Posts Tagged ‘Ulysses’
October 17, 2016 | by Martin Herbert
The hopeful dystopia of Pushwagner’s Soft City.
Where does art begin? In the case of Soft City, the straightforward answer is this: it began in Fredrikstad, Norway, in 1969, in a sea captain’s house converted into a writer’s retreat by the novelist Axel Jensen, after Pushwagner had ingested Sandoz LSD. He doodled a man in a car, whom he intuited was called “Mr. Soft”—five years before Steve Harley & Cockney Rebel would have a hit song of that name—and, along with Jensen, envisioned a day-in-the-life narrative structure for the character, along the lines of Aleksandr Solzhenitsyn’s A Day in the Life of Ivan Denisovich and James Joyce’s Ulysses. And then?
A hiatus of some three years (hardly the only sharp left turn in Pushwagner’s tumultuous life), during which time he lived on virtually nothing in London (subsisting by selling drawings on trains for pennies) and Oslo, went back to his mother’s, was arrested for trying to board a flight to Madeira on his hands and knees, was institutionalized, walked back to Fredrikstad, escaped a hotel in Paris, sojourned in Lisbon, returned to London, and became a father. After these adventures, he once again began Soft City, with, he’s said, his beloved baby daughter, Elizabeth, on his lap, and with thoughts of the future in mind. Mr. Soft now had a family of his own, and a fearful projected dystopia to live in. Pushwagner finished the book, or rather the 269 bleak yet blackly comic ink drawings that would comprise it, in 1975; and then, after a few luminaries of the London music world had admired it (including Pete Townshend and Steve Winwood), he lost it. Read More »
July 21, 2016 | by Robert P. Baird
- If there exists, as Susan Sontag once insisted, a “terrible, mean American resentment toward a writer who tries to do many things,” nobody seems to have warned John Gruen. Born in France, in 1926, Gruen (né Jonas Grunberg) fled Hitler and then Mussolini before landing in New York in 1939, where he learned English by watching movies. Gruen, who died on Tuesday, spent his seventysomething years on this continent as a book buyer at Brentano’s, a publicity director at Grove Press, a composer, a photographer, and, in his words, a “writer, critic, journalist, bon vivant, gadfly, busybody, father, husband, queer, neurotic workaholic,” as well as a “handmaiden to the stars, reveler in reflected glory and needy intimate of the super-famous.” In a 2008 interview, he told Time Out: “One of the big problems is that I never really settled on one thing ... I kept them all going, like a juggler, but none of them really took hold in a way that would catapult me as this one creature.” At the same time, he said, “As Miss Piaf sang, ‘Je ne regrette rien.’ ”
- I’ll claim any person who dies with “Renaissance Man” in the headline of his obituary as an instant culture hero. But after learning that Charles Dickens turned his deceased cat into a letter opener, I'm beginning to feel a terrible, mean American resentment toward artists who try to make their dead pets do too many things. I can believe, for instance, that Le Corbusier loved his schnauzer Pinceau, just as I can believe that he loved Cervantes’s Don Quixote with all his heart. What I cannot bring myself to believe is that the adequate response to both loves was to bind the latter book in the former’s tanned and hairy hide. And yet.
- But what do I know? Love is strange like that. Sex is even stranger, especially in Victorian novels, where it often isn’t sex at all. In her new book, Exquisite Masochism, Claire Jarvis suggests that for many of the fictional characters who had the bad luck to be stuck in a Victorian marriage plot, “withholding sex … is a perverse way of having it. In a novelistic milieu where illegitimacy or adultery can be the motives for serious tragedy, a fully developed sexual life presents a frightening threat. By describing erotic life in ways that avoid depicting sexual intercourse in favor of nongenital tension or intensity, novelists can render the frisson of sexual desire without the attendant plot risks.”
