Hunger by Knut Hamsun

This is a short novel written by a contemporary of Edvard Munch, whom we all know and love for his painting The Scream. Hamsun, who won the Nobel Prize for Literature in 1920, has created a Kafkaesque narrator who struggles through a very rough patch in the city, before setting out on the voyage that will make or break him as a functioning adult. Sorry about using the term "Kafkaesque,' by the way.

If you read Hunger as a narrative, a traditional novel, you will be disappointed. Better to stick with Dostoyevski's Crime and Punishment. Hamsun's narrator, his K, his analog-I, seems to drift on through from one thing after another by the power of his own inner compulsions. But what are they? Ahh! Once you ask that question, you will be on the way to seeing the deeper level of Hunger, as a tale of a boy trying to become a man and take a place in the symbolic order.

I hated Biblical allegory because I never saw it on my own. Once somebody pointed out the hidden, deep and secret meaning, then I could say, 'Aha! I get it!' But never a minuite before. In literature, sadly it is the same, but, thanks to Freud, Jung, Erich Neumann, and the demigodic Lacan, I enjoy what I find so much more. And Hamsun digs deep, oh so deep.

The novel is about 200 pages in the Penguin Classics edition, divided into four sections. In the first, we are dragged along through three days of the narrator's life. And what a life! Signs and talismans abound. But I don't want to spoil your digging, so I will only hit the high points. Our poor young man has already pawned all that he brought with him from home. What remains are the clothes on his back, his pencil and paper, and a borrowed blanket which will eventually become part of a great moral struggle. But let's look at the pencil. It is the extention of his hand, and thus of his brain, where all the knowledge cramm'd in by classics-loving schoolmasters is kept. And it is the way he proposes to earn his place in society. Write!-- yes, but what? He wants, it seems, to write serious literature, but the only things he can sell for now are newspaper articles, articles to the public taste (ugh!) and not learned gobbledeguk, as his father..oops....I mean his editor reminds him later. But today he must move one more step down the ladder of life and pawn his vest. Trouble is, he forgets to remove the pencil from the pocket! His talisman of manhood is lost! And he must do all he can to get it back.

Having no vest meant that it is no longer possible for him to even pose as a respectable person, much less keep warm at night. In part two, the narrator takes refuge in jail for a night, where he takes on the identity of an important person who has not been able to make it home. He does pull it off, but then cannot take part in the breakfast provided for the homeless, lest he blow his cover. Andreas Tangen, journalist--is his assumed identity, but it is a sham. When he does get to the place of empowerment, the editor's office, what he had written is rejected out of hand. To the editor it is a non-incident, for he has a place in the symbolic order, but for the narrator, the pittance he would have been paid is a matter of life and death.

In part three, he meets a girl around whom he has thrown a web of fantasy as his 'Princess Ylajali.' Turns out, she has taken a fancy to him as well, though God only knows why. He can's smell very good, and sleeping in one's clothes does nothing for the appearance. In the real time of the novel, I cannot explain it, other that a strange whim, but in the world of symbols she is the (gasp) mother figure in his Oedipal drama. On the winding way to her sitting-room he is symbolicaly castrated twice, by biting his finger and when a bakery wagon crushes his foot. If that were not enough, Hamsun hits us with a third symbolic castration when, just before he reaches his prize (no, not THAT!), Ylajali discovers that his hair is falling out. (Think Sampson, but dont run off to read Milton's Sampson Agonistes.)

I wont spoil the fourth part, other than to say Primal Scene? Yeh, it's in there. From the 1700s on, I have found that education went well ahead, even though based in the classics, but jobs for all these newly educated were few and far between. Hölderlin could be a pastor, if there were a parish for him, or he could be a tutor to some rich brats, treated no better than a house servant. Not that there's anything wrong with being a house servant, but the education received put the mind on lofty, unobtainable things. The Brontë family, including brother Branwell struggled with this as well. The girls could be governnesses or work in a Madeline-y school in Brussles. Branwell tried to work for the railroad. Baudelaire has a better start, but his voyage was a disaster; he gave up half way and returned home. We can only hope for better things from the voyage of Hamsun's narrator in Hunger.

And, yes, I give this book seven thumbs up^^

Religion: Ozian-Hölderlinist

Ozian-is for the human imagination, the creative part of us that is also a bit of divinity. If faith is the substance of things hoped for, the evidence of things not seen, then faith is our free passage to Oz. It is imagination that creates the things hoped for, things which we cannot see and experience with our five senses.

Hölderlinist-Friedrich Hölderlin (1770-1843) embodies the poet as vates or shaman. The spiritually gifted among us, those who bridge the gap between humanity and divinity, are few in any generation. The gift is not easy to bear, and at its must intense, cannot be sustained by even the strongest. We should be thankful for the gifts and sacrifices of those who are able to bring back and share with us divine oracles, in whatever form they come.

An Ozian-Hölderlinist seek out the divine oracles which surround us, absorbs them, and shares them with others. In doing so, the connection with divine things is renewed and continued.

