by Scott Samuelson
The sole cause of man’s unhappiness is that he does not know how to stay quietly in his room. —Blaise Pascal

In its “Recovered Books Series,” Boiler House Press has just republished Christopher Burney’s Solitary Confinement, originally released in 1951, a profound, steely, and even sometimes funny account of the five-hundred and twenty-six days the author spent in a Nazi prison cell during World War II. Ted Gioia, who’s written a preface to the new edition, calls it “one of the great masterpieces of contemplative literature.” Even though I’ve made a point of exploring the masterpieces of contemplative literature, I hadn’t heard of Solitary Confinement until a few weeks ago. Given its publishing history, it seems that the book’s fate is to be praised as a masterpiece (by luminaries like Roberto Calasso and Frank Kermode), fall immediately into oblivion, and then be rediscovered a decade or so later—only to go through the same cycle all over.
The backstory of Solitary Confinement has the makings of a good movie. Christopher Burney (1917-1980) was born in England to upper-class parents, spent part of his childhood in India, dropped out of school at the age of sixteen (shortly after his beloved father keeled over from a heart attack around the tea table), and then wandered around Europe for a few years picking up languages. Because Burney had learned to speak French idiomatically without an accent, the British army enlisted him as a secret agent during the war. Blind-dropped into occupied France, he made his way to a crew of fellow operatives to disrupt German supply lines. When it was discovered that a double agent had infiltrated his group, Burney attempted to flee to Spain with the Nazis in hot pursuit. Surprised in his sleep by Abwehr agents who were tipped off by a hotel clerk, he was thrown into solitary confinement at Fresnes Prison in the south of France.
His cell was just ten feet long by five feet wide. The space was mostly taken up by a bed and a small table, which he turned on their side during the day to do exercises and walk back and forth. Read more »


Sughra Raza. Seeing is Believing. Vahrner See, Südtirol, October 2013.
It’s a ritual now. Every Sunday morning I go into my garage and use marker pens and sticky tape to make a new sign. Then from noon to one I stand on a street corner near the Safeway, shoulder to shoulder with two or three hundred other would-be troublemakers, waving my latest slogan at passing cars. 
I first started reading Jon Fosse’s Septology in a bookstore. I read the first page and found myself unable to stop, like a person running on a treadmill at high speed. Finally I jumped off and caught my breath. Fosse’s book, which is a collection of seven novels published as a single volume, is one sentence long. I knew this when I picked it up, but it wasn’t as I expected. I had envisioned something like Proust or Henry James, a sentence with thousands and thousands of subordinate clauses, each one nested in the one before it, creating a sort of dizzying vortex that challenges the reader to keep track of things, but when examined closely, is found to be grammatically perfect. Fosse isn’t like that. The sentence is, if we want to be pedantic about it, one long comma splice. It could easily be split up into thousands of sentences simply by replacing the commas with periods. What this means is the book is not difficult to read—it’s actually rather easy, and once you get warmed up, just like on a long run, you settle into the pace and rhythm of the words, and you begin to move at a steady speed, your breathing and reading equilibrated.









Jeanne Moutoussamy-Ashe. Mine Dancers, Alexandra Township, South Africa, 1977.
