The Great Weaver From Kashmir

Abbaye St. Maurice et St. Maur in Clervaux, Luxembourg

Ayaz Rasool Nazki examines Weaver from a Kashmiri viewpoint…

While surfing the net I stumbled upon the title of a book The Great Weaver from Kashmir by Halldór Laxness. A sheer curiosity, a result of sighting Kashmir in the title of a book that too by an author who was a Noble laureate induced me to place an on-line order for the book which was delivered in good time. Having completed the reading of the 436 pages of this immensely readable novel which is part biography and part criticism of various thought systems studied by the author in the prime of his youth, an attempt shall be made to understand the value and merit of this important book.

The Great Weaver from Kashmir is the story of a young Icelandic poet who in his adolescent idealism decides to conquer the world, not by the might of a sword but by the power of a pen. He in his impetuousness feels and believes that he possesses the greatest ever intellect as a poet on this planet and so he owes it to the mankind on the ground and God in the heavens to compose fifty poems of the most perfect form and substance fit to be the offering to the God and thus the poet attains a perfection thitherto unknown. So he sets off from his native land to become the most perfect person on the face of the earth, abandoning in the process not only his home, his hearth, his family but also his childhood friend and companion, the love for whom he does not accept and acknowledge till the closing moments of his narrative. Why was it necessary for him to undertake the journey for a task which he could accomplish in his own land; to compose fifty poems, and why was it necessary to disown his love, for which we come to know, later on in the story that he lived all his arduous and not so pleasant a life. The poet in search of perfection not only as a poet but also as a human being is torn between the angel and the devil. This shifting and shuffling goes on and in one breath he is in full control of his carnal and base self and in the next movement he is singing hymns to the devil, glorifying and deifying him in all seriousness. The Great Weaver, the poet himself as we learn in due course is in search of a philosophy that would satisfy the intellect of a modern man. The book has been written in the years following the first world war and therefore seeks answers to questions related to conflicts and wars. The option or the choice offered by Catholicism, an escapist and easy route is hard to ignore and our poet with all conviction dons the mettle of a monk but alas here too his longing for devils ranch, while in angels garden, removes him away in search of his lost paradise. All his professing and spiritualizing does not stop him from falling when the real test comes.

This, in fact, is the high point in the whole saga of intellectual acrobatics. Rationalizing the irrational is a special attribute of intelligent people and the hero of The Great Weaver justifies this to the hilt. He is never steadfast in his resolutions and breaks every vow that he professes. Halldór examines many creeds and convents while searching for some way of life, some doctrine of conduct but discards all one after another. He goes into the ascetics of Catholic faith with trailblazing lucidity glorifying it as the last and the only answer to man’s problems, faces the rigors of a hard and regimented frugal existence and doesn’t give up when giving up could be justified but suddenly comes out of the seminary and undertakes a journey back to his own long abandoned city, his long forgotten home and his long separated family. This naturally brings him face to face with the girl whom he had in a fit of seeking glory away from native shores abandoned. Again true to his back and forth oscillations he neither gives up nor owns the girl who is by now a married woman.

The Great Weaver testifies to the vast exposure of the author to different philosophies and thought systems scattered over cultures far and wide. He does make references to Vedas, Geeta and other Hindu sources as well as to Zorashtra and Tao but albeit a brief scene in a pleasure house in Cairo where the revelry is called off when moazzin calls for prayers he seems to have been totally ignorant of Islamic sources of philosophy and thought. The Great Weaver is for a while swayed by the socialist doctrine but again discards it as his Catholicism.

An interesting question remains unanswered, why Kashmir? What is the significance of the title to the book? Why is it named, The Great Weaver from Kashmir? Although there are no direct answers to this, Halldór does refer to the valley at three or four places and it becomes clear that the hero of the novel Steinn Ellithi is the Great Weaver from Kashmir. The relevant lines go like this:

I have vowed to leave no further room in my soul for anything other than the celebration of the spiritual beauty of creation. No soulless wish or physical longing, No fleshy desire or pleasure. I am betrothed to the beauty on the visage of things. I intend to travel back and forth through existence like a jubilant monk of the world who beholds the smile of the Holy Mother in everything that exists. My bread and wine will be the glory of God on the face of the creation, the image of the Lord on the Lord’s coins. I am the son of the way in China, the perfect Yogi of India, the Great Weaver from Kashmir, the snake charmer in the Himalayan valleys, the saint of Christ in Rome…

…within a short time he would be gone, swept away and lost somewhere out in the realm of incomprehensibility , gone east to Kashmir to weave silk and satin…

