31.10.09

Literary Rags: Writer and Philosopher T-Shirts

Bring writers into your wardrobe


Shopping website Literary Rags offers browsers a chance to purchase T-shirts with the faces of renowned writers, poets, dramatists and philosophers emblazoned on the chest. As if that wasn't enough, each shirt comes complete with a distinctive quote from the said writer/thinker positioned on the back.

It's nice to see a wide selection of names represented in the series. And, as you can imagine, I was immediately drawn to the Samuel Beckett T-shirt that's available. Needless to say, it's found a prominent place on my Christmas wishlist.

Links:
30.10.09

Why read Derrida?

How the French philosopher can make us think twice about the way we read
Writer, thinker, philosopher Jacques Derrida

An excerpt from Nicholas Royle's excellent Jacques Derrida:
[Derrida] is an extraordinarily precise and faithful reader. In a quite disarming way, Derrida's readings [...] can often appear to be just describing what is happening in that text. If we wanted or rather if we were able to stop things there, this alone would constitute an excellent reason why we should read Derrida: he is a marvellously sharp and attentive reader, a brilliant explicator of texts. It is a journalistic of class-room cliché to say that Derrida is 'difficult'. But we could also see this the other way round. Always remarkably careful, painstaking and scrupulous in his readings, he offers superb expositions and elucidations of philosophical and other texts that are themselves 'difficult'. Would anyone want to pretend that reading Plato or Shakespeare or Freud is 'easy'? Derrida helps us read and make sense of the great, and less great, texts of western history.

Nicholas Royle, Jacques Derrida
See also:
29.10.09

David Bowie: 40 Years

An anniversary retrospective
David Bowie as the Thin White Duke, 1976

Graeme Thomson reflects on the musical career of David Bowie, spanning four decades:
In some respects "Space Oddity" was a false dawn, widely regarded as an opportunistic novelty number timed to coincide with the moon shot. Bowie, meanwhile, never felt at ease playing the winsome acoustic troubadour. Bored by the "denim hell" and frayed authenticity of the likes of Led Zeppelin, he eventually hitched his wagon to the overt theatricality of glam rock, creating Ziggy Stardust, the quintessential Bowie construct. Incorporating elements of mime, kabuki and the droogs as portrayed in Stanley Kubrick's [AClockwork Orange, Ziggy was the ultimate representation of pop-star-as-alien, driven by the robust buzz-saw guitar riffs of Mick Ronson. Three years after the first, Bowie's second appearance on Top of the Pops was genuinely iconoclastic, his performance of "Starman" denoting 1972 as Year Zero for a generation of punks, Goths, new wavers and New Romantics.

Having achieved lift-off, Bowie followed through on his promise to make a "wild mutation" as a rock'n'roll star. Only five years passed between 1971's Hunky Dory and the corrupted Aryan beauty of Station to Station, but in that time Bowie bounced from hokey folk to glam to hard rock to frigid Eurodisco, mutating en route into Aladdin Sane, Hallowe'en Jack and the Thin White Duke.

Falling on each emerging trend - disco, Philly soul, electronic minimalism, new wave - as it stole into view, he was a magpie with a priceless knack for pinching ideas from the cultural margins and siphoning them into the mainstream through his own work. One biographer defined him as a "style vampire", a mannequin dressed in a series of beautiful, borrowed clothes. "Some people say Bowie is all surface style and second-hand ideas," said Brian Eno, his on-off collaborator for three decades. "But that sounds like a definition of pop to me."

He certainly looked and acted the part. Sexually voracious - when he met his first wife, Angie, in 1969 they were famously "fucking the same bloke" - he was impossibly thin and vampiric, those fangs and odd, mismatched eyes emitting an unearthly vibe. Like all great pop stars, he contrived to paint the grim grind of sustained drug-taking as a vaguely noble quest, a way of seeking new dimensions rather than making emergency repairs to a fractured psyche. In Bowie's case, mired in cocaine addiction, those dimensions involved dystopian visions where the occult, the Holy Grail and fascism met in some futuristic, Ballardian hell.

