Lear and Cordelia in Prison, c.1779 by William Blake (1757–1827)
My Father, 1868 by George Adolphus Storey (1834–1919)
They found the Dead Father standing in a wood, slaying. First he slew a snowshoe rabbit cleaving it in twain with a single blow and then he slew a spiny anteater and then he slew two rusty numbats and then whirling the great blade round and round his head he slew a wallaby and a lemur and a trio of ouakaris and a spider monkey and a common squid. Then moving up and down the green path in his rage he dispatched a macaque and a gibbon and fourscore innocent chinchillas who had been standing idly by watching the great slaughter. Then he rested standing with the point of his sword stuck in the earth and his two hands folded upon the hilt. Then he again as if taken by a fit set about the bloody work slaying a prairie dog and a beaver and a gopher and a dingo and a honey badger and an otter and a house cat and a tapir and a piglet. Then his anger grew and he called for a brand of even greater weight and length which was brought him by a metaphorically present gillie and seizing it with his two fine-formed and noble hands he raised it above his head, and every living thing within his reach trembled and every dead thing within his reach remembered how it got that way, and the very trees of the wood did seem to shrink and step away. Then the Dead Father slew a warthog and a spotted fawn and a trusting sheep and a young goat and a marmoset and two greyhounds and a draghound. Then, kicking viciously with his noble and shapely foot at the piles of the slain, raw and sticky corpses drenching the earth in blood on every side, he cleared a path to a group of staring pelicans slicing the soft white thin necks of them from the bodies in the wink of an eye. Then he slew a cassowary and a flamingo and a grebe and a heron and a bittern and a pair of ducks and a shouting peacock and a dancing crane and a bustard and a lily-trotter and, wiping the sacred sweat from his brow with one ermine-trimmed sleeve, slew a wood pigeon and a cockatoo and a tawny owl and a snowy owl and a magpie and three jackdaws and a crow and a jay and a dove. Then he called for wine. A silver flagon was brought him and he downed the whole of it in one draught looking the while out of the corner of his ruby eye at a small iguana melted in terror against the limb of a tree. Then he tossed the silver flagon into the arms of a supposititious cupbearer sousing the cupbearer’s hypothetical white tunic with the red of the (possible) wine and split the iguana into two halves with the point of his sword as easily as one skilled in the mystery fillets a fish. Then the Dead Father resumed his sword work in earnest slaying diverse small animals of every kind, so that the heaps mounted steaming to the right and to the left of him with each passionate step. A toad escaped.
From Donald Barthelme’s novel The Dead Father.
Smartphones, 2016 by Chen Danqing (b. 1953)
I finally made some time this afternoon to dip into Rédoine Faïd’s memoir-in-interviews, Outlaw: Armed and Dangerous. It’s a propulsive, fast read so far–I put away the first 60 pages in one reading. Faïd, fresh out of prison, tells his life story to journalist Jérôme Pierrat. The book is newly-translated by John Galbraith Simmons and J.G. Barque, and available from Contra Mundum Press. Their blurb:
Memoirs of celebrated criminals purvey vivid personal stories while spawning sharp questions about the cultures that produced them. In Outlaw: Author Armed & Dangerous, Rédoine Faïd, of Algerian immigrant parents, born and raised in the housing projects surrounding Paris, recounts his career as an infamous and renowned bandit. Drawing inspiration and instruction from a host of films and television series, Faïd styled himself and was known to friends and accomplices as “Doc” — after Steve McQueen in the legendary suspense thriller, The Getaway.
With self-discipline and a striking ability to learn from experience, Faïd carried off his first robberies while still a teenager. He soon graduated from petty thievery to armed robbery, targeting computer component suppliers, jewelry stores, banks, and most memorably, armored trucks. A master of disguise, with bulletproof vest and a .357 Magnum as a prop to encourage compliance, he led a crew that operated with careful planning but eschewed bloodshed and physical violence.
