Gerald Murnane is the author of nine books of fiction and a collection of essays. Inland is his fifth book, first published in 1988. Murnane’s first work of fiction Tamarisk Row, which appeared in 1974, has also been republished by Giramondo. His most recent books are the essay collection Invisible Yet Enduring Lilacs (2005), and the two works of fiction, Barley Patch (2009) and A History of Books (2012).
Inland
Gerald Murnane
First published 1988
by William Heinemann Australia Pty Ltd
This edition published 2013
from the Writing & Society Research Centre
at the University of Western Sydney
by the Giramondo Publishing Company
PO Box 752
Artarmon NSW 1570 Australia
www.giramondopublishing.com
© Gerald Murnane 1988, 2013
Designed by Harry Williamson
Typeset by Andrew Davies
in 11.25pt/14pt Garamond
and Italia bold
Printed and bound by Ligare Book Printers
Distributed in Australia by NewSouth Books
National Library of Australia
Cataloguing-in-Publication data:
Murnane, Gerald, 1939– .
Inland.
ISBN 978-1-922146-28-1
A823.3
All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying or otherwise without the prior permission of the publisher.
Other Books by Gerald Murnane
Tamarisk Row
A Lifetime on Clouds
The Plains
Landscape with Landscape
Velvet Waters
Emerald Blue
Invisible Yet Enduring Lilacs
Barley Patch
A History of Books
Foreword
Almost twenty-five years have passed since I read the page-proofs for the first edition of Inland. During most of that time, I tended to avoid looking into the pages of that edition or of any of the six later editions. I had felt unusually driven while I was writing Inland, and I supposed after its publication that I might have put into the text more of myself than was seemly. During these last few days, while reading the page-proofs for this present edition, I have been surprised and relieved to learn how much of the text must have sprung not from its author’s memory but from those other sources often called collectively the imagination.
Critics and commentators have differed widely in their interpretation of Inland. I would never comment in writing on any one interpretation, but I hope I may be helping new readers of my text if I state here that I consider the book to have only one narrator and not the several that some readers have seemed to find. That one personage or presence seems to me to have discovered not only that each thing is more than one thing, as a fishpond, for example, may be also a well, but that each text is more than one text.
I was surprised too, during my latest reading, to find that most of the matters that had seemed to puzzle readers are actually explained in the text. The critic who wondered why the colours red, white, and green are often mentioned could not have read the clear explanation in the text itself. Even the source of the last, italicised sentence of the text, which no commentator seems to have discovered, is strongly hinted at in the text.
In short, I seldom felt, during my latest reading, that I had made Inland too difficult. Only twice did I feel an urge to rewrite what I first wrote nearly half a lifetime ago. I should not, perhaps, have had the man in the manor-house and his visitor, the writer of books, talk guardedly about sows and heifers but openly about female farm-servants. And I should, perhaps, have explained that although the Magyar language seems unlike any other known language, some scholars have claimed to find in it certain resemblances to the Finnish language, which, if proven, would mean that the Finns are distant cousins, so the speak, of the Hungarians.
Gerald Murnane
March 2013
Inland
I believe that basically you write for two people; yourself to try to make it absolutely perfect...Then you write for who you love whether she can read or write or not and whether she is alive or dead.
ERNEST HEMINGWAY
I am writing in the library of a manor-house, in a village I prefer not to name, near the town of Kunmadaras, in Szolnok County.
These words trailing away behind the point of my pen are words from my native language. Heavy-hearted Magyar, my editor calls it. She may well be right. These words rest lightly on my page, but this heaviness pressing on me is perhaps the weight of all the words I have still not written. And the heaviness pressing on me is what first urged me to write.
Or the heaviness pressing on me could be the weight of all the days I have still not lived. My heaviness will urge me in a little while to get up from this table and to walk to the windows; but the same heaviness will urge me afterwards to sit down again at this table. Then, if I begin to write: I walked just now to the windows and looked across my estates... my reader will learn how little I see around me, with this heaviness pressing on me. Of all the wide landscapes around my manor-house, I can never bring to mind any more than the nearest field and the long line of poplar trees on the far side of it.
Is that really all? Sometimes I am aware of more fields behind the first field, and of grasslands behind everything – indistinct grasslands under grey, sagging clouds. And I could repeat a sentence or two from my schooldays: Szolnok County, on the Great Alfold...
I have forgotten for the moment what I once read in my schoolbook. But I remember the sweep-arm well in the first field behind the poplar trees.
If you, my reader, could step with me to the windows, you would notice it at once – the long pole pointing at the sky. You would notice the well-pole, but why should I? A long pole points at the sky in every view from every window in this manor-house, and in every view from every manor-house in Szolnok County. Yet again, neither you nor I might see a particular well-pole on the far side of the poplars; one of my overseers was ordered to block the well and to pull down the pole last year – or it may have been another year.
Now, something other than heaviness urges me to leave this table and to walk to the windows. I have to walk to the windows in order to learn whether I remembered, just now, the sight of a certain well, or whether I was dreaming.
