weiss (Everytime Press, 2018), Kindle pp. 61-62:

On the night before I left for Spain, Dariya knocked and entered my room with her teaching notebook. She’d settled in comfortably as my language instructor. That night we continued our discussion of motion verbs: the differences between going one way to a destination or there and back; of general “wander-going” without destination; of moving between locations by foot or by motorized conveyance; of which word to use when any type of “hovering” was involved. Russian contained enough variations of the word “go” to fill the lessons of several days.

Dariya rummaged through the contents of my desk while she waited for me to conjugate the verb, “to go one way by ground conveyance.” She scanned several Peace Corps documents for passages she understood. Discouraged, she flipped over the novel I was reading. Her lips fluttered as she sounded out the letters of the title. Her eyes grew wide. She slapped at my shoulder to stop my writing and said, “I’ve read this!”

“What have you read?” screamed Dima from the living room. He entered quickly.

Dariya showed him the book. He nodded his head. “I approve of Pasternak.”

He took the chair from Dariya (she moved to the bed) and asked me what other Russian writers I knew. We listed names for the next few moments. Dima wanted to know which authors the typical American would know.

Dostoyevsky. Tolstoy.

“Of course,” said Dima. “The basis of modern intelli-gence.”

Pasternak. Gogol. Chekov.

“Brilliant men,” said Dima. “Poets.” Nabokov.

“I hear he is good,” said Dima.

Solzhenitsyn.

Dima shook his head. “No. We never read him.”

The family possessed a collection of antique books that they kept behind glass next to the fine china. But I’d never seen them read, even when the television was broken.

Era of Polar Obsession

From In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette, by Hampton Sides (Knopf Doubleday, 2014), Kindle pp. 20-21:

The “polar problem,” as it was sometimes called in the press, had taken on a quality of nagging, gnawing obsession. People had to know what was Up There—not only scientists and explorers but the general public. The North Pole was, said the London Athenaeum, the “unattainable object of our dreams.” An eminent German geographer named Ernst Behm compared humanity’s ignorance of what lay at the poles to the insatiable curiosity felt by a home owner who doesn’t know what his own attic looks like. “As a family will, of course, know all the rooms of its own house,” Behm wrote, “so man, from the very beginning, has been inspired with a desire to become acquainted with all the lands, oceans, and zones of the planet assigned to him for a dwelling-place.”

A New York Times editorial at the time echoed Behm’s sentiment: “Man will not be content with a mystery unexplored, will not rest with a perpetual interrogation point at the end of the earth’s axis, whose query he cannot answer.”

By the 1870s, no greater mystery existed on the face of the earth. (Antarctica was, of course, equally mysterious, but the South Pole was considered a less obtainable goal for the leading exploring nations, all of which happened to be located in the Northern Hemisphere.) It was hard to comprehend how profoundly the world needed to scratch the Arctic itch. Speculation about what lay at the North Pole permeated popular culture and world literature, from the books of Jules Verne to Mary Shelley’s Frankenstein (whose scientist-protagonist pursues his monster across the floes all the way to the North Pole). Many practical considerations were floated as justifications for pursuing the polar grail—landmasses that might be claimed, minerals seized, shipping routes discovered, colonies founded, new species described. There was a riddle of geography to solve, and personal glory to be won. But the quest was ultimately about something even more elemental and atavistic: to reach the farthest place, the ne plus ultra, where no human had been before.

“Within the charmed circle of the Arctic,” argued the Atlantic Monthly, “lay the goal of geographical ambition … the final solution of the polar problem. And it may be said that long years of fruitless effort and frightful suffering seem only to have whetted the appetite for discovery; and the more we know of our planet the more ardent becomes the desire of geographers to view the mysterious extremity.” An 1871 article in the journal Nature characterized the search for the pole as the paramount scientific and geographical riddle of the age: “The immense tract of hitherto unvisited land or sea which surrounds the northern end of the axis of our earth, is the largest, as it is the most important field of discovery that remains for this or a future generation to work out.”

Polityka Replaces Po Prostu, 1957

From Ryszard Kapuscinski: A Life, by Artur Domoslawski (Verso, 2012), Kindle pp. 103-104:

The place on the political and cultural map of People’s Poland where this intellectual can find a safe haven is the newly founded weekly Polityka (Politics). Sacked from his job as managing editor of Sztandar Młodych, Marian Turski has moved to Polityka, bringing with him the group of journalists who resigned in a gesture of solidarity against his dismissal. Among them is Kapuściński.

Polityka had a terrible start. It was established in January 1957 by the Central Committee secretariat. Stefan Żółkiewski – Marxist scholar of the humanities, and minister of higher education (years later, to show solidarity, he would support the Warsaw University students demonstrating against the authorities) – was put in charge. This happened before the closure of the revisionist weekly Po Prostu – Polityka was meant to be a whip to beat the revisionists, an anti–Po Prostu publication. It was seen as heralding the departure of First Secretary Gomułka from the ideals of October ’56, and as a desire to exercise full control over intellectual life and thought, which had been relatively free during the years of the thaw and the October movement.

The revisionists from Po Prostu – ‘the rabid’, as their opponents call them – regard Polityka as a ‘despot’s organ’, a paper that on Gomułka’s orders is to determine the political line for the entire press. Both editorial offices are located within the Palace of Culture and Science, Po Prostu on the fifth floor and Polityka on the eleventh. The Po Prostu people are so allergic to the Polityka people that when they don’t have enough glasses in their office, and the head of administration amicably wants to borrow some from Polityka six floors above, the Po Prostu staff have a meeting, debate the idea, hold a vote and reject it.

When Gomułka closes down Po Prostu in the autumn of 1957, the editors of Polityka welcome the move. Many people assume that once the revisionists’ weekly has been eliminated, Polityka will have carried out Party orders and may leave the press scene. Meanwhile, under the management of its new chief, Mieczysław Rakowski, a former political officer and Party apparatus man, Polityka is changing from a dull, sermonizing newspaper into the most interesting weekly with a Party stamp. It will train the journalistic stars of the generation, create the Polish school of reportage and become a notorious thorn in the side of the government, a disparaging and sometimes ironic internal critic of the Party and the realities of People’s Poland. Marian Turski will say that Polityka began by being branded anti–Po Prostu but ended up becoming a sequel to its revisionist predecessor.

Herodotus Awaits Stalin

From Travels with Herodotus, by Ryszard Kapuscinski (Vintage,  2009), Kindle pp. 5-6:

Before those future prophets proclaiming the clash of civilizations, the collision was taking place long ago, twice a week, in the lecture hall where I learned that there once lived a Greek named Herodotus.

