{"id":104419,"date":"2016-11-02T08:58:58","date_gmt":"2016-11-02T12:58:58","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=104419"},"modified":"2016-11-02T11:03:00","modified_gmt":"2016-11-02T15:03:00","slug":"theres-bernhard-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/","title":{"rendered":"There\u2019s Our Bernhard, and Other News"},"content":{"rendered":"<div id=\"attachment_104421\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-104421\" class=\"wp-image-104421\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\" width=\"600\" height=\"447\" \/><\/a><p id=\"caption-attachment-104421\" class=\"wp-caption-text\">A still from <i>Thomas Bernhard: Three Days, 1970<\/i>.<\/p><\/div>\n<ul>\n<li>Anne Carson prizes brevity, which means, in the abstract, that she should be perfectly suited to these distracted times of ours. And maybe she is, even if she seems permanently ill at ease. <a href=\"https:\/\/www.theguardian.com\/books\/2016\/oct\/30\/anne-carson-do-not-believe-art-therapy-interview-float?CMP=twt_books_b-gdnbooks\" target=\"_blank\">In a new interview to support her collection<\/a>\u00a0<em>Float<\/em>, her answers sometimes suggest\u2014and I mean this as a compliment\u2014that she could find lucrative work as a copywriter for Hot Topic T-shirts: \u201cI feel perfectly at home underwater.\u201d \u201cI do not believe in art as therapy.\u201d \u201cVolcanoes are dead easy to paint.\u201d \u201cI never liked Mona Lisa.\u201d<\/li>\n<\/ul>\n<ul>\n<li>\n<p>But then, every writer, even the real assholes, must call a truce with the great ugly publicity machine. How else to explain why Thomas Bernhard, king of the assholes, consented to make a documentary about himself back in 1970? His books, as Andrew Katzenstein writes, are teeming with curmudgeons who heap vitriol on \u201chacks\u2014artists who seem more interested in fame and accolades than in the creation of meaningful work.\u201d But he worked productively (kind of) with the Austrian director Ferry Radax: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/11\/01\/three-days-on-a-park-bench-with-thomas-bernhard\/\" target=\"_blank\">After Bernhard began to have doubts about the\u00a0project\u00a0and threatened to withdraw his participation, he and Radax eventually compromised on strict terms: over the course of three days, Radax would film Bernhard sitting on a park bench as he discussed how he became a writer and his views on writing<\/a> \u2026 Bernhard offers grim assessments of the writing life, suggesting the fanaticism\u00a0with which he approached his work. A book is \u2018nothing but a malignant ulcer, a cancerous tumor\u2019 that has already metastasized and infected the body before it is removed. Writing only intensifies the isolation that all humans suffer, and authors he admires are \u2018opponents, or enemies\u2019 who need to be subdued, not inspirations to be emulated.\u201d\u00a0<\/p>\n<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>If you have a Google Alert set up for \u201cVan Gogh\u2019s ear,\u201d you know that 2016 has been action-packed. This summer saw a heated debate about how much of the ear he\u2019d managed to cut off, exactly. And the ear news shows no signs of slowing. New evidence suggests that Van Gogh\u2019s psychotic episode was brought on by news of his beloved brother\u2019s engagement: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/11\/02\/arts\/design\/van-gogh-ear-martin-bailey-book-studio-of-the-south.html?_r=0\" target=\"_blank\">Scholars have been puzzling over the details of Van Gogh\u2019s time in Arles, in Provence, for the 126 years since the artist\u2019s death, because while he was living there from February 1888 to May 1889, he experienced both the peak of his artistic career and the beginning of his mental decline<\/a> \u2026 Just a half day before Van Gogh cut off his ear, he received a letter from Paris that may have contained the news that Theo was engaged to Johanna Bonger, known as Jo \u2026 Ms. Bonger received a telegram of congratulations on Dec. 23 from her older brother Henry\u2014which confirmed that Henry had received the news of the engagement\u2014shortly after receiving the announcement letter from Ms. Bonger.