I'm still on my Jacques Derrida kick! I've spent a week surfing his works and reading the exciting biography Derrida: A Biography by Benoît Peeters (as recommended to me by a commenter to last weekend's Derrida post).
I now realize how ridiculous it is that I've never studied Derrida or the other deconstructionists and poststructuralists before, since they cover many of the same themes I've been long obsessed with: ethics, language, personal identity, political activism. I now find Derrida deftly reaching the same kinds of conclusions I have been groping towards (but, I'm sure, with much less finesse and skill) in these pages. In short, I feel like I've been a deconstructionist/post-structuralist all my life, but I didn't know it until now.
Years ago, I used to think about oranges, and wonder what I could do about the fact that sometimes an orange just doesn't taste as good as an orange should taste. What is the essence of an orange? How is it possible that something could be an orange but not contain or present the essence of an orange? The more I explored this question, the more new questions it raised. Is an orange called an orange because its color is orange, or is the color orange named after the fruit? If the former, then what would we possibly call the color if the fruit didn't exist? If the latter, then what is the meaning of the blood orange, which has a tart ultra-orange-y taste, but is a lurid red?
The taste of an orange is just as distinct as the color, but as every orange-eater knows, you sometimes pop a slice from a newly peeled orb into your mouth and feel instantly disappointed. All too often an orange tastes like nothing -- flat, fibrous, chewy, watery nothing. Well, way back when I was a kid, I sometimes used to lick a spoon (disgusting, I know, but I was just a kid) and stick it into the jar of Tang orange drink powder that my Mom kept around the house for me. Now that was the essence of orange.
(Interestingly, I never really cared much to drink Tang, which tasted like Kool-Aid and didn't have much tang at all, but I liked to lick the spoon. I would ostentatiously guzzle a glass of Tang in front of my family every now and then to make sure we kept the kitchen well-stocked, but a glass of Tang really never tasted very good, although it was cool that the Apollo astronauts drank it).
How David Shields Wrote A Book That Killed Fiction But Saved A Little Kitten's Life, And Then Blew It At The Endby Levi Asher on Monday, February 18, 2013 06:37 pm
I was so totally, completely in the tank for David Shields. All he had to do was write a book I halfway liked.
David Shields is an author and teacher of creative writing who published in 2010 a collage of thoughts about modern literature called Reality Hunger: A Manifesto. He declared that fiction was currently less interesting than non-fiction, openly incorporated unmarked snippets from other writers into his text, and quoted Prodigy of Mobb Deep.
A lot of people loved the book. Stephen Colbert put him on TV. But David Shields's pronouncements about the death of fiction didn't go over well with many bloggers and literary critics, nor with many of my own literary friends. A lot of people really, really hated Reality Hunger.
The last time I saw Yoko Ono in concert, which was just a year ago, I was handed a small blue plastic puzzle piece in a small fabric bag as I entered the club. It was a very Yoko Ono gesture, and I'm sure the piece symbolized a lot of things: the sky, world peace, an artist's anxiety in facing an audience.
Yoko Ono is a brave performer, but her anxiety and shyness is often evident when she stands on stage. It must be this shyness that drives her exhibitionism and displays of aggression; as a young experimental artist (before she met John Lennon), she created her famous "Cut Piece" (it's described in Ellen Pearlman's recent book Nothing and Everything) in which she invited viewers to cut off pieces of her clothes while she sat still. This gesture wouldn't have been as moving as it was if her anxiety were not so palpable on her face as she sat.
I've been trying for years to get a firm grasp on the work of Jacques Derrida. This philosopher has never fully caught on with the general population in the United States of America (yes, we do have popular philosophers here, but unfortunately they are Aristotle, John Locke and Ayn Rand). However, I know that Derrida has a foothold in academia, and he's vastly respected around the world. I sense a personal affinity with those of his ideas that I've been able to understand, but I've never had much luck reading his books, perhaps because the cultural references of mid 20th-century France are too alien to me, or perhaps because he wrote intentionally in a diffuse and enigmatic style in order to reflect what he saw as the diffuse and enigmatic nature of truth.
Wanting to understand Derrida's ideology simply and concretely (these are the terms on which I like to understand any philosopher), I tried chucking the books and watching a film called Derrida, a "cinema verite" portrait directed by Kirby Dick and Amy Ziering in 2002, just a couple of years before their subject died. This film does a great job of capturing the philosopher's charisma and quick wit, and it also delivers the good news that Jacques Derrida appeared to be happy and well-loved at the end of his life. Perhaps this speaks more positively of his philosophy than any logical analysis could -- still, however, this film fell short for me in one way. It did not attempt to explain his philosophy in top-down terms that I could clearly understand.
The life of a writer, musician, artist or celebrity who commits suicide at the height of fame will often assume the stature of legend. All work available before the suicide is suddenly, and then nearly exclusively, viewed through the lens of that final act. Then, invariably, posthumously released work that might not warrant worshipful adulation if the person were to live and continue working attains a power far beyond its intrinsic worth.
And then there is the case of David Foster Wallace, a genuinely gifted, chronically troubled writer who came off, on the page, as an over-caffeinated brainiac for whom language, pagination, even punctuation seemed an impediment to the nonstop whirl of thought. His work was alternately funny, depressing, perceptive, freakishly clear and yet also maddeningly obtuse—even though he went to absurdly great lengths to clarify and qualify everything in footnotes, sidebars, bullet points, boxes, all but leaving his phone number for you to call, if you had any further questions.