I knew nothing as yet of his life, or about the fact that he left us a famous book. We would in any event have been unable to read The Histories, because at that moment its Polish translation was locked away in a closet. In the mid-1940s The Histories had been translated by Professor Seweryn Hammer, who deposited his manuscript in the Czytelnik publishing house. I was unable to ascertain the details because all the documentation disappeared, but it happens that Hammer’s text was sent by the publisher to the typesetter in the fall of 1951. Barring any complications, the book should have appeared in 1952, in time to find its way into our hands while we were still studying ancient history. But that’s not what happened, because the printing was suddenly halted. Who gave the order? Probably the censor, but it’s impossible to know for certain. Suffice it to say that the book finally did not go to press until three years later, at the end of 1954, arriving in the bookstores in 1955.

One can speculate about the delay in the publication of The Histories. It coincides with the period preceding the death of Stalin and the time immediately following it. The Herodotus manuscript arrived at the press just as Western radio stations began speaking of Stalin’s serious illness. The details were murky, but people were afraid of a new wave of terror and preferred to lie low, to risk nothing, to give no one any pretext, to wait things out. The atmosphere was tense. The censors redoubled their vigilance.

But Herodotus? A book written two and a half thousand years ago? Well, yes: because all our thinking, our looking and reading, was governed during those years by an obsession with allusion. Each word brought another one to mind; each had a double meaning, a false bottom, a hidden significance; each contained something secretly encoded, cunningly concealed. Nothing was ever plain, literal, unambiguous—from behind every gesture and word peered some referential sign, gazed a meaningfully winking eye. The man who wrote had difficulty communicating with the man who read, not only because the censor could confiscate the text en route, but also because, when the text finally reached him, the latter read something utterly different from what was clearly written, constantly asking himself: What did this author really want to tell me?

And so a person consumed, obsessively tormented by allusion reaches for Herodotus. How many allusions he will find there! The Histories consists of nine books, and each one is allusions heaped upon allusions. Let us say he opens, quite by accident, Book Five. He opens it, reads, and learns that in Corinth, after thirty years of bloodthirsty rule, the tyrant called Cypselus died and was succeeded by his son, Periander, who would in time turn out to be even more bloodthirsty than his father. This Periander, when he was still a dictator-in-training, wanted to learn how to stay in power, and so sent a messenger to the dictator of Miletus, old Thrasybulus, asking him for advice on how best to keep a people in slavish fear and subjugation.

Creating Secret Agents, 1943

From Operation Mincemeat: How a Dead Man and a Bizarre Plan Fooled the Nazis and Assured an Allied Victory, by Ben Macintyre (Crown, 2010), Kindle pp. 61-64:

MONTAGU AND CHOLMONDELEY had spent much of the previous three years nurturing, molding, and deploying spies who did not exist. The Twenty Committee and Section B1A of MI5 had turned the playing of double agents into an art form, but as the Double Cross System developed and expanded, more and more of the agents reporting back to Germany were purely fictional: Agent A (real) would notionally employ Agent B (unreal), who would in turn recruit other agents, C to Z (all equally imaginary). Juan Pujol García, Agent “Garbo,” the most famous double agent of them all, was eventually equipped with no fewer than twenty-seven subagents, each with a distinct character, friends, jobs, tastes, homes, and lovers. Garbo’s “active and well-distributed team of imaginary assistants” were a motley lot, including a Welsh Aryan supremacist, a communist, a Greek waiter, a wealthy Venezuelan student, a disaffected South African serviceman, and several crooks. In the words of John Masterman, the thriller-writing chairman of the Twenty Committee: “The one man band of Lisbon developed into an orchestra, and an orchestra which played a more and more ambitious programme.” Graham Greene, a wartime intelligence officer in West Africa, based his novel Our Man in Havana, about a spy who invents an entire network of bogus informants, on the Garbo story.

Masterman, writing after the war, declared that “for deception, ‘notional’ or imaginary agents were on the whole preferable” to living ones. Real agents tended to become truculent and demanding; they needed feeding, pampering, and paying. An imaginary agent, however, was infinitely pliable and willing to do the bidding of his German handlers at once and without question: “The Germans could seldom resist such a fly if it was accurately and skilfully cast,” wrote Masterman, who was also handy with a fly-fishing rod.

Maintaining a small army of fake people required concerted attention to detail. “How difficult it was,” wrote Montagu, “to remember the characteristics and life pattern of each one of a mass of completely non-existent notional sub-agents.” These imaginary individuals had to suffer all the vagaries of normal life, such as getting ill, celebrating birthdays, and running out of money. They had to remain perfectly consistent in their behavior, attitudes, and emotions. As Montagu put it, the imaginary agent “must never step out of character.” The network of fake agents enabled British intelligence to supply the Germans with a steady stream of untruths and half-truths, and it lulled the Abwehr into believing it had a large and efficient espionage network in Britain, when it had nothing of the sort.

Creating a personality to go with the corpse in the St. Pancras Morgue would require imaginative effort on an even greater scale. In his novel The Case of the Four Friends, Masterman’s sleuth, Ernest Brendel, observes that the key to detective work is anticipating the actions of the criminal: “To work out the crime before it is committed, to foresee how it will be arranged, and then to prevent it! That’s a triumph indeed.” With Masterman’s help, Montagu and Cholmondeley would now lay out the clues to a life that had never happened and frame a new death for a dead man.

The fictitious agents so far invented by the Double Cross team all spoke for themselves, or rather through others, in wireless messages and letters to their handlers, but they were never seen; in the case of Operation Mincemeat, the fraudulent individual could communicate only through the clothes on his back, the contents of his pockets, and, most important, the letters in his possession. He would carry official typed letters to convey the core deception, but also handwritten personal letters to put across his personality. “The more real he appeared, the more convincing the whole affair would be,” reflected Montagu, since “every little detail would be studied by the Germans.”

The information he carried would have to be credible, but also legible. “Would the ink of the manuscript letters, and the signatures on the others, not run so as to make the documents illegible?” Montagu wondered. Waterproof ink might be used, but that would “give the game away.” They turned to MI5’s scientists, and numerous tests were carried out by using different inks and typewriters and then immersing the letters in seawater for varying periods to test the effects. The results were encouraging: “Many inks on a freshly written letter will run at once if the surface is wetted. On the other hand, a lot of quite usual inks, if thoroughly dried, will stand a fair amount of wetting even if exposed directly to the water. When a document is inside an envelope, or inside a wallet which is itself inside a pocket, well dried inks of some quite normal types will often remain legible for a surprising length of time—quite long enough for our purpose.”

The precise form of the deception would be decided in time: first they needed to create a credible courier.

It is no accident that Montagu and Cholmondeley were both enthusiastic novel readers. The greatest writers of spy fiction have, in almost every case, worked in intelligence before turning to writing. W. Somerset Maugham, John Buchan, Ian Fleming, Graham Greene, John le Carré: all had experienced the world of espionage firsthand. For the task of the spy is not so very different from that of the novelist: to create an imaginary, credible world and then lure others into it by words and artifice.

