27.1.09

Garfield Minus Garfield

Garfield Minus Garfield
'Garfield Minus Garfield is a site dedicated to removing Garfield from the Garfield comic strips in order to reveal the existential angst of a certain young Mr. Jon Arbuckle. It is a journey deep into the mind of an isolated young everyman as he fights a losing battle against loneliness and depression in a quiet American suburb.'

'If Samuel Beckett had been a strip cartoonist, he might've produced something like this.'
Publisher's Weekly.
A friend in work has helpfully pointed me in the direction of a superb afternoon distraction: Garfield Minus Garfield. The idea is very simple: removing Garfield from Garfield cartoons to question the mental stability of Mr. Jon Arbuckle. But where before Garfield offered its readers a few moments of quiet amusement, it has now become a kind of profound meditation on the meaning of existence. 'Am I wasting my life?'
25.1.09

Station to Station: Geoff MacCormack's Photographs of David Bowie

David Bowie as Thomas Jerome Newton in 'The Man Who Fell to Earth'. Photograph by Geoff MacCormack
'Between 1973 and 76, writer and producer Geoff MacCormack accompanied David Bowie on the Ziggy Stardust and Aladdin Sane tours as a backing vocalist/percussionist. He then went on to work as a dance/mime artist on the Diamond Dogs and Young Americans tours. Geoff also hung out on the sets of The Man Who Fell To Earth as a stand-in for Bowie.

'A collection of photographs MacCormack took during his time with Bowie are on display at the Rockarchive Gallery, Chelsea, London, from 23 January until 6 February. You can see a selection of those images here – along with MacCormack's Bowie anecdotes.'

A brief, but wonderful, selection of Geoff MacCormack's David Bowie photographs have been published by the Guardian Unlimited website. The online gallery offers an intimate glimpse of Bowie's transitionary periods: from glam superstar to American plastic soulboy to cool existential crooner the Thin White Duke.

As always, it's fascinating to see the way Bowie seamless evolves through cultural trends and upcoming fashions with elegance and aplomb, while retaining a sense of mystery about him. His identity is a kind of performance, and one that never really gives anything away.

You can view the images, which promote a current exhibition of MacCormack's photographs of Bowie, by clicking here.

Book Cover Archive

Book Cover Archive

'An archive of book cover designs and designers, for the purpose of appreciation and categorization.'


Sometimes I find judging a book by its cover irresistible. And now there's a website for like-minded artwork lovers. It's called the Book Cover Archive, and allows readers to search a wide range of titles according to author, designer, illustrator and perhaps most interestingly, publication date. There's also a blog-edition available for your perusal, regularly updated with news and tidbits.

Many of the images on display are of recent origin, I'd say the last decade or so, although the archive does span back to the mid-1960s. The profusion of American titles is also notable, although this may change as the website gathers steam and develops over time.

The folks over at the wonderful We Made This drew my attention to the link, and offer a few recommendations of their own to anyone interested in the design element of publishing. Fascinating stuff.

Nietzsche Family Circus

Nietzsche Family Circus
What do you get when you cross a wholesome American comic strip with stern German philosophy? Why, the Nietzsche Family Circus, of course. But you knew that already, right?

Losanjealous.com is hosting a unique and interactive culture clash, giving you the opportunity to see original Family Circus sketches captioned with aphorisms by Friedrich Nietzsche. The images and quotations are both generated at random, and you can refresh the page to browse the different combinations. Well worth a few minutes of your time. Click here to view.

Learning How To Live

An office in the early 1950s. Photograph by Rolu Dsgn.

'The capitalist world, and in particular the heart of it, offers almost nothing a young man wants: the instincts of youth are at variance with the demands of business, and especially with those of clerking. What young man is by nature diligent, sober and regular in his habits? Respectful of 'superiors' and humble before wealth? Sincerely able to devote himself to what he finds boring? One in ten thousand, perhaps.'

R. J. Hollingdale, Introduction to Schopenhauer's Essays and Aphorisms
I often fall under the impression that I've taken the road most traveled by; the road that isn't necessarily the one for me. My interests are broad and I find satisfaction in all areas of life, but it's easy to feel dissatisfied or frustrated from time to time.

Since graduating from university, a lasting impression remained in my mind of something left unsaid, or undone. I enjoyed my course, and felt certain qualities had left a permanent imprint on my mind, and on the person I have become. I studied English Literature and Cultural Criticism, which prompted me to question the way films, artworks and novels were constructed, before interests expanded to encompass just about any cultural object.

