“Tree and Sky” — William Carlos Williams

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Pilgrim on Cathedral Steps — Paul Fenniak

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Pilgrim on Cathedral Steps, 2018 by Paul Fenniak (b. 1965)

Heather — Aron Wiesenfeld

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Heather, 2016 by Aron Wiesenfeld (b. 1972)

Transference — Leonora Carrington

Transference 1963 by Leonora Carrington 1917-2011

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Transference, 1963 by Leonora Carrington (1917–2011)

Rolled in through the holes in the stories I told

Untitled — Miki Kim

mk4Untitled, 2019 by Miki Kim

Typewriter — Konrad Klapheck

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Typewriter, 1955 by Konrad Klapheck (b. 1935)

Mist II — Paula Rego

Mist II 1996 by Paula Rego born 1935

Mist II, 1996 by Paula Rego (b. 1935)

Portrait of Moerai Matuanui — Kehinde Wiley

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Portrait of Moerai Matuanui, 2019 by Kehinde Wiley (b. 1977)

The Alchemist — Paulina Olowska

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The Alchemist, 2015 by Paulina Olowska (b. 1976)

Poor Room — Ivan Albright

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Poor Room – There is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever and Forever Without End (The Window), 1943 by Ivan Albright (1897-1983)

“June Wind” — Wendell Berry

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Posted in Art

Untitled — Edward Burra

Untitled, 1940 by Edward Burra (1905–1976)

Blog about some recent reading

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It’s been pretty busy around Biblioklept World Headquarters this week. It’s the first week of my kids’ summer vacation, and they both had birthdays this week, as did I. I managed to read but not write that much—so here’s this lazy post.

I finally finished Robert Coover’s 1966 debut novel The Origin of the Brunists this morning, which I had started with a huge wave of enthusiasm way back at the end of February. The novel has one of the finest second chapters I can remember, a long description of a mine’s implosion, and the rest of the book simply never matches its intensity. Coover conjures a mining town called West Condon, and explores the fallout of the disaster and how it affects seemingly every citizen. The central conflict is between a doomsday cult (the Brunists) and the rest of the town. There are some wonderful moments, but there’s a maudlin streak to the novel that Coover’s later work would satirize. The Origin of the Brunists suffers from the strains of First Novel Syndrome—Coover overstuffs the beast, and doesn’t leaven his unwieldy monster with enough humor. It’s a shaggy read, which, like, fine—I love shaggy novels!—but shagginess should correlate with theme, and Coover’s theme is decidedly unshaggy. You could probably cull a dozen short stories from Origin and end up with a finer book. I ended up reading it out of a sense of duty to the author. Maybe the sequel, which came out a few years ago, is a better affair.

I should have a review of Ann Quin’s first novel Berg out next week, but here is a short review: Go read Berg. It’s extraordinary. It’s so extraordinary that upon finishing it I immediately needed more Quin. I’ve been reading the collection of fragments and stories The Unmapped Country slowly, interspersing them with other reads. Good stuff.

I picked up Linda Coverdale’s translation of Patrick Chamoiseau’s novel Slave Old Man this Friday as I browsed my favorite bookstore as a birthday treat for myself. I read the first two chapters that afternoon. The language is extraordinary, strange, poetic, bracing. More thoughts to come.

I read Gerald Murnane’s Border Districts over the course of three mornings. I then immediately reread it, finding it even more precise and accomplished than I had realized the first time. Murnane’s “fiction” is a compelling meditation on seeing and trying to see what can’t be seen. It’s about place, memory, image, and color—the colors of marbles, of liveries, of racing flags and stained glass windows. It’s also a strange and ironic exercise in literary criticism—but ultimately, it’s about waiting for the epiphanies our stories promise us, and perhaps waiting in vain. Very highly recommended.

I had hoped to write Something Big on Thomas Pynchon’s Vineland but found myself a bit too exhausted at the end of it to muster anything. I know among Pynchon fans it has a certain cult status, but I’d rather pick up Gravity’s Rainbow or Against the Day or Mason & Dixon again than reread Vineland. The book is a shaggy mess, really, with some excellent bits that never properly cohere. (It is possible that the book doesn’t cohere on purpose—there’s a narratological implication that the entire book is simply a film treatment, or, a few characters riffing over a film treatment.) Vineland features characters from other Pynchon novels, notably the Traverse family from Against the Day, as well as folks from Gravity’s Rainbow and The Crying of Lot 49, suggesting that there is of course a Pynchonverse. The book is an indictment on the baby boomers selling out in the seventies and really the eighties, and attack on Nixonia and the rise of Reagan. The indictment could be stronger. Vineland’s also an extended attack on television, but also a love letter to The Tube. (There’s also a motif about cars and driving that I didn’t fully understand.) And there are all the usual Pynchon themes: zeros and ones, preterite and elect, visible and invisible, paranoia, paranoia, paranoia. Probably the weirdest thing about Vineland is that its “B” plot about a ninja and her partner and their strange adventures actually seems to take up way more of the book than the “A” plot (about a daughter and her estranged mother reuniting). I liked the “B” plot a lot better. I’m sure I’ll reread all of Pynchon at some point, but for now, I’d put it at the bottom of this list.

I finally found a copy of Donald Barthelme’s children’s book The Slightly Irregular Fire Engine: Or, the Hithering Thithering Djinn. My kids seem a little too old for it but I dig it, and the collage work (by Barthelme himself) is fun, if not exactly Une Semaine de Bonté.

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I actually did muster a review of Jaime Hernandez latest Love & Rockets book, Is This How you See Me? The review is at The Comics Journal.

Not pictured in the stack above (because I have it out as a digital loan from my local library) is Maria Gainza’s novel (is it a novel?) Optic Nerve, in translation by Thomas Bunstead. I’m a little over half way through, and just really digging it. It’s kinda like a life story told through paintings and art history, but it’s also very much about aesthetics and ways of seeing. It reminds me a lot of  W.G. Sebald, Roberto Bolaño Claire-Louise Bennett, Lucia Berlin, and David Markson, but also really original. Good stuff.

Rescue Party — Robin F. Williams

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Rescue Party, 2010 by Robin F. Williams (b. 1984)

The Cinema — William Roberts

The Cinema 1920 by William Roberts 1895-1980

The Cinema,1920, by William Roberts (1895–1980)

The Art Lover — Jansson Stegner

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The Art Lover, 2015 by Jansson Stegner (b. 1972)