Cage III — Free Show. B.S. Latrodectus Mactans Productions/Infernatron Animation Concepts, Canada. Cosgrove Watt, P. A. Heaven, Everard Maynell, Pam Heath; partial animation; 35 mm.; 65 minutes; black and white; sound.
The figure of Death (Heath) presides over the front entrance of a carnival sideshow whose spectators watch performers undergo unspeakable degradations so grotesquely compelling that the spectators’ eyes become larger and larger until the spectators themselves are transformed into gigantic eyeballs in chairs, while on the other side of the sideshow tent the figure of Life (Heaven) uses a megaphone to invite fairgoers to an exhibition in which, if the fairgoers consent to undergo unspeakable degradations, they can witness ordinary persons gradually turn into gigantic eyeballs.
INTERLACE TELENT FEATURE CARTRIDGE #357-65-65
From David Foster Wallace’s novel Infinite Jest.
“Excellent People” by Anton Chekhov
ONCE upon a time there lived in Moscow a man called Vladimir Semyonitch Liadovsky. He took his degree at the university in the faculty of law and had a post on the board of management of some railway; but if you had asked him what his work was, he would look candidly and openly at you with his large bright eyes through his gold pincenez, and would answer in a soft, velvety, lisping baritone:
“My work is literature.”
After completing his course at the university, Vladimir Semyonitch had had a paragraph of theatrical criticism accepted by a newspaper. From this paragraph he passed on to reviewing, and a year later he had advanced to writing a weekly article on literary matters for the same paper. But it does not follow from these facts that he was an amateur, that his literary work was of an ephemeral, haphazard character. Whenever I saw his neat spare figure, his high forehead and long mane of hair, when I listened to his speeches, it always seemed to me that his writing, quite apart from what and how he wrote, was something organically part of him, like the beating of his heart, and that his whole literary programme must have been an integral part of his brain while he was a baby in his mother’s womb. Even in his walk, his gestures, his manner of shaking off the ash from his cigarette, I could read this whole programme from A to Z, with all its claptrap, dulness, and honourable sentiments. He was a literary man all over when with an inspired face he laid a wreath on the coffin of some celebrity, or with a grave and solemn face collected signatures for some address; his passion for making the acquaintance of distinguished literary men, his faculty for finding talent even where it was absent, his perpetual enthusiasm, his pulse that went at one hundred and twenty a minute, his ignorance of life, the genuinely feminine flutter with which he threw himself into concerts and literary evenings for the benefit of destitute students, the way in which he gravitated towards the young—all this would have created for him the reputation of a writer even if he had not written his articles.
He was one of those writers to whom phrases like, “We are but few,” or “What would life be without strife? Forward!” were pre-eminently becoming, though he never strove with any one and never did go forward. It did not even sound mawkish when he fell to discoursing of ideals. Every anniversary of the university, on St. Tatiana’s Day, he got drunk, chanted Gaudeamus out of tune, and his beaming and perspiring countenance seemed to say: “See, I’m drunk; I’m keeping it up!” But even that suited him. Continue reading ““Excellent People” — Anton Chekhov”
I was happy to get an advance copy of Matt Bell’s forthcoming novel In the House upon the Dirt Between the Lake and the Woods, because I like titles with lots of prepositions. No, actually, Bell’s novella-in-vignette’s Cataclysm Baby was one of my favorite new books of 2012. Here’s the pub blurb for House:
In this epic, mythical debut novel, a newly-wed couple escapes the busy confusion of their homeland for a distant and almost-uninhabited lakeshore. They plan to live there simply, to fish the lake, to trap the nearby woods, and build a house upon the dirt between where they can raise a family. But as their every pregnancy fails, the child-obsessed husband begins to rage at this new world: the song-spun objects somehow created by his wife’s beautiful singing voice, the giant and sentient bear that rules the beasts of the woods, the second moon weighing down the fabric of their starless sky, and the labyrinth of memory dug into the earth beneath their house.
This novel, from one of our most exciting young writers, is a powerful exploration of the limits of parenthood and marriage—and of what happens when a marriage’s success is measured solely by the children it produces, or else the sorrow that marks their absence.
Michael Kimball’s latest book Michael Kimball Writes Your Life Story (On a Postcard) had its genesis in a performance piece at the Transmodern Performance Festival a few years back: Michael interviewed people for a few minutes and then crammed their biographies onto postcards. The project soon evolved into a blog, where Michael interviewed hundreds of people of all ages from around the world. The work is now collected in a book from Mud Luscious Press that features over fifty of the biographies, including the life stories of several contemporary writers, one dead U.S. President, a rooster, a T-shirt, a few cats, Edgar Allan Poe, and Michael himself.
