Saturday, May 24, 2008

Yes, I'm Still Alive

This blog has been pretty dead, and I apologize for that. I'm just coming off a hectic semester -- not much time for reading, or writing. I'm happy to have time for myself again, and I hope to get back to regular or semi-regular postings.

I've done very little reading. Last month I read All Quiet on the Western Front; on the plane ride home, Thomas Bernhard's Old Masters. I'll have more to say about the latter soon. Beyond that, it's been schoolwork and other obligations. Over the past year, my academic career has become increasingly focused on art and art history, a turn from where I thought it would go. And lately I've been thinking that that's not where I'd like it to go. More than that, I've been having doubts about the value I place in art and -- by extension -- in literature. In short, I've suddenly found myself wondering why (if??) these things are meaningful, and why they have been so important to me. Why this recourse to art? A friend of mine describes it as 'a crisis of faith.' Likely these thoughts will shape my reading in the coming weeks, and my blogging.

I meant this post as more of an update than anything else. For now I'll leave you with some words from Bernhard's Old Masters, some thoughts on the why of art:
Art altogether is nothing but a survival skill, we should never lose sight of this fact, it is, time and again, just an attempt - an attempt that seems touching even to our intellect - to cope with this world and its revolting aspects, which, as we know, is invariably possible only by resorting to lies and falsehoods, to hypocrisy and self deception, Reger said. [....] All of these pictures, moreover, are an expression of man's absolute helplessness in coping with himself and with what surrounds him all his life. That is what all these pictures express, this helplessness which, on the one hand, embarrasses the intellect and, on the other, bewilders the same intellect and moves it to tears.

Tuesday, April 1, 2008

Not art, but....

Leo Steinberg on postwar American art, from his essay "Other Criteria:"
American art since World War II has been unthinkable without this liberating impulse towards something other than art. And it persists. [....]

Not art but objects, and these objects touted as things beyond art, though they were conceived with a legitimate esthetic objective: to keep the thing made unarticulated, its internal relations so minimalized that nothing remains but an immediate relation to its external environment. At which point rhetoric enters. [....]

The process of courting non-art is continuous. Not art but happenings; not art but social action; not art but transaction--or situation, experiment, behavioral stimulus. Like the practical man with his arid not-art-but-investment rationalization, American artists seek to immerse the things they make or do in the redeeming otherness of non-art.
It persists, I think. Not art but memoir; not art but history, document, record. Fact, usefulness, inherent utility and social value. Justification for its continued existence and importance.

Sunday, March 23, 2008

On Bolaño

I tried to start this post about two or three weeks ago. Maybe it was stress or the adjustment to working blogging into my routine – for whatever reason, I was unable to advance beyond a few lines of plot description.

One night, in a fit of insomnia, I read half of Roberto Bolaño’s By Night in Chile. A few mornings later, in what seemed an act of extreme self-indulgence, I finished the book. (That my higher education has brought my reading to a virtual standstill is a topic for another post entirely)

There are so many other aspects of the book I could discuss, but one in particular struck me, as it has come up in many of the readings that I actually have done: the issue of complicity in – for lack of a better term – evil. I am extremely hesitant in using the term “evil” – it carries too many religious connotations, seems too absolute and yet at the same time impossible to define. I almost wrote “complicity in atrocities” or “totalitarianism,” because this is specifically what what struck me about the novel. Bolaño’s protagonist, Father Sebastián Urrutia, Catholic priest and literary critic/poet, observes and later becomes tangentially involved with the dictator Pinochet. One could argue that his role is a rather small and inconsequential one – he gives a few courses in Marxism to the members of the junta, so that they can better understand what they are fighting. (For me, one of the most memorable moments in the novel is a brief image of Pinochet falling asleep in class). At another point in the novel, some of Urrutia’s intelligentsia friends accidentally discover a victim of torture during a party. Embarrassed, they each make their way back to the party and act as if nothing has happened.

