No Bigger Than a Peanut

MATRYOSHKAS
ACCUSTOMED, CEREMONIOUS

Unicef Photograph ~ Odesa, Ukraine
"Boxes within boxes, dolls within dolls, worlds within worlds.
Everything was connected. Everything in the whole world."
(463)
What a good turn of events it was for me to receive a copy of Kate Atkinson's novel -- One Good Turn: A Jolly Murder Mystery -- as a souvenir of Edinburgh from Gerry's Cousin Jonny. I had watched a few seasons of Case Histories, the British crime drama set and filmed in Edinburgh; but this was my first time sitting down to actually read one of the Jackson Brodie mysteries upon which the series is based. One Good Turn turns out to be the kind of thriller that you start reading on one day and finish the next, with only a few brief hours of sleep in between.

In addition to the primary investigation, numerous distracting and entertaining subplots captured my attention: the Edinburgh Festival playing around the clock, a dear old cat named Jellybean, sadly, in failing health, and -- most intriguing of all -- a set of nesting Russian dolls whose presence in the text provide a constant reminder of hidden worlds and secrets.

Introductory Montage & Theme Song: Case Histories & One Good Turn
When the character Martin Canning, a successful author of crime novels, becomes involved in a real crime, he peers into the travel bag of the mysterious man whose life he has inadvertently saved:

"He had seen inside the bag and there was nothing that revealed anything about Paul Bradley, just a black plastic box, a mystery within a mystery. Perhaps the box would contain another box, and inside that box another box, and so on, like the Russian dolls. Like his own Russian dolls, the prelude to his brief courtship and consummation with the girl from the matryoshka stall."
(One Good Turn 155 - 56)

I myself have long been a student and a collector of matryoshki, and once upon a time totally immersed myself in Susan Stewart's cultural study On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. With ultra - simplicity, Stewart (scholar and poet) captures the mystery of the matryoshka in three simple words: "within within within," a phrase to open your mind and send a quick shiver down your spine. I felt those same goosebumps when Atkinson describes Martin's trip to St. Petersburg:

" . . . there were dolls, thousands of dolls, legion upon legion of matryoshka, not just the ones you could see but also the ones you couldn't -- dolls within dolls, endlessly replicating and diminishing, like an infinite series of mirrors . . . Martin had never given matryoshka much thought before but here in St. Petersburg their ranks seemed omnipresent and unavoidable . . . big ones, small ones, tall ones and squat ones . . . dolls in the shape of cats, dogs, frogs, there were American presidents and Soviet leaders, there were five - doll sets and fifty - doll sets, there were cosmonauts and clowns, there were crudely made dolls and ones that had been exquisitely painted by real artists. By the time he left the hotel shop Martin felt dizzy, his eyes swimming with endless reflections of dolls' faces . . . ." (One Good Turn 232 - 34, emphasis added)

"You can think of the universe as a set of wooden Russian matryoshka dolls, with each doll having a smaller one inside of it. The entire visible universe is the outermost doll, and nested inside it are galaxies, solar systems, stars, planets -- right down to the smallest doll, which is you. But inside of you is an even smaller doll that somehow has the biggest doll inside of it. When you figure out this riddle, you will have discovered the key to your ascension!"
~ Elizabeth Clare Prophet

This ethereal, eerie, enmeshed elegance is what Stewart calls the "profound interiorty" of the doll / dollhouse (61); and philosopher John O'Donohue refers to as "the infinity of our interiority."

Martin is mesmerized by both the "profund interiority" of the colorful stacking matryoshi and the charming salesgirl at the matryoshka stall. When he ventures out once again in search of souvenirs, the salesgirl Irinia "started picking up different dolls, opening them up, cracking them all like eggs" (OGT 236). Like eggs! I love that! After all, there are similarities between the two! Everyone knows that an egg -- especially an Easter Egg -- can contain a surprise!

As a keepsake, Martin chooses "an expensive fifteen - doll set . . . attractive things, their fat - bellied stomachs painted with 'winter scenes' from Pushkin. Works of art really, too good for his mother, and he decided he would keep them for himself. 'Very beautiful,' " On the way home, he thinks of the nested dolls he has just purchased, tucked away, out of sight, in "the thin plastic carrier bag that contained his newspaper - wrapped dolls, snugly inside each other now" -- minatures within miniatures within miniatures. It crosses Martin's mind that in picking out the Pushkin set he had devoted "more contemplation than either the task or the dolls merited" (OGT 236 - 237).

