Untitled, 2020 by Peter Busch (b. 1971)
Atlantic Civilisation, 1953 by André Fougeron (1913–1998)
J R by William Gaddis. 2020 trade paperback edition by NYRB. Cover design by Katy Homans. Introduction by Joy Williams (xi pages). 770 pages.
J R by William Gaddis. 1993 trade paperback edition by Penguin. Cover art is a detail of an Associated Gas and Electric Company stock certificate “Courtesy of William Gaddis.” No designer credited. Introduction by Frederick R. Karl (xxi pages). 726 pages.
J R by William Gaddis. 1975 trade paperback edition by Borzoi/Knopf. Cover design by Janet Halverson. 726 pages.
RIP Toots Hibbert, 1942-2020
The Names, Don DeLillo (1982)
In the Shadow of No Towers, Art Spiegelman (2004)
“The Suffering Channel,” David Foster Wallace (2004)
Falling Man, Don DeLillo (2007)
“The Vision of Peter Damien,” Chris Adrian (2008)
Open City, Teju Cole (2011)
Bleeding Edge, Thomas Pynchon (2013)
Preparation for the Next Life, Atticus Lish (2014)
“Doppelgänger, Poltergeist,” Denis Johnson (2017)
From In the Shadow of No Towers by Art Spiegelman, Pantheon, 2004.
Crow Catcher, 1990 by Leonora Carrington (1917–2011)
The Fourteen Daggers, 1942 by Kay Sage (1898-1963)
Almost Paradise, 2018 by Josh Keyes (b. 1969)
Thanatos, 1899 by Jacek Malczewski (1854-1929)
I’ve enjoyed digging into Pierre Senges’s Studies of Silhouettes since its arrival last week. The book is forthcoming from Sublunary Editions thanks to a translation by Jacob Siefring. Here’s Siefring’s blurb, which explains Senges’s project here:
Each of the texts in this work proceed from the fragments and cryptic beginnings found scattered throughout the notebooks Max Brod took possession of after Kafka’s death. The results tend to be as variable as they are unexpected: outlines of tales, madcap soliloquies, fairy tale inversions, strange parables, comedic monologues. In some instances a single fragment of Kafka’s is reprised multiple times, yielding parallel but divergent texts. Other times, a unique fragment is driven to its logical extreme, or gives way to a dizzying cascade of ab absurdum speculation, and one marvels how the development could have been otherwise. As one might expect, all of Kafka’s familiar obsessions—the night and its terrors, the law, justice and its lack, bureaucracy, animals, et cetera—are here in force. Each passage begins in boldface to indicate the hand of the Prague lawyer, before giving way to Senges’s liberties.
I’ve been dipping in at random, between the other few books I’ve been reading, and it’s good stuff. Here’s a sample:
Read my review of Pierre Senges’s Geometry in the Dust here.
The Disillusioned Medea, c. 1640 by Paulus Bor (1601–1669)
Patch and Pearl, 2006 by John Currin (b. 1962)
“Parable of Cervantes and the Quixote”
by
Jorge Luis Borges
Translated by Andrew Hurley
Weary of his land of Spain, an old soldier of the king’s army sought solace in the vast
geographies of Ariosto, in that valley of the moon in which one finds the time that is squandered by dreams, and in the golden idol of Muhammad stolen by Montalbán.
In gentle self-mockery, this old soldier conceived a credulous man—his mind unsettled by the reading of all those wonders—who took it into his head to ride out in search of adventures and enchantments in prosaic places with names such as El Toboso and Montici.
Defeated by reality, by Spain, don Quixote died in 1614 in the town of his birth. He was survived only a short time by Miguel de Cervantes.
For both the dreamer and the dreamed, that entire adventure had been the clash of two worlds; the unreal world of romances and the common everyday world of the seventeenth century.
They never suspected that the years would at last smooth away the discord, never suspected that in the eyes of the future, La Mancha and Montici and the lean figure of the Knight of Mournful Countenance would be no less poetic than the adventures of Sindbad or the vast geographies of Ariosto.
For in the beginning of literature there is myth, as there is also in the end of it.
Prometheus, 2020 by Mitchell Villa