The other readings that the novel called to mind were non-fiction, and unrelated to Pinochet’s Chile. One was Jonathan Petropoulos’ The Faustian Bargain: The Art World in Nazi Germany. And the other was Hannah Arendt’s Eichmann in Jeruselum. (The latter, of course, instantly calling that apt, if troubling phrase to mind: “the banality of evil”). Still another was a book that I unfortunately haven’t had time to finish, Mary Fulbrook’s Anatomy of a Dictatorship: Inside the GDR 1949 – 1989. All of these deal in some capacity with individuals who didn’t set out with malicious intentions; some “merely” did their jobs, others worked for personal financial gain, others for the elusive “greater good.”

Father Sebastián Urrutia’s actions are certainly not intended to be malicious or harmful. He remains ever-focused on his priestly and literary work. He feels coerced into teaching this class (two mysterious men, Mr. Reaf and Mr. Etah, had earlier given him money to travel Europe, and he thus feels obliged to them). And what of this teaching? Is it “evil?” – Again, I hate that word. It seems so absolute. There are those who would say that there is no such thing as “evil,” that everything is relative, or contextual, etc. And there are those who would say that there are cases of undeniable evil – Hitler, Stalin, Pol Pot, and so on.

Near the end of the novel, Urrutia tells us, “An individual is no match for history. […] [A]nd I have always been on history’s side.” (128). I doubt that most individuals consider themselves a part of history, nor do they (unless they are politicians, etc) conceive of their actions on an historical scale. Many people simply lead their lives. And as for “evil,” the atrocities of a totalitarian regime? Why do those party-goers simply ignore the torture victim they find in the basement? Bolaño spells it out for us: “The answer was simple: Because, with time, vigilance tends to relax, because all horrors are dulled by routine.” And the atrocities of the past: “Why go stirring up things that have gradually settled down over the years?” (122)

These questions have come to fascinate me, and while my questions have multiplied, I have no answers. (Of course, I welcome any suggested reading or direction…)

Sunday, February 24, 2008

Nazi Literature in the New York Times

From Stacey D'Erasmo's review of Bolaño's Nazi Literature in the Americas:
Moreover, literature, Bolaño writes, “is a surreptitious form of violence, a passport to respectability, and can, in certain young and sensitive nations, disguise the social climber’s origins.”

Who said literature has no real power to affect history? Not Bolaño — for him, literature is an unnervingly protean, amoral force with uncanny powers of self-invention, self-justification and self-mythification. The mythmakers, he suggests, certainly do matter. If Hitler had won, for instance, the not entirely absurd stories in this encyclopedia would be the prevailing stories of the culture. Is Nazi poetry an oxymoron? Not a bit of it, posits Bolaño. On the contrary, it’s all too possible.

I've never read Bolaño, but I think I'm due.

Friday, February 15, 2008

A "Chronicle of the Impossible"

My workload has been quite heavy lately, and I expect it will continue to be so through next week, so I apologize for the sparse posting. I have two papers to write for next Friday, but my hope is that once those are done I can focus a bit more on blogging.

A phrase that came up in class simply struck me: a "chronicle of the impossible." We were discussing a post-conquest Inka manuscript. This particular chronicle is 1200 pages long, in a mixture of three languages, including Spanish and Quechua. The author, a Peruvian named Guaman Poma, wrote two drafts of it by hand in the seventeenth century, intending to send it to the king of Spain. It is a description of the fallen Inka empire, a record of the conquest, and a suggestion as to how Peru should be run by the Spanish. It is a mixture of history, memory, and fantasy.

Something about the phrase chronicle of the impossible encapsulates the act of writing so well. The phrase apparently comes from anthropology, but a cursory search through Wikipedia and Google turned up nothing (I am currently between class and my volunteer work, so I don't have time to do a more exhaustive search right now). It calls to mind the image of Guaman Poma painstakingly writing out his manuscript by hand -- twice -- a fruitless endeavor. There is no evidence that the King ever saw it, much less read it. It was only discovered in the mid-twentieth century, when it turned up in an archive in Copenhagen.