In imitation of Michael Mann’s Heat, Faïd and his cohorts donned hockey masks for one job, sometimes even quoting from other famous heist films during their capers. When bold plans went wrong, he reacted with fast thinking that served him well — until it didn’t, and he was arrested and imprisoned in 1998.
Outlaw was first published in France in 2009, after which Faïd was imprisoned again. Subsequently, his dramatic escapes from jail, in 2013 and 2018, made front-page news in France and around the world.
Interviewed by journalist Jérôme Pierrat, who specializes in crime and investigative reportage, Rédoine Faïd tells his own story with panache and humor, darkened by introspection and cautionary tales. His story, like that of a character out of a Jean-Pierre Melville film or Dassin’s Rififi, is not only intriguing, it is also as compelling as any high-grade thriller. Three months after his daring helicopter escape from Réau Prison in 2018, Faïd was captured again. He currently remains in jail.
Postmodernist discourses are often exclusionary even when, having been accused of lacking concrete relevance, they call attention to and appropriate the experience of “difference” and “otherness” in order to provide themselves with oppositional political meaning, legitimacy, and immediacy. Very few African-American intellectuals have talked or written about postmodernism. Recently at a dinner party, I talked about trying to grapple with the significance of postmodernism for contemporary black experience. It was one of those social gatherings where only one other black person was present. The setting quickly became a field of contestation. I was told by the other black person that I was wasting my time, that “this stuff does not relate in any way to what’s happening with black people.” Speaking in the presence of a group of white onlookers, staring at us as though this encounter was staged for their benefit, we engaged in a passionate discussion about black experience. Apparently, no one sympathized with my insistence that racism is perpetuated when blackness is associated solely with concrete gut level experience conceived either as opposing or having no connection to abstract thinking and the production of critical theory. The idea that there is no meaningful connection between black experience and critical thinking about aesthetics or culture must be continually interrogated.
My defense of postmodernism and its relevance to black folks sounded good but I worried that I lacked conviction, largely because I approach the subject cautiously and with suspicion. Disturbed not so much by the “sense” of postmodernism but by the conventional language used when it is written or talked about and by those who speak it, I find myself on the outside of the discourse looking in. As a discursive practice it is dominated primarily by the voices of white male intellectuals and/or academic elites who speak to and about one another with coded familiarity. Reading and studying their writing to understand postmodernism in its multiple manifestations, I appreciate it but feel little inclination to ally myself with the academic hierarchy and exclusivity pervasive in the movement today.
The first two paragraphs of bell hooks’ 1990 essay “Postmodern Blackness.” I encourage you to read the other thirteen paragraphs here.
Resolution, 2015 by Yu Hong (b. 1966)
A Short History of Modern Painting, 1982 by Mark Tansey (b. 1949)
“Suffer me that I may speak; and after that I have spoken, mock on” (Job 21: 3, KJV)
The Mocking of Job, c. 1550 by Jan Mandyn (attributed; c. 1500-1559)
“The Painting after Lunch”
by
Clarence Major
It wasn’t working. Didn’t look back. Needed something else. So
I went out. After lunch I saw it in a different light, like a thing
emerging from behind a fever bush, something reaching the
senses with the smell of seaweed boiling, and as visible as yellow
snowdrops on black earth. Tasted it too, on the tongue Jamaica
pepper. To the touch, a velvet flower. Dragging and scumming, I
gave myself to it stroke after stroke. It kept coming in bits and fits,
fragments and snags. I even heard it singing but in the wrong key
like a deranged bird in wild cherries, having the time of its life.
What final visual impression was communicated to him by the mirror?
The optical reflection of several inverted volumes improperly arranged and not in the order of their common letters with scintillating titles on the two bookshelves opposite.
Catalogue these books.
Thom’s Dublin Post Office Directory, 1886.
Denis Florence M’Carthy’s Poetical Works (copper beechleaf bookmark at p. 5).
Shakespeare’s Works (dark crimson morocco, goldtooled).