Hölderlin and his education

During the Reformation, England destroyed its monasteries. Hölderlin's homeland turned them into schools. At Kloster Denkendorf and Kloster Maulbronn, young Hölderlin was prepared for the prize, Tübingen Seminary. A holy caste of pastors, caretakers, educators and officials had grown up to be as much of a state within a state as the Catholic Church had ever been. Hölderlin, as a member of this caste, was expected to take his place where and when it was assigned to him. His education at Tübingen was free, but if he ever defaulted on his state church obligations, he would be obliged to pay it back in full. This he was never in position to do, since, like Baudelaire, his mother and her financial advisors controlled his inheritance throughout his life.

Gottlieb Christian Storr (1746-1805) was Hölderlin's professor of theology at Tübingen. He gave a nod to the Enlightenment, which enraged the traditionalists, but in the eyes of the students secretly reading Kant, he did not go far enough. This "Old Tübingen School" recognized the validity and possibility of divine revelation, but did not believe that Divinity spoke today.

So what did Hölderlin learn from his religious education? Well, if we accept that divine revelation was possible in Bible times, then why is it now now possible? And if it is possible today, who within our society is best equipped to receive the word of God? Not the clergy, with their rigid adherence to dead forms, and the belief that Jesus had been the best and last revealer. Not the government, who know it was dangerous to have unrestricted access to divine things. The other half of Hölderlin's education gave him the answer--the Classical World. Since the time of Augustine and Jerome, the Church was tied to the great pre-Christian models of the liberal arts. Hölderlin says to us that divine revelation is still possible and the poet is the one who is best equipped to reveal divine words to the community. Thus his education proved both his making and his undoing. Like many students of theology and the Classical world, he was pulled in two directions: to see the Dantean Christian Kosmos and be a part of it and to see that humans had once lived another way in a time when they knew neither Jesus nor the Bible. Hölderlin found his path, but did not find his community to be receptive. While Storr's pupils continued to focus on God's Biblical communication through His chosen messengers, Hölderlin tapped into the wellspring of divine life, and in the doing found the ecstasy and emptiness that accompany the office of divine messenger.

Hölderlin and other poets

Poetry can be wonderful! It's metaphors can speak to us in the language of divinity. Poetry is something that I think I should like, but very few poets actually take root in my heart. Dante and William Blake were the first, but I seem to have wandered away from them. In college, I loved the biographies of the English Romantics-Keats, Shelley, Byron, Chatterton, Coleridge &c-but did not do so well with their actual works. Classes in Chaucer and Milton were enjoyable, until I wandered off with Robert Herrick.

Then a long time passed. I saw a movie in which a character bought the complete works of Baudelaire, so I tried a copy of Fleurs du mal. Aah! It was amazing, like the first time I heard the Sex Pistols at Terry Lancaster's house circa 1978--now THAT was MUSIC! Anyway, Fleurs is Dante for the modern age, where the supernatural world of the Commedia has collapsed into the streets of the modern city. Liking Baudelaire, I tried Verlaine, Rimbaud, Valery and Mallarme. Of them, all greats to be sure, I could only bond with Mallarme. He combines the desire for the mystical with the hidden fear that there is really nothing beyond life after all. But please try some Baudelaire--this is from my favorite, le jet d'eau--

So does your flashing soul ignite
In lightnings of voluptuous bliss
And rushes reckless up the height
As though the enchanted sky to kiss;
Then it relaxes, grows more fine,
And in sad languor falls apart
Down an invisible incline
Into the deep well of my heart.

The image is that of a fountain or fireworks. English cannot quite do it justice.

Which brings me around to Hölderlin. I knew he existed, but knew nothing about him until recently. Coming off a magical journey to Oz, I wandered into my ancestral homeland of Swabia, and decided to explore Hölderlin's world. Like me, he lost two fathers, and while pointed to the church, was undone from that path by a classical education. In exploring Hölderlin's life, I found the world of my ancestor Johann Martin Obermuller (1743-1803). The education at Tubingener Stift (Seminary) was free, but a graduate was under obligation to the State Church all the rest of his life. I believe my ancestor was enlightened, as Hölderlin was, by his education and as a result fled to America to escape the obligation. For Hölderlin, escape was not so simple. He had to register every lodging, have every employment approved, all the while struggling against the power of his mother and society to take his role in the State Church. In the end, he escaped into 36 years of madness. Johann Martin Obermuller spent 36 years as a farmer in York County, Pennsylvania, living in Rousseau's happy state of nature. Hölderlin's hope for his society vanished with Napoleon's betrayal of the ideals of the French Revolution, but my ancestor got to see the American Revolution close up and personal when the Continental Congress sat at York City in 1777-78.

Currently, I am reading Hölderlin's poems and letters. Amazingly, he is becoming, like Baudelaire, a part of me. So if you think that your heart loves poetry, yet you cannot seem to find the right poets, just keep looking and they will find you.