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Steve Tomasula’s latest book, The Book of Portraiture, published by FC2, continues his project, begun with VAS and IN & OZ, to reshape the novel to accommodate technology, artistic, social, and sexual history. The Book of Portraiture is a cunning reply to the historicity that demands a response. Using the formal innovations of postmodernism with a naturalistic treatment of historical conditions, Tomasula has composed a nearly comprehensive text that shows us the stakes of making art in the 21st Century. The novel is composed of five chapters that are as much thesis as plot, from the first, which narrates the […]
[…]astonishing insight into the conception of the triscript and the very foundations of literacy: […] and the decree should be written on a stela of hard stone, in sacred writing, document writing, and Greek writing … (Simpson in Parkinson, 1999: 200) This weighty tome was complemented by an array of merchandise, from scarab beetle pencil cases and mock Egyptian jewelry, to cartouche coloring books and postcards of the higher gods. But by far the most striking item in the British Museum shop that stood out amid this overwhelming spectacle of pop was the Rosetta Stone chocolate; a 100 gram block […]
[…]by itself. Then again, there is no way to make such a lesson easy. For what Livingston is trying to communicate is still partly incommunicable, at least by the lights of the Foucauldian model that undergirds the whole historical argument of the book in spite of the third degree to which, on occasion, Livingston submits Foucault. Some things cannot be fully articulated or even clearly thought because the episteme, or the discursive ecology, does not allow it. Nevertheless, for Livingston we are at an historical juncture where the evidence is persuasive enough to hazard the announcement: the modern episteme is […]
[…]Carroll argues that the awe Lovecraft describes in this passage is akin to religious feeling: “[f]ear itself is distasteful and would naturally be avoided; but cosmic fear is not simply fear, but awe, fear compounded with some sort of visionary dimension which is said to be keenly felt and vital” (Carroll 1990, 163). Carroll is eventually critical of Lovecraft’s conception of cosmic fear but that is because he is concerned with how those ideas apply to the horror genre. Within his own fiction there can be little doubt that Lovecraft strove to inspire such awe or cosmic fear in his […]
[…](315). These lines appear in the last paragraph of “Letter Against Cuts,” one of many heretofore unseen pieces of writing included in Expelled from Eden: A William T. Vollmann Reader, edited by Larry McCaffery and Michael Hemmingson (Thunder’s Mouth Press, 2004). The National Book Award-winning Europe Central (2005) followed Rising Up and Rising Down (2003), a seven-volume, 3,300-page study of violence in McSweeney’s limited edition (Ecco published a one-volume abridged version in 2004). Both have attracted attention and many reviews; the NBA has possibly brought newly curious readers to Vollmann. There is, as well, a certain cachet for any publisher […]
[…]cave only moments after the story begins. Lost and injured, the player must feel and smell the way to freedom. In its code, Shade simply opts out of light simulation entirely, overriding it in a single expression: ! Simple light function which says everything is lit. [ OffersLight i; if (i == 0) rfalse; rtrue; ]; At the level of code, like the level of the story, everything is illuminated – although at neither level is this immediately apparent to the player. The Source Arguments for selecting Shade either as a case study or as a classroom example of IF […]
[…]two minds,” as Michael Joyce (1975) put it, though two is by no means a maximum. While obsession and compulsion come with the territory, it seems impossible to be single-minded about cybertext. Writing in this context necessarily takes in more than traditional literary composition, so that staying alive in craft demands an ever expanding mastery of concepts, tools, and techniques, from object-oriented programming to database integration, from sampling and looping to 3D modeling and CAVE painting. In this sprawling poetics, grammar and rhetoric must make room for interaction design and information architecture, an adjustment that seems more accommodation than displacement. […]
[…]Both are fraught with life-changing significance. We can look to thinkers like Powers and LeClair to guide us to this new home. Under the auspices of the 2005 Ropes Lecture Series, the University of Cincinnati invited Richard Powers and Tom LeClair to discuss the intersection of literature and the environment. They were joined in this series by Lawrence Buell, David Quammen, Cheryl Glotfelty, and Joy Williams. The conversation below, before an audience of students and faculty, took place the day after Powers’ public lecture. The conversation began as a moderated discussion and finished with questions from the audience. Scott Hermanson: […]
[…]time marks one world, the world of obedience. The Internet marks a change in our relationship to information and interfaces and . . . Mr. Dr. Phebson: Time! Thus, we no longer share received information, but can change it. So the Internet is like a window into time travel? Mrs. Dr. Phebson: More than that, Phebby dear: The Internet is time travel! The Case Barry Munz is stuck in time, somewhere in the late 1980s, the infamous “End of History,” even though his body continues to travel through time. He suffers from Time Discombobulation (chronus hemorrhoids), an ailment marked by […]
[…]. . [T]echnology becomes one among many social forces that threaten the subject with feminization [and] the question of an alienated ‘humanity’ serves as a foil for concerns about a decentered, fragmented masculinity. (61) Women are thus seen as being “responsible for the culture’s increasing mechanization,” and “the loss of agency . . . feared in a machinic world is a masculine agency” (74). This claim is supported through close readings of Pynchon’s V. and Gravity’s Rainbow. The mysterious woman known simply as “V.,” for example, gradually transforms her own body into a “clockwork assemblage,” and she “reduces all of […]