Curiously though, his thought process aligns with Susan Stewart's theory of the miniature and the gigantic, especially when it comes to "tourist art," tchotchkes that don't cost much money and serve little purpose: "Use value is transformed into display value . . . Those qualities of the object which link it most closely to its function in native context are emptied and replaced by both display value and the symbolic system of the consumer." Of course, one might rightly observe that nesting dolls don't really serve a purpose; but, as Stewart explains, "Even the most basic use of the toy object -- to be played with -- is not often found in the world of the dollhouse" or in the world of "tourist art":

The miniature comes into the chain of signification at a remove: there is no original miniature; there is only the thing in "itself," which has already been erased, which has disappeared . . . the miniature typifies the structure of memory, of childhood . . . from its petite sincerity arises an "authentic" subject . . . . (Stewart 62, 149, 171 - 72, emphasis added)

For a fleeting second, Martin thinks about a nice set of nesting dolls for his mother but rejects this impulse, resolving instead to buy "something ordinary . . . because she deserved nothing better than ordinary -- a little peasant set, aprons and headscarves." Then he reconsiders even this downmarket gift, knowing that whatever he picks will end up neglected "amongst her other cheap knick - knacks." Instead of the peasant dolls, he moves down yet another rung on the souvenir ladder, purchasing at last "a fridge magnet for his mother, a little varnished wooden matryoshka" -- the merest echo of the real thing. In keeping with Stewart's observation of tourist art, this lone wooden trinket cannot even perform the sole function of the matryoshka -- to be nested within a set.

A few years later, back in Edinburgh, Martin's housecleaner Sophia admires his Pushkin matryoshki:

"He had a set of Russian dolls, matryoshka, the expensive kind. . . . The writer's dolls were lined up on the windowsill [display value!], she dusted them every week. Sometimes she put them inside each other, playing with them like she had done with her own set when she was a child. She used to think they were eating each other [!]. Her matryoshka had been cheap, crudely painted in primary colours, but the dolls that belonged to the writer were beautiful, painted by a real artist with scenes from Pushkin -- so many many artists in Russia with no jobs now, painting boxes and dolls and eggs, anything for tourists. The writer had a fifteen - doll set! How she would have loved that when she was a girl." (OGT 220 - 21)

Imagine Sophia's shock to enter Martin's well - kept house for a routine cleaning, only to find the dolls "scattered everywhere, little skittles knocked flying. She picked one up without thinking and put it in the pocket of her jacket, feeling the smooth, round, satisfying shape of it" (OGT 222)

Perhaps drawn to its "petite sincerity," both Sophia and, later in the day, Jackson take the opportunity to pocket a miniature matryoshka, as a kind of talisman to sustain them through the stressful criminal investigtion process that lies before them. Coincidentally, the word keeps coming up throughout Jackson's day (as my sisters and I have discussed previously). When investigating a suspicious "Import - Export" business, he comes across a "wall of boxes, all stencilled with one mysterious word, 'Matryoshka.'" When he stops by the Edinburgh Festival, he notices a circus act entitled " 'Matryoshka' . . . The word of the day," he tells himself.

Jackson . . . spotted something on the carpet, a tiny painted wooden doll, no bigger than a peanut. He picked it up and peered at it . . . 'What is that?' he asked, holding the little doll up for her inspection.

Louise: "It's from one of those Russian doll sets,' she said, 'the ones that nest inside each other. Matri - something."

Jackson: "Matryoshka?"

Louise: "Yes."

Jackson: "This one doesn't open."

Louise: "That's because it's the last one. The baby."

Jackson pocketed the doll. . . .

He felt the peanut - baby doll in his jacket pocket. The layers of the onion. Chinese boxes, Chinese whispers. Russian whispers. Secrets within secrets. Dolls within dolls. (320, 342 - 43, 363)

****************
dialogue from One Good Turn (2006)
by Kate Atkinson (b 1951),
scholarly, spell - binding British novelist
****************
SEE YOU IN TWO WEEKS ON MY
Next Fortnightly Post
Sunday, April 28th

Between now and then, read
THE QUOTIDIAN KIT ~ See related essay: Russian Straw Dolls
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

The House You're Standing In . . . or Holding in the Palm of Your Hand

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

"Shop Around the Corner"
Gingerbread bookstore created a few years ago
by my friend Professor Kathleen O'Gorman
Look closely and you'll see that this Gingerbread House has its own Gingerbread House! When I praised Kathie for the charm of this particular design feature, she said, "Ah, the meta-gingerbread house! The measure of how desperately I didn't want to grade papers that year!"

In practice, that is.