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Rivka Galchen sat down with Yoko Tawada, whose 2014 novel, <em>Memoirs of a Polar Bear<\/em>, is soon to arrive in English translation, and it does, yes, star a polar bear: \u201c<a href=\"http:\/\/www.nytimes.com\/interactive\/2016\/10\/30\/magazine\/yoko-tawada.html\" target=\"_blank\">Tawada has written most often about foreigners and outsiders, but also about people who metamorphose into animals<\/a> (\u2018The Bath\u2019) or have intimate relations with people suspected to be animals (\u2018The Bridegroom Was a Dog\u2019). An elementary-school teacher who tells her students to wipe with used Kleenex feels, in Tawada\u2019s portrayal of her, as familiar and alien as a household pet. In <em>Memoirs<\/em>, when a polar bear walks into a bookstore or a grocery store, there are no troubles stemming from a lack of opposable thumbs. As with Kafka\u2019s animal characters, we are freed to dislike them in the special way we usually reserve only for ourselves.\u201d<\/li>\n<\/ul>\n<ul>\n<li>The irony of virtual reality in its current, nascent form is that we\u2019re using it mainly to simulate \u201creal\u201d reality\u2014as if we haven\u2019t seen plenty enough of that already. Simon Parkin writes of three new games whose mission \u201c<a href=\"http:\/\/www.newyorker.com\/tech\/elements\/three-psychedelic-visions-of-the-future-of-v-r-gaming\" target=\"_blank\">runs contrary to the prevailing narrative, which holds that realistic re-creations of our world are where the emerging medium\u2019s power lies<\/a>. Undoubtedly, part of V.R.\u2019s appeal is its capacity to enable us to visit places\u00a0too remote,\u00a0too dangerous, or too expensive to otherwise reach. Documentarians have already begun using V.R. to allow us to experience life\u00a0through the eyes\u00a0of another and even to become witnesses to current events from the perspective of a participant rather than a bystander. <em>Thumper<\/em>, <em>Rez Infinite<\/em>, and <em>SuperHyperCube<\/em> offer the counterargument\u2014that V.R.\u2019s most alluring promise is found in the imagined, the intangible, and the unrecognizable places to which it transports us.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Anne Carson prizes brevity, which means, in the abstract, that she should be perfectly suited to these distracted times of ours. And maybe she is, even if she seems permanently ill at ease. In a new interview to support her collection\u00a0Float, her answers sometimes suggest\u2014and I mean this as a compliment\u2014that she could find lucrative [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[3401,13797,14176,25493,1132,5394,7515,25494,494,4979,14767,25495],"class_list":["post-104419","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-anne-carson","tag-documentaries","tag-ears","tag-hot-topic","tag-interviews","tag-rivka-galchen","tag-thomas-bernhard","tag-thomas-bernhard-three-days-1970","tag-video-games","tag-vincent-van-gogh","tag-virtual-reality","tag-yoko-tawada"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>When Thomas Bernhard Made a Documentary (On His Terms)<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"There\u2019s Our Bernhard, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"November 2, 2016 \u2013 Anne Carson prizes brevity, which means, in the abstract, that she should be perfectly suited to these distracted times of ours. And maybe she is, even if\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-11-02T12:58:58+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-11-02T15:03:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"There\u2019s Our Bernhard, and Other News\",\"datePublished\":\"2016-11-02T12:58:58+00:00\",\"dateModified\":\"2016-11-02T15:03:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\"},\"wordCount\":788,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\",\"keywords\":[\"Anne Carson\",\"documentaries\",\"ears\",\"Hot Topic\",\"interviews\",\"Rivka Galchen\",\"Thomas Bernhard\",\"Thomas Bernhard: Three Days 1970\",\"video games\",\"Vincent Van Gogh\",\"virtual reality\",\"Yoko Tawada\"],\"articleSection\":[\"On the Shelf\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\",\"name\":\"When Thomas Bernhard Made a Documentary (On His Terms)\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\",\"datePublished\":\"2016-11-02T12:58:58+00:00\",\"dateModified\":\"2016-11-02T15:03:00+00:00\",\"description\":\"This and more in today\u2019s roundup.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/bernhard.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/11\/02\/theres-bernhard-news\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"There\u2019s Our Bernhard, and Other News\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. 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