My Life and Thoughts

Well, yes, OK, this might not be the last time I ever write about cats. Still, I definitely promise at least a moderate cat hiatus—right after this post, which is about modern-day cat literature classic Why Cats Paint: A Theory of Feline Aesthetics.

The existence of Why Cats Paint was first revealed to me early in 2007, when I happened to attend a calendar sale at Kepler’s Books in the company of n+1 editor Mark Greif, who purchased a Why Cats Paint calendar, as a gift for the mother of a certain young person. “The genius of the thing,” Greif later observed, of the Why Cats Paint calendar,

is that they never tell you why cats paint—they just show you that cats paint. Which they don’t. But there is this further horizon of promise that distracts you from the original problem.

I remember thinking that this was an ingenious formulation, and that I could be the calendar girl for a Why People Dissertate calendar… but would it successfully distract my committee from the “original problem”? My committee of course was made up entirely of benevolent schnauzers:

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OK dear readers, I don’t want you to think I’m evading the difficult subject of literary production in our times, but you’re going to have to sit through one more post about cats. Not counting this post, which is a response to the comments about the last post about cats. After that I promise, no more cats.

Dear Burcu! Yes, Friday is exactly what I named my cat. Thank you very much for the reference to Gürcan Yurt, whom I did not know. It’s funny, I reread Robinson Crusoe a couple of years ago, when I was working on sidekicks, and was so disappointed to realize how little there was about Friday! In my mind I had turned Friday into another Dr. Watson… but really he was in what, like three chapters?  In short you can imagine how delighted I was to discover that, in the comic books of my ancestral homeland, Friday has been elevated to a title character.

Although the only excerpts I found online were all illegibly small, I am already encouraged by what appears to be a remarkably equitable distribution of lines between Crusoe and Friday:

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The last time I was in New York, I went to a movie about sad young literary men, in the company of some sad young literary men, including the Danish novelist Christian Jungersen, with whom I was not previously acquainted. At drinks afterwards, someone mentioned that I have a blog, and Jungersen’s first question was whether I wrote about my cat: “Today my cat ate this, yesterday my cat did that,” he helpfully supplied.

I had to disappoint these generic expectations, because at that time I didn’t have a cat, and had no plans of acquiring any cats. I didn’t especially like cats. People who were really into cats freaked me out. I always wanted a dog. But who can predict the twistings of human fate? I can’t keep a dog in my apartment, so I recently adopted a kitten.  Now I am really, really into cats. So sit back and enjoy, Jungersen: this post is gonna be about how I tried to teach my cat to dance.

One day I noticed that if you wave a feather duster at my cat, he will run around and leap in the air. My first natural thought was: “I have to teach this cat how to dance.” Luckily I happen to own a copy of Dancing With Cats, which caught my eye some years ago at the discount table in the Stanford bookstore, because even if you don’t particularly care for cats, how can you fail to be impressed by pictures like this?:

Ralph and his cat Petipa, photo by Heather Busch
Petipa’s favorite kinds of music are cha-cha and “Handel’s oratorios.”

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Today I would like to salute some of the diverse and accomplished commenters to My Life and Thoughts, for example Michelle of The Maltese Bacon (a recipe blog—check out this beautiful tomato confit); as well as Gregory Freidin of the Stanford Slavic department (who, in his latest blog entry, shrewdly observes that, even if you live in Gori, you probably don’t hang your portrait of George W. Bush over a sliding glass door). 

In this recent, admirably concise comment, Freidin expresses solidarity with my father on the subject of creeping desecularization. Those of you who were disappointed by the Times’s decision not to air my father’s thoughts about creeping desecularization will be relieved to learn that they did publish the very next letter he wrote them, the following week.  This letter was in response to “My Literary Malady,” in which novelist Geoff Nicholson mulls over his recent gout diagnosis.  

James Gillray, The GOUT (1799)

But I would like to pause here to share with you my all-time favorite gout anecdote…

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As I was scrolling through headlines about the Istanbul bombing, I came across one potentially less depressing Turkish news item, from Sabah: “Mental Patient Beats Doctor in Elevator for Six Floors.” Tor the first time in ages, I found myself thinking of Grey’s Anatomy, a show I used to watch while I was supposed to be writing my dissertation. Grey’s Anatomy is so famous for its use of elevators that, even in the homeland of Genette, young girls are making video montages about it: in the words of Youtube user piluka6: “all happens in that elevator!”

The elevator in Grey’s Anatomy functions much like the inn in Part I of Don Quijote: all plot problems are resolved by dumping the relevant characters in there and letting them sort it out. The characters themselves openly acknowledge this formal property of the elevator, in metatextual remarks such as: “I don’t want any drama today, I’m taking the stairs”; or (meaningfully): “Anything can happen in the elevator.” This is an example of what Viktor Shklovsky called “laying bare the device,” and it always struck me as rather daring because, when you take a cold hard look at the formal narrative possibilities afforded by the device of the hospital elevator, “inexhaustible” isn’t the first word that comes to mind.

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