Book Shelves #34, 8.19.2012

 

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Book shelves series #34, thirty-fourth Sunday of 2012

A little end table next to the couch in our family room.

The books on top are little art books we keep out for the kids to look at, including People

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On the second shelf, along with a cooking magazine: The People Could Fly and Lynda Barry’s One Hundred Demons:

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There are two drawers; one holds electronic manuals. The second holds McSweeney’s #33, the newspaper issue, which was pretty damn unwieldy:

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A comic from the McSweeney’s by Michael Kupperman:

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The Nereids — Joaquín Sorolla

“Enlightened” — Lydia Davis

Phi (Very Beautiful Book Acquired, 8.08.2012)

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Giulio Tononi’s Phi—remarkable, beautiful, strange. Sort of a novel, sort of philosophical text, sort of a history, sort of a science book . . . I don’t know. Here’s the blurb:

From one of the most original and influential neuroscientists at work today, here is an exploration of consciousness unlike any other—as told by Galileo, who opened the way for the objectivity of science and is now intent on making subjective experience a part of science as well.

Galileo’s journey has three parts, each with a different guide. In the first, accompanied by a scientist who resembles Francis Crick, he learns why certain parts of the brain are important and not others, and why consciousness fades with sleep. In the second part, when his companion seems to be named Alturi (Galileo is hard of hearing; his companion’s name is actually Alan Turing), he sees how the facts assembled in the first part can be unified and understood through a scientific theory—a theory that links consciousness to the notion of integrated information (also known as phi). In the third part, accompanied by a bearded man who can only be Charles Darwin, he meditates on how consciousness is an evolving, developing, ever-deepening awareness of ourselves in history and culture—that it is everything we have and everything we are.

Not since Gödel, Escher, Bach has there been a book that interweaves science, art, and the imagination with such originality. This beautiful and arresting narrative will transform the way we think of ourselves and the world.

The comparison to Hofstadter’s Gödel, Escher, Bach might be apt. The book also recalls The Rings of Saturn to me. I’ve put it in a “read this” pile.

More to come, but here are some shots at random from its interior:

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Nude with Book — Zinaida Serebriakova

The Dog — Francisco Goya

Vanishing Is the Last Art (Book Acquired, Some Time in the Past Two Weeks)

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Josh Davis’s novel Vanishing Is the Last Art. Blurb:

Charlie Fell sells baseball cards with seemingly hallucinogenic properties out of his bedroom, takes road trips to places he loves (New York City) and loathes (Southern California), and trips over a series of romantic entanglements. When the young writer releases his first novel, his life begins to unravel as the fallout from his published inner-monologues drive him back inside his already frail mind

Krautrock (Full BBC Documentary)

A Green Neck Duck with a Seville Orange — Jean-Baptiste-Simeon Chardin

Alejandro Jodorowsky: “The Only Exile I Know Is the Exile from Myself”

The thing is, I grew up as a foreigner.  Look, my father was a Jew who tried to pass for a Russian.  My mother was half-Russian, because a Cossack raped her mother, and she tried to pass for a Jew.  So, I was Chilean and not Chilean, because I was the son of immigrants.  I was trying to pass for a Chilean, but never completely.  I was never anything.  Therefore, the only exile I know is the exile from myself.  Because I was never myself.  The nostalgia I would have to get back to myself, what am I?  But not what am I as nationality.  What am I as a spirit without limits.  I have limits.  So, each day I try more and more to go toward the anonymous which is precisely the impersonal.  To try to be an impersonal person.  I don’t think in terms of cities now.  I think of the planet.  I don’t think in terms of nationality.  I think of human beings.

From a 1995 interview with Alejandro Jodorowsky by Jason Weiss (who was kind enough to forward a link to me).

A Monk with a Book — Titian

An Evening with Werner Herzog

Five Words in Green Neon — Joseph Kosuth

Treacherous Beauty (Book Acquired, 7.30.2012)

 

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Treacherous Beauty by Mark Jacob and Stephen H. Case. Blurb—

Histories of the Revolutionary War have long honored heroines such as Betsy Ross, Abigail Adams, and Molly Pitcher. Now, more than two centuries later, comes the first biography of one of the war’s most remarkable women, a beautiful Philadelphia society girl named Peggy Shippen. While war was raging between Britain and its rebellious colonists, Peggy befriended a suave British officer and later married a crippled revolutionary general twice her age. At age 19, she brought these two men together in a treasonous plot that, had it succeeded, might have turned George Washington into a prisoner and changed the course of the war.

Peggy Shippen was Mrs. Benedict Arnold.

 

“If X > Fire” — Ben Marcus

Woman with a Book — Pablo Picasso

Bukowski Riff

Charles Bukowski would be 92 if he was still alive, which he isn’t because he died in 1994.

I first read Bukowski in 1994 or 1995.

I can’t remember how I had heard about him, exactly—he might have been on MTV actually (MTV used to promote writers, believe it or not. Writers used to be cool). The Boo Radleys called a song on their 1995 album Wake Up! “Charles Bukowski Is Dead,” and I know I’d read Bukowski by the time I heard the record. I don’t know. In all likelihood, I first read Bukowski by browsing his books at the local Barnes & Noble.

do know that I “borrowed” three beautiful Black Sparrow Press editions of Bukowski from a kid in high school journalism class. I do know that I never returned those books, and they’re still on a shelf with probably five or six other Bukowski volumes. I feel sort of bad about stealing them.

One of those books was/is Women, a rambling riff-novel about Bukowski’s fatter years as a poet of some renown, of some notoriety. I’ve probably read Women in full five times through. It’s hilarious, occasionally silly and hamfisted, and glorious in parts.

I read a lot of Bukowski in high school. A lot. My friends read Bukowski. We all read him, even his poetry. I remember the excitement a friend and I felt when we saw a quick shot of his novel Hollywood in the film Swingers. I don’t know why.

And then I kind of dropped Bukowski. This was when I was a junior or senior in college. I had seen the limitations of his prose, the brutality of his fiction, the sheer sloppiness of it all, the anger, the misogyny—I was aware of these things from the get-go, to be clear—but I became overly concerned with his status as not one of the greats, or as a popular writer, or as a writer from a macho-age better left behind.

But I never traded in my Bukowskis, or put them away. I kept them on the shelf. I go to them every now and then—not for  nourishment, but for what? I don’t know. The work is admittedly spotty—a weird brand of self-deprecation and self-mythology. Henry Chinaski. Hank. Bukowski the autodidact, hunched in an LA library, reading his Shakespeare, his Celine. Bukowski the impoverished drunk. Ugly Bukowski. Romantic Bukowski.

There’s no point to this riff, of course. I was in a faculty meeting all morning and I thought about Bukowski on his birthday. What I mean to say is that Bukowski is a writer I read so thoroughly and so intensely when I was at such a young age that I feel that I know him, or at least know the version of himself that he willed to be let known. But of course I don’t know him.