My soul is like Kashmir, the valley of roses; I have been given the glorious talents, and what’s more, the calling to put them to use…

The rain took the color from his cap, and the drops trickled down his face like streaks of tobacco juice; the Great Weaver from Kashmir…

He spoke the language of a distressed child who has been shaking for a long, long time from suppressed weeping, the Great Weaver from Kashmir was no longer anything but an empty shell…

The Great Weaver from Kashmir squatted here on his knees, suppressing sobs, his face in his hands, fearful that even Almighty God would not be able to wipe away such crimes…

It appears that the hero of the novel Steinn takes for himself the title Great Weaver of Kashmir as a mark of perfection. At that point of time Steinn’s only purpose is to become the most perfect human on the face of the world. What other than the Great Weaver from Kashmir would signify perfection? Halldór would have seen the exquisite Cashmere in the wardrobes of Iceland nobles and been influenced by their matchless perfection. Only the Master weavers could have woven such intricate designs as would be visible on these Cashmeres brought from distant Kashmir to Europe. An alternate explanation would be that the author had during his extensive studies in oriental (India) lore come across the story of the greatest Rishi of Kashmir, for it is quite interesting to know that Nund Rishi did spent time on a weavers loom during his great spiritual journey. Was this Rishism at the back of his mind when he chose the title of the novel? No one can say for sure but the fact remains that this novel does celebrate the idea that we know as Kashmir.

First published in Kashmir Pages Nov 10, 2011, by Anjum

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Stephen’s introduction to the Catholic themes in Weaver…

A late winter’s snowstorm had left Reykjavík clad in white. After sitting down to breakfast in the day-room of Bólstaðarhlíð 8, I was soon joined by a group of grad students (and their advisor) who were also staying in the family-run guesthouse. We had a stimulating discussion over muesli, smoked fish, cheese, breads, and, of course, skyr. I found it all to be delightful but the students would touch little of it. As we sat around the table the chime of a doorbell signaled the arrival of Þora, an older woman who would be the students’ guide for the day as they compared the Icelandic educational system with their own experiences.

After introductions, the conversation turned to the city and its landmarks, notably Hallgrímskirkja, the mention of which brought forth scornful comments from Þora. She thought the towering church to be in poor taste and disrespectful of Hallgrímur Pétursson, its namesake. “We should have never left the Catholic Church, either!” was her final word on the subject.

So began my introduction to a still smoldering religious conflict which has haunted Iceland for centuries. The Great Weaver from Kashmir continues this education.

Halldór Laxness wrote this unusual novel when he was only 23 years old (published in 1927), at which time he was a practicing Catholic. This book was definitely born of that experience, large sections of it are dialectics about sin (i.e., women), perfection and the relationship of man to God. At the time he was writing it Halldór was involved in a prayer group whose aim was to reinstall Roman Catholicism over the upstart Lutheranism as the state church in Iceland (although it too had once been the usurper, driving out paganism in the year 1000.) Laxness was struggling with many religious and political questions (as were many others in the aftermath of WWI) and this book covers them in almost tedious detail at times. If Laxness hadn’t been such a good a writer this book would be as insufferable as trying to engage in meaningful conversation with a verbose, narcissistic young man.

The “hero” of the story, Steinn Elliði, leaves Iceland and his adolescent sweetheart Diljá in a quest to become ”the most perfect man on earth.” His journey takes him deeper and deeper into the mysteries of the "one true faith", estranging his family and ultimately his humanity in the process. That Steinn’s life is portrayed as a downward spiral and not a spiritual ascent shows the conflict Laxness endured; the book’s lively domestic scenes exist in sharp contrast to the drab, internalized life of the abbey.

As with Laxness’ World Light, (1937), this novel has a searching central character. Whereas Ólafur in Light is a light-hearted ne’er do well, Steinn plays his part in dead earnest. An even greater contrast can be made by comparing Weaver with Laxness’ next novel Salka Valka, which had the very much grounded and human Salka facing her difficult and often grim reality head-on in a way which would be inconceivable for the selfish Steinn. The other Laxness coming-of-age-novel, The Fish Can Sing, (1957) possesses a gentle, almost magical realism which is also far removed from the struggles of the unhappy Steinn.

The Great Weaver from Kashmir, while a must for Laxness completists, is a tough go for the general reader. It is his most “difficult” novel currently available in English.

