By Virginia Woolf
No matter what hour you woke there has been a door shutting. From room to room they went, hand in hand, lifting right here, establishing there, making sure—a ghostly couple. Stooping, preserving their silver lamp above us, lengthy they appear and deeply. lengthy they pause. The wind drives straightly; the flame stoops a little. Wild beams of moonlight pass either flooring and wall, and, assembly, stain the faces bent; the faces brooding about; the faces that seek the sleepers and search their hidden pleasure.
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Extra resources for A Haunted House (Timeless Classics)
The continuation of her work would not have been possible without access to library collections that have welcomed Nina’s interventions into their stacks. Finally, I would like to recognize my sister Emilie Clark, whose library, assembled and shared with her husband Lytle Shaw, was the object of Nina’s taxonomic cataloging project titled “Sorting Shark”3. Emilie, thank you for sharing with me what you first recognized as important work. —Catharine Clark, July 2012 1 Nina Katchadourian, from “Once Upon a Time in Delaware/In Search of the Perfect Book,” Sorted Books project, 2012 2 Nina Katchadourian, from “BookPace,” Sorted Books project, 2002 3 Nina Katchadourian, “Sorting Shark,” Sorted Books project, 2001 Copyright © 2013 by Nina Katchadourian.
The Old World also hovers around the popular imagination in the many books about knights, kings, and European history. A visual and linguistic shift takes place between prim Victorian bindings and the racy dust jackets of books thirty years later. Spectacularly gilded covers reflect the wealth of the United States during certain periods, and austere designs take over during times of belt-tightening. I noticed a curious surge in late nineteenth-century fiction romanticizing Native Americans and despaired when I realized how this coincided with their violent displacement and decimation.
One of Katchadourian’s most elegant tricks in Sorted Books is to have corralled far-flung volumes and their titles, which we may imagine as sparsely arrayed locations on a map or bright points in a star chart, into the most laconic of textual forms: the list, just one thing after another. ) a library into such narrow verbal confines. Instead, consider the sly poetics of the lists themselves. At times they are “pure” lists, paratactic inventories of distinct moments, montage sequences. Quite in accord with Henri Bergson’s contention that laughter results when a human being acts like a machine, their comedy is a question of repetition with difference or (funnier) no difference, as in the following from “Composition” (1993): Repeat After Me Are You Confused?
A Haunted House (Timeless Classics) by Virginia Woolf