In addition to Michael Kimball Writes Your Life Story (On a Postcard), Michael is the author of Big Ray, Us, Dear Everybody, and The Way the Family Got Away. He still holds the Meryl S. Colt Elementary School record for the 600-yard dash. Check out his website.
Michael was kind enough to talk to me about this latest book over a series of emails.
Biblioklept: What’s the hardest thing about writing someone’s life story on a postcard?
Michael Kimball: There are difficult things at different stages of the process. The first difficult thing is asking the right questions for the particular participant. The second difficult thing is being representative when condensing what I’ve been told. The third difficult thing is writing small enough to squeeze six hundred words or so onto a single postcard.
Biblioklept: When you started the project, it was a planned performance piece of sorts, but your description of it at the beginning of the book makes it seem rather off-the-cuff. Did you have a plan for the questions you would ask? How did the questions change as the project progressed?
MK: That first performance was definitely off-the-cuff. I had no idea what I was going to ask people and how I was going to write their life stories on a postcard. I mostly started with something pretty open-ended and then asked more specific questions about whatever I was told. As the project progressed, I developed a set of starter questions that elicited basic information and then asked more specific questions from there. Basically, I considered whatever I was being told to be important and then asked more questions about it.
Biblioklept: You interviewed people by email, in phone, in person — how did how you were doing the interview affect the process? Did you prefer one way over the other?
MK: I preferred the in-person interviews. There was a different kind of intimacy with those and there are a bunch of people I interviewed that way who are now friends. Of course, that wasn’t practical for lots of the interviews, since most people lived so far away from me. And the method did influence the process. With the phone interview and in-person interviews I was taking notes as fast as I could, but that was never fast enough. With the email interviews, it was easier for people to give me more detailed answers. Also, since I had the full text of their answers, I could use more of their language.
Biblioklept: Did you prefer to use as much of the subject’s language as possible? Maybe I’m getting into what you described as “the second difficult thing” — how much of yourself do you see in the pieces? I think there’s clearly a voice, a tone that unifies the pieces . . . I’m curious how much of the process was crafting or editing or revising or repurposing the subject’s original language…
MK: I tried to use the participant’s language wherever I thought it gave some sense of the person. At times, I thought of like using third-person close narration. Besides that, I was trying to be as objective as possible and I think that gave the life stories a certain consistency of tone. Clearly, I tend to write sentences a certain way, but beyond that I tried to keep myself out of it.
Biblioklept: What about pieces like “Chair” or “T-Shirt” — how did they come about?
MK: The first non-person one I wrote was Red Delicious Apple, which popped into my head almost fully formed, which happened because I used to almost always have apples on my desk, which just meant that I spent a lot of time with apples. But writing Red Delicious Apple opened up a lot of possibilities and so T-Shirt is written about my favorite t-shirt and Chair was written about a chair I once broke. And I have a great affection for animals, so I loved writing ones like Moose the Cat, Sammy the Dog, and Abby the Horse.
Biblioklept: You wrote over three hundred postcards. How did you choose which ones you would include in the book?
MK: The book would have been over seven hundred pages long if I had included all the postcard life stories, but it was difficult leaving any of them out. So, ultimately, it came down to trying to showing the range of the postcard life stories, which is why nearly every one I wrote about a non-human made it into the book.
Biblioklept: How did the Poe biography come about?
MK: That was for Gigantic’s Gigantic America issue. They asked me to write one of the great American bios that they printed on special card inserts and I suggested Poe, who had just had some anniversary of his life or his death.
Biblioklept: Several pieces in Life Story are about contemporary writers. Was writing about these writers different than writing about anyone else in the collection?
MK: Early on, it was other writers who seemed particularly keen on the project — Adam Robinson, Karen Lillis, Elizabeth Ellen, Elizabeth Crane, Blake Butler, etc. I approached every postcard life story the same way, but then let the participant tell me where they wanted to take it. I tried to ask questions that followed their answers.
Biblioklept: I imagine most people who asked to participate in the project were forthcoming with their answers. I’m curious though if you noticed any topics that people avoided or glossed over or maybe required additional prodding from you. Did you ever feel like your part of the interviewing process pushed your subject into uncomfortable territory?
MK: I didn’t realize it until later, but part of what made the project work was that people came to me wanting to tell their life story (rather than me asking them if they wanted it told). Still, there were a few times that people were reluctant to say things. There was one woman who was reluctant to talk about her husband and I couldn’t figure out why, but then they divorced not long after that. And there was one man who didn’t want to talk about his mother because she was really sick. But usually if there was reluctance, it was some kind of abuse or some other horrible thing that had happened to the person. In fact, I was reluctant to talk about the abuse I grew up with in my own postcard life story when it was initially written. In general, I tried to ask the difficult question, but then let the participant decide whether they wanted to answer and how much they wanted to tell me. And with particularly difficult life stories, I always showed the participant what I wrote and asked them if they were OK with it being public before I ever put their postcard life story out into the world.