In theory, it's the measure of "interiorty":

"A house within a house, the dollhouse not only presents the house's articulation of the tension between inner and outer spheres of exteriority and interiority -- it also represents the tension between two modes of interiority. Occupying a space within an enclosed space, the dollhouse's aptest analogy is the locket or the secret recesses of the heart: center within center, within within within. The dollhouse is a materialized secret: what we look for is the dollhouse within the dollhouse and its promise of an infinitely profound interiority."

from On Longing: Narratives of the Miniature, the Gigantic,
the Souvenir, the Collection (p 61)
by Susan Stewart ~ poet, professor, academic folklorist
This subject has long been of interest to me, as I explained a couple of weeks ago, when writing about Katherine Mansfield's story "The Doll's House." While admiring Kathie's photographs, it occurred to me that Susan Stewart's theory of the small house within the big house is just as applicable to the gingerbread house as it is to the dollhouse. Both display the impulse to miniaturize and the process of reducing utility to ornament. And both allow the creator to control a manageable universe: "Worlds of inversion, of contamination and crudeness, are controlled within the dollhouse by an absolution manipulation and control of the boundaries of time and space" (Stewart, 63).

CLICK HERE TO SEE ADDITIONAL PHOTOS
OF THIS GINGERBREAD BOOKSTORE,
PLUS BOTANICAL GARDEN, CHRISTKINDLMARKET,
BASEBALL STADIUM, AND MUCH MUCH MORE!
WITH MANY THANKS TO KATHIE & MANY FRIENDS
FOR CREATING & SHARING!
[See comments below, especially #4, for Kathie's
detailed history of the gingerbread project]

Seeing the photo of Kathie's gingerbread masterpiece, our mutual friend Leonard Orr said, "Good to see this festive mise-en-abyme! I hope it includes a miniature version of Kitti's book on the shelves inside."

We entertained ourselves for awhile, imagining all that was inside. I suggested all of Len's books, plus the Complete Works of Shakespeare & an OED. Len suggested Beckett, Kafka, Woolf, and copies of all the avant-garde novels that Kathie teaches. Len observed that "To have room for all of the essential works, this would have to be the gingerbread Powell's." Kathie said, "To fit them all, it would have to be the gingerbread House of Leaves!"

Len: "Next challenge: #7 Eccles St. (with Bloom's library and Sweets of Sin)."

Kathie: "#7 Eccles Street! How can you do this to me? I can tell I'm going to have to do it one of these years! Now let's see . . . shall I move the piano?!"

Len: "Did William Morris create gingerbread houses? If so, they might still survive, the interiors covered with tapestries and carpets depicting noble labor or scenes from Icelandic sagas. I look forward to seeing your replicas."

Kathie: "I believe the research for that work will be adequate justification for a return visit to London."

Len: "As well as a large grant from British research associations."

Me: "And a morgage exemption!"

Len: "I didn't know mortgages were available for gingerbread houses."

We also enjoyed some comments from Kathie's daughter: "Awww Mom, I miss you making Gingerbread Houses, having the kitchen counter covered with frosting flowers or ice cream cone trees, smelling you baking on a cold winter morning, and coming down from my warm bed to see what new masterpiece you were working on."

Kathie recalled, "All of the desperate attempts at architectural challenges, like the dome for the arboretum, for which I / we ought to have received our degree in architectural engineering! I continue to seek out roofing materials here, of course! Good to have them on hand just in case there's an unexpectedly urgent need for a gingerbread house somewhere!"

Len, a literary theorist of the first order, added that, until our discussion of Kathie's edible creation, he "hadn't thought about the necessity for gingerbread house theory."

Conveniently, there is Susan Stewart's aesthetic of the miniature: " . . . even the most basic use of the toy object -- to be 'played with' -- is not often found in the world of the dollhouse. The dollhouse is consumed by the eye." Likewise, the most basic use of gingerbread -- to be eaten -- is not the case with a gingerbread house, which is to be consumed by the eye, not the taste buds, edible though it may be. The transcendent vision offered by the gingerbread house or the dollhouse, "the most consummate of miniatures," can be known through visual apprehension alone (Stewart, 62, 61)

Then there's this great passage from Bill Bryson: "Houses are really quite odd things. They have almost no universally defining qualities: they can be of practically any shape, incorporate virtually any material, be of almost any size. Yet wherever we go in the world we recognize domesticity the moment we see it" (28, from At Home: A Short History of Private Life). You can always count on the miniature to signify domesticity!

Carole Maso contributes this existential insight on the realm of miniaturization and the meaning of life: "It is the week before Christmas. In the apartment across the way, a man works on a dollhouse. So what if we are doomed? He will die rubbing a small chair smooth" (199, from her novel AVA).