Recovering in Berlin from these nightmares in 1976 and 1977, Bowie made the most influential records of his career. Low and "Heroes" were dense, pensive, occasionally hilarious works marrying US R'n'B with the electronic Euro pulse of Neu and Kraftwerk. Lodger (1979) and Scary Monsters (1980) concluded his journey from secluded drug dependency to boisterous commercial rejuvenation, but after that his creativity crumbled. [Read More]

More information:
28.10.09

Film Footage of Samuel Beckett, 1969

A rare film of the Nobel-Prize-winning writer

retrouver ce média sur www.ina.fr

Rare film footage of Irish writer and playwright Samuel Beckett taken in 1969, the year he was awarded the Nobel Prize for Literature.

Also at A Piece of Monologue:
25.10.09

Thomas Bernhard and the Theatre

A new exhibition
Thomas Bernhard bei den Proben zu Heldenplatz Burgtheater, 1988. © IMAGNO/Harry Weber

An exhibition of Thomas Bernhard's theatrical work to open at the Kunsthistorisches Museum in Vienna (via Twitchelmore):
The exhibition marking the twentieth anniversary of Thomas Bernhard’s death offers a comprehensive survey of his work for the theatre, with the focus on the two Austrian cities where many of his plays had their premieres: Salzburg and Vienna. With the help of five plays first performed in these two cities, the exhibition illustrates central aspects of Bernhard’s work for the stage. The main focus is on how Bernhard created and developed Der Ignorant und der Wahnsinnige (The Ignoramus and the Madman, 1972), Die Macht der Gewohnheit (The Force of Habit, 1974), Der Theatermacher (Histrionics, 1985), Ritter, Dene, Voss (1986), and Heldenplatz (1988). All five plays deal with art and artistic work in the context of a period marked by its hostility to art, with the futile struggle for perfection and dominance, but also with Austrian politics. [Read More]

On the difficulty of reading Derrida

Catherine Belsey on the French philosopher's distinctive approach
Jacques Derrida

From Catherine Belsey's superb introduction to poststructuralism:
Q. Derrida is very hard to read. Why doesn't he write more simply? Doesn't he want to communicate?
A. There are three reasons why we have difficulty reading Derrida. The first is that he is a (Continental) philosopher, with a range of reference that is not widely available outside that tradition. Many of his more impenetrable remarks turn out to be allusions to Plato, Hegel, or Heidegger, and not obscure at all to people who have those writers at their fingertips, in a way most of us don't. Second, he is very meticulous. What can seem repetitive and precious comes from a desire to be precise. But third, it is also important from the point of view of the case against logocentrism to demonstrate in practice that language is not transparent, not a pane of glass through which ideas are perceptible in their pure intelligibility. (On the other hand, the same mannerisms reproduced in the writings of his less gifted disciples can be very irritating indeed!)

Catherine Belsey, Poststructuralism: A Very Short Introduction
See also:

Philip Roth's Reading Habits

Classic and contemporary

Philip Roth talks to the Wall Street Journal about his new novel, The Humbling, and his recent reading habits:
What are you reading these days?

Mr. Roth: Mostly what I'm doing is rereading stuff that I read in my 20s, writers who were big in my reading life who I haven't read in 50 years. I'm talking about Dostoyevsky, Faulkner, Turgenev, Conrad. I'm trying to reread the best before... I die.

Any new writers that you would recommend?

I don't follow what's going on with modern fiction.

Who do you consider your peers?

I have quite a few peers. Don DeLillo. Ed Doctorow. Reynolds Price. Joyce Carol Oates. Toni Morrison. It's a pretty good generation. We just lost three giants in the last couple of years. Saul Bellow. Norman Mailer. And John Updike. American literature is a powerful literature. These people are all of the first rank.

Is there something wrong with American literature today?

American literature today is the strongest literature in the world. [Read More]

 Read more:
24.10.09

Walter Benjamin's Library Card

Rare document that belonged to the German cultural theorist
Walter Benjamin's library card

Walter Benjamin’s library card, Bibliothèque Nationale, Paris, 1940. (Image via pieto the media ecologist.)

See also:

Tackling Knut Hamsun

The troubling political views of a supreme literary talent
Knut Hamsun

Matthew Shaer on the literary importance of Knut Hamsun's Hunger, and the infamy of the writer's political beliefs:
Hunger, based in part on Hamsun's experiences, traces a man's descent into a madness that is religious in ardor; the man wishes to prostrate himself on the floor of the world. He ponders suicide. He wanders around the streets of Oslo. He starves. He attempts to chew off his own finger and then, a few hundred pages later, he leaves without explanation on a ship bound for foreign shores. There is nothing in the book but madness -- Hamsun skips the periods when his protagonist has food and comfort.