Biblioklept: Talking about one’s own life clearly has some kind of therapeutic value. Do you think reading about one’s own life carries a similar value?
MK: Since starting the project, I’ve learned there are quite a few therapeutic techniques that involve narrative and telling (or retelling) one’s life story. Part of that process is hearing one’s life story told back or reading about one’s own life. There can be something useful in that perspective and there can be something reassuring about having a manageable version of one’s life story.
Biblioklept: What are you working on now?
MK: I’m very slowly working on two different novels and thinking about a third. I’m not sure if I’ll ever finish any of them.
Biblioklept: Have you ever stolen a book?
MK: I used to steal so many books, especially when I didn’t have the money to keep pace with my reading appetite and I couldn’t find the things I wanted to read in the library. I’ve tried to make up for that by giving away lots of books these days. I stole so many books that I’m not sure I can remember a specific instance. But it was always kind of thrilling and it seemed to make reading all the more exciting. Sometimes, if I didn’t like a book I would sneak it back into the bookstore.
I picked up Georges Perec’s twofer Things and A Man Asleep last Friday at the used bookstore. I was there looking for something else. The Perec was not even shelved under “P.” I found it laid on a table. The good people at Melville House also sent me a copy of Perec’s La Boutique Obscure last week, which I do not photograph here because it is an ebook. I read a big chunk of Obscure this week and will do some kind of write-up sometime soon, but here’s David Auerbach’s review at the LA Review of Books in the meantime.
Still Points North is Leigh Newman’s new memoir about growing up in Alaska. Publisher Random House’s blurb:
Part adventure story, part love story, part homecoming, Still Points North is a page-turning memoir that explores the extremes of belonging and exile, and the difference between how to survive and knowing how to truly live.
Growing up in the wilds of Alaska, seven-year-old Leigh Newman spent her time landing silver salmon, hiking glaciers, and flying in a single-prop plane. But her life split in two when her parents unexpectedly divorced, requiring her to spend summers on the tundra with her “Great Alaskan” father and the school year in Baltimore with her more urbane mother.
Navigating the fraught terrain of her family’s unraveling, Newman did what any outdoorsman would do: She adapted. With her father she fished remote rivers, hunted caribou, and packed her own shotgun shells. With her mother she memorized the names of antique furniture, composed proper bread-and-butter notes, and studied Latin poetry at a private girl’s school. Charting her way through these two very different worlds, Newman learned to never get attached to people or places, and to leave others before they left her. As an adult, she explored the most distant reaches of the globe as a travel writer, yet had difficulty navigating the far more foreign landscape of love and marriage.
In vivid, astonishing prose, Newman reveals how a child torn between two homes becomes a woman who both fears and idealizes connection, how a need for independence can morph into isolation, and how even the most guarded heart can still long for understanding. Still Points North is a love letter to an unconventional Alaskan childhood of endurance and affection, one that teaches us that no matter where you go in life, the truest tests of courage are the chances you take, not with bears and blizzards, but with other people.
Deadly Virtues, a new mystery from Jo Bannister. Publishers Weekly review:
Stubborn morality and acid-tinged whimsy drive this superior stand-alone from British author Bannister (Liars All and eight other Brodie Farrell mysteries). Recovering mental patient Gabriel Ash looks pathetic and vulnerable as he rambles through the town of Norbold while talking to his dog. One day, at the local police station, where he’s recovering from a beating, Gabriel receives a cryptic message from a man who’s then killed by a crazed prisoner. Gabriel forces himself back into contact with normal humanity because he feels he ought to do something about the crime. Rookie policewoman Hazel Best is also dissatisfied with the official explanation of the tragedy. And so the three—the traumatized beating victim, the idealistic young cop, and the dog—begin sniffing under the pristine surface of the virtually crime-free town. They have no idea how dangerous good intentions can be. Bannister’s plotting is neat and her characterization smooth, with just enough irony to keep people from seeming ostentatiously noble
“Nam-Bok the Unveracious” by Jack London
“A Bidarka, is it not so! Look! a bidarka, and one man who drives clumsily with a paddle!”
Old Bask-Wah-Wan rose to her knees, trembling with weakness and eagerness, and gazed out over the sea.
“Nam-Bok was ever clumsy at the paddle,” she maundered reminiscently, shading the sun from her eyes and staring across the silver-spilled water. “Nam-Bok was ever clumsy. I remember….”