The Useful Ready Reckoner (brown cloth).
The Secret History of the Court of Charles II (red cloth, tooled binding).
The Child’s Guide (blue cloth).
The Beauties of Killarney (wrappers).
When We Were Boys by William O’Brien M. P. (green cloth, slightly faded, envelope bookmark at p. 217).
Thoughts from Spinoza (maroon leather).
The Story of the Heavens by Sir Robert Ball (blue cloth).
Ellis’s Three Trips to Madagascar (brown cloth, title obliterated).
The Stark-Munro Letters by A. Conan Doyle, property of the City of Dublin Public Library, 106 Capel street, lent 21 May (Whitsun Eve) 1904, due 4 June 1904, 13 days overdue (black cloth binding, bearing white letternumber ticket).
Voyages in China by “Viator” (recovered with brown paper, red ink title).
Philosophy of the Talmud (sewn pamphlet).
Lockhart’s Life of Napoleon (cover wanting, marginal annotations, minimising victories, aggrandising defeats of the protagonist).
Soll und Haben by Gustav Freytag (black boards, Gothic characters, cigarette coupon bookmark at p. 24).
Hozier’s History of the Russo-Turkish War (brown cloth, 2 volumes, with gummed label, Garrison Library, Governor’s Parade, Gibraltar, on verso of cover).
Laurence Bloomfield in Ireland by William Allingham (second edition, green cloth, gilt trefoil design, previous owner’s name on recto of flyleaf erased).
A Handbook of Astronomy (cover, brown leather, detached, 5 plates, antique letterpress long primer, author’s footnotes nonpareil, marginal clues brevier, captions small pica).
The Hidden Life of Christ (black boards).
In the Track of the Sun (yellow cloth, titlepage missing, recurrent title intestation).
Physical Strength and How to Obtain It by Eugen Sandow (red cloth).
Short but yet Plain Elements of Geometry written in French by F. Ignat. Pardies and rendered into Engliſh by John Harris D. D. London, printed for R. Knaplock at the Biſhop’s Head, MDCCXI, with dedicatory epiſtle to his worthy friend Charles Cox, eſquire, Member of Parliament for the burgh of Southwark and having ink calligraphed statement on the flyleaf certifying that the book was the property of Michael Gallagher, dated this 10th day of May 1822 and requeſting the perſon who should find it, if the book should be loſt or go aſtray, to reſtore it to Michael Gallagher, carpenter, Dufery Gate, Enniſcorthy, county Wicklow, the fineſt place in the world.
From James Joyce’s Ulysses.
St. Lucy, 1521 by Domenico Beccafumi (1486-1551)
My birthday was last Sunday. My favorite bookstore is closed on Sundays, so as a treat to myself I browsed it Monday afternoon. I was looking for specific titles by Nalo Hopkinson and Kit Reed (no luck), as well as another Muriel Spark. I picked up Spark’s third novel, Momento Mori and read it this week. It’s a good book, but nowhere near the sharp excellence of Loitering with Intent. I also found a first edition paperback of William H. Gass’s first novel, Omensetter’s Luck. I should’ve left it for some kid to find—I have a Meridian first edition of Omensetter’s already—but I couldn’t. I hate the collector in me.
I also picked up Charles Wright’s novel The Messenger, despite already having an omnibus that collects all three of Wright’s novels. Couldn’t help it; the mass-market cover was too good (although James Baldwin’s name doesn’t have to be quite that big, does it?).
Early in the week I got an email containing my daughter’s summer reading directions–Paul Coelho’s The Alchemist and Howard Zinn’s A Young People’s History of the United States. I treated myself to another Muriel Spark–an especially short one, about a nunnery—The Abbess of Crewe.
On the Map, 1937 by William Coldstream (1908-1987)
(English translation by Paul Blackburn.)
The Man with the Cubist Head, 1987 by Julio Larraz (b. 1944)
Biblioklept 