On 1 April 2018 I set the silly goal of blogging about something every day of the month. I actually wound up meeting the goal, and it was fun (if sometimes exhausting). The April “Blog about” thing allowed me to just write in a way that was freeing. I have a tendency to let riffs and reviews languish, to leave my half-assed remarks on whatever I’m reading left unremarked, etc.
Anyway. Lately I’ve been Not Writing–in part because I’ve been extraordinarily busy with work and family, but also because it’s incredibly hot in Florida. (If this does not make sense to you, don’t worry. Look—sometimes it’s just too hot). So well anyway—I’m going to use 1 October 2018 as an occasion to declare my good intent to blog about something—books, film, art—every day or nearly every day. I’m not sure how it will go.
For now, some October reading goals, in no way prioritized:
Finish George Eliot’s Silas Marner.
This probably should have been the first Eliot novel I read—it’s more approachable (and let’s be honest, much, much shorter) than Middlemarch. Eliot’s major skill, it seems to me, is in evoking consciousness-in-action—that’s the impression I got after finishing Middlemarch, anyway. Like Middlemarch, Silas Marner is also a thoroughly convincing evocation of place. And, in its treatment of anxiety, it also seems to me an easy pre-Modern Modern novel.
Make a bigger dent in David R. Bunch’s Moderan.
Bunch’s Moderan stories connect into a strange novel told in a thoroughly singular voice. “Thoroughly singular voice” is a total cliché, but it’s true here: Bunch’s New Metal Man Stronghold 10 paints his plastic-coated post-apocalyptic world as if it were a perfect paradise. The language, the voice, is its own idiom—barking, visceral, phallic—perfectly suited to conjure a postnuked dystopian world. The great trick of it all is that the narrator Stronghold 10 views this dystopia as a utopia, resulting in a layer of ironic distance between author and speaker that creates a bizarre comic tension that’s ripe for misreading. The voice’s singularity though means that’s a very particular flavor; one doesn’t always want Stronghold 10 booming in one’s ear. I hope to do a few posts on Moderan this month, but if your interest is piqued, check out Rob Latham’s thorough review at the Los Angeles Review of Books.
Check out Luigi Pirandello’s One, No One, and One Hundred Thousand.
A review copy from Spurl Editions of William Weaver’s translation of Pirandello’s final novel arrived late last week but I haven’t made much time to check it out.
Finally read Carpenter’s Gothic by William Gaddis.
It will happen.
Do a few posts on Conversations with Gordon Lish (ed. by David Winters and Jason Lucarelli).
I tried not to gobble most of these Lish interviews up too quickly—the experience of reading them is something closer to reading an essay or a transcript of a performance than a staid interview.
Read more of Poe Poe Poe Poe Poe Poe Poe.
I unexpectedly dipped into Daniel Hoffman’s biography-criticism-memoir Poe x 7 this weekend, after randomly flicking to a page where Hoffman comments on Poe commenting on Hawthorne (all on allegory already aye?). The book is so strange and intriguing.
Return a book to a friend.
I asked a colleague, a musicologist, what he thought of Ravel’s Bolero and he loaned me Stephen Zank’s Irony and Sound: The Music of Maurice Ravel, and then narrowed his eyes a bit and clarified that the book should be returned. (Hardback U of P books ain’t cheap, people). A lot of it is way over my head, but Zank’s analysis often turns to literature—Baudelaire shows up as much in the index as Debussy—so there’s that.
Try not to gobble up all of Paul Kirchner’s forthcoming collection Hieronymus & Bosch.
You might have read some of Biblioklept favorite Paul Kirchner’s comic strips Hieronymus & Bosch at Adult Swim Comics. This Fall, French publisher Tanibis Editions will release a 100-page collection of Kirchner’s comic riff on life in hell. The digital advance they sent me looks great—I’ve tried to restrain myself from eating it all up at once.
Blog every day, even about nothing.