Sep 7 2021

The Need to Reread, via John Wilson (& Others)

porticos in Bologna, Italia

I keep thinking about this great piece by editor John Wilson from back in July on his method of rereading. It reminded me of some other proverbs for rereading that I continue to ponder:

It consoles me too that the places I revisit and the books I re-read always smile upon me with the freshness of novelty. (Michel de Montaigne, Essais, Tome I, trans. J. M. Cohen, (New York: Penguin, 1958, 1988) “9. On liars,” p. 30.)

I use the word reader very loosely. Curiously enough, one cannot read a book:  one can only reread it. A good reader, a major reader, an active and creative reader is a rereader.(Vladimir Nabokov, “Good Readers and Good Writers,” Lectures on Literature, (New York: Harcourt Brace Jovanovich, 1982) p. 3.)

PLAYBOY: Arthur Clarke has said of the film, “If anyone understands it on the first viewing, we’ve failed in our intention.” Why should the viewer have to see a film twice to get its message?

KUBRICK: I don’t agree with that statement of Arthur’s, and I believe he made it facetiously. The very nature of the visual experience in 2001 is to give the viewer an instantaneous, visceral reaction that does not—and should not—require further amplification. Just speaking generally, however, I would say that there are elements in any good film that would increase the viewer’s interest and appreciation of a second viewing; the momentum of a movie often prevents every stimulating detail or nuance from having a full impact the first time it’s seen. The whole idea that a movie should be seen only once is an extension of our traditional conception of the film as an ephemeral entertainment rather than as a visual work of art. We don’t believe what we should hear a great piece of music only once, or see a great painting once, or even read a great book just once. Bu the film has until recent years been exempted from the category of art—a situation I’m glad is finally changing. (Eric Nordern, “Playboy Interview: Stanley Kubrick,” (c. 1968) in Stanley Kubrick Interviews, ed. Gene D. Phillips, (Jackson, MS: Mississippi UP, 2001) p. 48.)

But—to anticipate a point to be treated later—it’s rather odd that I tend not to feel that same panic at the thought of not having time to reread books I already love, even though I know that such rereading will surely be pleasurable. The possible pleasure of an unread book weighs more heavily on me than the sure pleasure of one I already know. (Alan Jacobs, The Pleasures of Reading in an Age of Distraction, (New York: Oxford UP, 2011) pp. 70–71.)


Sep 4 2021

Short Story Review: “Child” (2017) by Nicole I. Nesca

porticos in Bologna, Italia

Nicole I. Nesca’s Let It Bleed (Screamin’ Skull Press, 2017) is a book of prose and poetry—of verse, vignettes, as well as short stories—and a book both Canadian and American.

In it readers will find pairs, symmetries, contrasts, and sometimes, radical juxtaposition—the kind prophesized (though not before acknowledging necessary precursors) by Bard André Breton (a prophecy which still needs hearing in 2021):

A man at least as boring as I, Pierre Reverdy, was writing:

The image is a pure creation of the mind.

It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be—the greater its emotional power and poetic reality. (Nord-Sud, March 1918)

Now, it is not within man’s power, so far as I can tell, to effect the juxtaposition of two realities so far apart. The principle of the association of ideas, such as we conceive of it, militates against it.

(André Breton, Manifeste du surréalisme (Manifesto of Surrealism) (c. 1924), trans. unknown)

In Nesca, readers can encounter this idea of radical juxtaposition of either/and with regard to structure-medium-content: similar to the way William Blake’s paintings and poetry can be absorbed with profundity individually, but, when found together, offer an intimidating sense of wonder to those modest readers who nevertheless continue their approach toward Blake’s super-art, though they learn they must approach with fear and trembling.

But in terms of content for either a poem or story—the writing’s agency that acts upon the reader when something jars that reader simply because what the reader encounters is adjacent to something else (and can also occur with painting or music or architecture)—results often in mere perplexity, though occasionally, in sound enlightenment. The results are such things as: McCartney’s “Band on the Run” (1970), a radical juxtaposition of two or three, depending on how you count them, different pieces of music; Tom Hanks in The Man with One Red Shoe (1985) and the irreverence of the title to the movie itself; Metallica’s “One” (1988), which begins as a quiet, solemn dirge toward the singer’s own death, then, shifts into an loud, angry invective against Death itself; Kubrick’s Full Metal Jacket (1989), which is almost two separate movies sandwiched together, though a sandwich with almost nothing in between, so it might be better to say squished; or even Ralph Ellison’s Invisible Man (1952), with its wild rural setting in the South that then moves to the wild metro setting of the North)….

