The penultimate crew member, the Baker, AKA Lewis Carroll, the man with the foolish grin keeping perfectly still with the eyes shut tight in his head to see the world spinning around.
Perhaps the Baker is a boojum of sorts! The authorial obsession of the Snark is obvious now, and what makes it especially tasty (as tasty as toasted-cheese-wig-fritters) is the gentle (but very thorough) dissolution of the author into his internal, safely nonsensical world. This panel illustrates the central premise of the Snark. We see the Baker in the stylized pose of the-fool-at-thought, his eyes shut for he has no need to see the Snarkian landscape — he is the Snarkian landscape, and later tonight, when the topic of supper is broached, why, he's on the menu, on the table, he's the knife and he's the waiter!
Where will it all end? What does it all mean? Is Lewis Carroll an proto-existentialist grappling with a multiply-fractured Other generated from and concealed within himself, exhausted by a crypto-Gnostic quest played out amidst a desolate wasteland littered with the semiotic debris of a long-toppled Victorian imperium? Or is he just this guy?
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Put a sock in it, Wittgenstein, we're talking snark here!
I submit for your perusal the word uffish in the above lines. Lewis Carroll explained it thus: "it (uffish) seemed to suggest a state ...
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We're frolicking through yet another exegesis of my Snark GN … deep in the anapestic bowels of Fit the Second … We have arrived now at ...
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Oh, you silly, mad, impetuous boy of a Bellman, of course you’ve heard it before! Your sense of exactitude may be lacking but as we shall de...
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Martin Gardner, in his indispensible Annotated Snark, cites Eric Partridge’s assertion that the Baker’s use of antediluvian is "one o...
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