By Elaine Scarry
This selection of essays screens the author's constructing main issue with the problematics of illustration as exemplified in literary texts that care for such options as paintings, discomfort, time, and the cosmos. via her readings of texts through Thomas Hardy, Samuel Beckett, Boethius, William Thackeray and others, Scarry demonstrates the problems and the complexities of the ways that language and imagery try out, and fail, to make current a few points of the "real."
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Example text
Commercials for aspirin and nonaspirin substitutes are addressed to the people who themselves have the aches and pains: the advertisers are probably correct in believing that almost everyone has occasional small aches and pains, and a large number of people have some aches and pains fairly regularly. They need not present their product through the coercive strategies used for many other commercial products in part because physical pain, even when minor, provides its own coercion, its own compelling message that it must be gotten rid of.
The problem is that the face of even an "unmemorable" person is brimming with sensuous detail, especially when compared to the ghostly lack of sensuous detail in a chalky white tablet. Thus the best strategy is to keep them away altogether. In the Encaprin advertisement (see Figure 9), it is the product on the left-hand panel rather than the human being on the right-hand panel that is permitted to have sensuous substance and a material form. APF (Figure 21) pictures Robert Young but his face is smaller than the APF box and much smaller than the giant tablet.
Winter, Women Gathering Wood (L'hiver, les bucheronnes). 1868-74. Unfinished oil on canvas. National Museum of Wales, Cardiff. second kind of crossing is at least as essential to Hardy as the first. 2 The human creature is for him not now and then but habitually embodied: it has at every moment a physical circumference and boundary. Thus it is, in its work and its play, in the midst of great yearning and in the moment of great fatigue, forever rubbing up against and leaving traces of itself (its blood) on the world, as the world is forever rubbing up against and leaving traces of itself (its paint) on the human creature.