In an 1890 essay, Hamsun wrote that a true portrait of the human spirit could never be conceived linearly or politely. Life was not a story, but a scattershot series of episodic flashes, fast-burning and painful to remember. To thrive, an artist must leave the city for the rough living of the country. He must immerse himself in "the unpredictable chaos of perception, the delicate life of the imagination held under the microscope; the meanderings of these thoughts and feelings in the blue, trackless, traceless journeys of the heart and mind, curious workings of the psyche, the whisperings of the blood, prayers of the bone, the entire unconscious life of the mind."

In his prime, Hamsun always wrote like this -- beautifully, poetically and savagely. Within a decade of the Oslo speech, he had finished two additional novels, the naturalist ode 'Pan' and the disorienting 'Mysteries', which, together with Hunger, count as cornerstones of contemporary literature. "The whole school of fiction in the 20th century stems from Hamsun," Isaac Bashevis Singer once proclaimed, and it is no stretch to say that there would never have been Kafka's 'A Hunger Artist' without Hunger. [Read More]

Open Yale Courses: Theories of Literature

A selection of free online podcasts

Mike Johnduff at Working Notes has drawn attention to a series of free lectures offered at the Open Yale Courses website. The lectures, presented by Professor Paul H. Fry, comprise an Introduction to Theory of Literature, and include class sessions on some of the key concerns of contemporary critical theory. For instance, among the titles available for download are: Freud and Fiction, Jacques Lacan in Theory, The Postmodern Psyche and Derridean Deconstruction I and II.

The series promises a solid foundation to some of the central concepts in literary theory, from structuralism, historicism, formalism and psychoanalysis to recent theoretical developments in feminism, Queer theory, postcolonialism and postmodernity:
This is a survey of the main trends in twentieth-century literary theory. Lectures will provide background for the readings and explicate them where appropriate, while attempting to develop a coherent overall context that incorporates philosophical and social perspectives on the recurrent questions: what is literature, how is it produced, how can it be understood, and what is its purpose?

All audio downloads are free, and vary in length from forty to fifty minutes.

Links

Philip Roth discusses The Humbling

A rare interview with the American writer on his new novel

Philip Roth discusses his new novel, The Humbling, and shares his thoughts on sex, ageing, Portnoy's Complaint, President Obama and the future of the novel (via The Elegant Variation).
23.10.09

Update your bookmarks

A Piece of Monologue has now moved to apieceofmonologue.com

A Piece of Monologue can now also be found at the following address: http://www.apieceofmonologue.com/

Samuel Beckett's Bookshelf

John Minihan's rare glimpse inside the writer's Paris apartment
John Minihan, Samuel Beckett's Bookshelf in Paris
A photograph of Samuel Beckett's bookshelves in the study of his apartment at the Boulevard St Jacques in Paris. Click above to enlarge. Photograph taken by John Minihan.

La Rouchefoucauld's Maxims

Alain de Botton reviews the maxims of François de La Rochefoucauld
François de La Rochefoucauld
La Rochefoucauld believed in a different picture of the mind. Arguments are like eels: however logical, they may slip from the mind's weak grasp unless fixed by beautiful sentences. La Rochefoucauld is therefore an inspiration to anyone who feels divided between the role of a philosopher and a writer: he suggests that you can have the best of both worlds, and indeed went on to inspire some of the greatest of philosophers. It isn't accidental that he turns out to have been dearly loved by, among others, Kierkegaard, Leopardi, Nietzsche, Wittgenstein and Cioran. La Rochefoucauld reminds us that great pessimism doesn't have to be depressing: to read him is like sucking the juice from the bitterest lime, and enjoying it. [Read More]

21.10.09

W. B. Yeats and Modernism

On the Irish Nobel winner's place in the literary movement
Sketch of W. B. Yeats. Article on William Butler Yeats and ModernismIn a review of Calvin Bedient's new book, The Yeats Brothers and Modernism’s Love of Motion, Robert Huddleston takes a look at the significance of William Butler Yeats in relation to twentieth century modernism (via the wonderful 3quarksdaily):
William Butler Yeats has been called the twentieth century’s greatest poet. He may even deserve the title. As Richard Ellmann wrote in his classic study Yeats: The Man and the Masks, “it is not easy to assign him a lower place.” Others may have attempted more; none achieved it. Ezra Pound, T. S. Eliot, Wallace Stevens, and all the other contenders of Yeats’s illustrious generation—none stakes quite the same claim on the imagination, or on the idiom, of our time. “Things fall apart; the centre cannot hold”; “A terrible beauty is born”; “Now days are dragon-ridden, the nightmare / Rides upon sleep.” Even Joyce has his protagonist Stephen Dedalus murmuring lines from Yeats’s early poem “Who Goes with Fergus?” on Sandymount strand: “And no more turn aside and brood / Upon love’s bitter mystery.” Like Shakespeare, Yeats is inescapable.