This image seems so emblematic of the writing endeavor: the hours, days, years of labor -- and the belief, the faith that this work has meaning. I think of Proust, dying before making the final corrections to his novel; of Musil, dying before completing The Man Without Qualities; Kafka willing Max Brod to burn everything.

The why of writing, the why of art -- questions that have been bothering me lately. This notion of impossibility seems to fit with these questions in some fragmentary, half-understood way. It doesn't help that so many other things get in the way, distract -- such as the work that I am now late for. Again, I apologize for the disjointedness, and promise a more coherent post in the near future.

Saturday, February 9, 2008

Some (Disorganized) Thoughts on Kundera

[Note: I apologize for my disjointedness and apparent lack of direction. It will probably take me a while to rediscover and develop my voice – I am still a bit rusty.]

I first read The Unbearable Lightness of Being two (three?) years ago; I remember being extremely moved by everything about the novel – Kundera’s pronouncements about Europe under Communism, about the West, about human relationships and human misunderstandings. What drew me back to the novel a few months ago, however, was an unshakable sensation of loss within me. Struck by the people coming in and out of my life, the only words that came to mind were Kundera’s: the unbearable lightness of being.

I read the novel again, this time in new surroundings, in the lazy days before classes began in earnest. It wasn’t as powerful as I had remembered: I was less impressed by the political sentiments and bold epigraphs. Maybe because I had read them before, maybe because they were no longer “new” (in this articulation, at any rate). Nonetheless, the core of the book still resonated: “We live everything as it comes, without warning.” (And the implicit fear: “Einmal ist keinmal. [….] If we have only one life to live, we might as well not have lived at all.”)

Something about Kundera’s lightness is still vividly with me. I found myself thinking about the novel last week in what seems a less than likely place: a lecture on evolutionary biology. My disjointed note-taking reads as follows:
(Evolution more represents a bush, of which we are only the tiniest twig)
Evolution is a tale of contingency and chance, not of inexorable progress
(The unbearable lightness of being…)
(It so easily could have been otherwise)
(Whether or not these notes will benefit anything other than this blog is another question entirely.)

I think that this is why the novel, despite my somewhat disappointing second reading, refuses to leave me. Kundera writes of the role that contingency plays in human life. That so much of our experience is chance – coincidences and seemingly incidental decisions that bring people in and out of our lives – and not ‘inexorable progress’ leaves one (well, me, anyway) with a sense of vertigo.

And this vertigo, this sense of apparent purposelessness or randomness, is something I have been grappling with more specifically in terms of reading and writing. What does it matter? Why do we read, why do we create?

Of course, I have no answers. At least some things haven’t changed…

Wednesday, February 6, 2008

Restarting

So, it's been over a year since I last updated my old blog. I let myself get caught up in my academic work, let the blogging fall by the wayside. Eventually, the reading did, too.

I slowly found my way back to literature this past summer -- through Proust. I started In Search of Lost Time over again with Lydia Davis' translation of The Way By Swann's. It was familiar and it was foreign in light of what I'd come to know of Proust and of his work. It resonated deeply. And as I jotted down my reflections, I realized how much I missed reading, writing, and having a community of readers.

Coming back has been slow. I've found myself bogged down by academic work -- my concentration so far has been in other areas, and it's easy to get stuck on that track. I am sure that starting out will be hard, will come in fits and starts -- but I think that I've finally figured out that it's important to me that I keep trying.

(Leaving the blogging community and taking up other subjects made me finally understand: the desire to read, to write -- these are not, as I had assumed, typical desires.)

Despite my workload, my goal is to read and update on a somewhat regular basis. I currently am reading Cynthia Ozick's Heir to the Glimmering World, and I hope to get some thoughts on Kundera up in the next day or so.

For some reason I cannot get Denise Levertov's poem, "Relearning the Alphabet," out of my head:
E

Endless
returning, endless
revolution of dream to ember, ember to anguish,
anguish to flame, flame to delight,
delight to dark and dream, dream to ember
I am certain that this will not be my last return, nor my last departure. But I am happy to be back, and I look forward to reading and returning.