It was an adventure, and I feel that the books I read and the thoughts I absorbed have placed me in good stead. But there is a part of me that is constantly wishing to expand this area of inquiry. The satisfaction was so great that I am constantly looking for ways to renew or expand my knowledge; not simply to develop career prospects, or to hold knowledge for knowledge's sake, but to discover more about myself and the person I would most like to be. As you can imagine, it's a work-in-progress.
'But for the great majority a 'job' is, depending on temperament, a torment or a tedious irrelevance which has to be endured day after day in order that, during one's so-called 'free time', one will be allowed to get on with living. The situation is the most commonplace in the world.'


R. J. Hollingdale, Ibid.
I think it is important to everyone that there is some meaning and significance in the things that we do. Our days, weeks, months and years are held together by the narratives we create, and ultimately become the way we see how our lives have developed. And I am often reminded of a line by Tennyson, that goes: 'How dull it is to pause, to make an end, To rust unburnished, not to shine in use!' William Burroughs quoted the line constantly, and it has since become a mantra of my own. A reminder of a purpose I'm still in the process of finding out.
'Nothing seemed true; I felt surrounded by cardboard scenery which could quickly be removed...'

Jean-Paul Sartre, Nausea
But although I feel a need for a meaning or a narrative in my life, a part of me feels it's important that it is not concrete or established. Everything that I want or value seems to be something that's in the process of becoming, and although I'm constantly moving towards one personal goal or another, I feel confident that I will never really get there.

On the one hand, this could sound like a profoundly pessimistic perspective. Nihilistic, even. Think of Camus, and his universe divested of lights. But there is freedom in that, too. Sartre's Nausea follows its protagonist through a bleak existential despair, before gear-shifting into a new frame-of-mind and responsibility. In a world without meaning, we begin to take responsibility for meaninglessness and create our own - out of thin air. God is dead, and we have killed him. And while it may send some to the nearest tall bridge, it sends me forward. It's an exciting and inspiring thought.
'This familiar feeling is what now overcame Schopenhauer: the feeling which appears when life, hitherto apparently capable of granting anything, is suddenly revealed as a deception, when the colour is drained out of it and the whole future seems a single grey. The essence of the question is: Is this all? Is this life?'


R. J. Hollingdale, Ibid.
But what's brought out this streak in me on a sunny Sunday afternoon? I've had a wonderful walk in the park with someone I love to be with, I'm looking forward to work tomorrow morning, and I can honestly say I don't have a care in the world. I think my answer begins with Schopenhauer, who I've been doing a little reading on just lately. R. J. Hollingdale's fantastic introduction to the 'Essays and Aphorisms' offers a fascinating glimpse of Schopenhauer's personal life, and more than a small smattering of perspective.

Painting by Wenzel Hablik

I'm fascinated by the lives that writers lead. Will Self once wrote that literary biographies were a satisfying kind of onanistic pleasure - and although I think he might be overstating the point I can understand his angle. I often look up to writers as people who have tried to carve out a meaning for their own lives, as a justification for their own existence; at their most ambitious, they even try to provide its explanation.

I often think of the creator or Withnail & I, Bruce Robinson, who sits at his desk for hours on end with a phrase from James Joyce stuck to his typewriter: Write, damn it. What else are you good for? And there's the bedridden asthmatic Marcel Proust, who attempted to express life, the universe and everything in a truly collosal first novel. In these attitudes (I almost wrote 'artitudes') to life there is much I admire. Call it self-indulgent if you like, call it onanistic, but what William Burroughs called the most noble of professions holds an incredible power. (Burroughs, incidentally, has the words 'American Writer' adorning his tombstone.)

I think it's wonderful when people can find meaning in a painting, or a television series, or a song on the radio ('whatever gets you through the night'); and I think it's understandable that people might turn to so-called high or low culture for solace and comfort.

Lately I've been turning to philosophy with something of a piecemeal approach, taking inspiration here and there, but quietly tiptoeing around the ideologies and the didacticism. It's great to see meaning in things that are external to us, and it's great to use them in our everyday lives, but it can be defeatist to allow those things to rule our lives, or the way we think. It's probably a good idea to work these things out for ourselves.