Yet few critics, including Ellmann, have seemed entirely comfortable with this fact. As a man, Yeats could be personally unappealing, even arrogant and intolerant, although not more so than Eliot and less so than Pound. The problem with casting Yeats as the ne plus ultra of twentieth-century poets stems from the fact that his work defies preconceptions about what a sufficiently modern—and specifically Modernist—poetry should be. Yeats’s ties to the nineteenth century and the legacy of Romanticism were vital and strong. Most importantly, Yeats forsook radical formal innovation and was instead a lifelong advocate of traditional poetic meter and form. [Read More]

Critics Review Complicite's Endgame

A summary of the response
The Complicite production of Samuel Beckett's Endgame © Sarah Ainslie
As theatre critics try to make up their mind on Complicite's new production of Samuel Beckett's Endgame, Leo Benedictus of The Guardian offers a summary of the main perspectives:
Do say: I feel wonderfully depressed!

Don't say: If life is so meaningless, what's the point of writing plays?

The reviews reviewed: By far the best Endgame since the last one. [Read More]

More about the production:
19.10.09

Goethe on philosophies of life

Quotation from the distinguished German writer



From Goethe's Maxims and Reflections:

806. Every stage of life corresponds to a certain philosophy. A child appears a realist; for it is as certain of the existence of pears and apples as it is of its own being. A young man, caught up in the storm of his inner passions, has to pay attention to himself, look and feel ahead; he is transformed into an idealist. A grown man, on the other hand, has every reason to be a skeptic; he is well advised to doubt whether the means he has chosen to achieve his purpose can really be right. Before action and in the course of action he has every reason to keep his mind flexible so that he will not have to grieve later on about a wrong choice. An old man, however, will always avow mysticism. He sees that so much seems to depend on chance: unreason succeeds, reason fails, fortune and misfortune unexpectedly come to the same thing in the end; this is how things are, how they were, and old age comes to rest in him who is, who was and ever will be.

Johann Wolfgang von Goethe, Maxims and Reflections
Translated by Elisabeth Stopp
More on Goethe:
18.10.09

Maurice Blanchot on Kafka

French philosopher reflects on the writing of Franz Kafka
Photograph by Jiří Šebek
Two excerpts from Maurice Blanchot's The Writing of the Disaster:
When Kafka allows a friend to understand that he writes because otherwise he would go mad, he knows that writing is madness already, his madness, a kind of vigilence, unrelated to any wakefulness save sleep's: insomnia. Madness against madness, then. But he believes that he masters the one by abandoning himself to it; the other frightens him, and is his fear; it tears through him, wounds and exalts him. It is as if he had to undergo all the force of an uninterruptable continuity, a tension at the edge of the insupportable which he speaks of with fear and not without a feeling of glory. For glory is the disaster.

[...]

As the German expression has it, the last judgement is the youngest day, and it is a day surpassing all days. Not that judgement is reserved for the end of time. On the contrary, justice won't wait; it is to be done at every instant, to be realized all the time, and studied also (it is to be learned). Every just act (are there any?) makes of its day the last day or - as Kafka said - the very last: a dat no longer situated in the ordinary succession of days but one that makes of the most commonplace ordinary, the extraordinary. He who has been the contemporary of the camps if forever a survivor: death will not make him die.

Maurice Blanchot, The Writing of the Disaster
Translated by Ann Smock

Beckett's Endgame at the Duchess Theatre

The Observer reviews the production
Mark Rylance, Tom Hickey and Miriam Margolyes in Endgame at the Duchess. Photograph: Tristram Kenton
Today's Observer newspaper reviews Simon McBurney's London production of Samuel Beckett's Endgame:
Just because it's called Endgame, it doesn't mean it's the last word. Simon McBurney's production of Beckett's dustbin play is a dazzling piece of chiaroscuro, but this baroque installation is an occasion for marvelling rather than insight.