As if constructing a character in a novel, Montagu and Cholmondeley, with the help of Joan Saunders in Section 17M, set about creating a personality with which to clothe their dead body. Hour after hour, in the Admiralty basement, they discussed and refined this imaginary person, his likes and dislikes, his habits and hobbies, his talents and weaknesses. In the evening, they repaired to the Gargoyle Club, a glamorous Soho dive of which Montagu was a member, to continue the odd process of creating a man from scratch. The project reflected all the possibilities and pitfalls of fiction: if they painted his personality too brightly or were inconsistent in the portrait, then the Germans would surely detect a hoax. But if the enemy could be made to believe in this British officer, then they were that much more likely to credit the documents he carried. Eventually, they came to believe in him themselves. “We talked about him until we did feel that he was an old friend,” wrote Montagu. “He became completely real to us.” They gave him a middle name, a nicotine habit, and a place of birth. They gave him a hometown, a rank, a regiment, and a love of fishing. He would be furnished with a watch, a bank manager, a solicitor, and cuff links. They gave him all the things that Glyndwr Michael had lacked in his luckless life, including a supportive family, money, friends, and love.

Royal Navy Intel Dept., 1943

From Operation Mincemeat: How a Dead Man and a Bizarre Plan Fooled the Nazis and Assured an Allied Victory, by Ben Macintyre (Crown, 2010), Kindle pp. 29-31:

At thirty-eight, Ewen [Montagu] was too old for active service, but he had already volunteered for the Royal Naval Volunteer Reserve. With the outbreak of war, he was commissioned as lieutenant (acting lieutenant commander) and swiftly came to the attention of Admiral John Godfrey, the head of Naval Intelligence. “It is quite useless, and in fact dangerous to employ people of medium intelligence,” wrote Godfrey. “Only men with first class brains should be allowed to touch this stuff. If the right sort of people can’t be found, better keep out altogether.” In Montagu he knew he had the right sort of person.

Godfrey’s Naval Intelligence Department was an eclectic and unconventional body. In addition to Ian Fleming, his personal assistant, Godfrey employed “two stockbrokers, a schoolmaster, a journalist, a collector of books on original thought, an Oxford classical don, a barrister’s clerk, an insurance agent, two regular naval officers and several women assistants and typists.” This heterogeneous crew was crammed into Room 39, the Admiralty, which was permanently wreathed in tobacco smoke and frequently echoed with the sounds of Admiral Godfrey shouting and swearing. Fleming awarded Godfrey the heavily ironic nickname “Uncle John,” for seldom has there been a less avuncular boss. “The permanent inhabitants who finally settled in this cave,” he wrote, “were people of very different temperaments, ambitions, social status and home life, all with their particular irritabilities, hopes, fears, anguishes, loves, hates, animosities and blank spots.” Any and every item of intelligence relevant to the war at sea passed through Room 39, and though the atmosphere inside was often tense, Godfrey’s team “worked like ants, and their combined output was prodigious.” The ants under Godfrey were responsible not merely for gathering and disseminating secret intelligence but for running agents and double agents, as well as developing deception and counterespionage operations.

Godfrey had identified Montagu as a natural for this sort for work, and he was swiftly promoted. Soon, he not only represented the Naval Intelligence Department on most of the important intelligence bodies, including the Twenty Committee, but ran his own subsection of the department: the top secret Section 17M (for Montagu). Housed in Room 13, a low-ceilinged cavern twenty feet square, Section 17M was responsible for dealing with all “special intelligence” relating to naval matters, principally the “Ultra” intercepts, the enemy communications deciphered by the cryptanalysts at Bletchley Park following the breaking of the German cipher machine Enigma. In the early days of 17M, the Ultra signals came in dribbles, but gradually the volume of secret information swelled to a torrent, with more than two hundred messages arriving every day, some a few words long but others covering pages. The work of understanding, collating, and disseminating this huge volume of information was like “learning a new language,” according to Montagu, whose task it was to decide which items of intelligence should pass to other intelligence agencies and which merited inclusion in the Special Intelligence Summaries, “the cream of all intelligence,” while coordinating with MI5, Bletchley Park, the intelligence departments of the other services, and the prime minister. Montagu became fluent at reading this traffic, which, even after decoding, could be impossibly opaque. “The Germans have a passion for cross-references and for abbreviations, and they have an even greater passion (only equalled by their ineptitude in practice) for the use of code-names.”

Polish Poets Explore Haiku

My latest compilation from Culture.pl includes an article by Agnieszka Warnke on Polish poets who explored Japanese haiku. Here are a couple pieces of it.

Poland, 1937, issue no. 46 of Wiadomości Literackie (Literary News) dedicated to Japanese culture. Somewhere amidst an article on the erotic life of a Japanese man, practical advice on ‘Dziudo i dziudziutsu’ (Judo and Jujitsu), and an advertisement for Mitsubishi, there are references to haiku that inform the reader that they are ‘17-syllable poems’ and that ‘from the initial stanza of renga, another variation later developed, which was called hokku or haikai’.

The Polish Haiku Association was established nearly 80 years later. In the meantime, several volumes of Japanese poems (not necessarily translated from the original) were published, as well as Antologia polskiego haiku (Anthology of the Polish Haiku), in which Ewa Tomaszewska included works inspired – sometimes unconsciously – by the poetry and aesthetics of the Far East. How did the most popular Japanese poetic form come into being, and how has it evolved?

...

Yamoto Dojū, an expert on the genre, argues that kigo [season words] is ‘the highest taste, the essence of poetry’. The most famous anthology of Japanese miniatures in Poland, translated by Żuławska-Umeda, is organised into four seasons. In 14th-century Japan, there were several indicators of the seasons, but by the 16th and 17th centuries, their number increased to 599, soon exceeding a thousand. There’s an extensive list of Polish kigo on the website of the Polish Haiku Association: spring is represented, for example, by molehills and hay fever, summer smells of chives and hay carts, the beginning of autumn is heralded by deer rutting and its end by a bent umbrella, while in winter the fur of mammals thickens and brightens, and flies become sluggish.

Numerous references to nature appear in the lyrics of Maria Pawlikowska-Jasnorzewska, and the topic of Orientalism in her poems has frequently been discussed by literary scholars. The poet does not restrict herself to a careful observation of nature. She animates and personifies it: in the volume Pocałunki (Kisses), the sky can become angry, and in Surowy jedwab (Raw Silk), the firmament freezes in terror. Comparisons to the masters of the genre are inevitable when reading her works. Take, for example, the frog glorified by Bashō (in Czesław Miłosz’s translation: ‘Stara sadzawka, / Żaba – skok – / Plusk’; in R. H. Blyth’s translation: ‘The old pond / A frog jumps in – The sound of the water’).