So too with Nesca’s book overall. Particularly, the piece “Child” is what stood out for me upon first-reading (certainly not the last) with its radical juxtaposition.

For here is poetry that flows into prose—but there is a vivid narrative underlying it all, one with a true beginning, middle, and end—yet here also is a clash of lyric and free verse, a clash of Nature’s organic pheasant and Humankind’s artificial rifle, a clash of daughter and father, of life and death.

Or is it not so much a clash, as a balance of all these things?—dare we say a Dao of things?––if my feeble misunderstanding of the Dao is correct? Here I’m thinking of something recently written by Alan MacFarlane, who earlier this summer explained in The Fortnightly Review:

Working in Japan was a larger challenge. As Ruth Benedict, among many western observers, pointed out, the essence of Japan is that it is not an Either/Or civilization, but rather a Both/And one. All categories overlap in Japan and they fluctuate all the time. There are numerous instances of situations and thoughts which do not fit into western binary categories. Just to take one example. I make a distinction between the sacred and the profane, the realm of spirit and normal, secular, activities. So, for me a religious service or prayers are sacred, while a game of football is secular.

This does not work in Japan. Many of the so-called sports and games there, often with an ending which mirrors the idea of ‘dao’, the path or way in Shinto and Buddhist thoughts, are both sacred and secular. This is the case with ju-doken-dosu-mo, and with Noh opera. It is true of archery, of sword-making, of the ‘way’ of tea (cha-do), the way of gardens. Indeed, it turns out to be true of all Japanese art and all its crafts, which are both spiritual and secular at the same time.

So, yes, I think Nicole Nesca is getting at something like that Dao, or balance or sense of both-and rather than either-or––in particular in her story-poem “Child,” but also, her book Let It Bleed maybe getting at something similar overall. Overall, this is a book I intend to return to. There is definitely something wild going in Winnipeg, and ’tis nothing to do with weather nor wildlife.


Feb 18 2018

We Will Always Think Together (Even If We Don’t Think Alike)

Palazzo Re Enzo, Bologna, ItaliaWe Will Always Think Together (Even If We Don’t Think Alike):
Or, Relying on the Resemblance of Others to Think for Ourselves

catena: n. A string or series of extracts from the writings of the fathers, forming a commentary on some portion of Scripture; also, a chronological series of extracts to prove the existence of a continuous tradition on some point of doctrine. (Oxford English Dictionary)

As I have previously done here and here, what follows is another cantena of thoughts supplementing Alan Jacobs’s How to Think: A Survival Guide for a World at Odds (2017) and his point of how it is impossible to think for ourselves because we always rely on the thinking of others in order to think for ourselves.

However, the further I plod along in Daniel Kahneman’s Thinking, Fast and Slow (2011), which Jacobs refers to (sometimes in agreement, sometimes not), the more I suspect that the quotations below, as well as those in my previous posts, may not compare as well with Jacobs’s point as I initially thought. They may not because I may be falling for resemblance bias, for all the quotations I give are based on my limited recent reading––which itself might constitute a combination of what Kahneman calls the availability and priming heuristics.[1]

In other words, instead of relying on the words of others so that I can understand Jacobs’s book, perhaps I’m really just relying on the resemblance of the words of others as they compare to Jacobs. Either way, here it goes:

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At age 33, Ralph Waldo Emerson (1808–1882) recognized: “I suppose my friends have some relation to my mind.”[2]

At age 37, Walter Kaufmann (1921–1980) taught that our convictions are worthless until we encounter others who dare challenge our convictions:

Ultimate convictions are often inconsistent and can be refuted. They cannot be proved. But they can be responsible or irresponsible. They are irresponsible if they are arbitrary and blind. They are responsible if they have grown out of encounter after encounter. And in the end we can only ask others to expose themselves to the same encounters—and, if after having done this they do not agree with us, expose ourselves to their criticisms. [3]