Beckett's intense staging of despair delivers its big shots in the first images: the parents stuffed into the bins, the underling slipping up and down the ladder, the blinded figure stranded on a throne mopping his bloodied brow; the windows which offer no prospect. From then on, everyone is stuck in an attitude that can only intensify or unravel, pierced by verbal shafts:

"He's crying."

"Then he's living."

As the old bin bag, Miriam Margolyes wears her garbage can as if were a doily; Tom Hickey's face looms out of his like a fading lightbulb. They play their intimate exchanges – "rub yourself against the rim" – finely, with glum, lascivious attention. Around them, McBurney glooms and lurches, as stiff-jointed as a compass, while Mark Rylance, an unseeing potentate in a forgotten room, floats, drifts, swims between humility and grandiosity. Rylance, one of the most magnetic actors on the British stage, can seem to be the missing link between thought and action, spirit and physicality. He's riveting here, but as a performance rather than a presence: he doesn't use the enhanced naturalness which is his strongest suit. Playing up to his name – Hamm – he is like an animated candelabra: a crowd of blazing lights.

Simon McBurney's production of Endgame runs at the Duchess Theatre in London until December 5th.

More information:
17.10.09

J. G. Ballard's Top Ten Writers

British author lists his favourite authors, poets and dramatists

In a BBC survey at the turn of this century, J. G. Ballard listed his top ten writers of the last millenium. It's interesting to note how many of the selected are associated with twentieth-century satire and dystopian writing - authors who held a powerful influence over Ballard's own work:
1. William Shakespeare
The universal writer and poet.

2. Miguel Cervantes
Don Quixote is the first great anti-hero.

3. Jonathan Swift
The most intelligent writer who ever lived.

4. Herman Melville
Moby Dick is the greatest ocean of a novel the human imagination has ever sailed.

5. John Keats
The sweetest literary poet of all.

6. Franz Kafka
The greatest prophet of the terrifying bureaucracies of the 20th century.

7. Fyodor Dostoyevsky
He is the great psychologist of the modern novel.

8. Joseph Heller
Catch 22 is the last classic novel written this century.

9. George Orwell
1984 is the prophetic novel of our time.

10. Aldous Huxley
Brave New World is a guide book to the next millennium.


More on J. G. Ballard at A Piece of Monologue:
16.10.09

Thomas Bernhard on Grandfathers

An excerpt from the Austrian writer's autobiography
Thomas Bernhard
From Thomas Bernhard's Gathering Evidence:
Grandfathers are our teachers, our real philosophers. They are the people who pull open the curtain that others are always closing. When we are with them, we see things as they really are - not just the auditorium but the stage and all that goes on behind the scenes. For thousands of years grandfathers have taken it upon themselves to create the devil where otherwise there would have been only God. Through them we see the drama in all its fullness, not just a pathetic bowdlerized fragment, for what it is: pure farce. Grandfathers put their grandchildren's heads where at least there is something interesting to see, even if it is not always easy to understand; and by always insisting on what is essential they save us from the dreary indigence in which, were it not for them, we should undoubtedly soon suffocate.

Thomas Bernhard, 'A Child' in Gathering Evidence: A Memoir
Translated by David McLintock
15.10.09

James Joyce Centre: October Events

Your online timetable
James Joyce by Barrie Maguire
The James Joyce Centre in Dublin have announced a series of special events to take place over the course of this month. They include a walking tour of Joyce's Dublin, visiting some of the key locations featuring in his work, and six of the author's former residences. The Centre also gets into the Halloween spirit with a virtual tour of 'ghosts and otherworldly projections in Joyce's Dublin'. There will also be a lecture on Joyce and music, which includes a live tenor and pianist. Quite a month ahead!

Read on for more information, and find a link to the James Joyce Centre website below:
Saturday 10th and Saturday 24th at 11.00am
Joyce’s Dublin, 1892-1902

Join our guide on a walk through a less travelled part of Joyce’s Dublin. This tour visits 6 of Joyce’s residences in Dublin (Fitzgibbon Street, North Richmond Street, Convent Avenue, Richmond Avenue, Royal Terrace and Windsor Avenue) and discusses the impact of Dublin’s ‘Northside’ on Joyce’s works. In addition to Joyce’s residences, we visit several locations important to Stephen Hero, A Portrait of the Artist as a Young Man and Dubliners before concluding with a walk through ‘Monto’ (the former red-light district and location of the ‘Circe’ episode of Ulysses).