W. E. Clarke's Misspent Sunday

From The Misspent Sunday, by W. E. Clarke, in Robert Louis Stevenson: Interviews and Recollections, ed. by R. C. Terry (Palgrave Macmillan, 1996), pp. 164-169:

Abstract: From ‘Robert Louis Stevenson in Samoa’, Yale Review, X (Jan 1921) 275–96. The Reverend William Edward Clarke (1854–1922) was the London Missionary Society’s representative in Samoa. About as knowledgeable a mentor as Louis could have hoped to meet, Clarke knew the people and their customs well, and took the new arrival around schools and communities on the island. A simple, devout man, Clarke had to keep Stevenson up to the mark where Sunday worship was concerned. For his part Stevenson, the one-time agnostic, probably benefited from Clarke’s practical Christianity. Louis wrote of Clarke: ‘A man … I esteem and like to the sole of his boots. I prefer him to anyone in Samoa, and to most people in the world’ (quoted in Field, This Life, 332). When Louis lay dying, Clarke was at his side. He accompanied the cortège to the burial place on Mount Vaea and recited Louis’s own prayer at the interment, part of which reads: Bless to us our extraordinary mercies; if the day come when these must be taken, have us play the man under affliction. Be with our friends; be with ourselves. Go with each of us to rest; if any awake, temper to them the dark hours of watching; and when the day returns, return to us, our sun and comforter, and call us up with morning faces and with morning hearts — eager to labour — eager to be happy, if happiness shall be our portion — and if the day be marked for sorrow, strong to endure it.

RLS First Encounters Polynesia

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 534-537:

Continuing in a southwesterly direction, the Casco made its first landfall after three weeks at the island of Nukuhiva in the Marquesas, thirty-five hundred miles from Hawaii. Melville had lived there in 1842, and made it the setting for the semi-fictionalized memoir Typee, to which Louis had been introduced by Stoddard. Melville’s other South Seas book was Omoo, a Marquesan word meaning someone who wanders from one island to another. Louis was an Omoo now.

In the travel book he did eventually write, In the South Seas, he described this moment: “The first experience can never be repeated. The first love, the first sunrise, the first South Sea island, are memories apart and touched a virginity of sense.” When the Casco dropped anchor “it was a small sound, a great event; my soul went down with these moorings whence no windlass may extract nor any diver fish it up.”

This was Louis’s first encounter with Polynesian culture, and the beginning of his sympathy with the islanders at a time when that culture was being destroyed; the Marquesas were nominally independent but by now controlled by France. He recorded a conversation with a teenage mother nursing her little baby. When she questioned him about England he described, “as best I was able, and by word and gesture, the overpopulation, the hunger, and the perpetual toil.” She sat for a time silent, “gravely reflecting on that picture of unwonted sorrows.” And then,

It struck in her another thought always uppermost in the Marquesan bosom, and she began with a smiling sadness, and looking on me out of melancholy eyes, to lament the decease of her own people. “Ici pas de kanaques [there are no kanakas here],” said she; and taking the baby from her breast, she held it out to me with both her hands. “Tenez—a little baby like this; then dead. All the Kanaques die. Then no more.” The smile, and this instancing by the girl-mother of her own tiny flesh and blood, affected me strangely; they spoke of so tranquil a despair.

Foreigners sometimes used the term kanaka as a racist put-down, but it wasn’t originally negative. In the Polynesian languages [via Hawaiian—J] it simply meant “people,” and Richard Henry Dana had observed in Two Years before the Mast that islanders everywhere called themselves by that name—“they were the most interesting, intelligent, and kind-hearted people that I ever fell in with.”

Louis was struck by the matter-of-fact way in which the islanders referred to cannibalism, which had been practiced until very recently. He was introduced to a chief who was notable as “the last eater of long pig in Nukuhiva.”

Not many years have elapsed since he was seen striding on the beach of Anaho, a dead man’s arm across his shoulder. “So does Kooamua to his enemies!” he roared to the passers-by, and took a bite from the raw flesh. And now behold this gentleman, very wisely replaced in office by the French, paying us a morning visit in European clothes. He was the man of the most character we had yet seen: his manners genial and decisive, his person tall, his face rugged, astute, formidable, and with a certain similarity to Mr. Gladstone’s—only for the brownness of the skin, and the high-chief’s tattooing, all one side and much of the other being of an even blue.

Kooamua enjoyed a tour of the Casco, and commented that as a chief he had to observe exact sobriety, but a few days later they encountered him hopelessly drunk “in a state of smiling and lopsided imbecility.”

Margaret was open-minded about everything she was seeing, including the exposed skin and tattoos that missionaries denounced. “Two most respectable-looking old gentlemen wore nothing but small red and yellow loincloths and very cutty sarks [short skirts] on top. There were even some who wore less! The display of legs was something we were not accustomed to; but as they were all tattooed in most wonderful patterns, it really looked quite as if they were wearing openwork silk tights. . . . Fanny and I feel very naked with our own plain white legs when we are bathing.” Margaret had no prejudice concerning skin color, either. She mentioned one man who wore a garment “leaving an ample stretch of brown satin skin exposed to view. What wonderful skins they all have, by the way!”

It amused her that the Marquesans invented new names for the visitors.

Louis was at first “the old man,” much to his distress; but now they call him “Ona,” meaning owner of the yacht, a name he greatly prefers to the first. Fanny is Vahine, or wife; I am the old woman, and Lloyd rejoices in the name of Maté Karahi, the young man with glass eyes (spectacles). Perhaps it is a compliment here to call one old, as it is in China. At any rate, one native told Louis that he himself was old, but his mother was not!

The name “Ona” was important. That implied that Louis was a rich man traveling solely for pleasure, as contrasted with the unscrupulous traders who were constantly trying to cheat the Polynesians.

Silesian Polish

My latest newsletter from Culture.pl contains a link to several observations by Janusz R. Kowalczyk about linguistic variation within Poland. Here is his characterization of Silesian.

An excellent example of the Silesian dialect can be found in Stanisław Ligoń’s ‘Gowa. Łozmyślania filozoficzne’ (The Head: Philosophical Musings), included in his Bery i bojki śląskie (Silesian Jokes and Fairy Tales), published by Śląsk Publishers, Katowice, 1980.

