“Of the PRESIDENT next you will hear me declare / That altho’ neither silver nor gold does he wear”

(More/via).

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Typed Notes for Train Dreams — Denis Johnson

(Via).

“Your Liberal Arts $ at Work” — David Foster Wallace

From the David Foster Wallace Archive at the Harry Ransom Center.

David Foster Wallace Archive Opens to the Public

The David Foster Wallace Archive at the Henry Ransom Center (UTA) is now open to the public. The center will run a live webcast tonight at 8:00pm EST to celebrate the opening. In addition to his own materials, the collection holds over 300 of Wallace’s books–the majority heavily annotated.

W.G. Sebald: Image, Archive, Modernity — J.J. Long

In W.G. Sebald: Image, Archive, Modernity, J.J. Long posits that the work of the late German author W.G. Sebald is best understood as the struggle for autonomous subjectivity in a world conditioned by the power structures of modernity. If the term “power structures” wasn’t a big enough tip-off, yes, Long’s analysis of Sebald is largely Foucauldian, and although he cites Foucault more than any other theorist (Freud is a distant second), the book is not a dogged attempt to make Sebald’s prose stick to Foucault’s theories. Rather, Long uses Foucault’s techniques to better understand Sebald’s works. As such, Long examines the ways that modernity affects power on the human body in Sebald’s work, tracing his protagonists’ encounters with modern institutions that exert power via archive and image.

From the outset, Long distinguishes his book-length study on Sebald from the tradition of so-called Holocaust studies, as well as some of the other foci that dominate analyses of Sebald — “trauma and memory, melancholy, photography, travel and flânerie, intertextuality and Heimat.” Long claims that these are simply “epiphenomena” of the “problem of modernity” that dominates Sebald’s work, and goes on to scrutinize Sebald’s novels like The Emigrants, Austerlitz, and The Rings of Saturn by focusing instead on the various ways that modern institutions proscribe power on the subject’s body. Long writes–

Sebald is interested in the ways in which subjectivity in modernity is formed by archival and representational systems through which various forms of disciplinary power are exercised. He is also concerned with the scope that might exist for eluding disciplinary power or reconfiguring its archival systems in order to assert a degree of subjective autonomy or evade the determinations of power/knowledge.

Long’s study of Sebald is very much a description of modernity; in particular, of modernity as a series of affects of power and discipline upon the subject (again, very Foucauldian). It’s not particularly surprising then that Long, after locating so many Sebaldian traumas in the 19th and early 20th centuries, asserts that Sebald is a modernist and not a postmodernist. He bases this claim not on the formal elements of Sebald’s prose, which he readily concedes can just as easily be read as postmodernist, but rather on the way his “texts respond to the specific historical constellation” of modernity. Long continues–

What is notable about Sebald is that the fictional worlds he constructs are not postmodern spaces of global capital, hyperspace and ever-faster cycles of production, consumption and waste (despite his narrators’ occasional visits to McDonald’s). His texts do not present unrelated present moments in time, nor do they partake of the waning of history that is frequently noted as a characteristic of the postmodern. Sebald’s spaces are those of an earlier modernity that are deeply marked by the traces of history.

If the question of whether or not a book is postmodern or modern strikes you as merely academic, that’s because it is merely academic. Long makes a solid case for Sebald-as-modernist, but the best parts of his book are really his Foucauldian analyses of Sebald’s texts. They make you want to go back and reread (or, in some cases read for the first time.) I’m inclined to believe that Sebald (along with a host of other writers) is better described as something beyond modern or postmodern, something we might not have a name for yet, but that’s fine–we need distance, time. In Long’s take, Sebald is, of course, trying to sort out the detritus of modernity–even as it’s happening to him. But I’m not sure if that makes him a modernist.

W.G. Sebald: Image, Archive, Modernity is available now from Columbia University Press.

Reminder: David Foster Wallace Archive’s Live Webcast Tomorrow Night

Wallace's edition of McCarthy's "Suttree"

A reminder for interested parties: the David Foster Wallace Archive at the Harry Ransom Center at the University of Texas will début the collection tomorrow night at 8:00pm EST with a live webcast featuring readings of Wallace’s works. You can access the webcast here.

(Ed. note — We got the date wrong the first time. Thanks to @MattBucher for the correction!)

David Foster Wallace Archive Will Open with Live Webcast

The Independent reports that the David Foster Wallace Archive at the Harry Ransom Center at the University of Texas will debut the collection with a live webcast on September 14, 2010 featuring readings of Wallace’s works. You can access the webcast here. (But, like, obviously not until next Tuesday night).

Wallace's annotations of DeLillo's novel Ratner's Star

The British Library Acquires J.G. Ballard Archive

According to a report in yesterday’s Guardian, the British Library has acquired J.G. Ballard’s archival material, including hand-written manuscripts, drafts, letters, and photos. The British Library will make Ballard’s materials fully accessible to the public. From the article:

Ballard was a man of routine and, in the first instance, wrote all his work by hand, once saying he could always tell if a novel had been written on a typewriter (and later computer). One of the highlights of the archive is the far from neatly handwritten first 840-page draft of Empire of the Sun, which is a collage of crossings out, revisions, corrections and additions.

After the first draft Ballard would then type it up and ruthlessly go through it again. The second draft of Crash is in the archive and it is even more crazily corrected. Andrews said: “I think some of those individual pages are works of art. There’s a determination and in some cases a violence.” Also in the archive are notepads with headings such as “topics that interest me”, full of his thoughts and ideas for stories and novels, as well as items relating to the Lunghua internment camp of his childhood.

Section from the original Crash manuscript

See more images from the collection here.