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[…]Just Another Frankenstein,” March/April 2006), Tabbi turns Fleisher’s problems around: “[t]he avant-garde in American only reflects the dominant culture if writers and publishers continue to legitimize themselves through appeals to the necessity of endless literary innovation” (38). The pervasiveness of this division amounts to a type of either/or, mainstream/experimental, Contract/Status leeching for the balance of the choleric humor. And since we all like a good bloodsucking, the unsurprising responses of my Lake Forest College students – transformed from a discussion about the stakes of contemporary literature and two arguing critics to an at-times reductive rehash of the institutionalized perspectives carried […]
[…]comfortable with writing fiction with each book. Less comfortable, and more challenged. Burn: Your latest books have become less difficult to read. Have your views on the place of difficulty in fiction changed? Siegel: In Who Wrote the Book of Love? I was attempting to not be difficult (which was somewhat difficult for me). I aspired to write something funny and a bit dirty, an opusculum, something easy. I think if American publishing were not so commercial as it is, my decisions would be different. I would be doing more things with puzzles, and games, challenging readers with textual difficulties. […]
[…]experimentation with style and subject matter is also evident in My Body in Nine Parts, the latest installment by the venerable grandmaster of surfiction and critfiction. On the surface, or should I say, surfiction, of it, Nine Parts proposes itself as a body-centered autobiography, of sorts, as a slender and unassuming volume in which seriousness and humor, the grotesque and the absurd, Eros and Thanatos, and joie de vivre and mal du siècle alternate in playful dalliance. By asking how certain body parts have registered, inscribed, and/or contributed to crucial experiences in his life, Federman develops what could be called […]
[…]see. Any other symptoms? Fatigue, lapses of memory, that sort of thing?” Dr. Hyde leaned forward to examine Mark’s face. A small boy, about six or seven, as close as the doctor had been, stared at Mark curiously. The boy’s forehead seemed to bulge out a little bit as he said, “Look.” A woman’s voice answered, “What is it, Elliot?” “Look,” the little boy said patiently, pointing at Mark. The woman (apparently the one who had spoken) leaned down. Her head, much larger than Elliot’s, spouted a fountain of dark hair graying a little at the temples. “Oh, yes. I […]
[…]always going to be like this. Of course we do. We plan for the future. We squint, trying hard to foretell what lies ahead. We care about what’s going to happen. Don’t we? Despite Al Gore’s speeches and his film, An Inconvenient Truth, we are so far responding weakly. It is likely that what efforts we do make will be at best ill-considered, and at worst misplaced. “Denial,” Mark Twain is supposed to have said, “is not just a river in Egypt.” Perhaps we can learn from the past. After all, even the deniers insist this has all happened before, […]
[…]chapter on Emerson still less convincing, occasionally leading to Rube Goldberg-ish statements: “[T]he ideal observer, unlike the first-order animal eye, can observe his own observation of nature; he sees himself seeing… ” (114). Worse, the straining can produce a massive fog: “The promise of mobile subjects with multiple observational domains under functional differentiation is suppressed by the emphatic resonance of the economic, which recontains partiality and submits the subject to the continued stratification of…” (89). This is painful prose, an example of the “unwelcome scientization of literature and culture” McMurry elsewhere warns against. But what about McMurry’s claim for Emerson’s […]
[…]can without any doubt insert there the possible, or, rather, at every moment the possible insert[s] itself there. Insofar as unpredictable and new reality creates itself, its image reflects itself behind itself – in the indefinite past: this new reality finds itself all the time having been possible; but it is only at the precise moment of its actual emergence that it begins to always have been [possible], and this is why I say its possibility, which does not precede its reality, will have preceded it once this reality emerges” (cited in Žižek 2003: 159-160). According to Žižek, such experiences […]
[…]visible, audible audience. The many ekphrasitic collaborations show that his own work was a means to and a result of cooperation among poets and artists in a variety of media. In being generous with time, interest, and attention, this need to collaborate became the intimate modality of his aesthetic. Robert Creeley wrote, and thus “saw,” through the transparency of the tough “guy” lines in his poems. What in one generation may have seemed a celebration of machismo, pride, and presumption, today reflects a growing concern for the gendered body and how it plays a role in our knowledge and ability […]
[…]to the yearly carnival competitions of Trinidad and Brazil, when various roving “bands” try to top each other and woo the crowd with music, dance, and costume. As Lee Perry said, “Competition must be in the music to make it go.” (Grand Royal 1995: 69) Jamaica sound systems were unique in that this premodern, almost “tribal” competition was played out across the modern landscape of mechanically reproduced recordings. Rivalries were not so much a “battle of the bands” as a kind of technological and information warfare: who had the heaviest bass, who had the hottest records. In the 1950s, many […]
[…]with his vehicle a wreck, he gets into the next car and soon finds someone else smashing into the latest car. The vehicle out of control became one of Fields’ most loved bits. In his hit movie, The Bank Dick (1940), Fields, as incompetent bank guard Egbert Souse, is taken hostage by bank robbers who force him to drive the getaway vehicle. Eventually his nervous, manic, and out of control driving drives the robbers to insanity. The sense of hilarious and excessive destruction and loss, in a Potlatch fashion, as a fitting corollary to wealth and accumulation, enacts Ulmer’s theory […]