- Andrew O’Hagan, reporting from the Department of Overlaps, finds a shared lesson in Joyce’s Ulysses and The People vs. O.J. Simpson: “the tendency of reality to give way to the fiction-maker’s abuse.” And yet, he notes, that abuse is also the guarantee of a certain immortality (what was that about exquisite masochism?), which helps explain why “Dubliners lining up at Sylvia Beach’s shop in Paris in 1922 were desperate to see if they’d been included, or, Holy Mother of God, left out ... In a way, Ulysses is like the greatest ever newspaper—all that was fit and unfit to print in one day—and its abundance depends on the idea that nobody is nothing.”
- If nobody is nothing, does that mean that everybody is something? And if so, what? Or better yet: Who? At New York, Lindsey Weber and Bobby Finger visit Whoville, a social-media limbo that often appears more insubstantial than the one Dante devised in the fourth canto of the Inferno: “Now that we’ve all been thrown together on—and get our news from—enormous social platforms with seamless, instantaneous sharing, it’s more likely than ever that we’ll be confronted with stories about people who sound made up. The traditional A-list-to-D-list hierarchy no longer makes sense when people whose names you’ve never heard before are trending on a social networks with hundreds of millions of users. Instead, the subjects of gossip coverage can be divided into two categories: Whos (as in: *furrows brow* Who?) and Thems (as in: ‘Oh, them.’)”
July 20, 2015 | by Timothy Hodler
Everything about Unflattening is odd, from its ungainly title and unfashionable subject matter (Rudolf Arnheim art theory meets Herbert Marcuse radicalism meets Scott McCloud comics boosterism) to its provenance: Nick Sousanis initially wrote and drew this full-length comics essay as his graduate-school dissertation. (He was earning his doctorate in education at Teachers College Columbia University, studying under the philosopher and social activist Maxine Greene.)
Sousanis’s career might be considered a little odd, too. He followed up an undergraduate degree in mathematics with a brief stint as a professional tennis player, then cofounded and edited a cultural magazine in Detroit, while also working as an artist. This isn’t the typical career path for a cartoonist—though to be fair, that profession doesn’t provide many followable emblematic models in that regard. Wild enthusiasm and plunge-taking fearlessness aside, Sousanis seems like a solid citizen; while his ideas are radically utopian, their flavor is resolutely wholesome. He is reminiscent of the kind of small-town high school teacher who’s popular with students because they believe he tells the truth and is unafraid to veer away from the curriculum-assigned script.
The script Sousanis is veering away from in this case is the age-old Western bias against visual imagery (and in favor of the Word), which he traces back to Plato’s cave. Sousanis believes that verbal language alone is a poor vehicle for capturing the multidimensional, many-layered fullness of human experience, the equivalent of Edwin Abbott’s two-dimensional flatworms trying to explain a sphere. It’s not so much that a picture is worth a thousand words, but rather that a picture is worth concepts that can’t even be put into words. And in an attempt to prove his case, he drew it.
What does “unflattening” mean?
It would be easier to tell you what the book’s about than to tell you what “unflattening” is. Actually, I’ve thinking about that lately because there’s a French translation in the works, and they can’t use that word because it doesn’t mean anything.
How could it not mean anything?
Well, I don’t think it means the right thing. It doesn’t mean anything in English—it’s not a word people use. The book is very much an argument that we make sense of the world in ways beyond text—teaching and learning shouldn’t be restricted to that narrow band. So rather than talking about visual thinking and multimodal stuff—from Howard Gardner to Rudolf Arnheim, people have been talking about it—comics just let me do it.
That’s what the book is about, if it’s about anything. Read More »
June 16, 2015 | by Dan Piepenbring
A letter from Ezra Pound to James Joyce, March 1918. Pound, then an editor for the New York magazine The Little Review, had arranged to serialize Joyce’s Ulysses; he feared its more scatological parts would result in confiscation from the government. The Egoist, a British magazine also running the novel in installments, had failed to find a printer willing to accept it.