Time: 2-2.5 hours
Adult: €10
Student/Senior: €8

Saturday 17th and Saturday 31st at 2.00pm
Cemeteries and Cerements: The Underworld of Joyce’s Dublin

Join us for an entertaining virtual tour (photo projections of Dublin then and now) of the ghosts and otherworldly occurrences in Joyce’s Dublin. From the witch-like Maria’s journey across the city on Halloween, to Stephen Dedalus’s haunting visions of his mother’s ghost, the shade of Parnell and, of course, the house at No. 15 Usher’s Island, Joyce’s Dubliners exist amid continual reminders of the spirit-world. Come find out what did these continual reminders of the past meant for Joyce and his characters.

Plus tea and barmbracks too!

Time: 1 hour
Adult: €5
Student/Senior: €4
€2 with admission to Centre.

And on Monday 19 October Terence Killeen’s lecture ‘The Joyce of Music: An Exploration in Sound’ will feature accompaniment by a live tenor and pianist!

Lecture begins at 6.30pm.
Admission free.
13.10.09

Artforum on J. G. Ballard

A retrospective
J. G. Ballard

Artforum has published part of its October retrospective on the late J. G. Ballard at their website (via Ballardian):
While popularly known as a writer of science fiction, the late J. G. Ballard was a veritable philosopher of contemporary culture, whose keen observations both delineated and anticipated vast, rapid shifts in postwar technology and media—the likes of which, his stories implied, were forever altering the shape of our global environment and of the subjectivities populating it. Artforum asked editor Robert Weil, film director David Cronenberg, artist Dominique Gonzalez-Foerster, and poet Clark Coolidge to reflect on this legendary figure’s legacy in the fields of literature, cinema, and art. Weil and Cronenberg’s contributions have been reproduced below. For the rest, pick up the October issue of Artforum. [Read More]


Smarten up with surrealism

Reading Kafka or watching Lynch can boost your intelligence?
Isabella Rossellini  David Lynch's Blue Velvet (1986)
Rebecca Knight reports on the possible benefits of catching up on your Kafka, or settling down to an evening of David Lynch films:
This just in from the department of…Who knew?

Reading a book by Franz Kafka or watching a movie by director David Lynch just might make you smarter.

According to researchers at UC Santa Barbara and the University of British Columbia, exposure to the surrealism in, say, Lynch’s “Blue Velvet” enhances the cognitive mechanisms that oversee implicit learning functions.

The idea is that when you’re exposed to a meaning threat - something that fundamentally does not make sense - your brain is going to respond by looking for some other kind of structure within your environment. “And, it turns out, that structure can be completely unrelated to the meaning threat,” says Travis Proulx, one of the study’s co-authors. [Read More]

10.10.09

Immanuel Kant's Walking Habits

A reflection on the philosopher's daily routine
Immanuel Kant
In a brief but interesting article, Joachim Koester attempts retrace the footsteps of philosopher Immanuel Kant's daily walks through the European city of Königsberg (now Kaliningrad):
"The life story of Immanuel Kant is hard to describe, for he had neither a life nor a story", writes the poet Heinrich Heine. In some respects this observation bears out. Throughout his life Kant stayed in Königsberg, the city where he was born. Never straying more than a few miles from town, he devoted himself to the pursuit of philosophical truths in complex and extensive writings, a task so monumental that he had to organize his days rigorously to secure the necessary time. In contrast, Kant was largely silent about himself. He kept no journal; the details about his life are sparse and must be gleaned from what he accidentally let slip through. Most stories of Kant come only from people who knew him or observed him directly. Of the few daily activities Kant engaged in, his walks have been imbued with the most significance. [Read More]

8.10.09

Raymond Federman 1928-2009

Author, poet and critic passes away
I am sad to report that French writer and academic Raymond Federman has passed away after a long illness. He was the author of numerous novels, volumes of poetry and translation. He was also one of the first academics to write a sustained analysis of Samuel Beckett's prose, Journey to Chaos: Samuel Beckett's Early Fiction. I'm happy to say that I was lucky enough to correspond with him a number of times, and found him to be witty, enthusiastic and extremely generous.

You can find out more about Raymond Federman and his work by exploring some of the sites below. That is all for now.