To use a melodramatic metaphor, we're all a little like the mythical Sisyphus, condemned to push the same rock up the same hill again and again. As Schopenhauer says, 'Today it is bad, and every day it will get worse - until at last the worst of all arrives.' But if we can create a meaning for our actions, and take it one day at a time, there's little need to despair or despondency. We just need to find the way that's right for us. (Which is of course easier said than done, and probably the point at which this article repeats itself again, and again, ad infinitum for the rest of my life.)
23.1.09

Samuel Beckett's Letters

The first of four landmark volumes soon to be published
Letters of Samuel Beckett: Volume 1, 1929-1940
'The prospect of reading Beckett's letters quickens the blood like none other's, and one must hope to stay alive until the fourth volume is safely delivered.'

Tom Stoppard
A hugely ambitious four-volume collection of Samuel Beckett's letters is to be released, with the first volume hitting the shelves in early February. Edited by Martha Dow Fehsenfeld and Lois More Overbeck, it is the only comprehensive collection of his letters ever to be published. And as it's also authorized by the Samuel Beckett Estate, it promises to be a rich source of new material for academics and casual readers alike.

The first volume, spanning from 1929-1940, includes Samuel Beckett's formative years as an academic and aspiring young writer. The letters have been printed in a beautiful and easy-to-read typeface, and are annotated with footnotes from page-to-page. Letters in German and French are included in their original language alongside a translation, enabling all readers to enjoy them, and there is a helpful series of profiles to introduce the recipients. As if that wasn't enough, there is also a chronology placing the letters within Beckett's personal and historical context.
'Knowing as we do that Samuel Beckett is the only writer who can sum up the agonies and ecstasies of the twentieth century, if we had any doubts as to his relevance today, they would be dispelled by the amazing treasure trove contained in his letters - at last we are made privy to the full range of his passion for art and beauty, which is neither naive nor sentimental, to the pyrotechnics of his savage wit, and more lastingly perhaps, to his deep humanity.'

Jean-Michel Rabaté

As this is the first in a series of four volumes, I am extremely excited to see how the letters develop. From a young, brilliant, and somewhat arrogant academic, the early correspondence offers glimpses of a sometimes frustrated but potentially gifted writer.

He maintains contact with friends, painters and musicians along with students, colleagues, translators and publishers; there is a sense at which, without yet reading a page, we are going to get the full compass of Beckett's early interests and social contacts. His admiring and respectful contact with James Joyce, for instance, while helping with the 'Work in Progress' that was to become Finnegans Wake. I'm looking forward to seeing correspondence between his friends and family, and how it links with biographical accounts or interviews I have read.
'For anyone interested in twentieth-century literature and theatre this edition is essential reading, offering not only a record of Beckett's achievements but a powerful literary experience in itself.'

Cambridge University Press (CUP)
I think it will be fascinating to see how much the early letters reveal of Beckett himself, or of the letters' relationship with his published work. I already suspect that the letters will be written according to their recipient, and be warm and personal or cold and formal according to their purpose. But while I'm sure there will be moments where the words may shine off the page, I'm not convinced the letters will bring us much closer to the writer himself. A little, perhaps, but not a lot. Ambitious attempts at attaining the 'big picture' of who a person is, and what they mean or represent, always fall short of the mark. The pressure is just too great.

Correspondence from Samuel Beckett
But that's not to say that I'm not looking forward to them! In fact, I can relate to what Tom Stoppard says about hoping to stay alive until the final volume is published. Thankfully, I am still in my youth, but perhaps I should take some precautions just in case.

The four volumes span from 1929 to the writer's death in 1989. I think it will be fascinating to see whether the letters change in their style or length as Beckett's friends change, or his literary style evolves. Could it be that he eventually simplifies down to single-word responses? A friend and I recently exchanged a number of emails in a mock-Beckett fashion, arranging to meet one evening for dinner; the whole process became exasperating as we tried to convey practical information with phrases like 'A city street. A bridge. Evening' or 'When done. Where still to do.' It would be wonderful to see if Beckett ever achieved it himself. (Note: although I'm joking here, it does sound like a superb way of alienating close friends and relatives.)