Stanisław Ligoń, ‘Gowa. Łozmyślania filozoficzne’

Dzisiok wszystko na świecie mo gowa – ludzie i gadzina, gwoździe, cukier i kapusta. Gowa kapuściano różni sie jednak bardzo łod gowy ludzkiej, a to skuli tego, że kapuściano jest pożytecno! Dzisiejsze dziołchy nie majom gowy, a jeno gówki, nie przymierzając jak zapołki, szpyndliki, abo lalki. Kiej jednak zapołka bez gówki nie przido sie na nic – to u ludzi ni – jest blank na łopach. Bardzo często cłowiek bez gówki łostoł srogim cłowiekiem, bo posłem – bali, nieroz i ministrem. […] W gowie polityka abo redachtora lęgnom sie roztomaite cygaństwa i kacki. Z gowy Jowisza wyskocyła Pallas Atena. Rekrut ma w gowie wdycki siano; łotwarto gowa mo adwokat, ciężko gowa mo zwykle literat, aktór, malyrz, abo inkszy pijok; mokro gowa mo waryjot, a zmyto gowa mo wdycki mąż, zaś choro gowa majom wszyjscy, kierzy cytajom nasze gazeciska. […] Politycy i kandydaci na nowych prziszłych posłów łomiom se gowa nad nowymi cygaństwami, kierymi chcom chytać łobywateli ło ciasnych gowach.

[Today, everything in the world has a head – people and animals, nails, sugar and cabbage. However, the head of a cabbage is very different from a human head, chiefly because the cabbage head is useful! Today’s girls don’t have proper heads, just tiny ones, not unlike matches, pins or dolls. While a match without a head is good for nothing, that’s not the case with people – it’s completely the opposite. Very often, a man without a head becomes a grand persona, such as an MP – or even a minister. […] Various lies and nonsense crop up in the head of a politician or an editor. Pallas Athena jumped out of Jupiter’s head. A recruit has nothing but hay in his head; a lawyer has an open head, a writer usually a heavy one, similarly an actor, a painter or some other drunkard; a crazy one’s head is wet, while a husband always has a washed head, sick in the head are all those who read our newspapers. […] Politicians and candidates for new future MPs are breaking their heads over new deceptions with which they want to capture citizens with narrow(-minded) heads.] [These are all idiomatic expressions containing the word ‘head’]

Glossary: ​​bali (also, indeed, even), blank (quite, completely), dzisiok (today), dziołcha (girl), gadzina (animals), inkszy (other), łopach (the opposite), roztomaity (various), skuli tego (because of this, because), srogi (big, great), szpyndlik (pin), wdycki (always).

As any Polish speaker can see, the Silesian dialect (or, according to a growing group of researchers, the Silesian language) has many expressions that differ from Polish vocabulary. The beginning of the formation of the Silesian dialect dates back to the period of district division, which took place approximately 800 years ago.

Like any language, it has undergone transformations over time. It has split into many local varieties. Nowadays, there are four main Silesian dialects, in at least several dozen specific regionalisms.

Silesian is to a large degree an Old Polish language. It contains words and phrases that were used in the past throughout Poland but are now generally forgotten.

RLS at Peak Productivity

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 447-449:

From 1884 to 1887 Louis produced an astonishing number and range of publications. Most notable were Kidnapped and Dr. Jekyll and Mr. Hyde. In addition there were The Silverado Squatters, Prince Otto, A Child’s Garden of Verses, other poems collected as Underwoods, stories collected as More New Arabian Nights and as The Merry Men and Other Tales and Fables, the essay collection Memories and Portraits, and a Memoir of Fleeming Jenkin (his Edinburgh mentor had died at this time, at the early age of fifty-two). Prolific as this output was, he enjoyed telling friends that he was completing other works as well, such as Herbert and Henrietta: or The Nemesis of Sentiment, Happy Homes and Hairy Faces, and A Pound of Feathers and a Pound of Lead.

This torrent of writing may seem surprising, since as Rosaline Masson noted in her biography of Louis, he had been almost constantly incapacitated by illness since sailing to America in 1879.

He had been a chronic invalid, submitting to an invalid’s life, at Monterey and San Francisco; in the Highlands—Pitlochry and Braemar; at Davos; at Stobo Manse; at Kingussie; again at Davos; in France—St. Marcel and Hyères—ever seeking for health, never finding it. And now at Bournemouth there awaited him a life of accepted invalidism spent chiefly in the sickroom, suffering constant pain and weakness, often forbidden for days or even weeks to speak aloud, and having to whisper or write on paper all he wanted to say to his wife or his friends. And yet these three years proved a very industrious and successful time in Stevenson’s life.

But it’s equally possible that if he had been more active, he would have written less.

George Eliot once wrote, “To know intense joy without a strong bodily frame, one must have an enthusiastic soul.” Louis didn’t care for Eliot’s novels—he thought they were too preachy—but he did have an enthusiastic soul, and experienced joy even at the darkest times. Although he often declared that action was more important than writing, for him writing was action.

Louis remarked that he was living in an age of transition, and that was a widely used term when traditional assumptions about art were giving way to modernism. Reacting against the dense and earnestly moralizing Victorian novels, writers were now emphasizing individuality of vision and skillfully crafted style. The author of Treasure Island and Kidnapped would never have espoused the slogan “Art for art’s sake,” but the contemporary critic William Archer was right to call him “a modern of the moderns, both in his alert self-consciousness and in the particular artistic ideal which he proposes to himself. He professes himself an artist in words.” Alan Sandison takes this statement as the keynote for his Robert Louis Stevenson and the Appearance of Modernism, showing convincingly that “his experiments, his ceaseless questing among forms, ensured that of all his contemporaries his works show the greatest and most radical diversity.”

Louis did take offense at Archer’s suggestion that he indulged too freely in “aggressive optimism.” Louis wrote to Archer to say that far from devoting his life to manly exercise, as Archer had assumed, he had been a perpetual invalid, and his art was compensation for that. “To have suffered, nay, to suffer, sets a keen edge on what remains of the agreeable. This is a great truth, and has to be learned in the fire. Yours very truly, Robert Louis Stevenson.” Archer quickly made amends, and they became friends.

At this time Louis fell under the spell of Dostoevsky, reading Crime and Punishment in French translation since there was no English version as yet. In a letter to Henley he exclaimed, “Dostoieffsky is of course simply immense—it is not reading a book, it is having a brain fever to read it.”

Taboos in Treasure Island

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 381-383:

It’s important to note that due to Victorian conventions, much of real life had to be left out of Treasure Island. A few years later Louis composed a sailors’ song purportedly heard in a London pub:

It’s there we trap the lasses
All waiting for the crew;
It’s there we buy the trader’s rum
What bores a seaman through.

The rum got into Treasure Island, the lasses didn’t. Although one wouldn’t expect female characters to play an important role in a quest for treasure, it’s still striking that Jim’s mother is the only woman in the entire book. In later novels, Catriona above all, Louis would try hard to give women a major role, but like other writers at the time he felt seriously inhibited by obligatory prudery. Publishers made their biggest profits by selling to lending libraries, which rejected outright any novel that hinted at sex. Louis told Colvin, “This is a poison bad world for the romancer, this Anglo-Saxon world; I usually get out of it by not having any women in at all.” Even when he did create female characters later on, he took great care to avoid sexually suggestive implications.