But the women and children laughed loudly, and there was a gentle mockery in their laughter, and her voice dwindled till her lips moved without sound.
Koogah lifted his grizzled head from his bone-carving and followed the path of her eyes. Except when wide yawns took it off its course, a bidarka was heading in for the beach. Its occupant was paddling with more strength than dexterity, and made his approach along the zigzag line of most resistance. Koogah’s head dropped to his work again, and on the ivory tusk between his knees he scratched the dorsal fin of a fish the like of which never swam in the sea.
“It is doubtless the man from the next village,” he said finally, “come to consult with me about the marking of things on bone. And the man is a clumsy man. He will never know how.”
“It is Nam-Bok,” old Bask-Wah-Wan repeated. “Should I not know my son!” she demanded shrilly. “I say, and I say again, it is Nam-Bok.”
“And so thou hast said these many summers,” one of the women chided softly. “Ever when the ice passed out of the sea hast thou sat and watched through the long day, saying at each chance canoe, ‘This is Nam-Bok.’ Nam-Bok is dead, O Bask-Wah-Wan, and the dead do not come back. It cannot be that the dead come back.”
“Nam-Bok!” the old woman cried, so loud and clear that the whole village was startled and looked at her. Continue reading ““Nam-Bok the Unveracious” — Jack London”
- Gordon Lish
- Ed Sanders
- Nadine Gordimer
- Harry Matthews
- Doris Lessing
- Cynthia Ozick
- Philip Roth
- Derek Walcott
- William H. Gass
- John Ashberry
- E.L. Doctorow
- Lawrence Ferlinghetti
- Harold Bloom
- Gabriel García Márquez
- Joyce Johnson
- Milan Kundera
- Amiri Baraka
- Gary Snyder
- Joyce Carol Oates
- Mario Vargas Llosa
- Joan Didion
- Harper Lee
- John Barth
- Don DeLillo
- Cormac McCarthy
- Chinua Achebe
- Umberto Eco
- Günter Grass
“T.S. Eliot” by Ezra Pound (from Instigations)
Il n’y a de livres que ceux où un écrivain s’est raconté lui-même en racontant les mœurs de ses contemporains—leurs rêves, leurs vanités, leurs amours, et leurs folies.— Remy de Gourmont.
De Gourmont uses this sentence in writing of the incontestable superiority of “Madame Bovary,” “L’Éducation Sentimentale” and “Bouvard et Pécuchet” to “Salammbô” and “La Tentation de St. Antoine.” A casual thought convinces one that it is true for all prose. Is it true also for poetry? One may give latitude to the interpretation of rêves; the gross public would have the poet write little else, but De Gourmont keeps a proportion. The vision should have its place in due setting if we are to believe its reality.
The few poems which Mr. Eliot has given us maintain this proportion, as they maintain other proportions of art. After much contemporary work that is merely factitious, much that is good in intention but impotently unfinished and incomplete; much whose flaws are due to sheer ignorance which a year’s study or thought might have remedied, it is a comfort to come upon complete art, naïve despite its intellectual subtlety, lacking all pretense.
It is quite safe to compare Mr. Eliot’s work with anything written in French, English or American since the death of Jules Laforgue. The reader will find nothing better, and he will be extremely fortunate if he finds much half as good.
The necessity, or at least the advisability of comparing English or American work with French work is not readily granted by the usual English or American writer. If you suggest it, the Englishman answers that he has not thought about it—he does not see why he should bother himself about what goes on south of the channel; the American replies by stating that you are “no longer American.” This is the bitterest jibe in his vocabulary. The net result is that it is extremely difficult to read one’s contemporaries. After a time one tires of “promise.” Continue reading ““T.S. Eliot” — Ezra Pound”
In a 1934 radio interview, Gertrude Stein talks American football:
INTERVIEWER: You saw the Yale-Dartmouth game a week ago Saturday didn’t you? Did you understand that in the American way or the football way or how?
STEIN: IN the American way. The thing that interested me was that the Modern American in his movements and his actions in a football game so resembled the red Indian dance and it proves that the physical country that made the one made the other and that the red Indian is still with us. They just put their heads down solemnly together and then double over, while on the sidelines the substitutes move in a jiggly way just like Indians. Then they all get down on all fours just like Indians.
INTERVIEWER: But those jiggles are just warming-up exercises.
STEIN: It doesn’t make any difference what they are doing it for, they are just doing it, like the way the Indian jiggles in the Indian dance and then there is that little brown ball they all bend down and worship.
INTERVIEWER: But the ideas in that is to get the ball across the goal line.
STEIN: But don’t you suppose I know that, and don’t you suppose the Indians had just as much reason and enjoyed their dancing just as much?
(Thanks Giovanni–had never seen this before).