There's no doubt about a future blog when the Letters are finally published. I'll write something up once I've had time to digest some of it. But in the meantime, you can preorder the book yourself from Amazon, and even read the first few pages by selecting the 'Look Inside!' option. The 30-page index is pretty stunning, I must say. Cambridge University Press, who are publishing this monumental work, also have a page relating to the series. All the early signs suggest that this collection is going to be quite something.
20.1.09

President Barack Obama

Barack Obama. Hope.
Today I say to you that the challenges we face are real. They are serious and they are many. They will not be met easily or in a short span of time. But know this, America - they will be met.

President Barack Obama
Barack Obama has been officially inaugurated as the 44th President of the United States of America. It's been a momentous, exciting and emotional day. I feel proud to be an American. Which is strange, considering I'm British.

You can read, watch and listen to President Obama's Inauguration address at the Guardian website, by clicking here.

The Next Village Project

Franz Kafka. Portrait by Andy Warhol
"My grandfather used to say: 'Life is astoundingly short. To me, looking back over it, life seems so foreshortened that I scarcely understand, for instance, how a young man can decide to ride over to the next village without being afraid that - not to mention accidents - even the span of a normal happy life may fall far short of the time needed for such a journey.'"

Franz Kafka, 'The Next Village'
A few months back I was contacted by novelist Keith Ridgway regarding a project he's been promoting. The idea was very straightforward: Ridgway told me that he had been deeply affected by Kafka's short story, 'The Next Village', and was interested in hearing what other people thought. From this, he initiated a project whereby readers are asked to personally respond to the story, in whatever form or medium they feel appropriate.

The result, The Next Village, is a website archiving readers' contributions as they come in. It's still in its early stages, but there are already examples of short prose, poetry, photography, video and music. I shared Ridgway's enthusiasm for the project and contributed a short story of my own, inspired by Kafka's 'The Next Village', entitled 'The Envelope'. You can read my modest offering, and see other people's work, by visiting the website at thenextvillage.org. If you like, you can even send in something of your own.
15.1.09

Beckett and Schopenhauer

Samuel Beckett
'As a young man, Beckett read Schopenhauer again and again, and not only because of his beautiful style, despite his claims to the contrary. Schopenhauer's pessimism was very close to Beckett's own, and he was to heed the three ways of enduring the misery of existence that Schopenhauer recommended: art, or aesthetic contemplation, compassion, and resignation.'

Gottfried Büttner
With the exception of an hour here and there, I've spent the day in bed negotiating with my lungs, the old dust bags. I thought I'd brush up on my European philosophy, and given my state of mind it wasn't long before Schopenhauer appeared on the scene. Arthur Schopenhauer, a philosopher of the grand pessimistic tradition of misanthropy and resignation. In short: perfect bedtime reading - especially for someone who's annotating Malone Dies in between.

One of the key draws to Schopenhauer has been his influence on Samuel Beckett, an influence that cannot be overstated. The philosopher not only had an impact on Beckett's academic development, and interest in philosophy, but later a more profound effect on the way the writer lived his life. Schopenhauer had a large effect on Beckett's outlook on the world, and the influence is recounted time and again in biographies of the writer, notably James Knowlson's Damned to Fame. When suffering from an illness, Beckett once confided to a friend:
'[...] the only thing I could read was Schopenhauer. Everything else I tried only confirmed the feeling of sickness. [...] I always knew he was one of the ones that mattered most to me, and it is a pleasure more real than any pleasure for a long time to begin to understand now why it is so. And it is a pleasure also to find a philosopher that can be read like a poet.'

quoted in James Knowlson, Damned to Fame
Gottfried Büttner has written a short article tracing the influence of Schopenhauer's pessimistic philosophy on Samuel Beckett's life and work. 'Schopenhauer's Recommendations to Beckett', first published in Samuel Beckett Today, draws upon Beckett's novels and theatrical work, but seems particularly interested in anecdotes from the writer's life - notably, from James Knowlson's acclaimed biography. It's a concise overview, but for all its brevity it's still worth a look. The essay is freely available online, and you can read it by clicking here.
5.1.09

Samuel Beckett in Paris

A walk through Samuel Beckett's neighbourhood
Allée Samuel Beckett, Paris. Photograph by Rhys Tranter
'Hand in hand from the top of the Eiffel Tower, among the first. We were respectable in those days. Now it's too late. They wouldn't even let us up.'