The Little Review had already been suppressed once, in November 1917, for a piece by Wyndham Lewis; Judge Augustus Hand had banned it, citing a subsection of the U. S. Penal Code that likened prurient literature to information about contraceptives. “I confess to having been a bad citizen,” Pound had rebutted in print, “to just the extent of having been ignorant that at any moment my works might be classed in the law’s eye with the inventions of the late Dr. Condom.”
Read More »
June 15, 2015 | by Dan Piepenbring
- John Berger is eighty-eight, and still seeing—which isn’t to commend him for having retained his eyesight, but to say he’s still an acute observer. “I live enormously through my eyes. The visible is simply a very important part of my experience of being in this world … my own story doesn’t interest me. There’s a risk of egocentricity. And to storytellers, egocentricity is boring.”
- “The world made this book true while I was writing it, which of course is the paranoid’s greatest fantasy.” The deeply surveilled world of Joshua Cohen’s new novel, Book of Numbers, seemed improbable, if not impossible, before the Snowden leaks. Now the book is positioned not as a techno-dystopian fable but as an aspirant to that lofty title, “The Great American Internet Novel.”
- Our London editor, Adam Thirlwell, on Wayne McGregor’s new ballet, Woolf Works: “The mystery arises through a pragmatic attention to physical detail … a truth recognized subtly in the way a choreographer describes making a ballet on a dancer. The dancer is the ballet’s pivot. For there Ferri was. She wasn’t Mrs. Dalloway, or Virginia Woolf. Nor was she Juliet. Or rather, she could allude to all of these—she contained multitudes—but the allusions were only flourishes. Really, she was only herself, and that was everything.”
- Meanwhile, Anne Washburn’s new play, 10 out of 12, is set entirely in the vicinity of a thespian’s nightmare: a tech rehearsal. It is, in essence, a play about figuring out how to stage a play: “Washburn stakes out the tech rehearsal as her territory, a hitherto unexplored subgenre of backstage drama as far as I know, and uses its technology to subtle effect. Washburn’s play, drawn from tech rehearsals of her own shows and listening in on others, provides a fairly faithful reproduction of this ugly task. All of the action and dialogue, which are meant to appear spontaneous and random, are carefully set forth in the 142-page script. Her clever idea is to have the audience listen in on headsets, tuned to the same channel that the tech crew is using to talk to one another while the work continues.”
- What to do with those sixteen thousand bucks you have under the mattress: buy a rare 1935 edition of Ulysses with etchings by Henri Matisse. “Matisse’s mythical Nausicaa design is embossed in gold on the front cover of the edition, displaying four shapely nudes enclosed in a sphere with Roman numerals forming a celestial clock.” (As if Matisse would have included nudes who weren’t shapely.)
April 16, 2015 | by Dan Piepenbring
- 92Y has released recordings of Tomas Tranströmer reading his poem “Reply to a Letter” in 1989 and Seamus Heaney reading in 1971. “Heaney is in his early thirties on this 1971 recording,” Pura López-Colomé writes in a breathless commentary, “already in full command of his capacities—a Beethoven, more than a Bach … he poet-visionary’s vibrant voice, about to be swallowed by dichotomy, banishes all evil through a salutary tension coil.”
- Adam Thirlwell on Ulysses and the scandal that continues to surround it: “Joyce happened on a whole new way of writing novels. And the first, most intoxicating invention was the discovery of how comprehensive it was really possible to be. Even sexual fantasies, to choose an extreme example, could suddenly find their form … If transgender fisting occurs earlier in the history of the novel, I would be surprised.”
- A visual history of the gamine, with her boyish charm, reminds us that she is “more than just a haircut.”
- On the increasingly gendered use of the exclamation point: “For many women, they are the most common, or neutral, way of ending sentences. Leaving them out indicates negative intentions, while including them simply shows an expected level of enthusiasm.”
- “My father once split an infinitive, and I did not attend his funeral.” “I got a tattoo of a comma splice and then had it removed.” “I disregard ransom notes if their punctuation is incorrect.” The bona fides of true grammar nerds.