More on Raymond Federman
5.10.09

Philosophy and Vincent van Gogh's Shoes

An insightful new exhibition
Vincent Van Gogh, 'A Pair of Shoes' (1886)
Scott Horton writes on a new exhibition based around Vincent van Gogh's painting, 'A Pair of Shoes' (1886), and its significance to twentieth-century philosophy:
Cologne’s Wallraf Richartz Museum has launched an impressive new exhibition entitled “Vincent van Gogh: Shoes,” built around a celebrated painting by the Dutch master from 1886. Some might wonder how an exhibition can be framed around a single work with such a modest subject matter, but the curators provide us an impressive model. The exhibition focuses on the extraordinary role this painting has played in modern philosophy surrounding art, its reception, and its relationship to the history of ideas. A half dozen philosophers and art historians have written about van Gogh’s painting of shoes, including Martin Heidegger, Meyer Schapiro, and Jacques Derrida. The exhibition takes us on a trip through their writings—sometimes comic, occasionally downright rude, and often exhilarating. These thinkers certainly bar no holds in their clamber to be exceedingly profound.

We should start with the facts now established as to the origins of this painting. In 1886, van Gogh visited a Paris flea market and came across a pair of worn-out shoes. He bought them and brought them back to his atelier in the city’s Montmartre district. It’s not clear why he bought them, but it could be simply that he needed a new pair of shoes. Apparently, he did try to wear them and found the fit impossible. Instead, he decided to use them as a prop for painting, and the shoes soon became the most celebrated footwear in the history of modern art. But that may be less the direct result of van Gogh’s painting than of its critical reception by eminent writers. [Read More]

More information:

Plunged in thought: Thomas Bernhard on Music

An excerpt from Thomas Bernhard's novel, Correction
Austrian writer Thomas Bernhard stands barefoot at the door to his home
[...] for even at the age of eleven or twelve Roithamer had instinctively perceived that music and the knowledge of music was a necessary condition for his ability to enter into the natural sciences, and so he had even then seized upon every opportunity to improve his knowledge of music and, with only that basic instruction in musical theory and practice and in piano playing, he had achieved a mastery of his subject all on his own, and had not only retained that mastery all his life but had even managed to expand and intensify it. Listening to music had always meant the same to him as studying music, so listening to music was for him not only a way of raising his spirits but, by the way he combined hearing and studying the music, he became plunged in thought. While others listen to music and, when they hear, they feel it, it was possible for Roithamer to hear music and to feel and to think and to study his science. His chief musical interest had been, on the one hand, Purcell and Handel and Mozart and Bruckner, and on the other hand, the newer and newest music such as Hauer, Webern, Schönberg and their successors. The opening bars of the Webern string quartet which he'd hand-copied on the back of a bill, he'd tacked on the wall above his desk in Hoeller's garret. He loved this opening, it had always meant much to him.

Thomas Bernhard, Correction
Translated by Sophie Wilkins
4.10.09

David Bowie in Berlin, 1978

Alan Yentob interviews the performer in Europe

Alan Yentob interviews David Bowie in Berlin in 1978 as part of BBC documentary arts programme, Arena. With a dramatic Berlin city backdrop, Bowie discusses the artistic experimentation of 1977's Low and "Heroes", while giving an impression of the personal difficulties that underscored their creation. Bowie also shares anecdotes regarding the simplicity of his lifestyle in Europe, compared to his busy celebrity existence in Los Angeles.

More information:
3.10.09

Radio On at Chapter Arts Centre

A chance to see Chris Petit's existential road movie
Chris Petit, 'Radio On'
Chris Petit's beautiful existential road movie, Radio On, is playing at Chapter Arts Centre in Cardiff on October 13th. Produced by Wim Wenders in the late 1970s, Radio On includes a soundtrack featuring Kraftwerk, David Bowie, and Robert Fripp. Its barely-existent narrative delineates a quiet protagonist's journey from London to Bristol, to investigate the possible suicide of his brother. It's shot in a wonderfully dark, glossy monochrome, and includes some superb evocations of Ballardian motorways and decaying late-twentieth century Britain. A must see.