Victorian taboos were so strict that Louis’s pirates couldn’t even swear, though he himself, as Lloyd recalled, “could swear vociferously.” While he was writing Treasure Island he complained to Henley, “Buccaneers without oaths—bricks without straw.” He solved the problem by never actually quoting what they said: “With a dreadful oath he stumbled off.” No doubt he appreciated Dickens’s solution in Great Expectations, which was to write “bless” whenever Bill Barley, an old sea dog, would have said “damn”—“Here’s old Bill Barley, bless your eyes. Here’s old Bill Barley on the flat of his back, by the Lord. Lying on the flat of his back, like a drifting old dead flounder, here’s your old Bill Barley, bless your eyes. Ahoy! Bless you.”

The last of the seventeen installments of Treasure Island was published in Young Folks in January 1882, for a total payment of ₤30. For book publication Henley, as de facto agent, negotiated a contract with Cassell for ₤100; that may not sound like much, but it was a lot at the time, equivalent to ₤6,500 today. At that time Henley had an editorial position at Cassell’s, and had thrown the Young Folks installments on the chief editor’s desk with the exclamation, “There is a book for you!” Louis wrote to thank him: “Bravo, Bully Boy! Bravo! You are the Prince of Extortioners. Continue to extortion.” To his parents he described it as “a hundred pounds, all alive, oh! A hundred jingling, tingling, golden, minted quid.” Not only did he get ₤100 from Cassell, but they agreed to a royalty of ₤20 for every thousand copies after the first four thousand.

Treasure Island is Born at Braemar

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 357-358:

To amuse themselves during the endless rain, Louis and Lloyd drew a map of an imaginary island and made up stories about it. As Louis remembered, “It was elaborately and (I thought) beautifully coloured; the shape of it took my fancy beyond expression; it contained harbours that pleased me like sonnets; and with the unconsciousness of the predestined, I ticketed my performance Treasure Island.” The tale may have been predestined, but its title wasn’t. Originally he called his story The Sea Cook after Long John Silver, the former pirate who joins the treasure-seeking voyage disguised as a cook. The Sea Cook is almost as unpromising a title as Trimalchio at West Egg, which Fitzgerald originally wanted for his masterpiece The Great Gatsby. It was a publisher who told Louis that Treasure Island would be more effective.

Louis added that the story “seemed to me as original as sin.” There were plenty of melodramatic sea stories in existence, as well as histories of eighteenth-century piracy that he had devoured, but those are forgotten today while Treasure Island is a world classic, translated into scores of languages and reissued in countless editions. It was especially gratifying that the project brought out the adventure-loving romantic in Thomas Stevenson.

I had counted on one boy, I found I had two in my audience. My father caught fire at once with all the romance and childishness of his original nature. His own stories, that every night of his life he put himself to sleep with, dealt perpetually with ships, roadside inns, robbers, old sailors, and commercial travelers before the era of steam. He never finished one of these romances; the lucky man did not require to! But in Treasure Island he recognised something kindred to his own imagination; it was his kind of picturesque; and he not only heard with delight the daily chapter, but set himself actively to collaborate.

Treasure Island is constructed with consummate art, but the best art conceals art. The story is told by Jim Hawkins, recalling his boyhood in a seaside inn kept by his parents in the west of England.

RLS & Fanny as Newlyweds

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 311-312:

The newlyweds entered this union with their eyes open. A fragmentary essay that Louis drafted in San Francisco shows deep understanding of the relationship they were now confirming.

In all our daring, magnanimous human way of life, I find nothing more bold than this. To go into battle is but a small thing by comparison. It is the last act of committal. After that, there is no way left, not even suicide, but to be a good man. She will help you, let us pray. And yet she is in the same case; she, too, has daily made shipwreck of her own happiness and worth; it is with a courage no less irrational than yours that she also ventures on this new experiment of life. Two who have failed severally now join their fortunes with a wavering hope.

Biographers have suggested that Fanny was lucky to get Louis, but the reverse was equally true. He commented a year later that she had married him “when I was a mere complication of cough and bones, much fitter for an emblem of mortality than a bridegroom.” Nellie said that “she married him when his fortunes, both in health and finances, were at their lowest ebb, and she took this step in the almost certain conviction that in a few months at least she would be a widow. The best that she hoped for was to make his last days as comfortable and happy as possible.”

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Fanny certainly didn’t imagine that she was uniting herself with a future celebrity. “She married Louis,” Belle said, “not expecting that he would live, but hoping by her devotion to prolong this life now so dear to her. Though she admired his work, she had no idea he would ever become famous.” In fact his later achievements had much to do not just with Fanny’s belief in him, but with her intelligent criticism and advice. Nellie also said, “Her profound faith in his genius before the rest of the world had come to recognize it had a great deal to do with keeping up his faith in himself.”

Belle added a moving reminiscence: “I remember coming through the hall, and stopping suddenly at a light joyous sound. With a catch at my heart, I realized it was the first time I had ever heard my mother laugh.” As Nellie commented in quoting this, Belle never grasped until then “what a sad and bitter life Fanny Osbourne’s had been.”

More than any of Louis’s biographers, Richard Holmes does justice to this remarkable union. “When one considers other Victorian literary marriages—Hardy’s, say, or Dickens’s—Stevenson’s is something phenomenal, dynamic, explosive. It contained energies, tempests, fireworks, and sheer anarchic excitement that would have obliterated any conventional household. To find anything like his relationship with Fanny—and the comparison is significant in the largest way—one would have to look forward to Lawrence and Frieda.”

RLS in the "Long Depression"

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 276-277:

This was the time of a “Long Depression” that lasted for six years throughout Europe and the United States. Britain was hardest hit of all. Louis was now confronted with a reality he had been insulated from, and as Furnas says, “There rubbed against him the direct knowledge that to be penniless was more miserable than picturesque; that economic disaster was cruel to individuals as well as abstractly depressing to masses; that alcoholism was incapacitating, not jolly.”

In many ways The Amateur Emigrant anticipates Orwell’s Down and Out in Paris and London half a century later.

Those around me were for the most part quiet, orderly, obedient citizens, family men broken by adversity, elderly youths who had failed to place themselves in life, and people who had seen better days. . . . Labouring mankind had in the last years, and throughout Great Britain, sustained a prolonged and crushing series of defeats. I had heard vaguely of these reverses; of whole streets of houses standing deserted by the Tyne, the cellar doors broken and removed for firewood; of homeless men loitering at the street-corners of Glasgow with their chests beside them; of closed factories, useless strikes, and starving girls. But I had never taken them home to me, or represented these distresses livingly to my imagination.