And, interestingly enough, even Martha Stewart weighs in on the topic: "What is more tantalizing -- at a child's eye level -- than a gingerbread replica of the house you're standing in?" Reading Martha's insight gave me goosebumps! Why? Because she is talking about the secrets of interiority! Within within within. [Emphasis added.]

She goes on the describe "The whimsy and . . . the thrill of . . . playing with scale and expectations: What's big is rendered small (the house) but with such an eye to detail that it uses three shades and flavors of cookie, and the roof and chimney have the realistic look of shingles and bricks. Meanwhile, what's small (the teddy bear) is presented as life - size . . ." (Martha Stewart Living, December 2012, p 130 - 31).
Exteriority


Interiority

Gingerbread Close - up

See also my previous posts: Making Gingerbread for Christmas
and Gingerbread: A Short, Happy Photo History
In closing, I can't resist turning once again to the journal of my friend Jan Donley. You might recall that my last fortnightly post featured her drawing "Dad's Lamp" and her story "The rain fell on yellow leaves." This time she writes of a miniature house, even smaller than a dollhouse -- a house you can hold in your hand. Reading it shortly after Christmas a year ago, I thought it was the perfect reverie for all those faraway post – Christmas snow day feelings, and I had to add it immediately to my list of all - time favorites.

House / 13 January 2012
You received it as a gift—a ceramic house to set on your mantle or on a shelf or on a table. You hold the house in the palm of your hand—a triangle roof and a square base. No windows. No doors. Just the shape. Simple. The house a child would draw if you said, “Draw a house.” Or the house in a dream with no entrance and no exit. You’re just suddenly there. In the box of it, or you’re looking at it from a distance. Or there it is in a coloring book. You color it blue or brown. Maybe you add windows and doors. Even a dormer. And then the house starts getting complicated, and you can no longer hold it in your hand or remember your childhood or even dream it. Suddenly the house becomes a cape or a colonial or a bungalow. And there are too many words to remember, and too many memories to hold onto, and too much loss. The world is no longer the world you knew, and houses stretch for miles: triangles atop boxes. And you want to hold one in your hand. More than anything, you want to hold a house in your hand. And you reach out for one, but it stays just beyond your grasp. Never simple anymore. It is not the house in the coloring book. It is instead a structure full of rooms and doorways and hallways. The hallways are the hardest. They are narrow and long. You walk down one and push open a door. You hear the creak of its hinges and swear that one day you will oil them. You look inside the room, and maybe there’s a bed and a desk. A lamp sits on a table beside the bed. Maybe it is lit. Maybe a book waits by the lamp. Maybe a person, someone you love, holds the book. And that is familiar. And you leave the hallway and walk toward the familiar. Or you close that door and continue down the hallway and open another door. Its hinges do not creak, and the room behind the door looks like no room you’ve ever seen. All the windows on all the walls are wide open. Wind blows curtains up like wings. The wind takes you, and suddenly you are out the window and flying. You have wings. And nothing is familiar save for the houses below you—so far away you can only see their shapes—triangles and boxes. You want to hold one in your hand. [Emphasis added.]

My house is filled with houses like this:

Especially around Halloween:

and Christmas:

"Safe house. Saying the words to myself in secret.
For safe house made me smile.
Safe house made me feel warm.
Safe house was something small you could hide in, I thought.
Like a dollhouse where if you were small enough to fit inside
you would be so small nobody would come looking for you." (61)

from Black Girl / White Girl
by Joyce Carol Oates

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Saturday, December 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

"I Seen the Little Lamp"

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

artwork by Jan Donley
A year ago today, my fortnightly post was a series of connections drawn from the autumnal writing and photography of my friend Jan Donley.* At the same time that I was posting "There on the Edge of Autumn," Jan was writing another leaf story in her journal. How timely!

The rain fell on yellow leaves / 14 November 12
She remembered a place. It might have been a place in a dream. There were there no trees, and there was no sky. She had looked out of eyes that did not belong to her. And then she remembered, there was no ground either. No dirt. No grass. No branches or trunks or leaves. Just air. There may have been light. Yes. She remembered light coming from some distance—maybe a star or a moon or a lamp. She wanted it to be a lamp. And she heard a voice—a voice that whispered and whistled. That was the language of this place: whispers and whistles. [emphasis added]

When she awoke from the dream or what may have been a dream, she looked across her room to the window. The window was open, and a breeze blew in. She saw leaves on the ground. Through the window, she saw the yellow leaves. And the rain fell on them.