Haruki Murakami’s novelistic fantasies offer a tonic — not only to a culture overly enmeshed in the realities of the day to day but to each of us individually. One aspect of this tonic is his view of the role women play in relationships with men.
When asked by an interviewer why women in his novels seem to embody and represent the fears and fantasies of his narrators, Murakami answered, “In my books and stories, women are mediums, in a sense; the function of the medium is to make something happen through herself. It’s a kind of system to be experienced. The protagonist is always led somewhere by the medium and the visions that he sees are shown to him by her.”
This remarkable view of the woman’s role closely echoes psychologist C. G. Jung’s theory of the anima. Anima means soul or life (especially inner life). Through such an image a man may seek for aspects of his life that are unconscious, undiscovered by him. The image of the woman may be seen in a vision, a dream, or even be a woman whom he meets.
Where is experimental literature in the 21st Century? And where is it supposed to be?
Most generations probably fail to recognize their experimental geniuses in real time. However, James Joyce and Gertrude Stein were recognized in their lifetimes, so it's fair to ask who might be carrying that torch on the literary scene today. Only a few of the usual nominees seem very satisfying. Thomas Pynchon? Don DeLillo? Paul Auster? William Vollman? The late David Foster Wallace? The late W. G. Sebald? Jennifer Egan? Blake Butler? (Please don't bring up Jonathan Lethem in this context).
Some of these writers are doing good work (personally, I'll buy into Auster and Sebald as powerful experimentalists) -- and all of them are certainly knocking themselves out trying to be as experimental as all hell. But that's the problem -- the mainstream American/English hyper-meta-hystero-pomo-X scene is so self-conscious and steroid-driven that the books are just flat out wearying. The experimental scene I'm familiar with is also too solitary. It lacks the sense of unity and community power that a good experimental literary scene needs in order to thrive.
For Americans like me, a look to Europe can help. A movement called Oulipo (Ouvroir de literature potentielle, or Workshop of Potential Literature) has been growing for half a century, and it is still alive. It was born in Paris in 1960 with the express intention of shaking up the experimental scene. The original principals were Raymond Queneau, Francois Le Lionnais, Jacques Bens and Marcel Duchamp, and later members or quasi-members included Georges Perec, Italo Calvino, Jacques Roubaud, Herve Le Tellier, Jacques Jouet, Daniel Levin Becker, Jean Queval, Michele Audin, Henry Mathews and Tom McCarthy.
It's well known that hipster Brooklyn authors -- well, all authors, but especially hipster Brooklyn authors -- sometimes go too far in blurbing each other's novels. Recently the acclaimed comic novelist Gary Shtynegart, author of Absurdistan and Super Sad True Love Story was detected in the repeated act of excessive blurbing -- extreme blurbing, even -- and became the subject of a mocking Tumblr called The Collected Blurbs of Gary Shtynegart. He has now also become the subject a unique 15-minute documentary film, Schtynegart Blurbs, narrated by Jonathan Ames and directed and conceived by my friend Edward Champion.
The film amounts to a cinematic intervention, and a fascinating real-time case study of a literary habit gone off the rails. It's also fascinating for me because I show up in the film (around the five-minute mark) along with many other New York based literary brats including Joanna Smith Rakoff, A. M. Homes, Alan Shephard, Jeopardy champ Jacob Silverman, Ron Charles, Tobias Carroll, Michele Filgate, Joshua Henkin, Rachel Shukert, Sarah Weinman, Edmund White, John Wray, A.J. Jacobs, Alexander Nazaryan, Hari Kunzru, and even Molly Ringwald. In the end, blurb-crazed Gary Shtynegart makes an appearance and tries to explain himself. Check this movie out ...
First, we are transported to the Oregon Coast:
Along the western slopes of the Oregon Coastal Range ... come look: the hysterical crashing of tributaries as they merge into the Wakonda Auga River ...
The first little washes flashing like thick rushing winds through sheep sorrel and clover, ghost fern and nettle, sheering, cutting ... forming branches. Then, through bearberry and salmonberry, blueberry and blackberry, the branches crashing into creek, into streams. Finally, in the foothills, through tamarack and sugar pine, shittim bark and silver spruce -- and the green and blue mosaic of Douglas fir -- the actual river falls 500 feet ... and look: opens out upon the fields."
Then, we notice that a human arm is dangling over the river:
Twisting and stopping and slowly untwisting in the gusting rain, eight or ten feet above the flood’s current, a human arm, tied at the wrist (just the arm; look) disappearing downward at the frayed shoulder where an invisible dancer performs twisting pirouettes for an enthralled audience (just the arm, turning there, above the water)…” [The human arm is also flipping the bird to the enraged union men on the other shore].
And from the very beginning of Sometimes a Great Notion, Ken Kesey's second novel and eagerly-awaited follow-up to his acclaimed One Flew Over The Cuckoo's Nest, we are hooked.
There's a pretty funny Hipster's What Should I Read Next? Flowchart up at Goodreads.com, a social networking site for readers that I don't usually frequent because I'm too much of a hipster. I think whoever created this (a person identified as "Patrick") mostly nails this assignment, and I especially like the way he totally overemphasizes David Foster Wallace and knows that we already read Alison Bechdel. Not surprisingly, this chart touches upon several writers we either love or hate here on Litkicks, like Marcel Proust, Roberto Bolano, Salman Rushdie, Chuck Palahniuk, Sheila Heti, Hubert Selby, Jr., Colson Whitehead and of course David Foster Wallace. How the hell this article forgot to include Junot Diaz and Margaret Atwood is beyond me.