In a real sense Louis was escaping from defeats of his own. “We were a company of the rejected. The drunken, the incompetent, the weak, the prodigal, all who had been unable to prevail against circumstances in the one land were now fleeing pitifully to another, and though one or two might still succeed, all had already failed. We were a shipful of failures, the broken men of England.” Of Scotland too, of course. “Skilled mechanics, engineers, millwrights, and carpenters were fleeing as from the native country of starvation.” What skills was he himself bringing?

Yet a surprising optimism prevailed. “It must not be supposed that these people exhibited depression. The scene, on the contrary, was cheerful. Not a tear was shed on board the vessel. All were full of hope for the future, and showed an inclination to innocent gaiety. Some were heard to sing, and all began to scrape acquaintance with small jests and ready laughter.” Louis always enjoyed children, and noted with amusement that they were attracted to each other “like dogs” and went around “all in a band, as thick as thieves at a fair,” while the adults were still “ceremoniously maneuvering on the outskirts of acquaintance.”

As the title of The Amateur Emigrant suggests, he belonged among these people only in a sense. It would be some years before he could support himself by writing, but his parents might resume their subsidies before then, as indeed did happen. His fellow travelers were not just emigrants but immigrants, whereas (despite what the passenger list said) he had no intention of making a home in America. In much the same way, by the time Orwell published his book he had ended his experiment of being down and out. Still, the voyage was a turning point. “Travel is of two kinds, and this voyage of mine across the ocean combined both. ‘Out of my country and myself I go,’ sings the old poet: and I was not only travelling out of my country in latitude and longitude, but out of myself in diet, associates, and consideration.”

RLS First Tries Writing Fiction

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 266-267:

Robert Louis Stevenson is best remembered as a novelist, but until his thirties he found the scope of a novel daunting and was reluctant to attempt one. By the end of 1879 he did have three works of nonfiction in print, the two travel narratives and Edinburgh: Picturesque Notes. In addition he had published twelve essays and fourteen short stories, many of them in Leslie Stephen’s Cornhill Magazine. A historian explains that a demand for such work had been created by a proliferation of new periodicals that needed “to fill columns of white space with agreeable reading matter.” They brought in some income, but not nearly enough to live on.

The term “short story” seems to have been used for the first time in 1884 by the American critic Brander Matthews, to describe a distinct kind of condensed and focused narrative, as opposed to a tale that merely happens to be short. Matthews emphasized the excellence of Poe and Hawthorne in this genre; Louis admired and consciously emulated them. Late in life he gave a penetrating description of the new aesthetic: “The dénouement of a long story is nothing; it is just a ‘full close,’ which you may approach and accompany as you please—it is a coda, not an essential member in the rhythm; but the body and end of a short story is bone of the bone and blood of the blood of the beginning.”

The early stories are interesting as first steps in the storyteller’s art, but are completely overshadowed by Louis’s later achievements. One collection, published later in book form as New Arabian Nights, was admired for its experimentalism. In it a prince of Bohemia seeks out adventures in London in imitation of the caliph in the original Arabian Nights, which Louis had read and enjoyed as a boy. The critic George Saintsbury praised “the fertility of extravagant incident, grim or amusing or simply bizarre, with the quiet play of the author’s humour in the construction of character, the neatness of his phrase, the skill of his description, the thoroughly literary character of his apparently childish burlesque.”

Some reviewers thought that the author must have been laughing at the reader, others that he was laughing at himself. A writer in the Century Magazine suggested that it might be both:

The stories are linked together by the adventures of one central character, who is half Monte Cristo and half Haroun al Raschid up to the last page, where in an unexpected fashion he leaves you laughing at him, laughing at yourself, and wondering how long his inventor has been laughing at you both. This is the book on the face of it. But then, in fact, you cannot speak of the book on the face of it, for under the face is a fascinating depth of subtleties, of ingenuities, of satiric deviltries, of weird and elusive forms of humour, in which the analytic mind loses itself.

Scholars have taken these efforts seriously as harbingers of modernism, but Louis didn’t. Instead he turned to a now-unfashionable narrative mode that he had always loved—romance, in the old sense of action and adventure, not love affairs. By the time New Arabian Nights came out as a single volume in 1882, he had moved far beyond it with his classic Scottish tales “Thrawn Janet” and “The Merry Men,” and with Treasure Island in its first serialized form.

RLS as Amateur Emigrant

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 272-273:

As Louis relates in his book about the voyage, The Amateur Emigrant, he engaged a second-class cabin for ₤8, ₤2 more than passengers in steerage paid, which meant that he was furnished with bedding and had a private room with a table to write on. Still, it was only a little enclave in the midst of steerage. Located near the machinery that powered the ship, the steerage was crowded, malodorous, and poorly ventilated.

Alfred Stieglitz’s classic photograph (fig. 38), taken on the Kaiser Wilhelm II in 1907, makes it clear that steerage passengers got up on deck whenever they could. Still higher up, the wealthy ladies and gentlemen are literally looking down on them.

In Edinburgh Louis had been accustomed to mix with working-class people in a rather touristic way, but now he was one of them, although paying for second class did qualify him as technically a gentleman. “In the steerage there are males and females; in the second cabin ladies and gentlemen. For some time after I came aboard I thought I was only a male, but in the course of a voyage of discovery between decks I came on a brass plate, and learned that I was still a gentleman. Nobody knew it, of course. I was lost in the crowd of males and females, and rigorously confined to the same quarter of the deck.”

The description “steamship” may conjure up images of a mighty vessel like the Queen Mary, but the Devonia was low-slung and modest in size, a vessel of thirty-five hundred tons (the Queen Mary was eighty-one thousand). There were just 256 passengers. Nicholas Rankin had the inspiration of tracking down the original passenger list in the New York Public Library. Fifty-one people were in the first-class saloon and identified as clerks, divines, and nil—not unemployed, but too rich to need employment. Twenty-two were in the second-class cabin: 15 Scots including Louis, 6 Scandinavians, and an Irishman. The remaining 183 were in steerage. They were Scottish, Irish, German, Scandinavian, and a Russian. Thirty occupations were listed, including brewer, carpenter, lawyer, marble cutter, and silk weaver.

Scottish vs. English Universities, 1867

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 102-104:

In November 1867, just as he was turning seventeen, Louis entered the University of Edinburgh as the first step toward a professional career, and his life changed dramatically. It was the same year in which the Stevensons took their lease on Swanston Cottage....

As an undergraduate Louis continued to live at home; there was no residential housing at the university, and students from out of town had to rent lodgings. All the same, he enjoyed plenty of freedom, unlike students at Oxford and Cambridge, who had compulsory chapel and lectures, wore caps and gowns, and were punished if they stayed out after curfew. It’s notable that those were the only two universities in all of England. In Scotland, in addition to Edinburgh, which was the most recently founded, there were also St Andrews, Glasgow, and Aberdeen. In an essay some years later Louis celebrated his university’s freedom and urban energy.