It should have been a familiar sight. But ever since the dream, her eyes were not her own. And ever since the dream, she knew the sky and the trees and the ground could disappear. She knew that familiar languages could suddenly become unfamiliar.

It unsettled her, the way a dream can do.

And it must have been a dream; otherwise, why would she wake to look out a window and see rain falling on yellow leaves?

She could not be sure.

The yellow leaves whistled in the wind. The rain that fell on them whispered.

~ photo by Jan Donley ~

Jan's entry provided an immediate connection to one of my favorite stories by Katherine Mansfield (1888 - 1923), "The Doll's House," in which the two little poor sisters, Lil and Else Kelvey, are lucky enough to get a quick look at the elaborate dollhouse of the wealthy Burnell sisters, Isabel, Lottie, and Kezia. But their viewing lasts only for a few seconds, before the prejudiced cranky aunt shoos them away. Instead of being embarrassed by their poverty or disappointed in not getting to admire the dollhouse, the younger sister internalizes the reward of her adventure: "I seen the little lamp!" That was enough for her! A sign of comfort, hope, stability -- the same reasons that Jan's dream girl in "yellow leaves" hopes that the distant light is coming from a lamp!

If you're interested in reading more about Mansfield's story, I have written about it in my book -- Created in Our Image: The Miniature Body of the Doll. I was inspired by On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, a fascinating theoretical study by poet and professor of folklore Susan Stewart, who calls the dollhouse "a materialized secret; what we look for is the dollhouse within the dollhouse and its promise of an infinitely profound interiority" (61).

The Burnell sisters are certainly anxious to share the secret of their new possession, the "perfect, perfect little house!" (318). They are instructed that they may bring their friends from school, two at a time, to view the splendid toy. These visits are to be allowed, however, with the specific condition that the visitors are "not to stay to tea, of course, or to come traipsing through the house" (320). That is, the girls may share with outsiders the secrets of the miniature house but not those of the life - size house. The privacy and the sanctity (and the secrets) of the home are to be protected from intrusion and idle curiosity. Nor are the guests invited to actually play with the dollhouse; they are asked merely to admire it, "to stand quietly in the courtyard while Isabel pointed out the beauties and Lottie and Kezia looked pleased" (320).

"The whole house - front swung back, and -- there you were, gazing at one and the same moment into the drawing - room and dining - room, the kitchen and two bedrooms" (319; see comment below). The girls are enchanted by the small furniture, the stove complete with oven door, the table set with tiny plates, the wallpaper, the carpeting, and the miniature gold - framed pictures. Of all the charming details, for Kezia, it is the little lamp that represents the "promise of an infinitely profound interiority":

"But what Kezia liked more than anything, what she liked frightfully, was the lamp. It stood in the middle of the dining - room table, an exquisite little amber lamp with a white globe. It was even filled all ready for lighting, though, of course, you couldn't light it. But there was something inside that looked like oil, and that moved when you shook it. . . . [T]he lamp was perfect. It seemed to smile at Kezia, to say 'I live here.' The lamp was real" (319).

Choosing which playmates may or may not see the remarkable exhibition, the children are in a position to impose the same social class barriers observed by their elders. The two girls who are excluded from the joy of viewing the dollhouse are "the two who were always outside, the little Kelveys. They knew better than to come anywhere near the Burnells" (320). Lil and Else Kelvey are shunned because their mother is a "washerwoman" who works in other people's homes, their father is rumored to be in prison, their wardrobe is made up of hand - me - downs from their mother's various employers, and their lunches consist of messy jam sandwiches wrapped in old newspaper. They are thin, quiet, shy, and strange - looking to the other children, who taunt them mercilessly. Their one strength seems to be that they "never failed to understand each other" (320 - 21). Lil and Else know, of course, about the magical dollhouse, and they accept without question the fact that, though all the other girls have been to see it, they will not be invited.

Kezia, however, decides to question the unwritten and sometimes unspoken social code by which the Kelveys are ostracized. Any class snobbery that she harbors is vanquished when the opportunity arises to treat the Kelveys to a view of the dollhouse. They, on the other hand, long accustomed to perceiving themselves in the despised position, are doubtful -- astounded even-- when Kezia extends to them the privilege of an invitation: "'You can come see our doll's house if you want to.'" Lil, the older of the two sisters, is hardly bold enough to defy convention; she flushes, gasps, and murmurs her refusal: "'Your ma told our ma you wasn't to speak to us."" Kezia is initially at a loss for words at this abrupt rejoinder but soon decides to brush the warning aside: "'It doesn't matter. You can come and see our doll's house all the same. Come on. Nobody's looking'" (324).