But perhaps I could say without leaving this table that I only dreamed of the sight of my well. If you recall, reader, I had not left my table when I began this inquiry. I had only dreamed of myself leaving my table and then returning to my table and then trying to recall what I might have seen through my windows. I dreamed of myself here at my table and then I wondered whether the man I dreamed of – whether that man remembered the sight of a certain well or whether he was dreaming.
I dislike what I have just written. I believe my editor too will dislike it when she reads it. I had not meant to compose that sort of sentence when I began to write. And yet my elaborate sentence has made me forget for a moment the heaviness pressing on me. I will go on with my writing. I will remain at this table. I may not be able to tell you for some time, reader, whether or not a long pole points at the sky in the field behind the poplars. I may even dream of myself stepping to the windows and then returning to this table and then writing about myself having done such things. But if I write any more about the sweep-arm well, I will try for your sake, reader, to distinguish between what I see and what I remember and what I dream of myself seeing or remembering.
My editor lives in the land of America, in the state of South Dakota, in Tripp County, in the town of Ideal. (Not many atlases show this town, but the reader may see the wo
rd Ideal clearly printed a little east of Dog Ear Creek on page 166 of the Hammond World Atlas, published in 1978 by Hammond Incorporated for Time.)
My editor lives in America, but she was born where the River Sio, trickling from Lake Balaton, finds an unexpected partner in the River Sarviz from the north. They do not join forces immediately, but wander side by side the whole county through, two or three kilometres apart, winking coquettishly at each other like dreamy lovers. The two streams share one bed, so large, fertile and wide that it might be called a family-size double bed. On either side the gentle slopes and peaceful hills are adorned with colours that would not be out of place on the walls of a serene and cheerful home. This is her part of the world. (Most of the sentences above are copied from People of the Puszta, by Gyula Illyes, translated by G. F. Cushing and published by Chatto and Windus in 1971. People of the Puszta is not a book of fiction. All the people mentioned in the book were once alive. A few of them may be still alive.)
My editor lives in Ideal, in Tripp County, in South Dakota, but she was born in Tolna County, in Transdanubia, and I like to think that she remembers a little of the district where she spent the first years of her life.
My editor is also my translator. She is fluent in my language and in the American language. She calls herself Anne Kristaly Gunnarsen. She is married to Gunnar T. Gunnarsen, who is tall and fair-haired and a scientist. He and his wife are both employed in the Calvin O. Dahlberg Institute of Prairie Studies near the town of Ideal. (Calvin Otto Dahlberg was born in Artesian, South Dakota, in 1871 and died at Fond du Lac, Wisconsin, in 1939. He made his fortune from breweries and paper.)
I have never met Gunnar T. Gunnarsen, the scientist of prairies. I have not even met his wife, my editor and translator. But I know that she writes at a desk in a room with books around the walls and a wide window overlooking a prairie.
My editor’s prairie is not a true prairie. It is really a wide wasteland owned by the Institute of Prairie Studies. The scientists of the Institute have sown the wasteland with the seeds of every plant that once flourished where the town of Ideal now stands. Each summer, when the plants have grown to their full height, Gunnar T. Gunnarsen and his fellow scientists step gently in among the plants to count them. Unlikely as it seems, the scientists of prairies kneel all day to count and measure on a certain hillside and in a certain hollow and beside a certain pond in the valley of the Dog Ear, on the Great Plain of America. And afterwards the scientists calculate how many more seeds they must sow before the wasteland will have the look and the feel of virgin prairie.
In the meanwhile, Gunnar T. Gunnarsen and his wife and their thirteen-years-old daughter live in a large house among the experimental plots of the Calvin O. Dahlberg Institute. And sometimes my editor writes to tell me she has just stepped to the windows and she wishes she could describe for me the sight of a wasteland growing into the prairie it should have been always: the sight of her dream-prairie, as she calls it, rising out of the soil around her. My editor writes that she feels herself looking towards the past rather than a vague future. The past is not her own past – not the years of her childhood. She is as far from her childhood as ever. But when she looks out from deep inside the shadows of her room towards the grassland that will soon seem a true prairie, she feels herself about to begin another lifetime in the place where she should have lived always.
But these are only interruptions to the business of her letters. Anne Kristaly Gunnarsen is an intelligent, practical young woman with important affairs in hand. (I will not write here what I privately feel towards the woman who will later read and edit these pages. One day I will write pages that no one will have to edit or translate. I will write about afternoons when I have sat at this table and believed that the last sound I would hear on earth was either the bumping of a window-sash in the summer wind or else the scratching of my pen on paper; that the last sight I would see on earth was either a segment of sky above a row of poplar trees or else the spines of hundreds of books I have never lifted from their shelves. I will write about afternoons when I might have been smothered under a heaviness if I had not found on my table a few pages like these around me now: pages from the land of America, where people write freely to one another and are never alone.)