The English lad goes to Oxford or Cambridge; there, in an ideal world of gardens, to lead a semi-scenic life, costumed, disciplined and drilled by proctors. Nor is this to be regarded merely as a stage of education; it is a piece of privilege besides, and a step that separates him further from the bulk of his compatriots. At an earlier age the Scottish lad begins his greatly different experience of crowded class-rooms, of a gaunt quadrangle, of a bell hourly booming over the traffic of the city to recall him from the public-house where he has been lunching, or the streets where he has been wandering fancy-free. His college life has little of restraint, and nothing of necessary gentility.... Our tasks ended, we of the North go forth as freemen into the humming, lamplit city. At five o’clock you may see the last of us hiving from the college gates, in the glare of the shop windows, under the green glimmer of the winter sunset. The frost tingles in our blood; no proctor lies in wait to intercept us; till the bell sounds again we are the masters of the world.

As a master of the world, Louis declined to do much studying. He found the teaching formal and tedious, and was already accustomed to self-education. Besides, he was supposedly there to learn engineering, which he already knew he disliked. That engineering was taught at all made Edinburgh very different from the English universities, where the curriculum was heavily classical and mathematical. At Cambridge Isaac Newton, one of the greatest physicists of all time, had been a professor of mathematics, not physics.

Where RLS Learnt Lallans

From Storyteller: The Life of Robert Louis Stevenson, by Leo Damrosch (Yale University Press, 2025), Kindle pp. 82-84:

Louis picked up much of his Lallans from a shepherd named John Todd, known as “Lang John” for his height, with whom he would tramp for hours in the hills while the sheep were grazing. “My friend the shepherd,” he said later, “speaks broad Scotch of the broadest, and often enough employs words that I do not understand myself.” Louis recalled Todd in an essay entitled “Pastoral”: “He laughed not very often, and when he did, with a sudden, loud haw-haw, hearty but somehow joyless, like an echo from a rock. His face was permanently set and coloured; ruddy and stiff with weathering; more like a picture than a face.”

But it was Todd’s eloquence that captivated Louis. “He spoke in the richest dialect of Scotch I ever heard, and this vocabulary he would handle like a master. I might count him with the best talkers, only that talking Scotch and talking English seem incomparable acts. He touched on nothing, at least, but he adorned it; when he narrated, the scene was before you.” Many of Louis’s original readers would have recognized a famous phrase that Samuel Johnson composed in Latin for his friend Oliver Goldsmith, Nihil tetegit quod non ornavit: “He touched nothing that he did not adorn.” The allusion is a beautiful tribute to the old shepherd, ranking his skill in language on a level with a writer of great distinction.

It was Todd, Louis said, who taught him to appreciate the spirit of the hills.

He it was that made it live for me, as the artist can make all things live. It was through him the simple strategy of massing sheep upon a snowy evening, with its attendant scampering of earnest, shaggy aides-de-camp, was an affair that I never wearied of seeing, and that I never weary of recalling to mind: the shadow of the night darkening on the hills, inscrutable black blots of snow shower moving here and there like night already come, huddles of yellow sheep and dartings of black dogs upon the snow, a bitter air that took you by the throat, unearthly harpings of the wind along the moors; and for centerpiece to all these features and influences, John winding up the brae [slope], keeping his captain’s eye upon all sides, and breaking, ever and again, into a spasm of bellowing that seemed to make the evening bleaker. It is thus that I still see him in my mind’s eye, perched on a hump of the declivity not far from Halkerside, his staff in airy flourish, his great voice taking hold upon the hills and echoing terror to the lowlands; I, meanwhile, standing somewhat back, until the fit should be over, and, with a pinch of snuff, my friend relapse into his easy, even conversation.

Though the shepherd’s casual talk might be “easy,” it was direct and to the point. In another essay Louis contrasted it with the conversational style in England, where “the contact of mind with mind [is] evaded as with terror. A Scottish peasant will talk more liberally out of his own experience. He will not put you by with conversational counters and small jests; he will give you the best of himself, like one interested in life and man’s chief end.”

Swanston people remembered that Todd used to say of Louis, “He is an awfu’ laddie for speirin’ questions about a’ thing, an’ whenever you turn your back, awa’ he gangs an’ writes it a’ doon.” A “speirin” questioner is prying and inquisitive. Years later some old-timers told a visitor the same thing. “Stevenson would dae naething but lie aboot the dykes. He wouldna wark. He was aye rinnin’ aboot wi’ lang Todd, amang the hills, getting him to tell a’ the stories he kent.” “Lang Todd” prompts one to wonder if John passed his nickname on to Long John Silver in Treasure Island.

Polish Language Exhibit in Osaka

Culture.Pl announces EXPO 2025 in Osaka: Interactive Exhibition about the Polish Language… the World’s First Using AI, running October 3-23.

Following the international success of ‘Quarks, Elephants & Pierogi: Poland in 100 Words’ – an unconventional book about the Polish language – a remarkable exhibition based on its pages will soon arrive back in Japan. The seventh edition of the exhibition will open on 3 October 2025 at Knowledge Capital in central Osaka, this time utilising the potential of artificial intelligence for the first time.

Thanks to a collaboration between the Adam Mickiewicz Institute, the Knowledge Capital Association, and Atsuhiko Yasuda (XOOMS co. ltd.), the exhibition will be enhanced with an AI module that enables visitors to engage in dialogue with artificial intelligence inspired by the book’s content. This innovation, made possible by close Polish-Japanese collaboration, allows visitors to experience ‘The Amazing Land of Quarks, Elephants & Pierogi’ – previously shown at EXPO 2020 in Dubai, London, and Basel – in an entirely new way. The project is part of Po!landポ！ランド, a series of events organised by the Adam Mickiewicz Institute and funded by the Polish Ministry of Culture and National Heritage. It is part of the cultural programme accompanying Poland’s participation in the World Expo 2025, coordinated by the Polish Investment and Trade Agency.

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Since its 2018 premiere, the bestselling ‘Quarks, Elephants & Pierogi: Poland in 100 Words’ has won praise from readers and media outlets around the world. Designed for an international audience, the book presents 100 words that best capture Polish culture, history and everyday life in an original, accessible and humorous way.

The texts, written by Mikołaj Gliński, Matthew Davies and Adam Żuławski, are full of witty observations, linguistic curiosities and cultural references, while its distinctive visual style was created by painter and illustrator Magda Burdzyńska.

The exhibition ‘The Amazing Land of Quarks, Elephants & Pierogi’ continues the success of the book, creating a fascinating, multidimensional story about the Polish language. The exposition combines illustrations inspired by the publication with various artistic forms – from embroidery, textiles and sculptures, to neon lights and video animations – all accompanied by an original sound installation.