Finally, to placate little Else, Lil is persuaded to give in. When Kezia opens the hinge and the interior of the house swings into view, Lil and Else are overwhelmed by the marvelous despair that first swept over the Burnell children. Kezia points out "'the drawing - room and the dining - room, and that's the -- '" (325). The unfinished thought was undoubtedly to be "and that's the little lamp." But before Kezia can finish the tour of the house or even her sentence, the cold furious voice of reprimand is heard in the doorway.

It is not Kezia's mother but her stern Aunt Beryl who issues the demand that Lil and Else leave at once: "'How dare you ask the little Kelveys into the courtyard? . . . You know as well as I do, you're not allowed to talk to them. Run away, children, run away at once. And don't come back again. . . . Off you go immediately!'" As the doors slam shut, Lil and Else are not surprised that their glimpse inside of Kezia's dollhouse has been so brief. They shrink away from the courtyard, not stopping to rest alongside the road until they are well away from the scene of their humiliation. Lil, who is described as "like her mother," still feels the shame burning in her cheeks, but Else soon forgets "the cross lady," remembering only the privilege of the moment. The narrator attempts to read their thoughts as they look "dreamily" into the distance, but Lil's remain private. Beryl's unkindness has struck her as a much deeper rejection than Else can perceive. Not only are they denied a view of the dollhouse, they are also barred from the vision that it represents -- the comfort and security of a middle - class home. No four walls protect them from the instability, the randomness, and the vulgarity of life.

Else, on the other hand, smiles "her rare smile." Even if only for a moment, she has been illuminated by that infinite promise of profound interiority that resides within the dollhouse. Kezia's admonitions on the playground that everyone pay attention to the lamp were not wasted on Else, who remembered every word and, in the few seconds give her, witnessed the symbolic object. Now, softly, she says to her sister Lil, "'I seen the little lamp'" (325 - 26).
I seen the little lamp!

To see many more miniature lamps, go to Ruby Lane,
where they also have a stunning collection of big lamps
and a vast collection of dolls!
Another Darling Dollhouse
Illustration by Beatrix Potter, 1866 - 1943

for her story The Tale of Two Bad Mice, 1904

"Once upon a time there was a very beautiful doll's-house;
it was red brick with white windows, and it had
real muslin curtains and a front door and a chimney."

* Previous Jan Donley
Posts on My Blogs
Lucky Rock
Lost & Found
9 / 11 Retrospective [also on Quotidian Kit]
Dagmar's Birthday [also on Quotidian Kit]
Everyone Loves Stories
There On the Edge of Autumn

Scales
Sleight of Hand
The Little Door
Savor September!
Happy Birthday Coyote!

Another Lovely Little Lamp by Jan ~ January 2014

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Thursday, November 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Dolls in Literature

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

I like the American Express ad, where Tina Fey says that her "Most interesting souvenir" is "an Amish baby doll with no face." I wonder where she purchased hers? I found this pair at Reading Terminal Market in Philadelphia, and my neighbor John Woodin photographed them for my book jacket:

"Why shouldn't we, so generally addicted to the gigantic,
at last have some small works of art,
some short poems, short pieces of music
[. . .] some intimate, low-voiced, and delicate things
in our mostly huge and roaring, glaring world?"
~ Elizabeth Bishop ~

"For our very humanity is in our urge
to make magic with images [& miniatures]."
~ Erica Jong ~
A few months ago, I had the good fortune to reconnect on facebook with one of my former professors, Dr. Herman P. Wilson. Back in the 70s, I was enrolled in several of Herman's classes, such as History of the English Language and Structural English Grammar, as well as some graduate reading seminars in Charles Dickens, Thomas Hardy, and D. H. Lawrence.

Upon learning what I had been doing since my days as his student, Herman did me the great honor of going out of his way to purchase my book and read it from cover to cover, a feat -- let me tell you! -- undertaken by very few. He was then kind enough to send me his response, as follows:

Hello, Kitti--

Throughout all my teaching career, as I've watched some of my students working on graduate degrees, I've always wanted those students to "go beyond me." I wanted them to pursue studies of writers / materials about which I have little or no knowledge.

You have fulfilled my desires. For that reason I am grateful for the opportunity to read your work. The "doll" as a literary topic had never occurred to me. I like to explore such new topics as I see references to them. So you have given me both personal and professional pleasure.