At age 44, filmmaker Stanley Kubrick (1928–1999) knew that, even the artist-as-author must rely on others to render creation. The working artist cannot be isolated but must come into communion and let the surrounding community contribute to the work at hand:

The reality of the final moment, just before shooting, is so powerful that all previous analysis must yield before the impressions you receive under these circumstance, and unless you use this feedback [of the cast and crew on the set] to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film…. If the camera operator spoils a shot, it can be done again. The thing that can never be changed, and the thing that is the make or break for a picture, are those few hours you spend alone in the actual place with the actors, with the crew outside drinking their tea.[4]

At age 66, Hannah Arendt (1906–1975) explained how Hegel got it wrong: that we cannot think in pure isolation:

No one has fought with more determination against the particular, the eternal stumbling block of thinking, the undisputable thereness of objects that no thought can reach or explain. The highest function of philosophy, according to Hegel, is to eliminate the contingent, and all particulars, everything that exists, are contingent by definition. Philosophy deals with the particulars as parts of a whole, and the whole is the system, a product of speculative thought. This whole, scientifically speaking, can never be more than a plausible hypothesis, which by integrating every particular into an all-comprehensive thought transforms them all into thought-things and thus eliminates their most scandalous property, their realness, together with their contingency. It was Hegel who declared that “The time has come for the elevation of philosophy to a science,” and who wished to transform philo-sophy, the mere love of wisdom, into wisdom, Sophia. In this way he succeeded in persuading himself that “to think is to act”––which this most solitary occupation can never do, since we can act only “in concert,” in company and agreement with our peers, hence in an existential situation that effectively prevents thinking.[5]

At age 77, Daniel Kahneman shared in Thinking, Fast and Slow (2011):

Many of us spontaneously anticipate how friends and colleagues will evaluate our choices; the quality and content of these anticipated judgments therefore matters…. The premise of this book is that it is easier to recognize other people’s mistakes than our own.[6]

NOTES

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[1] Daniel Kahneman, Thinking, Fast and Slow, (New York, NY: Farrar, Straus and Giroux, 2011). For Kahneman, “systematic errors are known as biases” (3–4), while “the reliance on the ease of memory search” is called “the availability heuristic,” (7). “They were primed to find flaws, and this is exactly what they found,” (58) is one of Kahneman’s examples of the priming heuristic.

[2] Emerson, Journals and Miscellaneous Notebooks, eds. William H. Gilman et al, (Cambridge, MA: Harvard UP, 1960–82). Vol. V (1835–1838), October 19, 1836, Journal B, p. 223.

[3] Kaufmann, Critique of Religion and Philosophy, (Princeton, NJ: Princeton UP, 1958) 408.

[4] Strick and Houston, “Modern Times: an Interview with Stanley Kubrick,” Sight and Sound, 41 (Spring 1972) quoted from Stanley Kubrick Interviews, ed. Gene D. Phillips, (Jackson, MS: Mississippi University Press, 2001) 134.

[5] Arendt, The Life of the Mind, (1971), ed. Mary McCarthy (New York, NY: Harcourt Brace & Co, 1978), Volume I. Thinking 89–90.

[6] Kahneman, Thinking, Fast and Slow 3, 28.


May 14 2017

Recent Online Reading: 5 Pieces

Recent Online Reading: 5 Pieces

Since returning from Ireland, I’m still trying to catch up on my reading. Here are five interesting pieces I found this weekend. Some are recent; some a few months old:

How Kafka’s ‘Metamorphosis’ Anticipated the Holocaust,” by Anne Roiphe, The Forward, May 9, 2017.

What’s Ressentiment Got to Do with It,” by Martin E. Marty, The Marty Center for the Advanced Study of Religion, University of Chicago, February 6, 2017.

Does Creativity Breed Inequality in Cities?” by Emily Matchar with an interview of Richard Florida, Smithsonian Magazine, April 28, 2017.

Joyce Carol Oates explores both sides of the abortion rift in A Book of American Martyrs,” by Olivia Ho, The Straits Times of Singapore, April 11, 2017.

From Kubrick’s dystopia to creative hub–London’s new town is reborn,” by Joanne O’Connor, The Guardian, May 13, 2017.

And here are some recent reading acquisitions I got in Ireland:

Book treasures from Ireland, #Ireland #books #travel #celtic

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