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Laxness circa 1927, Gljúfrasteinn FB page

Darien’s review of Weaver…

This book didn’t cast a spell over me as so many of Laxness’ books have. The plot, characterization and descriptions aren’t as elegant as his later works. The main character, Steinn, is not a likable person, nor does he have the fascination and sympathy of Laxness’ more developed anti-heroes (such as Bjartur of Summerhouses). Dilja, the other main character and Steinn’s love interest, is tepid. The book clearly was written by a very young man: it takes itself too seriously. The sometimes gentle, sometimes raucous sense of humor that is woven through most of Laxness' books isn’t evident here.

The plot concerns a young man who is handsome and charismatic, egotistical, possibly brilliant, and entirely selfish. Steinn relates that his most precious gift is that he has been given “… an aesthetic soul, the ability to worship the glory on the visage of things.” This is an important distinction, for he struggles with seeing the essential rather than the superficial. He exemplifies the opposing natures within man: soul and body, perfection and perdition. The entire novel deals with Steinn’s efforts to find, achieve and maintain salvation—at whatever cost to others. Steinn’s family and friends in his native Iceland are introduced, and he then departs for Europe to travel, write, and search for perfection. In a chance encounter on a train, Steinn meets a French monk, Father Alban, who becomes the key to Steinn’s self-discovery. Steinn pretends to be interested in learning about Catholicism, but instead simply expounds his own pretentious, shallow ideas to Fr. Alban. Later, as Steinn becomes disillusioned and hopeless, he seeks out Alban, and in desperation asks him for help. Alban serves as a teacher and spiritual guide, and Steinn gradually comes to desire the love and salvation of God. But he vacillates and falls back into false arguments and self-justifications. Steinn’s story becomes tedious as his inability to learn from his mistakes and his pretentious self-importance wears thin.

Yet the book has some very rewarding passages. The only way I can account for the beautiful eloquence with which Fr. Alban elucidates the love of Christ is to assume that the words spring from a fountain within Laxness himself. Laxness spent time at a monastery in Belgium in his early twenties and came to embrace Catholicism. Presumably much of Steinn’s questioning and discovery mirrors Laxness’ own. The passages narrating the religious journey are some of the loveliest explications I have read of God’s love, outside of the Bible.

This is where The Great Weaver from Kashmir, proves its worth: it asks the important questions and attempts to answer them. Where does man’s idealism lead, what is our journey, how do we seek perfection, what is the highest value in our life? How do we avoid fooling ourselves that what we want is what is best for us? Does God exist and does he exemplify perfection, does he forgive us and offer us redemption? What should be sacrificed in order to gain salvation?

Finally, another compelling reason I enjoyed this book is because it caused me to ask the following questions about my beloved author, Halldór Laxness. Did his early religious experiences enable him to see how humble all men are, and how we are all beloved in the eyes of God? Did this help forge Laxness’ affinity toward people who are downtrodden, imperfect, simple, common...and uncommon? What led to Laxness’ own empathy for people who strive for perfection in their own ways, and fail countless times? Is this the beginning of his unusually compassionate portrayal of the beauty and the value in the most imperfect characters that he created?

The Great Weaver from Kashmir has been described as the first major novel of a world-renowned novelist. Why did it take so long for it to be translated into English? Despite the failings of the book, I can’t imagine. It is a fascinating glimpse into Laxness’ personal life, and into his beginnings as a writer: he wrote it when he was in his early twenties. And it offered me a chance to ask so very many questions, and to enjoy thinking about the answers.

Bill Holm’s review (link below) really added to my understanding and enjoyment of the book. He has some interesting comments on Laxness' impact on Icelandic literature in the 20th century and some fascinating insights into his beliefs. Holm’s review reminded me that Laxness’ books were effectively unavailable in English until recently. I pointed out to my husband that my Laxness conversion wouldn’t have been possible 12 years ago when English editions weren’t available. He replied laconically, “That is what has prevented you from having to learn Icelandic.” That, and my intellectual incapacity, I fear.

Holm has a quote I loved:

      "Americans are sometimes not too sure where or what Iceland is, 
       but for the literary, it is a sort of holy land..."

 I’ll end with a quote from The Weaver that appealed to me:

      "He became sad with homesickness, like an ancient Icelander."

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Bill Holm’s review in The Los Angeles Times…

Larissa’s review in Three Percent…

Scott’s impressions of Weaver in The Quarterly Conversation…

Kristján’s review published in 1927…

Preview of Hallberg’s JSTOR article…

David’s appraisal of this ‘watershed in Icelandic fiction’ in Cambridge Core…

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Publishing History:

Vefarinn mikli frá Kasmír, Reykjavík, 1927

Translated from the Icelandic by Philip Roughton:
The Great Weaver from Kashmir
Archipelago Books, Brooklyn, 2008.