You have produced a scholarly study, for which you have done extensive research to support the theories and ideas which you develop. I'll take a guess: is the work your PhD dissertation? Had I been on your PhD faculty, had you invited me to be one of your readers and explained your research plans, I would have responded, "Yes, I'll be happy to be one of your readers, but you will need to educate me as we work together on your research. I have limited knowledge of your topic." You have provided me some education on the "doll" in literature. I now have beginner's knowledge of your subject matter.

I've worked with many of your sources--Swift, Hawthorne, Lawrence, Hoffman, Mansfield, Yeats, Atwood, French, Hardy, and Atwood. I'm aware of and have limited knowledge of the "psychiatric, psychological, theoretical linguistic" writers--Rank, Freud, Eco, and Lacan. You have enhanced my knowledge of both familiar and non-familiar writers.

Your prose is well written, with ideas carefully supported, and has a pleasant mixture of serious academic topics and delightful human interest stories of the "doll" in our world and in literature. A beautiful bit of irony: yesterday I went to the grocery store. While waiting for my driver, I noticed a woman, holding one hand of a little girl, whose other hand clutched a little doll to her childish breast. Simple? Yes, but that scene made me think of you and the work I was reading.

Thank you for a new, pleasant, delightful experience. I remember you as a careful writer; my reading of your work has strengthened that memory.

Peace, joy, and happiness ~

Herman

Needless to say, I was overwhelmed by the generosity of Herman's praise and the time he invested both in reading my entire book and in writing to share his thoughts. I will let his letter to me and my reply serve as today's blog post:

Dear Herman,

Thank you so much for reading my book! You have given me by far the kindest words, the highest praise, the most encouragement that I have ever received on that project, along with the support of my dissertation advisor, Dr. Leonard Orr. I was lucky to have him on my side; and you are so right -- if you and I had still been at the same institution, you too surely would have been on my committee and seen me through the long process!

At the first "guidelines for dissertations" meeting I attended at Notre Dame (Fall 1984), a rather uncheerful professor discouraged everyone in the room from attempting a "theme" study, such as "ships in literature" -- yes, that was the example he gave -- I have never forgotten! So I kept quiet about my "dolls in literature" idea, even though I had been longing to write a book on that topic, and slowly but surely amassing good examples, ever since reading The Women's Room back in 1978: Marilyn French's revealing image of the little Barbie serving as mother to the giant Baby doll had never left my mind.

I felt sure that doll imagery was powerful and important, but I began to doubt myself and fear that it was perhaps not a weighty enough topic for a dissertation, so I put the idea on hold and began casting about for a "single author" focus -- maybe Virginia Woolf? But nothing felt right and the time for submitting my proposal was drawing near (by now it was 1988).

Then, in a totally unrelated conversation, Leonard was describing his ideas for an article on animation, and I mentioned that one day -- in the distant future, after my dissertation -- I was going to write a book on dolls. He was astonished that I had never told him this before, for he had already been my advisor for several years. He asked me why I was struggling with research that didn't speak to my heart when all along I knew exactly what I wanted to do? I said, well, I thought maybe it wasn't important enough or academic enough, so I was hiding it under a bushel. He said, Nonsense! and loaned me Susan Stewart's amazing theoretical study, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection and Jane Gallop's fascinating collection of autobiographical criticism, Thinking Through the Body .

Although I wanted to focus primarily on "the miniature," Stewart's inclusion of "the gigantic" reminded me of a long essay that I had written several years before on Victor Frankenstein's urge to create in his own image. At the time, it had been well received by a couple of my professors; so I pulled this old paper out of my "saved" file and it became a chapter in my dissertation.

I had also written a shorter paper called "Gulliver in the Dollhouse" for an 18th Century class that I took at Notre Dame. I received only a "B" on that paper because the professor felt that the idea needed a "larger theoretical context." Well, perfect! I now had that "larger context" -- so the Gulliver paper became another chapter. I had studied Yeats' poem ("The Dolls") in Irish Literature, and the D. H. Lawrence story ("The Captain's Doll") undoubtedly came from one of your classes, Herman. So I had a solid rough draft almost instantly, thanks to all those earlier inspiring courses and paper topics.

I finished the dissertation in 1990 and then in 1998 did the editing (not too much really) to repackage it as a book. Thanks for listening to this saga, Herman. And most of all, thanks for reading my study of the doll with so much patience, for responding to it so thoroughly, and for always encouraging me in the seriousness of my work.

Yours,

Kitti

**************************************************

PREVIOUS POSTS IN REFERENCE TO
THE MINIATURE & THE GIGANTIC:

The Mystery of the Matryoshka: Within Within Within

Fun Fall Food!

