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Read, Reread, Re-reread, Re-re-reread, and Other News
By
Dan Piepenbring
February 10, 2015
On the Shelf
A passenger reading on a train to Houston, 1974. Photo: NARA
It’s one thing to be well read—quite another to be well reread. Stephen Marche has coined the term
centireading
, i.e.,
reading something a hundred times
. He’s accomplished only two feats of centireading (
Hamlet
and
The Inimitable Jeeves
), but they effectively restored the purity of his reading experience: “The main effect of reading
Hamlet
a 100 times was, counter-intuitively, that it lost its sense of cliché. ‘To be or not to be’ is the Stairway to Heaven of theatre; it settles over the crowd like a slightly funky blanket knitted by a favorite aunt. Eventually, if you read Hamlet often enough, every soliloquy takes on that same familiarity. And so ‘To be or not to be’ resumes its natural place in the play, as just another speech. Which renders its power and its beauty of a piece with the rest of the work.”
As a moneymaking device, the book is obsolete, as we all know. Of course it is—it’s very, very old. What you might not have heard yet is that Web sites are obsolete, too, and that your mere presence on this page renders you a technological dinosaur. It’s okay. I’m one, too.
This man is not
: “In his weird zone of the internet, he said, the concept of a large publication seemed utterly hopeless. The only thing that keeps people coming back to apps in great enough numbers over time to make real money is the presence of other people. So the only apps that people use in the way publications
want
their readers to behave—with growing loyalty that can be turned into money—are communications services. The near-future internet puts the publishing and communications industries in competition with each other for the same confused advertising dollars, and it’s not even close.”
From the makers of the flaneur,
meet the
crónica
: “a
crónica
is both ‘a history that obeys the order of the times’ and ‘a journalistic piece … about current events.’ But it is more. Starting in the nineteenth century,
crónica
and urban life became inseparable; to the mere recording of a city life for posterity, the genre added
flânerie
and modern investigative reporting. Together,
crónica
and
la ciudad
(the city) inform a typology of ‘essaying’
a pie
(on foot), in which walking is to thinking what seeing is to reading, and cities’ ‘intensification of nervous stimulation’ becomes social and cultural criticism.”
In France, even illicit, politically scandalous affairs
play out like fairy tales
: “It was not until his press attaché phoned Valérie and informed her that François was ‘madly in love with you’ that Valérie recognized the current of passion that roiled beneath their professional rapport … They were committed to others—Ségolène and Denis—and they had more than half a dozen children between them, but how could they refuse love’s call? Over crêpes and waffles, Valérie and François confessed their feelings, which led to, she wrote, ‘a kiss like no other kiss I’d ever shared with anyone. A kiss that had been held back for nearly fifteen years, in the middle of a crossroads.’”
William Greaves’s
Symbiopsychotaxiplasm: Take One
is one of the most daring movies of the sixties, which may be why no one saw it until 1991.
Now his film is finally getting its due
: “Greaves was up there with John Cassavetes and Shirley Clarke in the blend of sophisticated modernism and emotional fury, of self-implication and formal innovation, of self-revelation and revelation of the heart of the times.”
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