My editor has turned into Magyar for me the names of plants that she sees from her window. She urges me to write the names of her admired plants and to recite them aloud. She assures me I will feel a rare pleasure as I name in my own language the grasses and shrubs from her dream-prairie in America. She wants me, so she says, to see here in Szolnok County the nodding of tiny blue and scarlet flowers; to hear on my own plains the rattling of strange grass-stems in the wind. Sometimes my editor even urges me to turn my own fields and pastures into a dreamgrassland, or to establish an Institute of Great Alfold Studies on some patch of wasteland among the outlying streets of Kunmadaras.
I hardly feel my heaviness when Anne Kristaly Gunnarsen writes so earnestly to me. I cannot do all that she urges me to do. But sometimes I write the names of plants from her dream-prairie. And sometimes I recite the names – not with pleasure exactly but with a queer mixture of feelings.
Here are some of the names for you to recite, reader. But perhaps you will hear, as you recite, only sounds of heavy-hearted Magyar.
Little bluestem; ironweed; fleabane; boneset; wolfberry; chokeberry.
(All the names of plants in the paragraph above can be found in The Life of Prairies and Plains by Durward L. Allen, published in 1967 by McGraw-Hill Book Company in co-operation with The World Book Encyclopedia.)
Anne Kristaly Gunnarsen translates much more than names of grasses and shrubs. She is director of the Bureau for the Exchange of Data on Grasslands and Prairies. The Bureau is a department within the Institute of Prairie Studies.
When I first heard of the Bureau, I dreamed of a large American building crowded with filing cabinets and desks and with clerks wearing green eyeshades. But Anne Kristaly Gunnarsen speaks lightly of the Bureau. She tells me it is literally a desk – the same desk from which she writes to me. And she diminishes the Bureau by naming it from the initial letters of its title.
Sometimes Anne Kristaly Gunnarsen describes herself sitting at her desk and thinking of the grasslands of the world. At every hour of the day, in one country or another, a man looks up from peering at plants with names such as ironweed or wolfberry. The man is the only person inside the circle of the horizon. He stares across the veldt or the steppes or the pampas and prepares to think of himself as quite alone. But he cannot think of himself and the grass around his knees and the clouds over his head and nothing more. He thinks of himself talking or writing to a young woman. He thinks of himself telling the young woman that he thinks of her whenever he finds himself alone in grasslands. He thinks of himself telling the young woman that he thinks of her telling him she thinks of a man such as himself whenever she sits at her desk and thinks of the grasslands of the world.
According to my editor, all the level and grassy places of the world are marked on maps and described on sheaves of paper in the Bureau for the Exchange of Data on Grasslands and Prairies. Every day the director of the Bureau sits at her desk and reads about the plains of the world. The men on their veldts and steppes and prairies are thinking about Anne Kristaly Gunnarsen in the place that she calls BEDGAP.
Every night in summer Anne Kristaly Gunnarsen leaves the windows of her bedroom open wide. The last sound that my editor hears before she falls asleep is either the clashing of small seed-pods in the night breeze or else the soft thud and the faint metallic echo of a beetle or a moth against the window-screen.
Anne Kristaly Gunnarsen’s dream-prairie begins at her window. Instead of lawns and gardens around their houses, the prairie-scientists of Ideal let the wild kinds of grass grow freely. If Anne Kristaly opens her eyes in the night, she sees between herself and the moon and stars blade-shapes and spear-shapes and helmet-shapes, or sometimes the shapes of feathers or bells or bonnets.
My editor has never told me, and I will never ask, but I believe she sleeps alone in her room. All night she is only wakened, I believe, by scents. Every day on her dream-prairie countless flowers almost too small to see burst out at the ends of grasses. Each flower spills particles and droplets in the air. Every night the air of Ideal has the taste of the inner parts of flowers, and all night in her room my editor takes this rich air into her throat.
You must have noticed, reader, that I cannot write easily about the scents of things. I was born with a strange deformity: my nose has no power of smelling.
The wind in my face might have come to me straight from the hills and valleys of wet dung where the female farm-servants have heaped the scrapings from my cattlebarns. Or the wind comes from the roses on the many archways over the winding paths to my ornamental lake. But I get from the wind no hint of dung or roses. I only feel the rush or the drift of the air, and all I think of is the width of land that the air has crossed before it reaches me.
If I were to write to my editor that I have taken pleasure from scents on the Great Alfold, I would be deceiving her. But I pretend to understand her when she writes that her room has been sweetened all night by some scent from her dream-prairie.
The official organ of the Calvin O. Dahlberg Institute of Prairie Studies is called Hinterland. The first number of Hinterland was expected to appear long before now. Anne Kristaly Gunnarsen tells me the issue has been delayed because the position of editor has not yet been filled and because scientists and writers have disagreed about the purpose of the official organ of the Institute.
I do not know who finally controls the Institute of Prairie Studies. I used to believe that my editor, with all those grasslands at her windows and all those books on her shelves, would have had few people above her. But sometimes she writes of having to impress certain men and of having to court and flatter them because she has set her heart on being editor of Hinterland.
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