The Miniature & the Gigantic

Memoirs to Read in the Summertime

My LIST: "Dolls in Literature"

And lastly, the voice of a skeptic in this recent article
concerning the value (or not) of dissertations.

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Wednesday, September 28, 2011

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

The Mystery of the Matryoshka: Within Within Within

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Largest ~ Elegant Renaissance Maidens ~
Smallest ~ Very Tiny Little Red Riding Hood and Alice in Wonderland ~
~ Gifts from my friend Marietta. Thanks Et! ~
A couple of months ago, my friend Gabrielle left a couple of mysterious facebook messages. First, there was:

Did you know that your brain contains atoms that were once part of Albert Einstein?

Then a couple of days later:

I just want to let all of you guys that you're leftover stardust! I love you guys! So go be an amazing leftover star!

After that one, I just had to write back and ask her:

Q: Gabi, Have you been reading "The Effect of Gamma Rays on Man - in - the - Moon Marigolds"? I love that play!

A: By Paul Zindel? No, I haven't read it, but I should! I'm actually doing my physics homework right now. I am not a nerd . . . okay maybe a little! I've always found it fascinating that we're interconnected through a bunch of atoms. It's just more evidence that we're all part of one big picture. I'll definitely have to read "The Effect of Gamma Rays."

Ah ha! Physics homework! That explains it!

However, you can see why Gabi's posts made me think of Paul Zindel's play, in which the main character, Tillie delivers the following cosmic explanation of her science fair project. Tillie's stirring science fair speech never fails to give me goosebumps! She is a girl of such true vision, and one of my all time favorite literary heroines:

"For one thing, the effect of gamma rays on man-in-the-moon marigolds has made me curious about the sun and the stars, for the universe itself must be like a world of great atoms . . . But most important, I suppose, my experiment has made me feel important--every atom in me, in everybody, has come from the sun--from places beyond our dreams. The atoms of our hands, the atoms of our hearts" (101-02).
(See my book blog Still Not Too Late: April 29, 2009)

Not long after my chat with Gabi, another friend had a great passage to share at our First Friday discussion group. But first, she said, "Do you have one of those Russian nesting dolls that we could look at?" Do I? I have big ones, little ones, authentic classics, cheap imitations, storybook characters, cats, Santas. And that's just for a start. I ran a got a few sets, and my friend Nancy read aloud:

"Keep in mind, as you pray and meditate, that the God inside of you is more powerful than anything else in the world. The entire cosmos is imprinted on every atom of your being. . . .

"You can think of the universe as a set of wooden Russian matryoshka dolls, with each doll having a smaller one inside of it. The entire visible universe is the outermost doll, and nested inside it are galaxies, solar systems, stars, planets -- right down to the smallest doll, which is you. But inside of you is an even smaller doll that somehow has the biggest doll inside of it. When you figure out this riddle, you will have discovered the key to your ascension!"

from Reincarnation: The Missing Link In Christianity
by Elizabeth Clare Prophet (1939 - 2009)

Talk about goosebumps! Naturally, as soon as I heard this, I had to share my favorite passage from The Effect of Gamma Rays on Man - in - the - Moon Marigolds, as well a quick summary of my recent conversation with Gabi. Atoms, atoms everywhere!

Little Ben with the Matryoshka Collection, 1997
Sam's Display of the Tiniest
I have collected many matryoshka sets over the years and have been given many as presents, especially when I was writing extensively about dolls and miniatures and the secrets of interiority. Most enlightening on this topic is Susan Stewart's book: On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Stewart's insight on the dollhouse -- "the house within a house" and even more so, "the dollhouse within the dollhouse and its promise of an infinitely profound interiority" -- is equally applicable to the nesting Matryoshka / Matreshka dolls, stacked and nested so neatly within one another:

"Transcendence and the interiority of history and narrative are the dominant characteristics of the most consummate of miniatures -- the dollhouse. A house within a house . . . a space within an enclosed space . . . the locket or the secret recesses of the heart: center within center, within within within. The dollhouse is a materialized secret; what we look for is the dollhouse within the dollhouse and its promise of an infinitely profound interiority." (p 61)

The atoms of our hearts, the key to our ascension, the tiny doll inside of us that somehow contains the entire universe -- herein lies the mystery of the matryoshka. Within within within.

Egyptian Mummy Matryoshkas from the Museum Catalogue
and Giant Mummy Earrings from Von's

And My Book:
CREATED IN OUR IMAGE:
THE MINIATURE BODY OF THE DOLL
AS SUBJECT AND OBJECT

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Monday, March 28, 2011

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com