More information:

James Joyce Conference: April 2010

James Joyce in the Nineteenth Century
The North-East Irish Culture Network announces an upcoming conference on James Joyce, to be held at Durham University in April 2010:

NEICN Irish Studies Conference
James Joyce in the Nineteenth Century


Joyce’s position as a key figure within modernism and as a formative influence in modern Irish and European culture is assured. His work has long been understood as anticipating so much that seemingly ‘followed’, from Irish Independence to deconstruction and postmodern globalisation. Derrida describes how it is “always too late with Joyce” since he anticipates and even “invents” us. The famous opening to Richard Ellmann’s 1959 biography - “We are still learning to be James Joyce’s contemporaries” – itself heralded a late-twentieth century reading of modernism as avant la lettre. Even as far back as 1920, in The Dial, Joyce was hailed as a ‘Contemporary of the Future’.

But what was Joyce’s relationship with the nineteenth century (into which he was born and educated)? How should that relationship be thought in light of the persistence of his contemporaneity? How was the modernity of Joyce, and of us, already a feature of the 19th century? In what ways does modernity carry its own uneven conditions? Can we say with assurance that the 19th century was an age that ‘preceded’ him? How have the major intellectual and historical factors of the period – such as the growth of capital and commodity culture, liberalism and technology, gender and imperial politics, decentered subjectivity, etc. – been both necessary and contingent in our formulation of Joyce? By putting Joyce back into the nineteenth century, and by putting the nineteenth century back into Joyce, we hope to re-read some of the major cultural developments of ‘our times’.

In association with the Leverhulme-funded project ‘Consumer Culture, Advertising and Ireland, 1848-1921’, an international and interdisciplinary conference called James Joyce in the Nineteenth Century to be held at St.Chad’s College, Durham University will address these and related questions. The conference will feature several high profile keynote speakers - Anne Fogarty, Luke Gibbons, Andrew Gibson, Emer Nolan and Jennifer Wicke - and will result in a major new volume of essays.

Papers are invited on any aspect of Joyce’s relationship to the nineteenth century or on topics germane to the ‘Consumer Culture, Advertising and Ireland, 1848-1921’ project. Issues may include:
  • Joyce and 19th Century Ireland (its history, politics and literature)
  • Joyce and Consumer Culture and/or Advertising
  • Joyce and Liberalism
  • Joyce and Marx
  • Joyce and pertinent 19th Century European traditions
  • Joyce and nationalism and/or imperialism
  • Joyce and changing public spaces and/or the formation of privacy
  • The social function of the novel
  • Joyce and forms of realism or naturalism
  • Joyce and 19th Century Ireland (its history, politics and literature)
1.10.09

The Godfather at BFI's Southbank

Francis Ford Coppola's masterpiece returns to the big screen
Marlon Brando as Don Vito Corleone in Francis Ford Coppola's The Godfather
A new print of Francis Ford Coppola's seminal classic, The Godfather, has been granted an extended run at the BFI Southbank in London:
Constantly scoring very highly in best-ever film polls, Coppola's newly restored classic broke new ground in its focus on organised crime and paved the way for the 'movie brat' film-makers who would transform Hollywood.

Charting the fortunes of the New York-based Corleone clan in the years immediately following World War Two, the film centres on the transition from the traditional cosa nostra values held by Don Vito Corleone (Marlon Brando) to the Mafia's growing involvement with narcotics. At once a parable about the corrupting influence of power, a dark dynastic saga of trust, loyalty and betrayal, and a consistently gripping succession of superbly staged set-pieces punctuated by subtly nuanced scenes of family life, the film introduced the world to a host of young stars (not least Al Pacino as Vito's son Michael), a lyrical score, and such memorably resonant phrases as 'We made him an offer he couldn't refuse.'


The Godfather runs at the BFI Southbank until 14th October.

Kafka's Manuscripts on Trial

An ongoing legal battle over the rights to unpublished papers by Franz Kafka
Anthony Perkins stars as Josef K. in Orson Welles's adaptation of Kafka's The Trial
Scott Horton of Harper's Magazine reports on the complex legal procedures surrounding recently unearthed manuscripts by Franz Kafka:
Franz Kafka’s The Trial revolves around a surrealistic legal procedure governed by a nontransparent logic. At times it seems a criticism of what scholars call “legal indeterminacy,” that is, the inability of the legal system to provide clear rules for decision. “The right understanding of any matter and a misunderstanding of the same matter do not wholly exclude each other,” Kafka writes at one point. Now a set of manuscripts that at least at one point included the text of The Trial has become the subject of legal proceedings in Israel that seem as contradictory and interminable as the novel itself. [Read More]

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