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[…]Symbolism, new Russian formalist theories of language, and his own distinctive Modernist approach to free verse, a non-dualistic mode of thinking and writing which he described in his 1922 essay, “On free verse.” “The contemporary lyric,” Crnjanski writes, abandons the old content, rejects the old forms. It is not folly nowadays when a poem turns to the themes of the universe – it is an attempt, rather to locate life within the universe. The poem turns itself to strange and unusual colors, moods, and sensations coming from the skies….This mysticism is just an enormous reaction, quite comprehensible, against all that […]
[…](Joe Klein, an actual journalist, felt it necessary to retreat into fiction [in Primary Colors ] to tell the “truth” of the campaign as he saw it. Anonymity became a stand-in for objectivity. Because one couldn’t immediately tell the bias at work, the agenda that was being worked out. And, who knew, the author could be someone famous!) The O. J. trial became the final straw in the complete transformation of late-twentieth-century America journalism, at least in television. The one profession that has grown disproportionately since the early seventies has been the number of lawyers let loose in the land. […]
[…]collude or collide with this apparent dead end in the context of literary Latin Americanism… [and] to traverse its unsuspected blind spots within Latin Americanism” (viii). I’m uncomfortable with de la Campa’s description of deconstruction as “the most significant method of critique behind postmodern, postcolonial, subaltern, and cultural studies approaches” (vii). This thesis is questionable for it exaggerates deconstruction’s critical impact, and in a book that already attempts to accomplish a veritable number of tasks, it only diminishes the strength of the text’s primary arguments. Subsequently, the book tends to oscillate between a reassuring discourse about the importance of deconstruction […]
[…]and destroy without moral regret. If we regard the self as a mere construction, is this not equal to opening the gates for a totalitarianism where human beings no longer count? Gaggi believes otherwise. The traditional subject has been deconstructed, not destroyed, and through this deconstruction its phallocentric, logocentric, and carnivorous aspects have been laid bare. Now we have the opportunity to reconstruct from the bits and pieces of the traditional subject a new, more tolerant and democratic subject. Very likely, a not insignificant part of this reconstruction will take place in the media. For this reason, Gaggi claims that: […]
[…]all nicely contribute to the quickly growing body of work on this subject. In a courageous effort to come to terms with the World Wide Web as a whole, Mark Nunes relates the popular expressions, “Surf the Net” and “Cruise the Information Superhighway,” to the topographies offered by Deleuze and Guattari. The highway metaphor reminds Nunes of their “striated” space, which is “linear, point-oriented, and Cartesian” (62), whereas surfing makes him think of its opposite, the unbounded “smooth” space in which the points are far less important than the trajectory between them. These two topographies are performative: they each create […]
[…]liars, cheaters, vain, or just ambitious. But the novel is completely different in tone and form from Austen; it has a distinctly modern, acentered quality. It is episodic and recursive in structure, and makes its impact through implication and juxtaposition. The role that constraints play in shaping the plot might be inferred from this passage in Cigarettes: “Morris was showing him what writing could do. He advanced the notion that creation begins by annihilating typical forms and procedures, especially the illusory ‘naturalness’ of sequence and coherence. Morris did more than state this, he demonstrated it.” Rather than a distinct telos, […]
[…]I don’t know, like a chain letter or the pyramid club. You know that sooner or later it’s got to come crashing down around your ears, but in the meantime,so long as the balls are all up in the air and you make sure that the last to sign on is somebody else, it works. Or seems to anyway. Alaska is scam, man. (125) This isn’t the economy of language of Hemingway or Carver. It’s a wonderful scam, and the balls never do come down. What we have in Elkin is the pleasure of the text taken to a certain […]
[…]I would resist Brigham’s suggestion that I am “doing to poststructuralism precisely what [I] claim poststructuralism does to technology: putting it into discourse, reducing its alterity to a signified other.” If my argument takes form in language, as it must, it differs from the poststructuralist theories I criticize insofar as it does not pretend that language is constitutive of the field it describes. Following a distinction I make in the book, my language is “instrumental” or “operational” in the specific sense that it speaks about something to which it is (at least in part) external. Such a humility about language […]
[…]holding enough words to fill a library: great benefits of the computer age which provide little comfort to the person reading a screen while nursing a giant headache. If, in publishing on the computer, you aim a little higher than shovelware (a term used to describe CD-ROMs which do nothing more than recycle content from other media), and you would like to actually design the text to be readable, things start to get a little depressing. The most popular multimedia authoring programs (Macromedia Director, mainly) include abysmal (read: nonexistent) typesetting tools, and you can never really be sure how that […]
[…]locale. In several of the pieces, there is a laconic quality where the vignette seems to ease comfortably towards its ending, though not with any kind of finality. These are more like fragments of some larger, yet not obvious, narrative. They are illuminations which light and fade at different intensities, like a candle or a sparkler. Importantly, the body is accounted for, in measure, in tandem, in circuit with technology. In “Colussus,” Joyce’s protagonist is an obese television celebrity who is weighted by his own corpulence, barely fitting into a screen shot. It is through the corporeal, through embodiment, that […]