Samuel Beckett, Waiting for Godot
'Paris: The crucible in which Samuel Beckett's reading turned into writing [...] In 1936 Samuel Beckett moved into the Hotel Libéria. After a stabbing incident, he remet Suzanne Deschevaux-Dumesnil. In 1937 they moved to a seventh-floor studo at 6 Rue des Favorites, in the 15th arrondissement. They lived there until 1961, when SB moved to his final address, a purpose-built flat in the 14th at 38 Boulevard St. Jacques, near the "Falstaff" and "hygienic anonymity" of the Bar Américain in the Hŏtel PLM, where he often met visitors.'

C. J. Ackerley and Stanley Gontarski
On New Year's Day I woke up in a beautiful hotel room in Paris, the city of lights. And as bright morning sunshine streamed through a window overlooking a courtyard, I sat at the edge of the bed collecting my things together. I had an old paperback copy of Samuel Beckett's Endgame, a series of photographs taken by John Minihan, and a list of addresses carefully written onto several slips of paper. Jennifer and I were going in search of Samuel Beckett, a writer who had died in the city almost exactly nineteen years before.

I've been interested in Samuel Beckett's writing for a long time. His poems, plays, novels and short stories hold a strong grip on my imagination, and seem to offer something inescapable that I'm am constantly returning to. I came to Paris to celebrate the coming of the New Year, but the city's strong links with Beckett's writing and his personal life were too powerful to resist.

One of the most memorable moments of the trip was stumbling across the Boulevard St. Jacques, where Beckett lived from the early 1960s until the final year of his life in 1989. The architecture seemed to vary between classic French apartment buildings, with balconies at each of the windows, and modest residential quarters built in the latter-half of the twentieth century. As Jennifer and I passed along the street, I could barely contain my excitement, recalling scenes from James Knowlson's biography of Beckett, and the recollections of personal friends.

We passed where some of Beckett's key social haunts once stood, but found that many of them were as absent as the man himself. I had hoped that we could enter Le Petit Cafe at the PLM Hŏtel - it had been an inconspicuous place for Beckett to meet with friends and acquaintances in relative anonymity. But the writer's social haunt on the Boulevard St. Jacques was nowhere to be found.

On the Boulevard St Jacque, Paris, 1985. Photograph by John Minihan.
One of the knock-out moments of the trip was the sudden recognition of the Metro railway line running down the middle of the Boulevard St. Jacques. In the centre of the pavement, with streetlamps to our left and right, and trees planted in parallel lines down the entire length of the street, I had a sudden uncanny experience. My perspective, while standing on a particular spot, felt very familiar to me, although I had never been there before. Standing stock-still on the spot, I had a jubilant eureka moment, when everything finally clicked into place: the photographer John Minihan had been standing in that very spot in 1986, with Samuel Beckett right in front of him.

We took a left at the end of Beckett's street, and walked along the Avenue Coty. A pathway down the middle of the road had been built to accommodate pedestrians and tourists, and a sign had been erected to mark the Allée Samuel Beckett.

The gravestone of Samuel Beckett, at the Cimitière de Montparnasse, Paris. Photograph by Rhys Tranter.
'Paris had finally claimed him as its own. Samuel Beckett's last resting place, beside his wife Suzanne, was in the Cimitière de Montparnasse, in the heart of the city that had shaped his world as Dublin had, and was now his permanent home.'

C. J. Ackerley and Stanley Gontarski
The trip culminated with a visit to the site of his grave in the Cimitière de Montparnasse. It was already dark when we arrived, and the whole place had a distinctive feel about it. We walked along the path in search of the gravesite, huddled together in the cold. The place seemed shrouded in mist, but in retrospect I'm not sure whether it was really there, or a trick of my memory.

Jennifer and I left the cemetery together, and I was awe-struck. I still am, actually. I thought of all the thousands of words I had read, both by him and about him, and about how strange it feels to have an obsession. I was glad to have paid my respects, and shared an absurd moment with Jennifer. A unique tribute. But we did not stay long. It was dark all around, and the cemetery gates were beginning to close.

In the quiet of the cemetery, the only thing that could be heard was the tolling of the closing bells. Thinking back on it now, I'm reminded of the end of Beckett's novel Murphy, as Celia and Mr. Kelly leave the park at closing time:
'The wail of the rangers came faintly out of the east against the wind. All out. All out. All out. (...) Celia toiled along the narrow path into the teeth of the wind, then faced north up the wide hill. There was no shorter way home. The yellow hair fell across her face. The yachting-cap clung like a clam to the skull. The levers were the tired heart. She closed her eyes.

'All out.'